Writing process
Almost always, these activities require inscription equipment, either digital or physical: chisels, pencils, brushes, chalk, dyes, keyboards, touchscreens, etc.
[3] Though Murray was not alone in advocating process-based instruction, this manifesto is regarded[4] as a landmark vocalization of the differences between process and product orientations in the teaching of writing.
For example, pre-writing was defined by Project English experimental researcher D. Gordon Rohman as the "sort of 'thinking' [that] precedes writing" and the "activity of mind which brings forth and develops ideas, plans, designs".
[7] Some have linked this three-stage process to the five canons of rhetoric: pre-writing to invention and arrangement, writing to style, revising to delivery and sometimes memory.
[9] In this view, "writing processes are historically dynamic – not psychic states, cognitive routines, or neutral social relationships".
[10][11] In terms of "pre-writing" for instance, writing processes often begin long before any visible documentable work or easily categorizable steps are observable.
[12] From the contemporary perspective of composition studies, it is thus inaccurate to assume that any authentic writing process (i.e., one not contrived as part of a school assignment or laboratory setting) necessarily involves a linear sequence of "stages".
Notable scholars that have conducted this type of inquiry include media theorists such as Marshall McLuhan, Walter Ong, Gregory Ulmer, and Cynthia Selfe.
His evaluation of technology as a shaper of human societies and psyches indicates a strong connection between historical forces and literacy practices.
Several scholars have noted that the expressivist process is incredibly valuable when it comes to writer’s forming their own identities within writing, Michele Zugnoni and Anne Harrington in particular.
Zugnoni[25] discusses the ways in which including self-reflection and self-expression within writing is incredibly helpful in allowing first-generation students to build a sense of individuality and purpose.
[27] According to Richard Fulkerson's article "Four Philosophies of Composition", the focus of expressivism is for writers to have "... an interesting, credible, honest, and personal voice".
Prominent figures in the field include John Dixon, Ken Macrorie, Lou Kelly, Donald C. Stewart and Peter Elbow.
[31] By applying self reflection in writing, writers are able to understand the concept of critical expressivism which is an ideology explored by Scott Wagar.
[32] As appealing as document sharing may be for students with autism in particular,[33] being able to contextualize one's life story in the context of their disability may prove the most powerful expression of the overall writing process.
Rose illustrates[33] that creating narrative identity in a conventional sense is quite difficult for autistic students because of their challenges with interpersonal communication.
As Rose directly says, "I argue here that awareness of the relationality of autistic life writing, and the recognition of its corollary status as testimonio and attention to the material relations of the production of these texts is particularly useful in assessing their social significance."
The lowest level, often called line editing, is the stage in the writing process where the writer makes changes in the text to correct errors—such as spelling, subject/verb agreement, verb tense consistency, point of view consistency, mechanical errors, word choice, and word usage (there, their or they're)[34]—and fine-tune his or her style.
For example, Strunk and White's Elements of Style, first published in 1918, is considered by some[35] to be an authority on stylistic conventions but has been derided by linguist Geoffrey K. Pullum as "stupid".
[36][37] An electronic resource is the Purdue Online Writing Lab (OWL), where writers may search a specific issue to find an explanation of grammatical and mechanical conventions.
