Following everyone from Frankenstein’s Monster to King Lear’s Fool, Charles Dickens to Virginia Woolf, this is a loving spoof of our literary favorites, and a hilarious collection for a twenty-first century generation of readers. Long live the Classics: 2.0! When humorist Sarah Schmelling transformed Hamlet into a Facebook news feed on McSweeney’s, it launched the next big humor trend—Facebook lit. In this world, the king “pokes” the queen, Hamlet becomes a fan of daggers, and Ophelia renounces her interest in moody princes. Now, what began as an internet phenomenon is a book. Ophelia Joined The Group Maidens Who Don’t Float: Classic Lit Signs on to Facebook is a clever spoof of the most-trafficked social networking website and a playful game of literary who’s who. The book brings more than fifty authors and stories from classic literature back to life and online, and it is sure to have book lovers and Facebook addicts alike twittering with joy. From The Odyssey to The Adventures of Huckleberry Finn, Pride and Prejudice to Lolita, Schmelling brings the conventions of social networking—profile pages, status updates, news feeds, games and quizzes—to some of literature’s most well-known works, authors and characters.

Following everyone from Frankenstein’s Monster to King Lear’s Fool, Charles Dickens to Virginia Woolf, this is a loving spoof of our literary favorites, and a hilarious collection for a twenty-first century generation of readers. Long live the Classics: 2.0! When humorist Sarah Schmelling transformed Hamlet into a Facebook news feed on McSweeney’s, it launched the next big humor trend—Facebook lit. In this world, the king “pokes” the queen, Hamlet becomes a fan of daggers, and Ophelia renounces her interest in moody princes. Now, what began as an internet phenomenon is a book. Ophelia Joined The Group Maidens Who Don’t Float: Classic Lit Signs on to Facebook is a clever spoof of the most-trafficked social networking website and a playful game of literary who’s who. The book brings more than fifty authors and stories from classic literature back to life and online, and it is sure to have book lovers and Facebook addicts alike twittering with joy. From The Odyssey to The Adventures of Huckleberry Finn, Pride and Prejudice to Lolita, Schmelling brings the conventions of social networking—profile pages, status updates, news feeds, games and quizzes—to some of literature’s most well-known works, authors and characters.

The writing in this book is so bad, it deserves its own taxonomy of suckitude. Gillian Flynn, Mary Roach, Dave Eggers, Rick Moody, Chuck Palahniuk, Amy Tan, A.J. Jacobs, Daniel Clowes, Jeff Greenwald, Po Bronson…the list goes on. They all sucked once, and they all have the guts to share some of their crappiest early work in Drivel: an uplifting bit of voyeurism, based on the sold-out “Regreturature” stage shows in San Francisco, and brought to you by Litquake and the San Francisco Writers’ Grotto. Within these pages you’ll find abstruse and esoteric poetry (bad); incoherent and illogical short stories (worse); bumfuzzling proto-journalism (shameful); and pretentious, overwrought journal entries (we’ll not speak of this again). Thanks to these courageous but foolhardy writers, the world now knows the real meaning of a work-in-progress.

Digital Storytelling shows you how to create immersive, interactive narratives across a multitude of platforms, devices, and media. From age-old storytelling techniques to cutting-edge development processes, this book covers creating stories for all forms of New Media, including transmedia storytelling, video games, mobile apps, and second screen experiences. The way a story is told, a message is delivered, or a narrative is navigated has changed dramatically over the last few years. Stories are told through video games, interactive books, and social media. Stories are told on all sorts of different platforms and through all sorts of different devices. They’re immersive, letting the user interact with the story and letting the user enter the story and shape it themselves. This book features case studies that cover a great spectrum of platforms and different story genres. It also shows you how to plan processes for developing interactive narratives for all forms of entertainment and non-fiction purposes: education, training, information and promotion. Digital Storytelling features interviews with some of the industry’s biggest names, showing you how they build and tell their stories.

This fourth edition of Digital Storytelling: A creator's guide to interactive entertainment dives deeply into the world of interactive storytelling, a form of storytelling made possible by digital media. Carolyn Handler Miller covers both the basics – character development, structure and the use of interactivity – and the more advanced topics, such as AI (Artificial Intelligence), narratives using AR and VR, and Social Media storytelling. The fourth edition also includes a greatly expanded section on immersive media, with chapters on the exciting new world of the world of XR (AR, VR, and mixed reality), plus immersion via large screens, escape rooms and new kinds of theme park experiences. This edition covers all viable forms of New Media, from video games to interactive documentaries. With numerous case studies that delve into the processes and challenges of developing works of interactive narrative, this new edition illustrates the creative possibilities of digital storytelling. The book goes beyond using digital media for entertainment and covers its employment for education, training, information and promotion, featuring interviews with some of the industry’s biggest names. Key Features: A large new section covering various forms of immersive media, including VR, AR and Mixed Reality Breakthroughs in interactive TV and Cinema The use of VR, AR and mixed reality in gaming New forms of voice-enabled storytelling and gaming Stories told via mobile apps and social media Developing Digital Storytelling for different types of audiences

The first comprehensive collection of hands-on exercises that bring active learning to the literature classroom This is the first comprehensive collection of hands-on, active learning exercises for the college literature classroom, offering ideas and inspiration for new and veteran teachers alike. These 101 surefire lesson plans present creative and interactive activities to get all your students talking and learning, from the first class to final review. Whether you are teaching majors or nonmajors, genres or periods, canonical or noncanonical literature, medieval verse or the graphic novel, this volume provides practical and flexible exercises for creating memorable learning experiences. Help students learn more and retain that knowledge longer by teaching them how to question, debate, annotate, imitate, write, draw, map, stage, or perform. These user-friendly exercises feature clear and concise step-by-step instructions, and each exercise is followed by helpful teaching tips and descriptions of the exercise in action. All encourage collaborative learning and many are adaptable to different class sizes or course levels. A collection of successful approaches for teaching fiction, poetry, and drama and their historical, cultural, and literary contexts, this indispensable book showcases the tried and true alongside the fresh and innovative. 101 creative classroom exercises for teaching literature Exercises contributed by experienced teachers at a wide range of colleges and universities Step-by-step instructions and teaching tips for each exercise Extensive introduction on the benefits of bringing active learning to the literature classroom Cross-references for finding further exercises and to aid course planning Index of literary authors, works, and related topics

Explores the place of Shakespeare in relation to artistic practices and activities, past and presentThis substantial reference work explores the place of Shakespeare in relation to cultural processes that take in publishing, exhibiting, performing, reconstructing and disseminating.The 30 newly commissioned chapters are divided into 6 sections: * Shakespeare and the Book* Shakespeare and Music* Shakespeare on Stage and in Performance* Shakespeare and Youth Culture* Shakespeare, Visual and Material Culture* Shakespeare, Media and Culture. Each chapter provides both a synthesis and a discussion of a topic, informed by current thinking and theoretical reflection.

Spectral Shakespeares is an illuminating exploration of recent, experimental adaptations of Shakespeare on film, TV, and the web. Drawing on adaptation studies and media theory as well as Jacques Derrida's work, this book argues that these adaptations foreground a cluster of self-reflexive "themes" - from incorporation to reiteration, from migration to addiction, from silence to survival - that contribute to the redefinition of adaptation, and Shakespearean adaptation in particular, as an unfinished and interminable process. The "Shakespeare" that emerges from these adaptations is a fragmentary, mediatized, and heterogeneous presence, a spectral Shakespeare that leaves a mark on our contemporary mediascape.

Instead of asking literature to meet the entertainment, cultural, and of course educational needs of today's youth, Literature Activities Teens Actually Love empowers teachers to guide students in working with literature on their own terms in order to rediscover the joys it holds. Through a variety of innovative and highly engaging projects, this book will develop a new lens through which to view literature and its study, with activities that are at once highly entertaining yet encourage higher order thinking skills and strategies. Lesson plans incorporating alternatives as diverse as Facebook and quilting show how teachers and students can bridge the technology gap by finding creative solutions to traditional academic problems. By allowing students to use their technological skills to move from print to nonprint assessments, students will have the opportunity to explore the text with a greater degree of ownership over the process, resulting in autonomous learners. Grades 9-12

Love it or hate it, the five-paragraph essay is perhaps the most frequently taught form of writing in classrooms of yesterday and today. But have you ever actually seen five-paragraph essays outside of school walls? Have you ever found it in business writing, journalism, nonfiction, or any other genres that exist in the real world? Kimberly Hill Campbell and Kristi Latimer reviewed the research on the effectiveness of the form as a teaching tool and discovered that the research does not support the five-paragraph formula. In fact, research shows that the formula restricts creativity, emphasizes structure rather than content, does not improve standardized test scores, inadequately prepares students for college writing, and results in vapid writing. In Beyond the Five-Paragraph Essay, Kimberly and Kristi show you how to reclaim the literary essay and create a program that encourages thoughtful writing in response to literature. They provide numerous strategies that stimulate student thinking, value unique insight, and encourage lively, personal writing, including the following: Close reading (which is the basis for writing about literature) Low-stakes writing options that support students' thinking as they read Collaboration in support of discussion, debate, and organizational structures that support writing as exploration A focus on students' writing process as foundational to content development and structure The use of model texts to write in the form of the literature students are reading and analyzingThe goal of reading and writing about literature is to push and challenge our students' thinking. We want students to know that their writing can convey something important: a unique view to share, defend, prove, delight, discover, and inspire. If we want our students to be more engaged, skilled writers, we need to move beyond the five-paragraph essay.