Table Of ContentDigital Voices
RESEARCH IN CREATIVE WRITING
Series Editors:
Janelle Adsit (Humboldt State University, USA)
Conchitina Cruz (University of the Philippines)
James Ryan (University of Wisconsin-Madison, USA)
Showcasing the most innovative research and field-defining scholarship surrounding
Creative Writing Studies, Research in Creative Writing strives to discuss and
demonstrate the best practices for creative writing pedagogy both inside and out of
the academy. Scholarship published in the series wrestles with the core issues at the
heart of the field including critical issues surrounding the practice of creative writing;
multilingualism and diverse approaches to creative production; representation and
the politics of aesthetics; intersectionality and addressing interlocking oppressions in
and through creative writing; and the impact of teaching established lore. Responsive
to emerging exigencies in the field and open to interdisciplinary and diverse
contexts for creative writing, this series is designed to advance the field and push the
boundaries of Creative Writing Studies. This series benefits from the guidance of and
collaboration with the Creative Writing Studies Organization (https://cre ativ ewri ting
studies .com/).
Editorial board members
Ching-In Chen (University of Washington Bothell, USA)
Farid Matuk (University of Arizona, USA)
Titles
The Place and the Writer, edited by Marshall Moore and Sam Meekings
Craft Consciousness and Artistic Practice in Creative Writing, Ben Ristow
A-Z of Creative Writing Methods, edited by Francesca Rendle Short, Julienne Van
Loon, David Carlin, Peta Murray, Stayci Taylor and Deborah Wardle
Forthcoming titles
Teaching Cultural Dexterity in Creative Writing, Micah McCrary
Related titles
Beyond Craft, Steve Westbrook and James Ryan
Imaginative Teaching, edited by Amy Ash, Michael Dean Clark and Chris Drew
Digital Voices
Podcasting in the Creative
Writing Classroom
Leigh Camacho Rourks and
Saul Lemerond
BLOOMSBURY ACADEMIC
Bloomsbury Publishing Plc
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BLOOMSBURY, BLOOMSBURY ACADEMIC and the Diana logo are trademarks of
Bloomsbury Publishing Plc
First published in Great Britain 2023
Copyright © Leigh Camacho Rourks and Saul Lemerond and guest authors 2023
Leigh Camacho Rourks and Saul Lemerond and guest authors have asserted their
right under the Copyright, Designs and Patents Act, 1988, to be identified as Authors
of this work.
For legal purposes the Acknowledgments on p. viii constitute an extension
of this copyright page.
Series design by Eleanor Rose
Cover design by Annabel Hewitson
Cover image © GarryKillian/iStock and Ali Kahfi/iStock
All rights reserved. No part of this publication may be reproduced or transmitted in
any form or by any means, electronic or mechanical, including photocopying, recording,
or any information storage or retrieval system, without prior permission in writing from
the publishers.
Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third-
party websites referred to or in this book. All internet addresses given in this book were
correct at the time of going to press. The author and publisher regret any inconvenience
caused if addresses have changed or sites have ceased to exist, but can accept no
responsibility for any such changes.
A catalogue record for this book is available from the British Library.
A catalog record for this book is available from the Library of Congress.
ISBN: HB: 978-1-3502-5332-2
PB: 978-1-3502-5336-0
ePDF: 978-1-3502-5333-9
eBook: 978-1-3502-5334-6
Series: Research in Creative Writing
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To find out more about our authors and books visit www .bloomsbury .com and sign up for
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For
Jennifer Schmidt and Lee Rourks,
Thank you
vi
Contents
Acknowledgments viii
Introduction Saul Lemerond 1
1 Historical Context-Present: (The State of the Podcast)
Saul Lemerond 13
2 The Many Voices Classroom Leigh Camacho Rourks 29
3 Craft and Metacognition Leigh Camacho Rourks 43
4 Fiction: Multimodality and the Storytelling Podcast
Saul Lemerond 55
5 Poetry: From Performance to Analysis Billie R. Tadros 71
6 Creative Nonfiction: The Sound of Truth Rebecca Hazelwood 91
7 Teacher as Podcaster Kase Johnstun 103
8 Audience and Publishing Leigh Camacho Rourks 121
9 The Digital Divide and Podcasting Leigh Camacho Rourks 131
Afterword: Looking to the Future Leigh Camacho Rourks
and Saul Lemerond 141
Notes 145
Bibliography 159
Biographies 166
Index 167
Acknowledgments
If anything is certain in this world, it is that if you know us, we have talked to
you about this book. To thank everyone who has had a hand in our success or
has helped the ideas in this book develop would require an acknowledgments
list as long as the book itself. That said, we would like to thank all of the
individual students whom we have had the pleasure of teaching at Hanover
College and Beacon College. We would also like to thank all of the faculty
from these institutions who have supported us as both friends and colleagues.
This is, of course, also true for the students and faculty from all of the other
institutions that have allowed us the privilege of working in their classrooms.
We would also like to acknowledge our three contributors, without whom
the book would most certainly not have been possible. Rebecca Hazelwood,
Kase Johnstun, and Billy R. Tadros are not only good friends but their expertise
also was, at its most fundamental levels, necessary in this endeavor. We thank
them for their ideas, enthusiasm, and their patience in allowing us to both
include and edit their work.
We are also grateful to our editor, Lucy Brown, and everyone at Bloomsbury
involved in this project. We are grateful for both their support and the care
they put into the production of this book.
We’d also like to thank the editorial staff of the Journal of Creative Writing
Studies for graciously granting us permission to use portions of our article,
“The Virtues of Podcasting and Multimodal Literacies in the Creative Writing
Classroom,” published in March 2022, in this book.
Lastly, we’d like to acknowledge our families and friends as they provided
us with the sort of Herculean support structures that lead us to sometimes
wonder what it is we ever did to deserve them. Specifically, we’d like to thank
our spouses Jennifer Schmidt and Lee Rourks.
By Saul Lemerond and Leigh Camacho Rourks
Digital Voices Introduction
Introduction*
Saul Lemerond
When Leigh and I were discussing the possibility of this book, which
coincidentally was the same time we were preparing an article on the same
subject for the Journal of Creative Writing Studies, we kept returning to the
question of why a book of this type did not already exist. This is not to disparage
the many and varied existent works that address digital writing, digital
narratives, and other hybrid works designed in and for our ever-evolving
electronic landscape. The work being done to advance our understanding of
how to better utilize these techniques in our classrooms is as necessary as it is
amazing. But we were both drawn to podcasting, specifically, out of a shared
interest in addressing a host of issues that have for too long gone unaddressed
in our classrooms. This is to say that we have both been struggling for well
over a decade with many problems that plague what can only be described
as the “traditional” creative writing classroom. Though we know we aren’t
necessarily unique in this regard, it bears pointing out that our perspectives
related to the teaching of creative writing have been molded by our experiences
as both students and teachers of minoritized groups. Leigh Camacho Rourks
is a Cuban American with a learning disability in written expression, who has,
throughout her career, taught writing in institutions and programs serving
significant and diverse populations of non-traditional students, probational
students, at-risk youth, and currently at Beacon College, students who have
*Portions of this chapter first appeared in the March 2022 issue of the Journal of Creative Writing
Studies, in our preliminary article on the subject, “The Virtues of Podcasting and Multimodal Literacies
in the Creative Writing Classroom.” They have since been revised and extended.
