Argues that authorship and not authority should be celebrated in the writing classroom. Argues that texts that students and composition teachers write should be considered not as definitive or authoritative, but open-ended, growing, and free. (RS)

Discusses an essay, "Cheerio," written to support the author's argument that there is no such thing as a dull subject. Reflects on the influence of "occasion" on the writing process. (JAD)

Discusses the pedagogical consequences that follow from distinguishing invention from prewriting. Contrasts the importance of stasis in invention, and the resulting importance of writing with an audience in mind, with prewriting techniques that merely direct students toward exploring a topic without reference to an audience. (RL)

Argues that the metaphor of writing as a tool is still used because the ideas of Kenneth Burke have not been applied comprehensively. Argues further that Burke's "A Grammar of Motives" implies a radical change in what it means to teach students to analyze and produce texts--a change leading up to and beyond Freireian pedagogy. (RS)

Argues that, in understanding creativity and the process of composing, it is helpful to think in terms of the metaphysical concept and while polar opposites appear to be contradictory, they are part of the same whole. Suggests some polarities that help in understanding the creative process in writing. (TJ)

Presents a dialogue between two adherents of the process centered paradigm of rhetoric: one a "classicist" who sees art as the knowledge necessary for producing preconceived results by conscious, directed actions, and the other a "romantic," who sees art as "magical" inspiration. (HTH)

Argues that composition teachers need to spend more time teaching writing as a process. Suggests that models of the writing process should avoid strict references to prewriting, writing, and rewriting stages and should instead reflect the reality that each aspect of writing may occur at any time during the composing process. (TJ)

Suggests that the information processing model of writing developed by cognitive psychologists provides a construct for researchers to work with but has little to contribute to classroom pedagogy. (MM)

Surveys rhetorical invention in current theoretical terms. Suggests that all invention requires the location of "differences" within a structure of free play imposed by the mind. Presents some important links between invention, J. Derrida's concept of "difference," and K. Burke's idea of eloquence. (RL)

Encourages teachers to view writing as a process creating meaning, enabling the writer to come to grips with complex experience. (DD)

Discusses some problems of the process approach to writing instruction. Investigates the impact of productivity on student performance and attitudes; whether forcing productivity is workable in the classroom; and whether productivity shows potential for helping students develop as writers. Notes that practice is an important part of the writing…

Examines two contrasting perspectives of invention: rhetoric as "art," and rhetoric as "knack," derived from talent and experience. Argues that inventive strategies should be viewed within an axiological perspective, and notes that instructors can teach students to combine different types of inventive strategies, avoiding a…

Observes that writing students are often confronted with a great many variables that preclude their attention to specific stylistic details. Explores professional journals that suggest that students in content areas also experience the same difficulty when confronted with abstractions or contexts different from those taught in the classroom. (HT)

Discusses the "can of worms" opened by exhorting students to "write with a purpose." Examines other cliches that state the obvious about the writing process. (HTH)

Suggests that, in helping students understand the process of composing, teachers share their own personal experience. (TJ)