Country Writer s Craft: Writing for country, regional and rural publications, covers one of the widest marketplaces for writers in the English-speaking world especially in the UK, Australia and the USA. Here we have examples of previously published materials, together with writers exercises to help build up an impressive portfolio from Suzanne Ruthven, who has written on country topics for over 30 years, as well as being author of A Treasury of the Countryside, Hearth & Garden, Life-Writes and Signposts For Country Living. ,

This national bestseller is "a significant contribution to discussions of the art of fiction and a necessary challenge to received views about whose stories are told, how they are told and for whom they are intended" (Laila Lalami, The New York Times Book Review). The traditional writing workshop was established with white male writers in mind; what we call craft is informed by their cultural values. In this bold and original examination of elements of writing—including plot, character, conflict, structure, and believability—and aspects of workshop—including the silenced writer and the imagined reader—Matthew Salesses asks questions to invigorate these familiar concepts. He upends Western notions of how a story must progress. How can we rethink craft, and the teaching of it, to better reach writers with diverse backgrounds? How can we invite diverse storytelling traditions into literary spaces? Drawing from examples including One Thousand and One Nights, Curious George, Ursula K. Le Guin's A Wizard of Earthsea, and the Asian American classic No-No Boy, Salesses asks us to reimagine craft and the workshop. In the pages of exercises included here, teachers will find suggestions for building syllabi, grading, and introducing new methods to the classroom; students will find revision and editing guidance, as well as a new lens for reading their work. Salesses shows that we need to interrogate the lack of diversity at the core of published fiction: how we teach and write it. After all, as he reminds us, "When we write fiction, we write the world."

Presents projects and ideas for designing and decorating with handmade country crafts. Includes patterns.

Provides projects and recipes for creating and preparing country-style food, crafts, and decorations.

This introductory creative writing text uses a unique, multi-genre approach to provide students with a broad-based knowledge of their craft, treating them as professional writers. Beginning by discussing elements common to all genres, this book underscores the importance of learning good writing habits before committing to a genre, encouraging writers to look beyond their genre expectations and learn from other forms. The book then devotes one chapter to each of the major literary genres: fiction, poetry, drama and creative nonfiction. These style-specific sections provide depth as they compare the different genres, furnishing students with a comprehensive understanding of creative writing as a discipline and fostering creativity. The discussion concludes with a chapter on digital media and an appendix on literary citizenship and publishing. With exercises at the end of each chapter, a glossary of literary terms, and a list of resources for further study, A Writer's Craft is the ideal companion to an introductory creative writing class. It has been listed as one of the 'Best Books for Writers' by Poets and Writers magazine.

We know that writing skills reinforce reading skills, but what’s the best way to capitalize on this beneficial relationship? By flipping the traditional "reading lesson first, writing lesson second" sequence, Colleen Cruz ingeniously helps you make the most of the writing-to-reading connection with carefully matched, conceptually connected lesson pairs. The result is a healthy reciprocity that effectively and efficiently develops students’ literacy skills. Backed by long-term academic and field research, Writers Read Better presents a series of 50 tightly interconnected lesson pairs that can be implemented either as supplement existing curriculum or as a stand alone module. Each pairing leads with a writing lesson, used as a springboard for the reading lesson that will follow. Throughout the book’s four sections, organized to cover distinct and complementary phases of working with non-fiction texts, you’ll discover Helpful insights on preparing for the section’s overarching goals Clear guidance on the intention of each lesson, what materials are required, and step-by-step plans for leading the activity Sample teacher language for leading the lesson Tips on building and organizing your classroom library, and how you can incorporate the tools, technology and media available in your classroom to make each lesson most effective Sample student work, online videos and other supporting resources Complete with practical suggestions on adapting the lessons to suit the particular needs of your classroom as well as individual students, Writers Reader Better offers a solid foundation for giving your students the advantage of powerful, transferable literacy skills.

In this study of the Canadian novelist Margaret Laurence, recent narratological models provide the theoretical framework for a textual analysis that aims at complementing previous thematic critiques. The chief focus is on The Stone Angel and The Diviners, which the conclusion then presents in the context of the other novels in Laurence's Manawaka cycle. Consideration of the published works is rounded off with genetic comparison of the novelist's typescript drafts and an evaluation of the manuscript notes kept in the archives of McMaster and York Universities. The central structural principle of The Stone Angel is its dovetailing of past and present scenes. Temporal arrangement, reflecting the frequency and duration of Hagar's memories, reveals the hold of memory over the central character and her attempts to suppress her fear of mortality. Hagar-as-narrator manipulates character-presentation and description to her own advantage. In a basically oppositional structure, her need for control is reflected in the neat ordering of the narrative. The verbal texture of the novel serves to establish a value system that insists on the superiority of imported culture over Western Canadian forms. The Diviners shares a number of narrative similarities with The Stone Angel, but the latter's formal rigidity has yielded, by the time Laurence writes her last novel, to the concept of multiplicity - characters, time planes, perspectives and narrative voices (including metafictional commentaries). Textual coherence is secured via narrative strategies (including typography, generational paradigms, repetition, parallelism, intertextuality, and tropological patterning) that render the novel readable and present experience as ordered in a time of cultural flux and personal crisis.

This ebook has been updated to provide you with the latest guidance on documenting sources in MLA style and follows the guidelines set forth in the MLA Handbook, 9th edition (April 2021). Explore the pervasive influence of language on our lives while becoming a better academic writer with Language Awareness.