In this brilliantly imagined book, author Danell Jones mines the diaries, essays, correspondence, and fiction of a literary legend to create an unforgettable master class in the art of writing. Using Virginia Woolf’s own words, this inspiring, instructive, and entertaining guide will delight fans, students, and teachers alike—and at last give Woolf a classroom of her own. Imagine what it might be like if Virginia Woolf were teaching a writers’ workshop. What would she say? What elements of her own experience would writers today find valuable? Now one need only to look within these pages to find out. For here, perched at the podium of a classroom, Woolf shares her wisdom on a range of matters, including: The value of experimentation How to use a journal for inspiration The importance of reading, walking, and practicing Methods for learning from great writers Also included are “writing sparks”—exercises for writers of all levels—inspired by Woolf’s best-known works, plus the original sources of all of Woolf’s quotes for deeper exploration. Let Woolf’s utterly unique vision guide you to your own distinct voice at the same time that you deepen your appreciation and knowledge of her as a revolutionary writer and thinker. This practical reference motivates and inspires readers to embrace their personal vision through the spirit of one of the foremost literary talents of the twentieth century.

“Make [your] characters want something right away—even if it’s only a glass of water. Characters paralyzed by the meaninglessness of modern life still have to drink water from time to time.” —Kurt Vonnegut “‘The cat sat on the mat’ is not the beginning of a story, but ‘the cat sat on the dog’s mat’ is.” —John Le Carré Nothing is more inspiring for a beginning writer than listening to masters of the craft talk about the writing life. But if you can’t get Vladimir Nabokov, Virginia Woolf, and Gabriel García Márquez together at the Algonquin, The Modern Library Writer’s Workshop gives you the next best thing. Stephen Koch, former chair of Columbia University’s graduate creative writing program, presents a unique guide to the craft of fiction. Along with his own lucid observations and commonsense techniques, he weaves together wisdom, advice, and inspiring commentary from some of our greatest writers. Taking you from the moment of inspiration (keep a notebook with you at all times), to writing a first draft (do it quickly! you can always revise later), to figuring out a plot (plot always serves the story, not vice versa), Koch is a benevolent mentor, glad to dispense sound advice when you need it most. The Modern Library Writer’s Workshop belongs on every writer’s shelf, to be picked up and pored over for those moments when the muse needs a little help finding her way.

This study argues that Virginia Woolf taught herself to be a feminist artist and public intellectual through her revisionary reading. Fernald gives a clear view of Woolf's tremendous body of knowledge and her contrast references to past literary periods

A vivid biography of an African Edwardian chronicler of London, in a time of social upheaval.

Woolf Editing / Editing Woolf focuses on Woolf as editor both of her own work and of the Hogarth Press, and on editing Woolf—on the conflation of textual and theoretical criticism of Woolf’s oeuvre. Since many contributors are editors, creative writers, and critics, contributions highlight the intersections of those three roles. The essays variously addressed the “granite” of close textual reading and the “rainbow” of theoretical approaches to Woolf’s writings. Several more flexible versions of editing emerge in the papers that discuss adaptations of Woolf to film, theatre, and music. Brenda Silver’s contribution in memory of Julia Briggs opens the volume, and James Haule’s contribution concludes it.

These unique essays focus primarily on Woolf's non-fiction and considers her in the context of the modernist marketplace. With research based on new archival material, this volume makes important new contributions to the study of the 'gift economy.'

This book explores the effectiveness of the workshop in the Creative Writing classroom, and looks beyond the question of whether or not the workshop works to address the issue of what an altered pedagogical model might look like. In visualising what else is possible in the workshop space, the sixteen chapters collected in ‘Does the Writing Workshop Still Work?’ cover a range of theoretical and pedagogical topics and explore the inner workings and conflicts of the workshop model. The needs of a growing and diverse student population are central to the chapter authors’ consideration of non-normative pedagogies. The book is a must-read for all teachers of Creative Writing, as well as for researchers in Creative Writing Studies.