Describes ways in which students can become better editors of their own writing by discovering their own error patterns. (RS)

Provides writing exercises which encourage the use of sense details to let the reader know what is in the writer's mind. Provides writing exercises for setting a mood, describing places in fiction, adding metaphors, and describing people. (MG)

Argues that, although computers are wonderful machines, their role in the curriculum should not take center stage. Stresses that attention should be placed on what educators are trying to help students to experience and only secondarily should educators consider whether the computer can help in that endeavor. (MG)

Identifies four techniques that are effective in teaching technical writing to non-native English speakers: (1) one-on-one conferences aimed at easing language apprehension; (2) meticulously detailed and clear instructions; (3) teacher leadership through successive drafts of students' technical reports; and (4) peer evaluations. (SG)

Proposes a Center for Applied Writing which combines elements of the developmental and writing-across-the-curriculum models and bridges academic and nonacademic discourse. Explains that the center would offer new avenues for research, instruction, and practice in business and technical communication, while bringing together diverse approaches to…

Argues that the metaphor of writing as cognitive mapping can serve not as a basis for a new model or theory of writing, but as an attitudinal guide for concerns with writing and instruction. Notes that the term "cognitive mapping" suggests that the mental world can be seen metaphorically as a physical world. (RS)

Discusses self-examination as a prerequisite to authorship. Defines the soliloquy as an internal question-and-answer exchange enabling the thinker to distinguish better ideas from worse. Argues that use of the soliloquy develops in the student writer a voice of authority. Identifies the soliloquy as a device for exploring values. (SG)

Argues that if writing is to help students learn, the purpose for which the writing is assigned has to change. Describes the process approach to writing for use in the classroom. Presents an example of this approach as used in a history class. (RS)

Presents teaching variations with a word-processing package and related tools that enable teachers to develop different computer-writing pedagogies for their distinct contexts: traditional classroom, computer lab, or some combination of both. Emphasizes that teachers who re-envision teaching with regard to available technology can create dynamic…

Uses four case studies to explore four areas in which computers affect the process of tutoring other writers: tutor-to-client dialogue; macrostructural revision; surface editing; and printing. Shows how the computer has some unexpected catalytic effects on human interactions. (MM)

Examines the ethics of fostering false inference. Presents and discusses a hypothetical case in which a firms's proposal seems intended to mislead, while actually stating nothing that is not literally true. (KEH)

Four principles are presented for teaching children, across age and grade levels, to write and enjoy writing: interrelating literature and writing, teaching writing as an intellectual rather than a mechanical process, emphasizing process over product, and teaching writing as a holistic process rather than a set of isolated skills. (PB)

This article describes an inter-class project that paired second and fifth grade students to produce a book of their poetry developed through a program of instruction in the forms and literary aspects of poetry. Students collaborated broadly across grade levels on composition of poems and cover art for the publication. (PB)

Explores China's literary tradition to refute popularly held beliefs regarding Chinese literary genres and to illustrate how teachers of Chinese students can take advantage of such fundamental Chinese beliefs as: (1) the personal is political; (2) the written word carries power; and (3) the product outweighs the process. (92 references) (CB)

Offers 17 exercises combining writing and painting, each with its own theme and goal, and all designed to show that close observation is fundamental to the effectiveness of both visual and verbal expression. (SR)