Describes a high school unit which combines the writing of children's stories with the reading of the finished stories to primary school students. (DD)

Defines and describes the "models approach,""activities approach," and "models and activities approach." (DD)

Explores the creative process in writing "close to the bone" by examining the origin and development of stories in Eric Carle's book Flora and Tiger. Discusses the use of autobiography, voice, detail, subconscious, and the roles of freedom and discipline in storytelling. Includes a selected bibliography of Eric Carle's picture books.…

Shows how the modeling of established poetic forms can help community college students to write poetry. (TB)

Considers how the idea of Hemingway's famous "iceberg" theory of fiction continues to find currency--especially among students of creative writing. Discusses the use of "truth" in fiction. Concludes that in Hemingway's short story, "The Butterfly and the Tank," more than anything else, truth lies submerged. (SG)

Outlines a weekend residential program that uses creative writing to raise environmental awareness through a polemical engagement with a specific local environmental issue. Notes that poetry, narrative, discursive writing, interview, and group presentations were all used in what became an introduction to environmental politics. Proposes that a…

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…

Offers a presentation of creative nonfiction addressing the author's personal family experiences. Addresses ethical issues involved in creative nonfiction. Describes how she decided to narrate her history and contemplates in depth the artistic choices she made. (SG)

Describes how the author's habit of fabrications and stories as a 10-year-old became a source for writing fiction. Notes how he pursued journalism as a profession, but was frustrated by its limitations. Considers how as a professional field, composition continues to contemplate and struggle with issues of power and representation in research and…

Considers what poets themselves have to say about poetry. Discusses how they write poems, why they write poems, and what poetry is good for. (RS)

Describes the process of writing a screenplay from the book "Sarah, Plain and Tall" and the collaboration involved in working with the directors for the production. Talks about the creative process of enlarging the scope but leaving the story intact. (MG)

Describes the author's poet-in-residency at Salmon, Idaho, through a series of letters and journal entries. Describes her planning and orientation; her experiences teaching poetry writing to students at all levels; the organization of a public reading; and her return to distribute an anthology of her students' work. (MM)

Offers several brief creative writing activities that are quick, convenient, and encourage students to enjoy and play with words and ideas. Presents these ideas in a calendar format, one for the primary level and one for the intermediate level. (SR)

Demonstrates that fiction can stand as a form of scholarly writing by blurring the genres of scholarship and fiction. (RAE)

Explains the guidelines for an exercise based on the poem "The Little Mute Boy" by F. Garcia Lorca. States that students are to: discuss synesthesia, the substitution of senses; explore the surreal senses; think about life without a sense; create a net of surprises; write a poem; and read the poem aloud. (PA)