This dynamic collection offers a breadth of expertise and informed pedagogies on teaching multimodal and digital creative writing in the college classroom. This book gives clear guidance with lesson plans, online resources, sample student work, and adaptable assignments.

The creative writing workshop: beloved by some, dreaded by others, and ubiquitous in writing programs across the nation. For decades, the workshop has been entrenched as the primary pedagogy of creative writing. While the field of creative writing studies has sometimes myopically focused on this single method, the related discipline of composition studies has made use of numerous pedagogical models. In Creative Writing Pedagogies for the Twenty-First Century, editors Alexandria Peary and Tom C. Hunley gather experts from both creative writing and composition studies to offer innovative alternatives to the traditional creative writing workshop. Drawing primarily from the field of composition studies—a discipline rich with a wide range of established pedagogies—the contributors in this volume build on previous models to present fresh and inventive methods for the teaching of creative writing. Each chapter offers both a theoretical and a historical background for its respective pedagogical ideas, as well as practical applications for use in the classroom. This myriad of methods can be used either as a supplement to the customary workshop model or as stand-alone roadmaps to engage and reinvigorate the creative process for both students and teachers alike. A fresh and inspiring collection of teaching methods, Creative Writing Pedagogies for the Twenty-First Century combines both conventional and cutting-edge techniques to expand the pedagogical possibilities in creative writing studies.

Jason Palmeri’s Remixing Composition: A History of Multimodal Writing Pedagogy challenges the longheld notion that the study and practice of composition has historically focused on words alone. Palmeri revisits many of the classic texts of composition theory from the 1960s, 1970s, and 1980s, closely examining how past compositionists responded to “new media.” He reveals that long before the rise of personal computers and the graphic web, compositionists employed analog multimedia technologies in the teaching of composition. Palmeri discovers these early scholars anticipated many of our current interests in composing with visual, audio, and video texts. Using the concept of the remix, Palmeri outlines practical pedagogical suggestions for how writing teachers can build upon this heritage with digital activities, assignments, and curricula that meet the needs of contemporary students. He details a pluralist vision of composition pedagogy that explains the ways that writing teachers can synthesize expressivist, cognitive, and social-epistemic approaches. Palmeri reveals an expansive history of now forgotten multimodal approaches to composing moving images and sounds and demonstrates how current compositionists can productively remix these past pedagogies to address the challenges and possibilities of the contemporary digital era. A strikingly original take on the recent history of composition, Remixing Composition is an important work for the future of writing instruction in a digital age.

Creative Writing in the Digital Age explores the vast array of opportunities that technology provides the Creative Writing teacher, ranging from effective online workshop models to methods that blur the boundaries of genre. From social media tools such as Twitter and Facebook to more advanced software like Inform 7, the book investigates the benefits and potential challenges these technologies present instructors in the classroom. Written with the everyday instructor in mind, the book includes practical classroom lessons that can be easily adapted to creative writing courses regardless of the instructor's technical expertise.

Teaching any subject in a digital venue must be more than simply an upload of the face-to-face classroom and requires more flexibility than the typical learning management system affords. Applied Pedagogies examines the pedagogical practices employed by successful writing instructors in digital classrooms at a variety of institutions and provides research-grounded approaches to online writing instruction. This is a practical text, providing ways to employ the best instructional strategies possible for today’s diverse and dynamic digital writing courses. Organized into three sections—Course Conceptualization and Support, Fostering Student Engagement, and MOOCs—chapters explore principles of rhetorically savvy writing crossed with examples of effective digital teaching contexts and genres of digital text. Contributors consider not only pedagogy but also the demographics of online students and the special constraints of the online environments for common writing assignments. The scope of online learning and its place within higher education is continually evolving. Applied Pedagogies offers tools for the online writing classrooms of today and anticipates the needs of students in digital contexts yet to come. This book is a valuable resource for established and emerging writing instructors as they continue to transition to the digital learning environment. Contributors: Kristine L. Blair, Jessie C. Borgman, Mary-Lynn Chambers, Katherine Ericsson, Chris Friend, Tamara Girardi, Heidi Skurat Harris, Kimberley M. Holloway, Angela Laflen, Leni Marshall, Sean Michael Morris, Danielle Nielsen, Dani Nier-Weber, Daniel Ruefman, Abigail G. Scheg, Jesse Stommel

In Sounding Composition Steph Ceraso reimagines listening education to account for twenty-first century sonic practices and experiences. Sonic technologies such as audio editing platforms and music software allow students to control sound in ways that were not always possible for the average listener. While digital technologies have presented new opportunities for teaching listening in relation to composing, they also have resulted in a limited understanding of how sound works in the world at large. Ceraso offers an expansive approach to sonic pedagogy through the concept of multimodal listening—a practice that involves developing an awareness of how sound shapes and is shaped by different contexts, material objects, and bodily, multisensory experiences. Through a mix of case studies and pedagogical materials, she demonstrates how multimodal listening enables students to become more savvy consumers and producers of sound in relation to composing digital media, and in their everyday lives.

The creative writing workshop has long been entrenched as the primary pedagogy of creative writing classes. This book offers twelve different approaches to the teaching of creative writing to supplement or replace traditional workshop pedagogy. Contributors are from both creative writing and composition studies--a discipline rich with a wide range of established pedagogies.