Lori A. May – författare

This title provides aspiring Creative Writing graduate students with all the information they need on which low-residency program is best suited to them. "The Low-Residency MFA Handbook" offers prospective graduate students an in-depth preview of low-residency creative writing MFA programs. Interviews with program directors, faculty, alumni, and current students answer the many questions prospective graduates have, including: What happens during the non-residency semester? What are the brief residencies like? What community is established between faculty and fellow students? What opportunities are there for writers to gain pedagogical training through a low-residency format? And, most importantly, is the low-residency model right for you? These questions, and more, are answered in detail. The guide also clarifies the application process and offers application tips from program directors and alumni. It also considers funding, program structures, and unique opportunities such as editorships and assistantships. For prospective graduate students looking for detailed information, "The Low-Residency MFA Handbook" provides a personalized and genuinely useful overview.

Writing may be a solitary profession, but it is also one that relies on a strong sense of community. The Write Crowd offers practical tips and examples of how writers of all genres and experience levels contribute to the sustainability of the literary community, the success of others, and to their own well-rounded writing life. Through interviews and examples of established writers and community members, readers are encouraged to immerse themselves fully in the literary world and the community-at-large by engaging with literary journals, reading series and public workshops, advocacy and education programs, and more. In contemporary publishing, the writer is expected to contribute outside of her own writing projects. Editors and publishers hope to see their writers active in the community, and the public benefits from a more personal interaction with authors. Yet the writer must balance time and resources between deadlines, day jobs, and other commitments. The Write Crowd demonstrates how writers may engage with peers and readers, and have a positive effect on the greater community, without sacrificing writing time.

Writing may be a solitary profession, but it is also one that relies on a strong sense of community. The Write Crowd offers practical tips and examples of how writers of all genres and experience levels contribute to the sustainability of the literary community, the success of others, and to their own well-rounded writing life. Through interviews and examples of established writers and community members, readers are encouraged to immerse themselves fully in the literary world and the community-at-large by engaging with literary journals, reading series and public workshops, advocacy and education programs, and more. In contemporary publishing, the writer is expected to contribute outside of her own writing projects. Editors and publishers hope to see their writers active in the community, and the public benefits from a more personal interaction with authors. Yet the writer must balance time and resources between deadlines, day jobs, and other commitments. The Write Crowd demonstrates how writers may engage with peers and readers, and have a positive effect on the greater community, without sacrificing writing time.

For decades theorists have opined that the lines between creative writing and composition need to be lifted, yet little has been written about the pedagogical methods that allow a cohesive approach between the disciplines. This book brings together contemporary authors and well-respected creative writing instructors and theorists to explore ways creativity in composition may be encouraged in student writers. The question in this anthology is not ‘Can writing be taught?’ but ‘How can we inspire students to embrace the creative process no matter what they write?’ This book offers multiple strategies to merge the best practices of teaching writing, regardless of the genre.

For decades theorists have opined that the lines between creative writing and composition need to be lifted, yet little has been written about the pedagogical methods that allow a cohesive approach between the disciplines. This book brings together contemporary authors and well-respected creative writing instructors and theorists to explore ways creativity in composition may be encouraged in student writers. The question in this anthology is not ‘Can writing be taught?’ but ‘How can we inspire students to embrace the creative process no matter what they write?’ This book offers multiple strategies to merge the best practices of teaching writing, regardless of the genre.