Whose Voice is it Anyway? Implications of Free Writing

Krueger, Anton

doi:10.1080/1013929x.2015.1086195

Cited by 3 publications

(2 citation statements)

References 7 publications

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“…Over the years, free writing techniques have proven to be an effective type of tools for generating and developing ideas (Tanner, 2016). The method of free writing has been adopted by many creative writing programs (Krueger, 2015), ESL programs around the world (Sabet & Khorasani, 2015; Scullin & Baron, 2013), and even by a university’s academic staff for professional use (Castle, 2017). Some individuals, however, do not find the free writing method useful, and they struggle with free writing almost as much as they do with producing structured material, but such cases need to be analyzed on an individual basis.…”

Section: Resultsmentioning

confidence: 99%

Spoken Language and Fear of the Blank Page

Korostyshevskiy

2018

Adult Learning

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Ability to communicate using spoken language occurs naturally in children earlier than they learn how to use written language. Throughout persons’ lives, their ability to use spoken language is being continuously maintained and further developed. As a result, spoken language has greater capacities to form and organize thoughts than those of written language. This article discusses one such capacity, to grasp mentally the initial idea, which is essential for beginning any writing process. An integral tool for using spoken language is a voice-recording device, which has become widely available as an application for mobile telephones and other portable devices. The use of spoken language, referred in this article as free-talking, allows a wide range of idea-generating possibilities, only few of which are discussed in this article.

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Section: Resultsmentioning

confidence: 99%

Spoken Language and Fear of the Blank Page

Korostyshevskiy

2018

Adult Learning

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“…Danuta expressed that as a child she had found lack of time a challenge, “I would never finish mine so at break time I'd still be writing, so I found that quite hard” , and also expressed that on school placement, “I feel like a lot of creative writing is rushed” . The processes involved in creative writing require time to relax and time to think (Krueger, 2015). Curriculum constraints and an emphasis on performance, however, are seen to be barriers to providing this time (Moss, 2017).…”

Section: Finding and Discussionmentioning

confidence: 99%

Student teachers as creative writers: does an understanding of creative pedagogies matter?

Assemakis

2022

Literacy

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Teaching creative writing in primary schools requires an understanding of creative pedagogies that value autonomy and for educators to draw on their own experiences of the creative writing process to support the development of their pupils. This article draws on evidence from 58 undergraduate primary student teachers to further understand how their appreciation of creative pedagogies, combined with their experiences of creative writing, impacts on their approach to the teaching of writing in primary schools. Evidence from questionnaires and interviews reveals that factors such as freedom, choice and focusing on the personal aspects of writing are valued but often because they make writing fun for children, rather than because they develop children's creative behaviours and creative writing. Student teachers' own personal experiences of these factors affect whether they are likely to integrate them into their future practice in school. It is argued that if students experience creative writing that is underpinned by a creative pedagogy within their initial teacher education, they will be better equipped to teach creative writing and prepare children for being writers.

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(In)dependent meaning: Representations of addiction and recovery in selected poems produced in a rehabilitation centre

Pretorius¹,

Carolin²,

Fourie³

et al. 2017

Literator

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In this article we provide a close reading of selected poems written during creative writing workshops at a drug rehabilitation centre. We argue that these poems expose some of the uncertainties and complexities that characterise the representation of identity in experiences of addiction and recovery. We show that the speakers in these poems attempt to imagine and represent their experiences in language through a number of structuring binaries. These binaries include those between the speaker’s experiences of active addiction and recovery, and the speaker’s personal experience versus societal expectations and perceptions. Our reading of these poems is informed by the clinical context in which they were written, and our analysis reflects the bifurcation that governs this liminal space. Individual agency in these different spheres is approached in a very tentative way, and the speakers in these poems are shown to have trouble envisioning the future at the same time as their pasts appear unsettled. We argue finally that while current discourses and vocabularies surrounding addiction seem incomplete and inadequate for the expression of some complex experiences, poetry provides a platform that accommodates ambivalence and a multiplicity of meanings.

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Whose Voice is it Anyway? Implications of Free Writing

Cited by 3 publications

References 7 publications

Spoken Language and Fear of the Blank Page

Spoken Language and Fear of the Blank Page

Student teachers as creative writers: does an understanding of creative pedagogies matter?

(In)dependent meaning: Representations of addiction and recovery in selected poems produced in a rehabilitation centre

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