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| creative writing course 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 course 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 course 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 course 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 course syllabus: Welcome to the Desert of the Real Slavoj Zizek, 2013-01-16 Liberals and conservatives proclaim the end of the American holiday from history. Now the easy games are over; one should take sides. Zizek argues this is precisely the temptation to be resisted. In such moments of apparently clear choices, the real alternatives are most hidden. Welcome to the Desert of the Real steps back, complicating the choices imposed on us. It proposes that global capitalism is fundamentalist and that America was complicit in the rise of Muslim fundamentalism. It points to our dreaming about the catastrophe in numerous disaster movies before it happened, and explores the irony that the tragedy has been used to legitimize torture. Last but not least it analyzes the fiasco of the predominant leftist response to the events. |
| creative writing course syllabus: On Editing Helen Corner-Bryant, Kathryn Price, 2018-05-17 Highly recommended: On Editing is indispensable reading for anyone who is or wants to be a writer. Every desk should have a copy! - Dr Samantha J. Rayner, Director of the Centre for Publishing, UCL On Editing is a feast with many courses. When you have finished this book, you will feel encouraged, empowered, and indomitable. If you are writing-or editing-a novel, you could do no better than to have this book by your side. Comprehensive, easily digestible, it is a classic in the making. - Shaye Areheart, Director of the Columbia Publishing Course Writing a novel is a magical but often difficult journey; and when your first draft is complete, that journey's not over. As the editing process gets underway, authors often find themselves in unfamiliar territory. What does it mean to 'map your plot'? How do you know if you're 'head-hopping'? When is your novel ready to send out to agents, and how do you make each submission count? Written by the team behind one of the world's most successful literary consultancies, On Editing will show you how to master the self-edit. You will learn to compose, draft, and edit while sharpening your writing and ensuring that your novel is structurally sound, authentic, well-written, and ready for submission. On Editing will help you harness your creative potential, transform the way you think about your writing, and revolutionise your editorial process. It's easy for writers to be overwhelmed by the technicalities of writing, editing and getting published, but Helen Corner-Bryant and Kathryn Price share their decades of experience nurturing writers in On Editing. They know all the problems and how to fix them - including many you might not even think of - and explain it all in a clean, jargon-free, way that demystifies the whole process, with infectious enthusiasm that will have you ready, eager and bursting with the confidence to take your writing to the next level. - Writing Magazine |
| creative writing course syllabus: The Artful Edit: On the Practice of Editing Yourself Susan Bell, 2008-07-29 An intimate, lively guide to the magic and mechanics of editing by a veteran editor and writer, this book explores the many-faceted and often misunderstood--or simply overlooked--art of editing. |
| creative writing course 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 course syllabus: The Creative Writer, Level One: Five Finger Exercise (The Creative Writer) Boris Fishman, 2015-07-29 A gentle, imaginative introduction to the skills all creative writers need. Breaking down the elements that go into successful imaginative works, The Creative Writer leads aspiring writers through the skills needed to construct each. The assignments, designed to make students more aware of language and more confident in their own ingenuity, build on each other until beginning creative writers have successfully created their own stories, poems, and essays. • Simple but innovative exercises encourage young writers to strengthen their vocabulary and become aware of the patterns of sentences • Legends and folklore are used to teach point of view, characterization, plotting, and other vital skills • Classic poetry serves as a model for the student’s own original poems • Unlike most “how to write” books, The Creative Writer is designed to be used in a mentor/student relationship, with teaching, guidance, and evaluation tips provided for the mentor or teacher • Can be used as a complement to Writing With Skill or on its own |
| creative writing course syllabus: Creative Writing: Four Genres in Brief David Starkey, 2016-12-16 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. |
| creative writing course 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 course 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 course 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 course syllabus: Laziness Does Not Exist Devon Price, 2021-01-05 From social psychologist Dr. Devon Price, a conversational, stirring call to “a better, more human way to live” (Cal Newport, New York Times bestselling author) that examines the “laziness lie”—which falsely tells us we are not working or learning hard enough. Extra-curricular activities. Honors classes. 60-hour work weeks. Side hustles. Like many Americans, Dr. Devon Price believed that productivity was the best way to measure self-worth. Price was an overachiever from the start, graduating from both college and graduate school early, but that success came at a cost. After Price was diagnosed with a severe case of anemia and heart complications from overexertion, they were forced to examine the darker side of all this productivity. Laziness Does Not Exist explores the psychological underpinnings of the “laziness lie,” including its origins from the Puritans and how it has continued to proliferate as digital work tools have blurred the boundaries between work and life. Using in-depth research, Price explains that people today do far more work than nearly any other humans in history yet most of us often still feel we are not doing enough. Filled with practical and accessible advice for overcoming society’s pressure to do more, and featuring interviews with researchers, consultants, and experiences from real people drowning in too much work, Laziness Does Not Exist “is the book we all need right now” (Caroline Dooner, author of The F*ck It Diet). |
| creative writing course syllabus: Creative Writing Jane Yeh, 2013-12-19 Creative Writing is a complete writing course that will jump-start your writing and guide you through your first steps towards publication. Suitable for use by students, tutors, writers’ groups or writers working alone, this book offers: a practical and inspiring section on the creative process, showing you how to stimulate your creativity and use your memory and experience in inventive ways in-depth coverage of the most popular forms of writing, in extended sections on fiction, poetry and life writing, including biography and autobiography, giving you practice in all three forms so that you might discover and develop your particular strengths a sensible, up-to-date guide to going public, to help you to edit your work to a professional standard and to identify and approach suitable publishers a distinctive collection of exciting exercises, spread throughout the workbook to spark your imagination and increase your technical flexibility and control a substantial array of illuminating readings, bringing together extracts from contemporary and classic writings in order to demonstrate a range of techniques that you can use or adapt in your own work. Creative Writing: A Workbook with Readings presents a unique opportunity to benefit from the advice and experience of a team of published authors who have also taught successful writing courses at a wide range of institutions, helping large numbers of new writers to develop their talents as well as their abilities to evaluate and polish their work to professional standards. These institutions include Lancaster University and the University of East Anglia, renowned as consistent producers of published writers. |
| creative writing course syllabus: The Course Syllabus Judith Grunert O'Brien, Barbara J. Millis, Margaret W. Cohen, 2008-03-28 When it was first published in 1997, The Course Syllabus became the gold standard reference for both new and experienced college faculty. Like the first edition, this book is based on a learner-centered approach. Because faculty members are now deeply committed to engaging students in learning, the syllabus has evolved into a useful, if lengthy, document. Today's syllabus provides details about course objectives, requirements and expectations, and also includes information about teaching philosophies, specific activities and the rationale for their use, and tools essential to student success. |
| creative writing course syllabus: Modern Greek Poetry Kimon Friar, 1968 Kimon Friar talks about modern Greek poets and their poetry. |
| creative writing course 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 course syllabus: Learning How to Learn Barbara Oakley, PhD, Terrence Sejnowski, PhD, Alistair McConville, 2018-08-07 A surprisingly simple way for students to master any subject--based on one of the world's most popular online courses and the bestselling book A Mind for Numbers A Mind for Numbers and its wildly popular online companion course Learning How to Learn have empowered more than two million learners of all ages from around the world to master subjects that they once struggled with. Fans often wish they'd discovered these learning strategies earlier and ask how they can help their kids master these skills as well. Now in this new book for kids and teens, the authors reveal how to make the most of time spent studying. We all have the tools to learn what might not seem to come naturally to us at first--the secret is to understand how the brain works so we can unlock its power. This book explains: Why sometimes letting your mind wander is an important part of the learning process How to avoid rut think in order to think outside the box Why having a poor memory can be a good thing The value of metaphors in developing understanding A simple, yet powerful, way to stop procrastinating Filled with illustrations, application questions, and exercises, this book makes learning easy and fun. |
| creative writing course syllabus: Conquistador of the Useless Joshua Isard, 2013-06-11 Average suburban middle manager Nathan's life starts to unravel around him as his wife goes baby crazy, his friend wants to climb Everest, and he lends a copy of Cat's Cradle to a local teenage girl. |
| creative writing course syllabus: Monkeys with Typewriters Scarlett Thomas, 2012-09-06 Stories are everywhere... Exploring the great plots from Plato to The Matrix and from Tolstoy to Toy Story, this is a book for anyone who wants to unlock any narrative and learn to create their own. With startling and original insights into how we construct stories, this is a creative writing book like no other. It will show you how to read and write better. |
| creative writing course 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 course syllabus: What If? Anne Bernays, 1991-11-20 What If? is the first handbook for writers based on the idea that specific exercises are one of the most useful and provocative methods for mastering the art of writing fiction. With more than twenty-five years of experience teaching creative writing between them, Anne Bernays and Pamela Painter offer more than seventy-five exercises for both beginners and more experienced writers. These exercises are designed to develop and refine two basic skills: writing like a writer and, just as important, thinking like a writer. They deal with such topics as discovering where to start and end a story; learning when to use dialogue and when to use indirect discourse; transforming real events into fiction; and finding language that both sings and communicates precisely. What If? will be an essential addition to every writer's library, a welcome and much-used companion, a book that gracefully borrows a whisper from the muse. |
| creative writing course syllabus: How Not to Write a Novel Howard Mittelmark, Sandra Newman, 2009-03-17 What do you think of my fiction book writing? the aspiring novelist extorted. Darn, the editor hectored, in turn. I can not publish your novel! It is full of what we in the business call 'really awful writing.' But how shall I absolve this dilemma? I have already read every tome available on how to write well and get published! The writer tossed his head about, wildly. It might help, opined the blonde editor, helpfully, to ponder how NOT to write a novel, so you might avoid the very thing! Many writing books offer sound advice on how to write well. This is not one of those books. On the contrary, this is a collection of terrible, awkward, and laughably unreadable excerpts that will teach you what to avoid—at all costs—if you ever want your novel published. In How Not to Write a Novel, authors Howard Mittelmark and Sandra Newman distill their 30 years combined experience in teaching, editing, writing, and reviewing fiction to bring you real advice from the other side of the query letter. Rather than telling you how or what to write, they identify the 200 most common mistakes unconsciously made by writers and teach you to recognize, avoid, and amend them. With hilarious mis-examples to demonstrate each manuscript-mangling error, they'll help you troubleshoot your beginnings and endings, bad guys, love interests, style, jokes, perspective, voice, and more. As funny as it is useful, this essential how-NOT-to guide will help you get your manuscript out of the slush pile and into the bookstore. |
| creative writing course 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 course syllabus: Creative Writing for Critical Thinking Hélène Edberg, 2018-02-08 This book explores narrative imagination and emotion as resources for learning critical meta-reflection. The author examines the learning trajectories of several students as they engage in learning to think critically through a new approach to creative writing, and details how learning through writing is linked to new discoursal identities which are trialled in the writing process. In doing so, she analyses the processes of expansion and change that result from the negotiations involved in learning through writing. This volume offers a completely new approach to creative writing, including useful practical advice as well as a solid theoretical base. It is sure to appeal to students of creative writing and discourse analysis as well as applied linguistics and language as identity. |
| creative writing course syllabus: High School ELA 2 Practice Workbook - English Language Arts Online Assessments and Standards-Based Lessons Lumos Learning, 2020-10-25 High School ELA 2 Practice Workbook - English Language Arts Online Assessments and Standards-based Lessons: Lumos Skills Mastery Grade 10 |
| creative writing course 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 course syllabus: High School ELA 1 Practice Workbook - English Language Arts Online Assessments and Standards-Based Lessons Lumos Learning, 2020-07-31 High School ELA 1 Practice Workbook - English Language Arts Online Assessments and Standards-based Lessons: Lumos Skills Mastery Grade 9 |
| creative writing course syllabus: The Next American Essay John D'Agata, 2003-02 A collection of nonfiction essays on such topics as culture, myth, history, romance, and sex includes contributions by such authors as Guy Davenport, Annie Dillard, Jamaica Kincaid, and Susan Sontag. In this singular collection, John D'Agata takes a literary tour of lyric essays written by the masters of the craft. Beginning with 1975 and John McPhee's ingenious piece, the Search for Marvin Gardens, D'Agata selects an example of creative nonfiction for each subsequent year. These essays are unrestrained, elusive, explosive, mysterious, a personal lingual playground. They encompass and illuminate culture, myth, history, romance, and sex. Each essay is a world of its own, a world so distinctive it resists definition. |
| creative writing course syllabus: Python for Everybody Charles R. Severance, 2016-04-09 Python for Everybody is designed to introduce students to programming and software development through the lens of exploring data. You can think of the Python programming language as your tool to solve data problems that are beyond the capability of a spreadsheet.Python is an easy to use and easy to learn programming language that is freely available on Macintosh, Windows, or Linux computers. So once you learn Python you can use it for the rest of your career without needing to purchase any software.This book uses the Python 3 language. The earlier Python 2 version of this book is titled Python for Informatics: Exploring Information.There are free downloadable electronic copies of this book in various formats and supporting materials for the book at www.pythonlearn.com. The course materials are available to you under a Creative Commons License so you can adapt them to teach your own Python course. |
| creative writing course syllabus: The Best British Poetry 2015 Emily Berry, Roddy Lumsden, 2015 The best British poetry 2015 presents the finest and most engaging poems found in literary magazines and webzines over the past year. The mateial gathered represents the rich variety of current UK poetry. --Cover. |
| creative writing course syllabus: Poems of the Decade Forward Arts Foundation, 2015-03-19 'These annual anthologies of the poems in the running for the Forward Prizes remain the best way of encountering the richness that new poetry has to offer.' Daily Telegraph |
| creative writing course syllabus: As an Alien in a Land of Promise Hank Kalet, 2016-09-26 As an Alien in a Land of Promise is a poem by Hank Kalet and Photographs by Sherry Rubel based on the Tent City community in Lakewood, New Jersey. |
| creative writing course 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 course syllabus: Teaching Creative Writing Stephanie Vanderslice, 2024-01-25 The only textbook of its kind, this all-in-one introduction guides you through the history, theories and practices of creative writing you need to know to teach this ever-expanding and infinitely rewarding subject successfully in higher education. Asking you to think reflectively about the discipline throughout, this book offers a bridge between teaching and learning of the subject to help you develop effective and informed methods that will enliven your classroom and help you discover the best practice for you. Based on the author's two decades of teaching and research in creative writing theory and pedagogy, and on feedback from a range of instructors in the field, Stephanie Vanderslice brings forward this essential companion for students and teachers engaging with the study and instruction of creative writing. Written in Vanderslice's trademark cogent, conversational style, Teaching Creative Writing gives you the tools to understand creative writing as a subject and a practice and offers you a ready-to-use blueprint for planning your first creative writing classes. It covers such critical topics as: - How research into the development of the creative writer might influence your classroom environment - The need to free students from damaging myths and pervasive lore - The use of revision and editing - Creating inclusive classroom spaces and workshops - The place of genre in creative writing - Teaching students to work multi-modally - How to assess and grade work - Introducing students to the literary community - Teaching creative writing online Building on what it means to teach creative writing in the 21st century, this book leads you through creating your own syllabi, course plans, and statements of teaching philosophies, features capsule interviews with experts on key topics, and includes an online companion resource which features teacher guides to using the book. |
| creative writing course 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 course syllabus: Creative Writing in the Digital Age Michael Dean Clark, 2015-01-29 Creative Writing in the Digital Age explores the vast array of opportunities that technology provides the Creative Writing teacher, ranging from effective online workshop models to methods that blur the boundaries of genre. From social media tools such as Twitter and Facebook to more advanced software like Inform 7, the book investigates the benefits and potential challenges these technologies present instructors in the classroom. Written with the everyday instructor in mind, the book includes practical classroom lessons that can be easily adapted to creative writing courses regardless of the instructor's technical expertise. |
| creative writing course syllabus: The Cambridge Introduction to Creative Writing David Morley, 2007-05-10 Publisher description |
| creative writing course 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. |
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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 …
CREATIVE definition and meaning | Collins English Dictio…
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 animals. 2. …
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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 …
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 definition of creative. adj. 1. Having the ability or power to create: Human …
