Advertisement
| creative writing workshop syllabus: In West Mills De'Shawn Charles Winslow, 2019-06-04 A bighearted novel about family, migration, and the unbearable difficulties of love. Here's a cast of characters you won't soon forget. -Ayana Mathis, author of The Twelve Tribes of Hattie Winslow's impressive debut novel introduces readers to both a flawed, fascinating character in fiction and a wonderful new voice in literature. -Real Simple, Best Books of 2019 A New York Times Book Review Editors' Choice Winner of the Center for Fiction First Novel Prize Named a Most Anticipated Novel by TIME MAGAZINE * USA TODAY * ENTERTAINMENT WEEKLY * NYLON * SOUTHERN LIVING * THE LOS ANGELES TIMES * ESSENCE * THE MILLIONS * REAL SIMPLE* HUFFINGTON POST * BUZZFEED Let the people of West Mills say what they will about Azalea “Knot” Centre; they won't keep her from what she loves best: cheap moonshine, nineteenth-century literature, and the company of men. And yet, when motherhood looms, Knot begins to learn that her freedom has come at a high price. Low on money, ostracized from her parents and cut off from her hometown, Knot turns to her neighbor, Otis Lee Loving, in search of some semblance of family and home. Otis Lee is eager to help. A lifelong fixer, Otis Lee is determined to steer his friends and family away from decisions that will cause them heartache and ridicule. After his failed attempt to help his older sister, who lives a precarious life in the North, Otis Lee discovers a possible path to redemption in the chaos Knot brings to his doorstep. But while he's busy trying to fix Knot's life, Otis Lee finds himself powerless to repair the many troubles within his own family, as the long-buried secrets of his troubled past begin to come to light. Spanning decades in a rural North Carolina town where a canal acts as the color line, In West Mills is a magnificent, big-hearted small-town story about family, friendship, storytelling, and the redemptive power of love. |
| creative writing workshop syllabus: The Anti-Racist Writing Workshop Felicia Rose Chavez, 2021-01-05 The Antiracist Writing Workshop is a call to create healthy, sustainable, and empowering artistic communities for a new millennium of writers. Inspired by June Jordan 's 1995 Poetry for the People, here is a blueprint for a 21st-century workshop model that protects and platforms writers of color. Instead of earmarking dusty anthologies, imagine workshop participants Skyping with contemporary writers of difference. Instead of tolerating bigoted criticism, imagine workshop participants moderating their own feedback sessions. Instead of yielding to the red-penned judgement of instructors, imagine workshop participants citing their own text in dialogue. The Antiracist Writing Workshop is essential reading for anyone looking to revolutionize the old workshop model into an enlightened, democratic counterculture. |
| creative writing workshop syllabus: Drinking Coffee Elsewhere ZZ Packer, 2004-02-03 The acclaimed debut short story collection that introduced the world to an arresting and unforgettable new voice in fiction, from multi-award winning author ZZ Packer Her impressive range and talent are abundantly evident: Packer dazzles with her command of language, surprising and delighting us with unexpected turns and indelible images, as she takes us into the lives of characters on the periphery, unsure of where they belong. We meet a Brownie troop of black girls who are confronted with a troop of white girls; a young man who goes with his father to the Million Man March and must decide where his allegiance lies; an international group of drifters in Japan, who are starving, unable to find work; a girl in a Baltimore ghetto who has dreams of the larger world she has seen only on the screens in the television store nearby, where the Lithuanian shopkeeper holds out hope for attaining his own American Dream. With penetrating insight, ZZ Packer helps us see the world with a clearer vision. Fresh, versatile, and captivating, Drinking Coffee Elsewhere is a striking and unforgettable collection, sure to stand out among the contemporary canon of fiction. |
| creative writing workshop syllabus: Syllabus Lynda Barry, 2021-04-16 Writing exercises and creativity advice from Barry's pioneering, life-changing workshop The award-winning author Lynda Barry is the creative force behind the genre-defying and bestselling work What It Is. She believes that anyone can be a writer and has set out to prove it. For the past decade, Barry has run a highly popular writing workshop for nonwriters called Writing the Unthinkable, which was featured in The New York Times Magazine. Syllabus: Notes from an Accidental Professor is the first book to make her innovative lesson plans and writing exercises available to the public for home or classroom use. Barry teaches a method of writing that focuses on the relationship between the hand, the brain, and spontaneous images, both written and visual. It has been embraced by people across North America—prison inmates, postal workers, university students, high-school teachers, and hairdressers—for opening pathways to creativity. Syllabus takes the course plan for Barry’s workshop and runs wild with it in her densely detailed signature style. Collaged texts, ballpoint-pen doodles, and watercolor washes adorn Syllabus’s yellow lined pages, which offer advice on finding a creative voice and using memories to inspire the writing process. Throughout it all, Barry’s voice (as an author and as a teacher-mentor) rings clear, inspiring, and honest. |
| creative writing workshop syllabus: Write Great Fiction - Plot & Structure James Scott Bell, 2004-09-22 Craft an Engaging Plot How does plot influence story structure? What's the difference between plotting for commercial and literary fiction? How do you revise a plot or structure that's gone off course? With Write Great Fiction: Plot & Structure, you'll discover the answers to these questions and more. Award-winning author James Scott Bell offers clear, concise information that will help you create a believable and memorable plot, including: • Techniques for crafting strong beginnings, middles, and ends • Easy-to-understand plotting diagrams and charts • Brainstorming techniques for original plot ideas • Thought-provoking exercises at the end of each chapter • Story structure models and methods for all genres • Tips and tools for correcting common plot problems Filled with plot examples from popular novels, comprehensive checklists, and practical hands-on guidance, Write Great Fiction: Plot & Structure gives you the skills you need to approach plot and structure like an experienced pro. |
| creative writing workshop syllabus: Loudest Sound and Nothing Clare Wigfall, 2008 The characters in Clare Wigfall's stories are all searching for something missing, something absent. As they live their seemingly ordinary lives, the dark undercurrent of existence, with all its complications and imperfections, gradually becomes apparent. |
| creative writing workshop syllabus: Sin and Syntax Constance Hale, 2013-08-13 A fully revised and updated edition with writing prompts and challenges in every chapter Today’s writers need more spunk than Strunk: whether it's the Great American e-mail, Madison Avenue advertising, or Grammy Award-winning rap lyrics, memorable writing must jump off the page. Copy veteran Constance Hale is on a mission to make creative communication, both the lyrical and the unlawful, an option for everyone. With its crisp, witty tone, Sin and Syntax covers grammar’s ground rules while revealing countless unconventional syntax secrets (such as how to use—Gasp!—interjections or when to pepper your prose with slang) that make for sinfully good writing. Discover how to: *Distinguish between words that are “pearls” and words that are “potatoes” * Avoid “couch potato thinking” and “commitment phobia” when choosing verbs * Use literary devices such as onomatopoeia, alliteration, and metaphor (and understand what you're doing) Everyone needs to know how to write stylish prose—students, professionals, and seasoned writers alike. Whether you’re writing to sell, shock, or just sing, Sin and Syntax—now celebrating 20 years in print—is the guide you need to improve your command of the English language. |
| creative writing workshop syllabus: The Truth of the Matter Dinty W. Moore, 2007 This introduction to creative nonfiction examines the building blocks of nonfiction prose one by one, delineating how and why these techniques work, then illustrating each technique with clear examples. The Truth of the Matter begins with an overview of creative nonfiction, illustrating how individual voice and narrative strategies distinguish this literary form from conventional nonfiction. The text then presents the basic building blocks of creative nonfiction in a clear sequence, easily grasped by beginning writers. Individual chapters are devoted to detail and description, characterization and scene, distinctive voice, intimate point-of-view, and the various ways in which writers discover the significance or universality of their work. |
| creative writing workshop syllabus: Writing Fiction Gotham Writers' Workshop, 2008 Language, literature and biography. |
| creative writing workshop syllabus: The Penguin Book of the British Short Story: 2 Philip Hensher, 2015-11-05 TELEGRAPH, INDEPENDENT, FINANCIAL TIMES AND OBSERVER BOOKS OF THE YEAR 2015 Hilarious, exuberant, subtle, tender, brutal, spectacular, and above all unexpected: these two extraordinary volumes contain the limitless possibilities of the British short story. This is the first anthology capacious enough to celebrate the full diversity and energy of its writers, subjects and tones. The most famous authors are here, and many others, including some magnificent stories never republished since their first appearance in magazines and periodicals. The Penguin Book of the British Short Story has a permanent authority, and will be reached for year in and year out. This volume takes the story from the 1920s to the present day. Edited and with an introduction by Philip Hensher, the award-winning novelist, critic and journalist. |
| creative writing workshop syllabus: Deep Learning for Coders with fastai and PyTorch Jeremy Howard, Sylvain Gugger, 2020-06-29 Deep learning is often viewed as the exclusive domain of math PhDs and big tech companies. But as this hands-on guide demonstrates, programmers comfortable with Python can achieve impressive results in deep learning with little math background, small amounts of data, and minimal code. How? With fastai, the first library to provide a consistent interface to the most frequently used deep learning applications. Authors Jeremy Howard and Sylvain Gugger, the creators of fastai, show you how to train a model on a wide range of tasks using fastai and PyTorch. You’ll also dive progressively further into deep learning theory to gain a complete understanding of the algorithms behind the scenes. Train models in computer vision, natural language processing, tabular data, and collaborative filtering Learn the latest deep learning techniques that matter most in practice Improve accuracy, speed, and reliability by understanding how deep learning models work Discover how to turn your models into web applications Implement deep learning algorithms from scratch Consider the ethical implications of your work Gain insight from the foreword by PyTorch cofounder, Soumith Chintala |
| creative writing workshop syllabus: The Art of Revision Peter Ho Davies, 2021-11-02 The fifteenth volume in the Art of series takes an expansive view of revision—on the page and in life In The Art of Revision: The Last Word, Peter Ho Davies takes up an often discussed yet frequently misunderstood subject. He begins by addressing the invisibility of revision—even though it’s an essential part of the writing process, readers typically only see a final draft, leaving the practice shrouded in mystery. To combat this, Davies pulls examples from his novels The Welsh Girl and The Fortunes, as well as from the work of other writers, including Flannery O’Connor, Carmen Machado, and Raymond Carver, shedding light on this slippery subject. Davies also looks beyond literature to work that has been adapted or rewritten, such as books made into films, stories rewritten by another author, and the practice of retconning in comics and film. In an affecting frame story, Davies recounts the story of a violent encounter in his youth, which he then retells over the years, culminating in a final telling at the funeral of his father. In this way, the book arrives at an exhilarating mode of thinking about revision—that it is the writer who must change, as well as the writing. The result is a book that is as useful as it is moving, one that asks writers to reflect upon themselves and their writing. |
| creative writing workshop syllabus: Writing Fiction Janet Burroway, Elizabeth Stuckey-French, Ned Stuckey-French, 2019-04-01 This updated edition of the classic, comprehensive guide to creative writing features new topics and writing prompts, contemporary examples, and more. A creative writer’s shelf should hold at least three essential books: a dictionary, a style guide, and Janet Burroway’s Writing Fiction. This best-selling classic is the most widely used creative writing text in America, and for decades it has helped hundreds of thousands of students learn the craft. Now in its tenth edition, Writing Fiction is more accessible than ever for writers of all levels—inside or outside the classroom. This new edition continues to provide advice that is practical, comprehensive, and flexible. Moving from freewriting to final revision, Burroway addresses “showing not telling,” characterization, dialogue, atmosphere, plot, imagery, and point of view. It includes new topics and writing prompts, and each chapter now ends with a list of recommended readings that exemplify the craft elements discussed. Plus, examples and quotations throughout the book feature a wide range of today’s best and best-known creators of both novels and short stories. |
| creative writing workshop syllabus: Good with Words Patrick Barry, 2019-05-31 If your success at work or in school depends on your ability to communicate persuasively in writing, you'll want to get Good with Words. Based on a course that law students at the University of Michigan and the University of Chicago have called outstanding, A-M-A-Z-I-N-G, and the best course I have ever taken, the book brings together a collection of concepts, exercises, and examples that have also helped improve the advocacy skills of people pursuing careers in many other fields--from marketing, to management, to medicine. There is nobody better than Patrick Barry when it comes to breaking down how to write and edit. His techniques don't just make you sound better. They make you think better. I'm jealous of the people who get to take his classes. --Professor Lisa Bernstein, University of Chicago Law School and Oxford University Center for Corporate Regulation Whenever I use Patrick Barry's materials in my class, the student reaction is the same: 'We want more of them.' --Professor Dave Babbe, UCLA School of Law Working one-on-one with Patrick Barry should be mandatory for all lawyers, regardless of seniority. This book is the next best thing. --Purvi Patel, Partner at Morrison Foerster LLP I am proud to say that, when it comes to writing, I speak Patrick Barry. What I mean is that I use, pretty much every day, the writing vocabulary and techniques he offers in this great book. So read it. Share it. And then, if you can, teach it. There are a lot of good causes in the world that could use a new generation of great advocates. --Professor Bridgette Carr, Assistant Dean of Strategic Initiatives and Director of the Human Trafficking Clinic at the University of Michigan Law School Patrick Barry is my secret weapon. I use his techniques every time I write, and I also teach them to all my students. --Professor Shai Dothan, Copenhagen Faculty of Law I know the materials in this book were originally created for lawyers and law students. But I actually find them really helpful for doctors as well, given that a lot of what I do every day depends on effective communication. There is a tremendous upside to becoming 'Good with Words. --Dr. Ramzi Abboud, Washington University School of Medicine in St. Louis. |
| creative writing workshop syllabus: The Art of Subtext Charles Baxter, 2013-07-16 Charles Baxter inaugurates The Art of, a new series on the craft of writing, with the wit and intelligence he brought to his celebrated book Burning Down the House: Essays on Fiction. Fiction writer and essayist Charles Baxter's The Art of Subtext: Beyond Plot discusses and illustrates the hidden subtextual overtones and undertones in fictional works haunted by the unspoken, the suppressed, and the secreted. Using an array of examples from Melville and Dostoyevsky to contemporary writers Paula Fox, Edward P. Jones, and Lorrie Moore, Baxter explains how fiction writers create those visible and invisible details, how what is displayed evokes what is not displayed. The Art of Subtext is part of The Art of series, a new line of books by important authors on the craft of writing, edited by Charles Baxter. Each book examines a singular, but often assumed or neglected, issue facing the contemporary writer of fiction, nonfiction, or poetry. The Art of series means to restore the art of criticism while illuminating the art of writing. |
| creative writing workshop syllabus: Writing the Other Nisi Shawl, Cynthia Ward, 2005 Many writers avoid creating characters of different ethnic backgrounds than their own out of fear that they might get it wrong. To address this fear, Nisi Shawl and Cynthia Ward collaborated to develop a workshop that addresses these problems with the aim of both increasing writers skill and sensitivity in portraying difference in their fiction as well as allaying their anxieties about getting it wrong. Writing the Other: A Practical Approach is the manual that grew out of their workshop. It discusses basic aspects of characterization and offers elementary techniques, practical exercises, and examples for helping writers create richer and more accurate characters with differences. |
| creative writing workshop syllabus: The Making of a Story Alice LaPlante, 2009-12-22 A Los Angeles Times bestseller: wonderfully lucid and illuminating, Alice LaPlante’s guide to writing fiction “recalls Francine Prose’s bestseller, Reading Like a Writer” (Library Journal). The Making of a Story is a fresh and inspiring guide to the basics of creative writing—both fiction and creative nonfiction. Its hands-on, completely accessible approach walks writers through each stage of the creative process, from the initial triggering idea to the revision of the final manuscript. It is unique in combing the three main aspects of creative writing instruction: process (finding inspiration, getting ideas on the page), craft (specific techniques like characterization), and anthology (learning by reading masters of the form). Succinct, clear definitions of basic terms of fiction are accompanied by examples, including excerpts from masterpieces of short fiction and essays as well as contemporary novels. A special highlight is Alice LaPlante's systematic debunking of many of the so-called rules of creative writing. This book is perfect for writers working alone as well as for creative writing classes, both introductory and advanced. |
| creative writing workshop syllabus: The Greatest of Marlys Lynda Barry, 2000 Don't know Marlys Mullen? She is the most beloved character in Lynda Barry's nationally syndicated comic strip, Ernie Pook's Comeek. In the mid-1980s, Barry first introduced the strange yet poignant world of Marlys Mullen, her groovy teenage sister Maybonne, and her sensitive little brother Freddie.The trials and tribulations of childhood and adolescence have rarely been chronicled in such an original fashion. Now the early comic strips, which were out of print, have been collected in this oversize book, which will let fans old and new enjoy Marlys's adventures and outlook on life. |
| creative writing workshop syllabus: My Perfect Life Lynda Barry, 2022-06-14 This collection continues to spotlight the life of teenager Maybonne Mullen. She suffers through the utterly relatable insults of junior high and the excruciating embarrassment caused by her little sister, Marlys. Hovering in the background, however, is a broken home, parents struggling with addiction, a grandmother who takes her granddaughters from the diverse big city to a bewilderingly bland small town. |
| creative writing workshop syllabus: Serious Daring Lisa Roney, 2015 Top Three Reasons to Adopt This Book * Flexible Structure. This innovative text features a flexible organization that allows for different course structures and various teaching approaches. * Practical Lessons. In addition to a comprehensive introduction to Creative Writing craft, the book provides practical tips and poses questions to prepare students for continuing their writing lives long term. * Fresh Readings. The anthology offers up a fresh mix of classic and newer reading selections that promote step-by-step instruction in the craft and encourage further discussion. |
| creative writing workshop syllabus: Modern Greek Poetry Kimon Friar, 1968 Kimon Friar talks about modern Greek poets and their poetry. |
| creative writing workshop syllabus: Creative Writing Pedagogies for the Twenty-First Century Alexandria Peary, Tom C Hunley, 2015-05-22 The creative writing workshop has long been entrenched as the primary pedagogy of creative writing classes. This book offers twelve different approaches to the teaching of creative writing to supplement or replace traditional workshop pedagogy. Contributors are from both creative writing and composition studies--a discipline rich with a wide range of established pedagogies. |
| creative writing workshop syllabus: Teaching Cultural Dexterity in Creative Writing Micah McCrary, 2023-04-20 Aimed toward graduate student instructors and other creative writing educators, Teaching Cultural Dexterity in Creative Writing offers a formula for important changes in creative writing instruction-especially in literary/creative nonfiction, probing how instruction might become more inclusive and accessible for minoritized/marginalized student-authors. The book chapters use antiracist, trauma-informed, and anticolonial frameworks toward exploring the 21st-century professional, theoretical, and institutional concerns surrounding creative writing practices in North American higher education. As a result, the book explores ways creative writing pedagogies and theories might be adapted for racially and linguistically marginalized (by English) student-authors, who often inhabit minoritized positions within North American colleges and universities. Applying as a frame the notion of cultural dexterity as it is taught to medical professionals to allow them to engage effectively with patients from all backgrounds, ethnics groups and with all sensitivities, Teaching Cultural Dexterity in Creative Writing examines why and how creative writing instruction needs to be urgently renegotiated. In this essential text for all creative writing instructors, McCray provides all the tools necessary to take positive action with discussions of potential readings, writing prompts and sample course materials. |
| creative writing workshop syllabus: Craft Consciousness and Artistic Practice in Creative Writing Ben Ristow, 2022-02-10 Craft lives inside the artist, and it operates in the mind, not in standards or techniques. Creative writers navigate thresholds in consciousness as they develop their arts practice. Craft Consciousness and Artistic Practice in Creative Writing explores what it is to be an artist as it traces radical, feminist, and culturally embedded traditions in craft. The new term craft consciousness identifies the nexus from which writers explore making processes and practitioner knowledge. Writers, as with all artists, create and reimagine themselves anew, and it is in this perpetual state of becoming that they find ways to enlarge their sense of artistry through an exploration of forms, processes, and mediums beyond the written word. For writers, this book initiates a reexamination of the mission of creative writing through disrupting patriarchal, racist, colonialist, ableist, and capitalist associations with dominant craft. Drawing from twenty-five interviews with living artists outside of writing and in a host of fields from conceptual art to leatherwork and dance, the book shines a light on how the processes associated with craft are embodied. Craft is an internalized matrix; it need not be commodified for the marketplace or codified in the standards necessitated by institutions of higher education. By redesigning writing workshops and MFA/PhD programs through craft consciousness, new potentials and collaborations emerge, and it becomes more conceivable to imagine dynamic, inclusive relationships between writers, scientists, and other artists. |
| creative writing workshop syllabus: Establishing Creative Writing Studies as an Academic Discipline Dianne Donnelly, 2011-11-15 This book advances creative writing studies as a developing field of inquiry, scholarship, and research. It discusses the practice of creative writing studies, the establishment of a body of professional knowledge, and the goals and future direction of the discipline within the academy. |
| creative writing workshop syllabus: Beyond the Writers' Workshop Carol Bly, 2011-03-09 An innovative new approach to teaching and writing creative nonfiction from veteran teacher and critically acclaimed author Carol Bly. Teachers and writers everywhere are facing the limits imposed by the prevailing models of teaching: community or MFA “workshops” or, at the high-school level, “peer review.” In Beyond the Writers' Workshop Carol Bly presents an alternative. She believes that workshopping’s tendency to engage in wry scorn and pay exaggerated attention to technical details, causes apprentice writers, consciously or unconsciously, to modify their most passionate work. Inspired by a philosophy of individuality and moral rigor, Bly combines ideas and techniques from social work, psychotherapy, and neuroscience with the traditional teaching of fresh metaphor, salient dialogue, lively pace, and analysis of other literary work in her pioneering new approach. She also includes exercises and examples in an extensive practical appendix. |
| creative writing workshop syllabus: Writing Creative Writing Rishma Dunlop, Daniel Scott Tysdal, Priscila Uppal, 2018-05-05 Essential and engaging essays about the joys and challenges of creative writing and teaching creative writing by a host of Canada’s leading writers. |
| creative writing workshop syllabus: Teaching Creative Writing to Second Language Learners Ryan Thorpe, 2021-12-20 This timely and accessible book offers engaging guidance to teachers of second language students on teaching creative writing in their classrooms. Creative writing is a tool that can inspire second language learners to write more, play with language, and enjoy and improve not only their writing, but also their speaking, listening, and reading skills. Addressing the expectations and perceptions of writing in another language, Thorpe demonstrates how to foster successful creative writing environments and teach and assess creative writing in a way that is tailored to the distinct needs of non-native speakers. Covering key topics such as cultural storytelling, voice, genre, and digital composition, assessment, and more, Thorpe shares successful creative writing instructional practices informed by current research in creative writing and second language education. Each chapter includes insights, advice, and student examples that can help new teachers take their first steps in more reflective second language creative writing classroom. An invaluable resource for instructors of non-native students and an ideal text for pre-service teachers in courses in TESOL, writing instruction, and applied linguistics, this book invites you to use creative writing not only as a successful method for teaching L2 writing, but also as a way to improve student motivation and output, for more effective language learning. |
| creative writing workshop syllabus: Key Issues in Creative Writing Dianne Donnelly, Graeme Harper, 2012-11-14 Key Issues in Creative Writing explores a range of important issues that inform the practice and understanding of creative writing. The collection considers creative writing learning and teaching as well as creative writing research. Contributors target debates that arise because of the nature of creative writing. These experts – from the UK, USA and Australia – specifically examine creative writing as a subject in universities and colleges and discuss both the creative knowledge and the critical understanding informing the subject and its future. Finally, this volume suggests ways in which addressing current issues will produce significant disciplinary knowledge that will contribute to the success of creative writing in current and future academic environments. |
| creative writing workshop syllabus: Does the Writing Workshop Still Work? Dianne Donnelly, 2010-05-28 This book explores the effectiveness of the workshop in the Creative Writing classroom, and looks beyond the question of whether or not the workshop works to address the issue of what an altered pedagogical model might look like. In visualising what else is possible in the workshop space, the sixteen chapters collected in ‘Does the Writing Workshop Still Work?’ cover a range of theoretical and pedagogical topics and explore the inner workings and conflicts of the workshop model. The needs of a growing and diverse student population are central to the chapter authors’ consideration of non-normative pedagogies. The book is a must-read for all teachers of Creative Writing, as well as for researchers in Creative Writing Studies. |
| creative writing workshop syllabus: Creative Writing and Education Graeme Harper, 2015-04-01 This book explores creative writing and its various relationships to education through a number of short, evocative chapters written by key players in the field. At times controversial, the book presents issues, ideas and pedagogic practices related to creative writing in and around education, with a focus on higher education. The volume aims to give the reader a sense of contemporary thinking and to provide some alternative points of view, offering examples of how those involved feel about the relationship between creative writing and education. Many of the contributors play notable roles in national and international organizations concerned with creative writing and education. The book also includes a Foreword by Philip Gross, who won the 2009 TS Eliot Prize for poetry. |
| creative writing workshop syllabus: Handbook of Creative Writing Steven Earnshaw, 2014-04-14 In this new edition 54 chapters cover the central pillars of writing creatively: the theories behind the creativity, the techniques and writing as a commercial enterprise. With contributions from over 50 poets, novelists, dramatists, publishers, editors, tutors, critics and scholars, this is the essential guide to writing and getting published. DT A 3-in-1 text with outstanding breadth of coverage on the theories, the craft & the business of creative writing DT Includes practical advice on getting published & making money from your writing New for this edition: DT Chapters on popular topics such as 'self-publishing and the rise of the indie author', 'social media', 'flash fiction', 'song lyrics', 'creative-critical hybrids' and 'collaboration in the theatre' DT New and updated exercises to help you practice your writing DT Up-to-date information on teaching, copyright, writing for the web & earning a living as a writer DT Updated Glossary of Terms |
| creative writing workshop syllabus: Can Creative Writing Really Be Taught? Stephanie Vanderslice, Rebecca Manery, 2017-07-13 Revised and updated throughout, this 10th-anniversary edition of Can Creative Writing Really Be Taught? is a significantly expanded guide to key issues and practices in creative writing teaching today. Challenging the myths of creative writing teaching, experienced and up-and-coming teachers explore what works in the classroom and workshop and what does not. Now brought up-to-date with new issues that have emerged with the explosion of creative writing courses in higher education, the new edition includes: · Guides to and case studies of workshop practice · Discussions on grading and the myth of “the easy A” · Explorations of the relationship between reading and writing · A new chapter on creative writing research · A new chapter on games, fan-fiction and genre writing · New chapters on identity and activism |
| creative writing workshop syllabus: Negotiating the Personal in Creative Writing Carl Vandermeulen, 2011-08-19 This book describes an alternative way to teach Creative Writing, one that replaces the silent writer taking criticism and advice from the teacher-led workshop with an active writer who reflects upon and publically questions the work-in-progress in order to solicit response, from a writers' group as well as from the teacher. Both accompany the writer, first as readers and fellow writers, only later as critics. Because writers ask, they listen, and dialogues with responders become an inner dialogue that guides later writing and revision. But when teachers accompany writers, teaching CW becomes even more a negotiation of the personal because this teacher who is listener and mentor is also a model for some students of the writer and even the person they would like to become - and still the Authority who gives the grades. |
| creative writing workshop syllabus: Against Creative Writing Andrew Cowan, 2022-09-13 The rise of Creative Writing has been accompanied from the start by two questions: can it be taught, and should it be taught? This scepticism is sometimes shared even by those who teach it, who often find themselves split between two contradictory identities: the artistic and the academic. Against Creative Writing explores the difference between ‘writing’, which is what writers do, and Creative Writing, which is the instrumentalisation of what writers do. Beginning with the question of whether writing can or ought to be taught, it looks in turn at the justifications for BA, MA, and PhD courses, and concludes with the divided role of the writer who teaches. It argues in favour of Creative Writing as a form of hands-on literary education at undergraduate level and a form of literary apprenticeship at graduate level, especially in widening access to new voices. It argues against those forms of Creative Writing that lose sight of literary values – as seen in the proliferation of curricular couplings with non-literary subjects, or the increasing emphasis on developing skills for future employment. Against Creative Writing, written by a writer, is addressed to other writers, inside or outside the academy, at undergraduate or graduate level, whether ‘creative’ or ‘critical’. |
| creative writing workshop syllabus: Resources in Education , 1999-10 |
| creative writing workshop syllabus: Creative Writing in the Community Terry Ann Thaxton, 2013-11-07 Creative Writing in the Community is the firstbook to focus on the practical side of creative writing. Connecting classroomexperiences to community-based projects, it prepares creative writing studentsfor teaching in schools, homeless centres, youth clubs and care homes. Each chapteris packed with easy-to-use resources including: specific lesson plans; case studies of students working with community groups; lists of suitable writing examples; how to... sections; examples and theoretical applications of creative writing pedagogy and techniques; reflection questions; writings by workshop participants. Enhanced by contributions from directors,students and teachers at successful public programs, Creative Writing in the Community is more than an essential guidefor students on creative writing courses and leaders of community-basedlearning programs; it is practical demonstration of the value of art insociety. |
| creative writing workshop syllabus: Innovative Practices in Creative Writing Teaching Graeme Harper, 2022-12-08 Associated with creativity, originality, newness and invention, innovation is a frequent component of creative writing. However, how, where and when does innovation occur in creative writing teaching? The writing arts combine common, established aspects of communicating through the written word with elements of originality that extend or challenge how written language is used. Different forms, genre and styles of creative writing stay close to or move further away from the writing mainstream. What about creative writing teaching—are there different levels or types of innovation? Exploring such innovation, this volume gathers together contributors whose teaching stories provide direction, stimulus and much encouragement for those seeking to innovate in how creative writing is taught and therefore, ultimately, how it is learnt. |
| creative writing workshop syllabus: Vision, Rhetoric, and Social Action in the Composition Classroom Kristie S. Fleckenstein, 2009-11-16 In this innovative volume, Kristie S. Fleckenstein explores how the intersection of vision, rhetoric, and writing pedagogy in the classroom can help students become compassionate citizens who participate in the world as they become more critically aware of the world. Fleckenstein argues that all social action—behavior designed to increase human dignity, value, and quality of life—depends on a person’s repertoire of visual and rhetorical habits. To develop this repertoire in students, the author advocates the incorporation of visual habits—or ways of seeing—into a language-based pedagogical approach in the writing classroom. According to Fleckenstein, interweaving the visual and rhetorical in composition pedagogy enables students to more readily perceive the need for change, while arming them with the abilities and desire to enact it. The author addresses social action from the perspective of three visual habits: spectacle, which fosters disengagement; animation, or fusing body with meaning; and antinomy, which invites the invention of new realities. Fleckenstein then examines the ways in which particular visual habits interact with rhetorical habits and with classroom methods, resulting in the emergence of various forms of social action. To enhance the understanding of the concepts she discusses, the author represents the intertwining relationships of vision, rhetoric, and writing pedagogy graphically as what she calls symbiotic knots. In tracing the modes of social action privileged by a visual habit and a teacher’s pedagogical choices, Fleckenstein attends particularly to the experiences of students who have been traditionally barred from participation in the public sphere because of gender, race, or class. The book culminates in a call for visually and rhetorically robust writing pedagogies. In Vision, Rhetoric, and Social Action in the Composition Classroom, Fleckenstein combines classic methods of rhetorical teaching with fresh perspectives to provide a unique guide for initiating important improvements in teaching social action. The result is a remarkable volume that empowers teachers to best inspire students to take part in their world at that most crucial moment when they are discovering it. |
| creative writing workshop syllabus: Power and Identity in the Creative Writing Classroom Anna Leahy, 2005-11-11 Power and Identity In the Creative Writing Classroom remaps theories and practices for teaching creative writing at university and college level. This collection critiques well-established approaches for teaching creative writing in all genres and builds a comprehensive and adaptable pedagogy based on issues of authority, power, and identity. A long-needed reflection, this book shapes creative writing pedagogy for the 21st century. |
Creative Labs (United States) | Sound Blaster Sound Cards, Super …
Shop online at creative.com for wireless speakers and computer soundbars, Bluetooth headphones, Sound Blaster sound cards, gaming headsets. Free shipping on orders over $35.
CREATIVE Definition & Meaning - Merriam-Webster
The meaning of CREATIVE is marked by the ability or power to create : given to creating. How to use creative in a sentence.
CREATIVE | definition in the Cambridge English Dictionary
CREATIVE meaning: 1. producing or using original and unusual ideas: 2. describing or explaining things in unusual…. Learn more.
CREATIVE definition and meaning | Collins English Dictionary
A creative person has the ability to invent and develop original ideas, especially in the arts.
Creative - definition of creative by The Free Dictionary
Define creative. creative synonyms, creative pronunciation, creative translation, English dictionary definition of creative. adj. 1. Having the ability or power to create: Human beings are creative …
Creativity | Definition, Types, Skills, & Facts | Britannica
May 27, 2025 · Creativity, the ability to make or otherwise bring into existence something new, whether a new solution to a problem, a new method or device, or a new artistic object or form. …
creative | meaning of creative in Longman Dictionary of …
creative meaning, definition, what is creative: involving the use of imagination to prod...: Learn more.
Creative Definition & Meaning - YourDictionary
He was not a great original thinker; he lacked the creative faculty and the creative impulse. Polycarp had no creative genius. The creative thought of the middle ages is clerical thought.
How to Be More Creative: 13 Proven Methods – Mendi.io
4 days ago · So, if this is your goal, we have the answer! In this article, we'll share 13 proven tips on how to be more creative (with real-life examples to inspire you!). Key Takeaways. Creativity …
CREATIVE Definition & Meaning | Dictionary.com
having the power to bring something new into being, as a creature, or to evolve something original from one’s own thought or imagination, as a work of art or invention: In the mythologies of the …
Creative Labs (United States) | Sound Blaster Sound Cards, S…
Shop online at creative.com for wireless speakers and computer soundbars, Bluetooth headphones, Sound …
CREATIVE Definition & Meaning - Merriam-Webster
The meaning of CREATIVE is marked by the ability or power to create : given to creating. How to use creative in a …
CREATIVE | definition in the Cambridge English Dictionary
CREATIVE meaning: 1. producing or using original and unusual ideas: 2. describing or explaining things in …
CREATIVE definition and meaning | Collins English Dict…
A creative person has the ability to invent and develop original ideas, especially in the arts.
Creative - definition of creative by The Free Dictionary
Define creative. creative synonyms, creative pronunciation, creative translation, English dictionary …
