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Most offender narrative being studied has been in oral forms, produced in the reciprocal process of researcher-(ex) offender interviews. This chapter offers an introduction to a variation of offender narrative study within the prison and rehabilitation context: the narrative of written autobiography. Since the early 1940s, Chinese reform institutions have required written autobiographies from new admitters, provided with clear presubscripted guidelines of instructions as well as postcensorship. For this chapter, we trace back and analyse this model based on 28 prisoners' autobiographies in mainland China between 2007 and 2009, as well as archive documents in different historical periods. We have found that the mandatory offender autobiographies are highly functional writings with clear requirements that embody the existing power structure. We have also found considerable commonality with findings in Western contexts on the presence and problems of narrative compliance in rehabilitation. We argue that narrative criminology should further engage in understanding the practice of narrative censorship and co-authorship in criminal justice processes, as it takes on different forms in different historical–social contexts.

This paper aims to explore how currently underserved young adults engaged in a community-based organization (CBO), Bull City YouthBuild, wrote and published a book together, and how this work impacted them and their communities. Through a critical literacy framework, the research asked: How do students in a community-based writing project demonstrate self-empowerment and agency through narrative writing?

This qualitative case study examined the students’ published narratives. The researchers used ethnographic methods in data collection, and the qualitative data analysis approaches were developed through a critical conceptual framework.

The students’ narratives expressed self-empowerment and agency in the ways the young adults wrote against a dominant discourse; they wrote about repositioning their lives and redesigning their futures to reveal how they wanted to be externally perceived and to be leaders in their communities. The students expressed how the CBO offered them freedom to write their stories as they found new ways of using their historical and cultural backgrounds to collectively pursue success.

This work offers implications of how CBOs can meet the needs of currently underserved young adults through centering their voices. The authors see the writing process as crucial for student engagement in finding agency and self-empowerment with their words.

Critical literacy foregrounds the voices of young adults as they push back against dominant narratives and stereotypes. This research hopes to reveal the intersections between CBOs and the communities they serve to develop literacies that are relevant and meaningful to young adults’ lives.

Unlike formalist and functional approaches to literacy and teaching writing, a languaging theory approach centers on the dynamic and interpersonal nature of writing. The purpose of this study was to determine students’ ability to engage in explicit reflection about their languaging actions in response to their personal narrative writing to determine those types of actions they were most versus less likely to focus on for enacting relations with others, as well as how they applied their reflections to subsequent interactions with others.

In this qualitative study, thirty seven 12th grade students were asked to write personal narratives and then reflect in writing on their use of languaging actions in their narratives based on specific prompts. Students’ explicit reflections about their narratives were coded based on their reference to seven different types of languaging actions for enacting relations with others.

Students were most likely to focus their reflections on making connections, understandings, collaboration and support by and for others as well as expression of emotions, getting feelings out, sharing issues; followed by references to conflicts, arguing, stress, negative perceptions or exclusion; references to ideas or impressions about ethics, respect, values, morals; use of “insider language;” slang, jargon, dialects; use of humor, joking, parody; and references to adult and authorities’ perceptions or influences.

This research was limited to students’ portrayals of their languaging actions through writing as opposed to observations of their lived-world interactions with others.

These results suggest the value of having students engage in explicit reflections about their languaging actions portrayed in narratives as contributing to their growth in use of languaging actions for enacting relations with others.

Students’ ability to reflect on their language actions enhances their ability to enact social relations.

A languaging perspective provides an alternative approach for analyzing reflections on types of languaging actions.

This chapter details how engaging students in digital comics creation might support adolescents in strengthening their narrative writing capabilities. This chapter first provides a more detailed explanation of the micro and macrostructural elements involved in narrative production. Second, the chapter provides an introduction to comics and important design features. The authors also illuminate the complexity of multimodal texts (texts that combine images and words) and link visual narrative pedagogy and curriculum to classroom equity and accessibility. Across these opening sections, academic standards are referenced to show how the comics medium aligns with national visions of what robust English Language Arts education entails. The chapter concludes with descriptions of specific pedagogical strategies and digital comic-making tools that teachers and interventionists might explore with students within various classroom contexts. Examples of digital comics designed using various web tools are also shared.

Purpose – This chapter explores letter writing as a narrative inquiry method in a teacher education course. The written dialog in letters by teacher candidates provided the author with deep and long-term reflection on teacher candidates' narratives of experience. In particular, the chapter examines how related literacy narratives combine critical written dialog with the written responses and counter-narratives of peers and a teacher educator.

Methodology and findings – The chapter focuses on letter correspondences from three teacher candidate participants in a longitudinal study as well as response letters to those candidates from the teacher educator. Transactional inquiry and relational knowing are conceptualizations that are employed to explore how the teacher candidates and the teacher educator are curriculum makers.

Value – The chapter discusses the impact of letter writing-related literacy narratives as a narrative inquiry method in teacher education programs as well as possible extensions for their use in graduate courses/research and for teacher development programs.

In this chapter, the process of doctoral research is discussed in relation to narrative inquiry. I was the doctoral supervisor for Cindy and Derek while they completed their PhDs. I examine in this chapter my experiences alongside Derek and Cindy. I consider the process of recruitment, field text collection and generation, the writing process, and considerations based on the methodology on narrative inquiry, with attention focused on the Deweyan ontology of experience, the three-dimensional narrative inquiry space, co-composition of research texts, narrative threads, living and telling narrative inquiries, and the relational quality of narrative inquiry. This chapter closes with thoughts about who we are in relationship with each other in the graduate process and the fluid nature of research.

Deleuze and Guattari have argued that in art, including literature, the senses get hold of the world in a non‐conceptual or “sensational” way, adding “new varieties” that can lead to new ways of knowing and seeing. The purpose of this paper is to explore the nature of multi‐disciplinary, practice‐led research in creative writing as a form of knowledge making in qualitative research.

The author uses her own writing, especially the novel Swimming (Vanark Press, 2009), which is situated in the broader context of feminist fiction writing, as a subversive feminist project that aims to intervene in and challenge the dominant narratives of what it means to be a woman, by creating “alternative figurations” of “woman” which highlight differences among women and enhance our understanding of “woman” as a complex and multiple subject always “in process”.

By using her own practice of fiction writing and research as a case study, the author explores the ways that constructing an imagined narrative – in this case a novel – can make a contribution to knowledge and raise questions about representation, truth and subjectivity.

In this paper, through a few examples from her novel, the author's aim has been to write a narrative of the process, of “material thinking” that led to the final work.