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Informationen zum Autor Joseph Rein is currently the assistant coordinator of the creative writing program at the University of Wisconsin-Milwaukee, where he is pursuing his PhD. His fiction, poetry and essays have appeared in The Wisconsin Review, Concho River Review, Fiction Weekly, Ampersand Review, Twisted Ink, and New Writing: The International Journal for the Practice and Theory of Creative Writing. A former Peace Corps Volunteer, David Yost recently returned from his second trip to Thailand working with Burmese refugees to pursue a PhD in fiction writing at the University of Wisconsin-Milwaukee. His fiction has previously appeared in more than twenty journals, including The Southern Review, The Sun, Pleiades, Witness, and Asia Literary Review, while his critical articles have appeared in MELUS, Studies in American Indian Literatures, and War, Literature, and the Arts. Klappentext With emphasis on practical classroom application! this title is suitable for teaching creative writing. Divided into four sections - "Laying the Ground Rules"! "What is 'Appropriate' for the Workshop?"! "Teaching 'Technique'"! and "The Hybrid TA"! it explores issues of daily concern to creative writing instructors from many viewpoints. Vorwort With emphasis on practical classroom application, this up-to-date and refreshingly honest collection of essays is a wonderful resource for teaching creative writing. Zusammenfassung With emphasis on practical classroom application, this title is suitable for teaching creative writing. Divided into four sections - "Laying the Ground Rules", "What is 'Appropriate' for the Workshop?", "Teaching 'Technique'", and "The Hybrid TA", it explores issues of daily concern to creative writing instructors from many viewpoints. Inhaltsverzeichnis Introduction Part I- Laying the Ground Rules Workshop, Revision, and Grading in the Creative Writing SyllabusPreventing Tears in Workshop: Teaching Students How to Give and Receive Criticism Kristen Gottstein, Georgia State University Eradicating Reviser's Block: Bringing Revision to the Foreground Ashley Cowger, University of Alaska FairbanksConfronting the Unavoidable:Grading Creative WritingAshley Wurzbacher, Eastern Washington University Part II - What Is "Appropriate" for the Workshop? Censorship, Trauma, and Memory in the Creative Writing ClassroomInvoking the Muzzle: Censorship and the Creative Writing WorkshopM. Thomas Gammarino, The University of HawaiiDear Diary:Violence, Confession, and (Creative) Writing PedagogiesLaura Madeline Wiseman, University of Nebraska-LincolnWhat Time Was I Supposed to Remember That?: Memory, Constraint, and Creative Writing PedagogyMichael Dean Clark, University of Wisconsin-Milwaukee Part III - Teaching "Technique" Craft Elements and ExercisesExercises in Authority: Teaching Fiction and Poetry in the Undergraduate ClassroomJeremy Lakaszcyck, University of MassachusettsWrite What You Don't Know: Teaching Creative ResearchJoseph Rein, University of Wisconsin-MilwaukeeMaking the Parts of the Workshop Come Together: A Practical ExampleYelizaveta P. Renfro, University of Nebraska-LincolnAvoiding Meaning: A Classroom Exercise to Improve Students' Homophonic SensibilitiesDavid Bartone, University of Massachusetts, Amherst Unleashing the Nemesis of Genre Fiction Karen Gentry, Georgia State UniversitySpecificity of Dialogue: A Coke is a Soda is a Pop is a ColaLiane LeMaster, Georgia State UniversitySo Much For That Happy Ending: Rendering Complex Emotion in FictionAnthony J. Sams, University of North Carolina Wilmington Part IV | The Hybrid TA Literary Theory, Writing Centers, and the New Creative WriterSomething to Push Up Against: Using Theory as Creative PedagogyKimberly Quiogue Andrews and John Belk, Pennsylvania State UniversityAdapting Writing Center Pedagogy for the Undergraduate Creative W...
