collaborating on one text has ramifications for future, individually-authored texts due to the expanded knowledge and understanding of audience that each collaborator takes from a shared project.

The use of writing groups in and out of classroom settings

in favor of a view of invention that takes into account external influences on writers as they compose.

the flesh-colored body forms the backdrop of the entire text, and white folded sheets of paper scatter over the body, ordered, structurally balanced, yet non linear—each sheet of paper contains a deeper, entangled narrative tributary that builds toward a larger, intertextual argument.

Wysocki

and we must re-remember that such erasures are not neutrally enacted, but that the body is always already a politicized identity-space.

In other words, invention happens when one sits down at the computer, facing a blank screen, but invention continues as one moves from the computer screen to the kitchen, from typing to washing dishes; the mind doesn't stand still, compartmentalized, because one's body moves locations and tasks, but rather, the body travels through fluid boundaries, only compartmentalized by the tendency to enforce linear demarcations between experiences and spaces.

“The body’s competencies and skills are distinct from discourse, although in some cases they can produce discourse or can be read discursively”

The body is intricately entangled with a multitude of overlapping domains and branches, opening passages and possibilities for diverse meaning-making encounters.

The body rhetorically functions as a topos, or commonplace, across disciplines, across theoretical stances and epistemologies, and across experiential standpoints.

Along with incorporating associative, remixed composing into our pedagogy, it's also important that composition and rhetoric specialists (at least sometimes) compose scholarly texts that resist linear print models--that we compose texts which show rather than tell

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For example, Jeff Rice has drawn on analysis of hip-hop composing practices to argue for a writing pedagogy that "favors discovery over the restricted topic sentence since writers composing with juxtapositions do not begin with an understanding of what they will be writing about...Instead, writers look for ways to juxtapose from a variety of categories and subjects (the sampling process of juxtaposition) in order to invent"

"importance of interestingly associational juxtapositions of word, image, and sound"

"meanings don't come out of the air, we make them out of a chaos of images, half-truths, remembrances, syntactic fragments, from the mysterious and unformed. When we teach pre-writing as a phase of the composing process, what we are teaching is not how to get a thesis statement but the generation and uses of chaos"

Composing is a process of making connections, rearranging materials (words, images, concepts) in unexpected ways.