Beyond The Writers Workshop

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.

This national bestseller is "a significant contribution to discussions of the art of fiction and a necessary challenge to received views about whose stories are told, how they are told and for whom they are intended" (Laila Lalami, The New York Times Book Review). The traditional writing workshop was established with white male writers in mind; what we call craft is informed by their cultural values. In this bold and original examination of elements of writing—including plot, character, conflict, structure, and believability—and aspects of workshop—including the silenced writer and the imagined reader—Matthew Salesses asks questions to invigorate these familiar concepts. He upends Western notions of how a story must progress. How can we rethink craft, and the teaching of it, to better reach writers with diverse backgrounds? How can we invite diverse storytelling traditions into literary spaces? Drawing from examples including One Thousand and One Nights, Curious George, Ursula K. Le Guin's A Wizard of Earthsea, and the Asian American classic No-No Boy, Salesses asks us to reimagine craft and the workshop. In the pages of exercises included here, teachers will find suggestions for building syllabi, grading, and introducing new methods to the classroom; students will find revision and editing guidance, as well as a new lens for reading their work. Salesses shows that we need to interrogate the lack of diversity at the core of published fiction: how we teach and write it. After all, as he reminds us, "When we write fiction, we write the world."

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.

When writing workshops first blossomed in classrooms, its hallmarks were genuine curiosity, individual choice, quality conversations, and engaging children's literature. A joyous hum of intention, creativity, and craft enlivened the school day. Today's teachers are often faced with a range of obstacles, as new initiatives are embraced, mandates handed down, and scripted programs are purchased. Sometimes teachers must sacrifice the original principles of the writing workshop and lose the creative venue they provide. Above and Beyond the Writing Workshop is filled with original writing challenges designed to bring back the spirit of the original writing workshop model and encourage teachers to enhance it with invention, innovation, and inspiration. Teaching creative writing is not only possible, but an important process in their instruction. Author Shelley Harwayne invites teachers to keep the workshop spirit alive by: Encouraging professional conversations on classroom ideas and methods between colleagues; Developing writing cues that allow young writers to be inquisitive, outspoken, and independent; Showing how high quality writing can make a difference; Offering an inspired and stimulating outlet for students to express their passions. Harwayne's book will help teachers encourage students to write the world around them, which can generate more critical thinking and make for a more well-rounded child.

Writers Workshop of Horror 2 is a collection of essays and interviews focusing on the art and craft of writing horror and dark fantasy. From bestselling authors like Stephen King, Anne Rice, and R. L. Stine, to up-and-coming writers just making their mark, this anthology is chock-full of advice and information writers of any level will find valuable and useful. Writers Workshop of Horror 2 is helmed by Michael Knost, the Bram Stoker Award-winning editor that brought you Writers Workshop of Horror, Writers Workshop of Science Fiction & Fantasy, and Author's Guide to Marketing with Teeth.

In Beyond the Margins: Rethinking the Art and Craft of Writing, writer and international writing workshop leader, June S. Gould offers a seemingly endless variety of prompts and exercises. You'll generate ideas, plumb their possibilities, and create amazing, absorbing writing.

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.

In this brilliantly imagined book, author Danell Jones mines the diaries, essays, correspondence, and fiction of a literary legend to create an unforgettable master class in the art of writing. Using Virginia Woolf’s own words, this inspiring, instructive, and entertaining guide will delight fans, students, and teachers alike—and at last give Woolf a classroom of her own. Imagine what it might be like if Virginia Woolf were teaching a writers’ workshop. What would she say? What elements of her own experience would writers today find valuable? Now one need only to look within these pages to find out. For here, perched at the podium of a classroom, Woolf shares her wisdom on a range of matters, including: The value of experimentation How to use a journal for inspiration The importance of reading, walking, and practicing Methods for learning from great writers Also included are “writing sparks”—exercises for writers of all levels—inspired by Woolf’s best-known works, plus the original sources of all of Woolf’s quotes for deeper exploration. Let Woolf’s utterly unique vision guide you to your own distinct voice at the same time that you deepen your appreciation and knowledge of her as a revolutionary writer and thinker. This practical reference motivates and inspires readers to embrace their personal vision through the spirit of one of the foremost literary talents of the twentieth century.