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How can students with widely varied levels of literary experience learn to write poetry, fiction, creative nonfiction, and drama — over the course of only one semester? In Creative Writing: Four Genres in Brief, David Starkey offers some solutions to the challenges of teaching the introductory creative writing course: (1) concise, accessible instruction in the basics of writing poetry, fiction, creative nonfiction, and drama; (2) short models of literature to analyze, admire and emulate; (3) inventive and imaginative assignments that inspire and motivate. In the third edition, in response to reviewer requests, the literature and writing prompts have been significantly refreshed and expanded, while new treatment of getting published and the growing trend of hybrid creative writing have been added.
How can students with widely varied levels of literary experience learn to write poetry, fiction, creative nonfiction, and drama — over the course of only one semester? In Creative Writing: Four Genres in Brief, David Starkey offers some solutions to the challenges of teaching the introductory creative writing course: (1) concise, accessible instruction in the basics of writing poetry, fiction, creative nonfiction, and drama; (2) short models of literature to analyze, admire and emulate; (3) inventive and imaginative assignments that inspire and motivate.
Creative Writing: An Introduction to Poetry and Fiction is a brief guide that offers plenty of options for the two-genre creative writing course. Adapted from David Starkey’s successful Creative Writing: Four Genres in Brief, it starts with lively and highly-praised instruction on the basics of reading and writing poetry and fiction. Then it presents a wide and versatile selection of model contemporary poems and stories for students to admire and emulate. Throughout, it offers a range of checklists to help students shape their poems and stories, as well as inventive assignments to fire students’ imaginations and get them creating on their own.
This is a book for real students, people with full and active lives. Academic Writing Now: A Brief Guide for Busy Students covers the basics of the introductory college writing course in a concise, student-friendly format. Each chapter concentrates on a crucial element of composing an academic essay and is capable of being read in a single sitting. The book also includes numerous “timesaver tips,” along with warnings about frequent student errors—all designed to help students make the most of one of their most limited and precious resources: time.
Academic Writing Now: A Brief Guide for Busy Students is a rhetoric designed to cover the basics of a college writing course in a concise, student-friendly format. Anything inessential to the business of college writing has been excluded. Each chapter concentrates on a crucial element of composing an academic essay and is capable of being read in a single sitting. The book is loaded with “timesaver tips,” ideas for making the most of the student’s time, along with occasional warnings to avoid common errors made by student writers. Each short chapter concludes with questions and suggestions designed to trigger class discussion.
What would the Son-of-Man get up to in present-day Rome? Would he wander the Galleria Borghese, loiter outside nightclubs, ride trams, tip accordionists? How would Keats feel about the neon Dior sign that flashes away above the Spanish Steps? Are there ways to avoid Vespas on the sidewalks? Rules for carving a Pietà? And exactly which painter is responsible for the ugliest Jesus in the history of Western Art? A tour of Rome like no other, the poems of Circus Maximus ask these questions and more. Join David Starkey as he shines a torch on the sights, sounds, mysteries and metaphors of the Eternal City. David Starkey is the former Poet Laureate of Santa Barbara, a senior Fulbright scholar, and a six-time nominee for the Pushcart Prize. His latest volume of poetry is A Few Things You Should Know About the Weasel (Biblioasis, 2010).
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.

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