This concise handbook helps educators write for the rhetorical situations they will face as students of education, and as preservice and practicing teachers. It provides clear and helpful advice for responding to the varying contexts, audiences, and purposes that arise in four written categories in education: classroom, research, credential, and…

Teen literature expert Carstensen, creator and editor of "School Library Journal"'s Adult Books 4 Teens blog, presents this comprehensive resource for serving the reading interests of teens in all types of libraries. Moving far beyond merely offering lists of book titles, this RA guide specifically helps librarians and educators in…

Based on more than twenty years' experience working to get boys interested in reading, the author now offers his first readers' advisory volume. With an emphasis on nonfiction and the boy-friendly categories of genre fiction, the work offers a wealth of material including: (1) Suggestions for how to booktalk one-on-one as well as in large groups;…

Recently, many new and veteran authors have begun creating modern vampires that are seducing readers with their tales of mystery, suspense, and hunger. Their audiences span most age groups, but teens especially seem to be drawn to these books. As such, librarians must develop a better understanding of which vampire stories really stand out. In…

This book is based on the belief that deep subject knowledge of language and literature provides a foundation for effective teaching and learning. It provides a guide to the range of genres and characteristic features of English language fiction written for children. It is designed to help readers to develop their understanding of literature…

Discusses how the nonfiction genre of natural history literature (particularly by women writers) provides a valuable addition to the college English curriculum. (MM)

Suggests that composing "haiku" requires a discipline in a person's thinking and emoting patterns similar to that of a general semantics system for training people to make sense. Describes how such haiku are written and gives some guidelines to help individuals create their own. (PA)

Discusses the complexity of naming nonfiction as a class of written works. Struggles with many different possible definitions of nonfiction and considers the problems with many of the definitions. Suggests the use of the term "creative nonfiction" as an umbrella to cover the widest range of nonfiction literary production. Argues that…

Discusses the topic of creative nonfiction and how it is addressed throughout this special issue. Suggests that how creative nonfiction is placed does have implications for literature and writing, both creative and non. (SG)

Noting that the first adult fiction detective novel by an African-American was published in 1932, this bibliography lists and discusses 72 novels either written by African-Americans or featuring African-American detectives. The bibliography is divided into four sections: the first section discusses detective fiction written by African-American…

Points out the rich variety of poetry for teenagers available today, and suggests reasons why teenagers might have a difficult time finding it. Appends a list of more than 120 collections of poetry, arranged in categories. (SR)

This reading list is designed as a companion piece to Indiana's Academic Standards in English/Language Arts and is organized on four levels: Level 1, Grades K-2; Level 2, Grades 3-5; Level 3, Grades 6-8; and Level 4, Grades 9-12. It contains titles and authors for approximately 800 works. The Level 1 Reading List contains these sections: fiction…

Drawing on examples from the best and most popular works in mystery writing--from Raymond Chandler and Mickey Spillane to Scott Turow and Thomas Harris--this book introduces the fledgling writer to his or her most indispensable "partners in crime": character, plot, and procedure; the secrets to creating heroes and villains; the art of…

Focusing on satisfying the theatrical feature film audience, this book provides writers with the tools necessary to successfully create and market a screenplay. It includes "scribble exercises" every few pages--specific activities and questions to stir readers' reactions. Chapters in the book are: (1) Drama Is Conflict; (2) Satisfying…

Because playwrights are limited to textual elements that an audience can hear and see--dialogue and movement--much of a drama's tension and interest lie in the subtext, the characters' emotions and motives implied but not directly expressed by the text itself. The teacher must help students construct what in a novel the author may have made more…