Directing The Writing Workshop

This book is a practical, highly readable guide to teaching writing across a broad range of ages and grade levels (K-8). Each stage of the writing process is covered in detail, from setting a purpose for writing to drafting, revising, editing, and producing a "finished" product. The goal is to provide a comprehensive overview of writing development and best practices in teaching, richly illustrated with examples of student work. Teachers learn strategies and techniques to help students work independently and in groups to develop meaningful projects; master needed skills through engaging mini-lessons; produce various forms of fiction and nonfiction writing; and use literature as a source of inspiration and modeling. Special features include "Teacher's Tips" and quick-reference lists that reinforce key points and aid in instructional planning. An invaluable Appendix provides booklists for mini-lessons on a variety of thematic, stylistic, and grammatical topics.

"I'm done. What should I do now?" If you hear this question all too often during the independent work portion of writing workshop, Leah Mermelstein has a solution for making this time more productive for both students and teachers. Mermelstein argues that the "third essential element," creating self-directed writers, is key to the success of writing workshops. Using a wealth of classroom anecdotes, student samples, and specific teaching language, Mermelstein illustrates how even the youngest students can become self-directed learners. Her strategies include: creating an appropriate physical environment along with daily rituals and routines, scaffolding instruction with write-alouds and interactive writing; and planning unites, focus lessons, conferences, and shares that are aimed at helping kids become self-directed.

This book is a practical, highly readable guide to teaching writing across a broad range of ages and grade levels (K-8). Each stage of the writing process is covered in detail, from setting a purpose for writing to drafting, revising, editing, and producing a "finished" product. The goal is to provide a comprehensive overview of writing development and best practices in teaching, richly illustrated with examples of student work. Teachers learn strategies and techniques to help students work independently and in groups to develop meaningful projects; master needed skills through engaging mini-lessons; produce various forms of fiction and nonfiction writing; and use literature as a source of inspiration and modeling. Special features include "Teacher's Tips" and quick-reference lists that reinforce key points and aid in instructional planning. An invaluable Appendix provides booklists for mini-lessons on a variety of thematic, stylistic, and grammatical topics.

Night Bloom highlights the power of creative expression in prison writing workshops. Community, courage, and creativity help inmates find themselves in the ongoing story that is their lives. Honesty about the past, finding words in the present, and imagining a future all add up to framing a larger sense of humanity. Through vignettes, profiles, essays, and examples of inmate writing it demonstrates the roles creative writing can play in broadening the horizon of what is humanly possible, even in the context of prison. Collects works from the Creative Writing Workshops at the Arizona State Prison Complex in Tucson, Arizona.

The Writing Center Director's Resource Book has been developed to serve as a guide to writing center professionals in carrying out their various roles, duties, and responsibilities. It is a resource for those whose jobs not only encompass a wide range of tasks but also require a broad knowledge of multiple issues. The volume provides information on the most significant areas of writing center work that writing center professionals--both new and seasoned--are likely to encounter. It is structured for use in diverse institutional settings, providing both current knowledge as well as case studies of specific settings that represent the types of challenges and possible outcomes writing center professionals may experience. This blend of theory with actual practice provides a multi-dimensional view of writing center work. In the end, this book serves not only as a resource but also as a guide to future directions for the writing center, which will continue to evolve in response to a myriad of new challenges that will lie ahead.

Unique among directing books, Film Directing Fundamentals provides a clear-cut methodology for translating a script to the screen. Using the script as a blueprint, Proferes leads the reader through specific techniques to analyze and translate its components into a visual story. A sample screenplay is included that explicates the techniques. The book assumes no knowledge and thus introduces basic concepts and terminology.

"A refreshingly raw, contrasting perspective on the foolproof idea of motherhood." -- POPSUGAR "By turns painful and funny... A searingly candid memoir." -- Kirkus "Far from your cookie-cutter story of addiction . . . [I'm Just Happy to Be Here] describes Hanchett's journey to recovery and sobriety in imperfect and unconventional ways." -- Bustle In this unflinching and wickedly funny memoir, Janelle Hanchett tells the story of finding her way home. And then, actually staying there. Drawing us into the wild, heartbreaking mind of the addict, Hanchett carries us from motherhood at 21 with a man she'd known three months to cubicles and whiskey-laden domesticity, from judging meth addicts in rehab to therapists who "seem to pull diagnoses out of large, expensive hats." With warmth, wit, and searing B.S. detectors turned mostly toward herself, Hanchett invites us to laugh when we probably shouldn't and to rejoice at the unconventional redemption she finds in desperation and in a misfit mentor who forces her to see the truth of herself. A story of ego and forced humility, of fierce honesty and jagged love, of the kind of failure that forces us to re-create our lives, Hanchett writes with rare candor, scorching the "sanctity of motherhood," and leaving beauty in the ashes.

This book explores the effectiveness of the writing workshop in the Creative Writing classroom, searching beyond the question of whether or not the workshop works to consider alternative pedagogical models. The needs of a growing and diverse student population are central to the contributors' consideration of non-normative pedagogies. This book is a must-read for all teachers of Creative Writing.