Describes how one teacher taught poetry and its principles by relying mainly on poems written by her former and current students. Comments on why this approach seemed to bring out in students a true appreciation of poetry. (HB)

Presents sample writing assignments that enable students to practice social studies skills. Suggests that the use of creative writing assignments allows students to make a jump in time or place to the era and area being studied. Argues that using the imagination is a better approach to learning than memorizing facts. (DK)

Details the creative writing software program called "Kid Works 2" and claims that it is a solid and useful means of inspiring and fostering creative writing among young students. (HB)

Defines poetry as a distinctive form of language. Argues that writing poetry in E-Prime (a form of English that eliminates all forms of the verb "to be") can be a very effective tool for locating the fragmentation of regular language. Claims that excellent poetry can be written in E-Prime. (HB)

Outlines the benefits of the creative writing segment of English departments. Shows how learning to read carefully enriches the ability to write well. Argues for the value of creative writing for English departments. (HB)

Discusses how the therapist's creative works (developed in response to the patient/therapist relationship and shared with the patient) promoted progress in treatment. Includes examples of the therapist's poetry and drawings produced during two years working in a drug and alcohol abuse day treatment program. (SR)

Considers what makes up the sensibilities and personal traits of a writer. Describes how one writer learned to express herself through a particular writing workshop. Outlines the reasons writers write and lists some tricks of the trade. (HB)

Describes the sensibilities and temperament that make a successful, daily writer. Questions why writers write. Attempts to define what it is that makes a writer write. (HB)

Explores high school students' poetic responses to artwork, showing how they give voice to concerns that are too touchy to openly discuss in the classroom but are a part of students' increasingly complex world. (SR)

Discusses the development of voice through a specific free-form poetry-writing experience. Suggests a method for teaching poetry that draws heavily on poets from diverse ethnic and cultural backgrounds. Shares evidence that this approach to teaching poetry can be the starting point for students developing writers' voice, and suggests ways to move…

Argues that the differences between the worlds kids live in and the worlds they are taught to desire (through television, movies, music, and magazines) can cause a desperate confusion that children long to have resolved. Describes how the author, a teacher of writing, has students think and write about reality. (SR)

Presents a teacher's good-bye address to his students in an advanced composition class. Uses several metaphors for his job as coach to a group of writers. (TB)

Presents an interview with Wendy Bishop, known for her ground-breaking work in the teaching of creative writing, and Gerald Locklin, known for his many published poems in small underground presses. (TB)

Describes how a new journalism writing style energized writing composition students to write in meaningful, exciting ways about matters close to them. Explains what New Journalism is and how students can be instructed in it. (TB)

Explains how a teacher asks her students to write on topics close to their hearts and how she, in turn, writes her own heartfelt essays and shares them with her students. Contains one such essay, in which the author describes how she narrowly escaped serious injury when, as a teenager, she jumped on a moving vehicle. (TB)