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The episode raises questions about whether workshop-like collaboration across classroom boundaries counts as plagiarism.","Answer",{"name":65,"@type":60,"acceptedAnswer":66},"How does the article define a workshop in relation to classroom writing?",{"text":67,"@type":63},"It treats a workshop as focused feedback generated around student writing, but argues that classroom workshops are often tied to academic spaces. 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Lesh  \nIn this article, I model an approach to writing workshops grounded in collaborative design and a sensitivity to the multiple writing locations and identities that students inhabit within and outside the classroom. In redirecting our attention to the potential of designing workshops with students as an enactment of their own writerly ecologies, I situate the workshop as a location for the public work of Composition: protopublic spaces in which writers design, experiment with, and reflect on various forms of circulation and publicity. I ground this discussion in a teacher-research study conducted in an upper-level writing course focused on the specious distinctions between workshops inside and outside classroom walls. This article describeshow this pedagogy took shape, explores findings from my research, and examines the value of spatial multiplicity and collaborative design in academic writing workshops.  \nIntroduction  \nOffice hours:  \nA student walks in to discuss a draft of his final project. After about five minutes he grows visibly upset, that place past the verge of tears but not quite crying. He apologizes for “cheating.” His transgression: having trouble writing his essay and unhappy with feedback he had received in class, he called a friend from home, a high school classmate. They spoke on the phone, viewing the document on Google Drive (where students in my classes submit writing), making changes as they discussed potential revisions.  \n“Uh oh,” I think. “What happened next?”  \n“So, yeah, I’m really sorry,” the student concludes.  \nAt the time, I took this meeting as little more than a miscommunication about writing ethics. It was only when designing syllabi for the following semester that I began to reflect on this student’s suggestion that by workshopping a text with a friend outside of class he was committing plagiarism (see Spigelman) . If a workshop is, as Maggie Debelius writes, “a meeting that focuses on a piece of student writing and generates feedback,” then what this student produces is undoubtably a workshop (156) . And yet while he mis  \nComposition Studies 47.2 (2019): 87–107  \nunderstands this for cheating, what he does understand is that workshops, as conceived within composition classrooms, are—in design and execution—often tethered to academic spaces. It is true that scholars have done considerable work documenting writing groups outside of academic spaces (Gere; Moss et al.; Spigelman); yet, in the process, we have largely kept those models of workshops separate, or at least distinct, from the routinized practices of our classrooms. This type of spatial partitioning can lead students to believe that any form of self-organized, self-sponsored, or self-designed workshop that moves between academic and non-academic spaces is transgressive in the geographic sense of the word, something that is “out of place,” something that crosses a perceived boundary (Cresswell) .  \nThere is something exciting in this student’s story, a sort of boundary testing opening up the work of the classroom to a previously unaffiliated reader to spur more writing. In this way, it reminds me of Michael Warner’s understanding of publics as produced “only in relation to texts and their circulation …”(66) . Though I don’t see here the sort of public-making that Warner envisions—particularly his emphasis on public writing being oriented toward strangers (74-76)—I do see productive circulation at work: a student, recognizing the limitations of the classroom, circulates a text to a specific reader with the intent of generating a particular type of response.  \nRosa Eberly’s work has taught me to view writing classrooms as protopublic spaces in which students write not to “ideal, prefabricated, homological audiences,” but rather “experience writing as wholly processual and as practiced within and for real groups of people who need their discourses”(175). A protopublic space is an e","cbCaim2d3YbSel1Z","https://ap.wps.com/l/cbCaim2d3YbSel1Z","pdf",248480,21,"English","# Introduction\n## Office hours story and the ethics of workshops\n## Protopublic spaces and circulation\n## Collaborative design for spatial multiplicity","[{\"question\":\"What incident motivates the article’s discussion of writing workshops?\",\"answer\":\"A student apologizes for “cheating” after discussing revisions with a friend at home using a Google Drive draft. The episode raises questions about whether workshop-like collaboration across classroom boundaries counts as plagiarism.\"},{\"question\":\"How does the article define a workshop in relation to classroom writing?\",\"answer\":\"It treats a workshop as focused feedback generated around student writing, but argues that classroom workshops are often tied to academic spaces. The article explores what changes when workshop practices extend beyond those spaces.\"},{\"question\":\"What role do protopublic spaces play in the proposed approach?\",\"answer\":\"The article positions workshops as protopublic spaces where students reflect on how writing finds real readers and where distinctions between academic and non-academic spaces are destabilized through situated practice of public writing.\"}]","Writing Workshops in the Public Turn | PDF",1792088294,32]