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47-536: In the introduction to the second edition of Writing Without Teachers , Elbow says that his interest in writing practices came from his own difficulty with writing. He attended Proctor Academy and Williams College from 1953 to 1957. While at Exeter College, Oxford University, on scholarship from Williams, he found himself unable to write the assigned essays. When he began his PhD in English at Harvard University, his writing difficulties persisted, causing him to leave in

94-436: A book called Writing Without Tears , which would later become Writing Without Teachers . In the nearly 40 years since then, Elbow has written more than 10 books and over 100 articles on writing—theory and practice—and the teaching of writing. His most recent book is an ambitious treatment of writing, speaking, and the theory of written and spoken language: Vernacular Eloquence: What Can Speech Bring to Writing. Freewriting,

141-418: A methodology of skeptical doubting to find flaws in thinking that might look good. Elbow argues that really good thinking also calls on a complementary methodology: conditionally trying to believe all ideas in order to find virtues in thinking that looks wrong. (He is NOT arguing against the doubting game or critical thinking; just asking for an additional methodology.) Elbow has developed the believing game in

188-491: A position at MIT in 1968. While sitting in his office one day in 1970, a representative from Oxford University Press came to show him some books that he might like to use in his classes. When the representative asked Elbow if he was writing anything, Elbow replied that he had thought about trying to write something to do with teacher-less writing groups—a process he had experimented with while teaching courses for Harvard's extension program. Soon after, he had an advance to begin

235-696: A record of feedback if anything gets missed. In 1990, Liz Lerman created the Critical Response Process (CRP), a highly structured method of feedback often used in creative writing. Lerman developed the Process after realising artists tended to apologise, rather than ask questions, when presenting unfinished work. An important point to note is that unsolicited feedback can't be shared. The relevant steps are: This process encourages constructive dialogue and empowers writers to make informed decisions about their work. To make unsolicited feedback,

282-498: A section called "The Doubting and Believing Game: An Analysis of the Intellectual Enterprise". Elbow started out simply trying to justify his "no arguing" rule for teacher-less classes, but it developed into what really is the central theoretical foundation underlying all of his work. Elbow argues that Western conceptions of good thinking are based on the doubting game or critical thinking: A process that seeks to use

329-507: A sense of what it meant to be a writer teaching writing. During this time, current-traditionalism was quite popular in handbooks for writers ( Strunk & White 's Elements of Style , for example). This method presented writers with a very cut and dried sense of how to write. With the publication of Writing With Power , Peter Elbow broke the current-traditionalist mold. This book proffers various techniques for writers to try, finding one that best suits them. This book takes writers through

376-702: A series of essays written throughout his career: "Methodological Doubting and Believing: Contraries in Enquiry", in Embracing Contraries, ( Oxford University Press, 1986: 253–300); "Bringing the Rhetoric of Assent and The Believing Game Together—and into the Classroom", College English 67.4 (March 2005): 388–99; "The Believing Game and How to Make Conflicting Opinions More Fruitful", in Nurturing

423-449: A single element of craft, may be called masterclasses. One form of guided workshop designed for school-age children is TCRWP's Writing Workshop , developed by Lucy Calkins as part of her controversial Teachers College Reading & Writing Project curriculum. The 40-minute draft workshop, used at Princeton, aims to root critique in honest feedback, while also strengthening participants' critical reading and writing skills. The process

470-522: A sort of therapy. This helped him to write his graduate papers. When it came time to write a dissertation, he spent a year trying to write about metaphor—not metaphor as linguistic decoration but metaphor as thinking. He realized that this would make the process interminable. He settled on Chaucer . He would eventually make his dissertation book-length and publish it in 1975 under the title Oppositions in Chaucer . After receiving his PhD, Elbow accepted

517-459: A term commonly used by Elbow, coined by Ken Macrorie (who called it free writing), is a process of writing without stopping, without editing, without sharing, without worrying about grammar, without thinking, without rushing. Elbow suggests that writers write whatever they want and however they want for 10 to 15 minutes—daily. Normal freewriting can be adapted to focused freewriting and public freewriting. Focused freewriting involves trying to stay on

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564-645: A topic, which is particularly useful when a writer has a specific assignment to do. Public freewriting is for sharing, which makes it seem a little more risky. But it can be very useful in groups where good trust has built up. The goal is to create language that is more natural and lively, all the while making the writing process easier and more comfortable Feedback techniques are also among Elbow's practices. These techniques, presented in Writing With Power , are divided into two types: criterion -based and reader-based feedback. Criterion-based feedback judges

611-474: Is as follows: Because the participants are empowered to deliver feedback directly, rather than relying on a teacher to guide them, the process aims to phase out the use of a facilitator. Referring back to the text when making critiques, and using "high-order Lexicon element[s]", strengthens students' critical reading and writing skills, which is particularly useful in an academic setting. Writing feedback down in advance helps keep on discussion on track and provides

658-454: Is crucial to write as much as possible because the more a writer writes, not only does he have more to work with, but he also has more to throw away, allowing him to keep moving through the growing stages of writing. The second metaphor is to see writing as cooking, letting ideas simmer and bubble until they are ready to be used. In this metaphor, Elbow emphasizes interaction, particularly between writing and reiteration. According to Elbow, growing

705-488: Is reading the text. Elbow calls this type of feedback "movies of the reader's mind." The list of detailed questions Elbow provides for reader-based feedback follow from the following essential questions: While Peter Elbow is the author of over 10 books, as well as numerous articles which largely deal with writing theory and practice, few of his works have been as critical to his career as Writing Without Teachers (Oxford UP 1973) and Writing With Power: Techniques for Mastering

752-555: Is that Bartholomae believes the classroom to be a "'real space, not an idealized utopian space'" (88). This implies to Elbow that Bartholomae believes that "a classroom cannot be utopian , and that utopian spaces are not real spaces" (88). Another major aspect of the debate comes from the idea of writing without teachers, a concept that Bartholomae states doesn't exist. Elbow cites diaries , letters, stories, poems, and so forth as ways that students write for themselves with no teachers involved. Elbow acknowledges that unequal power, however,

799-420: Is to generate words before a writer can continue to "grow" a piece of writing and move through the subsequent stages. Elbow argues that writing can be seen as a powerful organic process which develops new knowledge and insight. You "start writing at the very beginning-- before you know your meaning at all-- and encourage your words gradually to change and evolve. Only at the end will you know what you want to say or

846-417: Is to write good sentences and work from an outline. He had to learn to write what he liked to call "garbage." He came to accept that he simply couldn't write right; he could only write wrong; and then try by revising to make it right. Elbow has said that the process of freewriting really came about during this time in his life. He would sit down with his typewriter and type out all his thoughts, making writing

893-481: Is transformation at the macro level, cooking is transformation at the micro level. Essentially, the writing lets his ideas simmer until he can use them to interact with his writing. Elbow suggests that writers spend sufficient time writing as well as stopping completely and reflecting on what the larger picture is meant to present. Also notable in Writing Without Teachers is Elbow's proposition of

940-469: Is ubiquitous, and not just in writing, but believes that there is still plenty of writing being done for the students' own enjoyment. The debate has, over the years, helped to shape the study and teaching of composition, especially in regard to how much power is granted to the writer. It has also caused composition pedagogy to consider audience in ways they may not have before. In the end, the two have essentially agreed to disagree, with Bartholomae saying that

987-544: The Unitarian Church sought to purchase the Andover school in order to create a school "free from...theological dogmatizing and unnatural religious methods." Andover was a hotbed of Unitarian thought, which helped to facilitate the sale of the school. In 1881, the school was opened as Proctor Academy in honor of John Proctor's contributions to the school. Not realizing the severity of the economic downturn, in 1932

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1034-440: The 1980s and 1990s, Peter Elbow engaged in a public debate with David Bartholomae regarding the role of the writer, as well as that of an academic in undergraduate writing. Bartholomae posits that Elbow "comes down on the side of credulity as the governing idea in the undergraduate writing course," whereas he, himself, expresses more skepticism. The debate continued with these differing views: Elbow believes that writing belongs to

1081-585: The Peacemakers in Our Students: A Guide to Teaching Peace, Empathy, and Understanding. Chris Weber, editor. Heinemann, 2006, 16–25; "The Believing Game or Methodological Believing", Journal for The Assembly for Expanded Perspectives on Learning 14 Winter 2009: 1–11. His essay "The Uses of Binary Thinking" is also crucial in this theoretical work. Writing With Power was published in 1981 during an era where writing teachers were starting to try to get

1128-514: The Writing Process (Oxford UP 1981). Writing Without Teachers was Elbow's first book about writing, and the one that has made his freewriting technique so popular as a pedagogical practice. In this book, Elbow uses two main metaphors. These are metaphors that reflect Elbow's interest in letting one's ideas develop and change throughout the writing process. The first is to see writing as growing. It must move through stages. The first stage

1175-698: The directorship of Paul Engle . It typically involves: This model emphasises peer critique and iterative improvement, and is the most recognisable workshop model. The "gag rule" is the most contentious element of the workshop, since it silences authors, which might aggravate power imbalances in the workshop. Its original aim, however, is to prevent the author missing feedback by trying to defend or explain their work. The guided workshop model incorporates elements of direct instruction alongside peer critique. It involves: This model aims to balance individualised instruction with collaborative learning. More advanced forms of guided workshop, particularly when they focus on

1222-493: The expansion of the school, leading to the construction of Holland Auditorium, Shirley Hall, Farrell Field House, Leonard Field, Farrell Field and the Blackwater Ski Area. Farrell also established the learning skills programs for college-bound students with dyslexia. In 1971, David Fowler succeeded Lyle Farrell as Headmaster. He instituted a democratic student government , rather than a seniority system. Realizing

1269-468: The first year of his studies. Elbow began teaching, first as an instructor at MIT from 1960 to 1963, and then as one of five founding members of Franconia College from 1963 to 1965. It was at Franconia where Elbow discovered he could write more easily when writing for colleagues or students rather than as an assigned piece. In 1965 he returned to graduate school, this time at Brandeis University . He had to get over beginning by trying to write "well"—that

1316-427: The future. In Writing With Power , Elbow gives a catalogue of criterion-based questions. These questions all stem from the following essential questions: While criterion-based feedback may seem obvious, it is the inclusion of reader-based feedback that makes this overall method fresh for teachers. Elbow claims that reader-based feedback lets the writer see what thoughts and feelings occur in a reader's mind as he or she

1363-592: The incorporation of the academy was approved, with Samuel Butterfield as president, Walcott Hamlin as secretary, and True Brown and John Fellows as executive committee members. The academy opened its doors in August 1848, on the second floor of the church on Main Street, with many of the desks, chairs and chalkboards donated by the Butterfields. Mrs. Eliza Butterfield set up the curriculum with Dyer H. Sanborn as

1410-584: The next two years as principal. Under Morse, the student body more than doubled, as chemistry was added to the curriculum and the guaranty fund reached $ 3,000. Woodbury Langdon, Luther Puffer (law student), and John Simonds were some of the first graduates to go on to college . After Principal Morse stepped down, Thaddeus W. Bruce (1852–1853) of Dartmouth College took the helm with Miss Marcia Foster as assistant (who later married). Around this time future world-renowned artist David Dalhoff Neal also attended classes. George Dustan took over as principal in 1854 when

1457-487: The principal and Miss Eliza Wingate as "preceptress". The first term had 43 girls and 65 boys enrolled, but within four years the school had grown to just over 250 students. Principal Sanborn (1850–1851) was very popular with the students, and the school thrived through its first couple of years with funding from generous patrons. After two years, Sanborn stepped down, and Moses Leland Morse of Bowdoin College took over for

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1504-425: The principal. There are about 370 students. Proctor Academy first began as Andover Academy, established in 1848 by the town of Andover. The idea of the school spawned from a sewing group conversation between the wives of the area's prominent families, in the living room of attorney Samuel Butterfield . The women shared a strong conviction that their town needed a school for its expanding population. On June 23, 1848,

1551-592: The readers in the group, as opposed to one teacher's opinion. This is also very similar to Writing Workshops , which are also currently popular pedagogical practices. "The Believing Game" is an appendix essay, where Elbow acknowledges the game of believing as a method that he applies to all his work. The essay defines the believing game in comparison to the doubting game – which is also more familiarly known as critical thinking. Elbow feels doubting and believing are two methods needed in order to examine and accept an idea as true. The appendix to Writing Without Teachers has

1598-583: The school fell victim to a smallpox outbreak, in which one of the teachers and a former student died. The smallpox epidemic in 1854-1855 forced the school to close, and for the next three decades the school struggled with its identity and funding. In 1857, the school reopened its doors as the New England Christian Literary and Biblical Institute, then again in 1860 as the Andover Christian Institute. In 1865,

1645-497: The school include: Writers workshop (activity) Writing workshops are group sessions where writers gather to share, critique and improve their work. Various models of writing workshops have been developed over time to suit different educational settings and writing goals. Workshop attendance might be restricted to a select group (such as a writers' circle or class) or open to the public. Most workshops include some kind of sharing of work, reflection upon and discussion of

1692-549: The school was closed and reopened in Wolfeboro, New Hampshire , as the Wolfeboro Christian Institute. As the school struggled, former Andover resident John Proctor , the inventor of the threaded wood screw, returned, in 1857, to build up the town. By the 1870s Proctor helped to return the school to Andover, debt-free, as well as build a new dormitory on the site of modern-day Gannett House. In 1879,

1739-410: The teacher-less writing class, which is the root of today's writing groups. In these teacher-less writing classes, which meet at least once a week, all group members actively participate by contributing a piece of writing and reading each other's work. They discuss it with the goal of getting the writer to see not necessarily what is wrong or right with the piece, but instead what effect the writing has on

1786-477: The trustees of the school invested $ 45,000 to build Maxwell Savage Hall. At the first assembly of the 1935 school year, Headmaster Carl Wetherell announced that he was quitting due to the poor outlook for the school. A search for a replacement was hurriedly started. John Halsey Gulick took the job, and immediately instituted sweeping reforms of the school, creating mechanical arts programs such as boat building , wood shop , and machine shop . Students were involved in

1833-661: The unique location and programs that Proctor offered, they created a wilderness orientation program for new students, which still exists today. In 1974, the mountain classroom program was created, combining an Outward Bound type of small group outdoor experience with specialized academic sessions. By 1975, Proctor had faculty and facilities in Madrid , Spain, and Clermont-Ferrand , France, which led to later experiential education programs in Segovia , Spain, and Pont-l'Abbé , France. European Classroom, an art and French language program,

1880-481: The upkeep and improvement of the school, clearing the land for the school's first ski area , Slalom Hill, as well as a farm which was used to feed the community. Lyle Farrell—a 1929 graduate of the University of New Hampshire and captain of the 1928 Wildcats football team —who started teaching at Proctor in the 1930s, took over as Headmaster of the school in 1952. During his time as Headmaster, he pushed for

1927-507: The whole writing process from generating ideas (where freewriting once more makes an appearance) to revising and editing both alone and with others. Elbow goes on to address issues when writing to different kinds of audiences and also how to seek adequate feedback. It seems to be Elbow's goal to show writers that there is more than just one "correct" way to involve oneself in the writing process. If writers learn to interact with their writing in these ways, they have learned to write with power. In

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1974-534: The words you want to say it with. You should expect yourself to end up somewhere different from where you started. Meaning is not what you start out with but what you end up with. Control, coherence, and knowing your mind are not what you start out with but what you end up with.... Writing is a way to end up thinking something you couldn't have started out thinking. Writing is, in fact, a transaction with words whereby you free yourself from what you presently think, feel, and perceive." In this section Elbow stresses that it

2021-472: The work, and often suggestions for improvement. There may or may not be a facilitator, who is usually an established writer or teacher, but can be a volunteer from among the group. Workshops can work on very established rules and formats, or can be more freeform. The traditional workshop model, also known as the Iowa model , was developed at the University of Iowa Writers' Workshop in the mid-20th century, under

2068-522: The writer from the beginning; Bartholomae counters that he is more dismissive, not necessarily granting the writer her own presence. He believes that Elbow is too accepting while he, himself, thinks that the writer should prove himself first. In his response, Elbow agrees with Bartholomae that training for academic writing should be a crucial part of an undergraduate's career; however, Elbow says that this training can't be completed in just one semester. Elbow says that perhaps one of their greatest differences

2115-473: The writer should have the role of authorship to work towards, and Elbow maintaining that writers be accepted as writers from the beginning. Proctor Academy Proctor Academy is a coeducational , independent preparatory boarding school for grades 9–12 located on 2,500 acres (10 km ) in Andover, New Hampshire . The school was established in 1848 by the town of Andover, with Dyer H. Sanborn as

2162-445: The writing against standard criteria, such as content, usage, organization, and general effectiveness. Elbow claims this is the kind of feedback that most people are used to giving and receiving. What Elbow says is quite useful about criterion-based feedback is that it allows the writer to reflect on her or his own writing as he goes along. It also allows her or him to recognize common troubles he has in writing so that he can avoid them in

2209-529: Was created in 2011, replacing the France program. Proctor Academy is located on 2,500 acres (10 km ) in the town of Andover, New Hampshire . The property is a state-certified tree farm . One of the newest additions to the campus, Peabody House, was completed in 2008 on the former site of Morton House, which was torn down in August 2007. Proctor Academy has 19 dormitories that are either in use or are no longer in use: Notable people who have attended

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