The Writer's Notebook offers aspiring authors the most enlightening and engaging seminars and essays from some of Tin House's favorite writers. Jim Shepard, Aimee Bender, Steve Almond, Antonya Nelson and others break down specific elements of craft and share insights into the joys and pains of their own writing.

The Writing Workshop Note Book is devoted to making, remaking, and remarking on writing. Animated by a concern about how we relate to our own and others' writing and by a desire to have a felicitous effect on the reader's experience with writing and critiquing? and supported by his experience from decades of leading writing workshops? Ziegler has the following goals for this book;1) It will be useful if you are taking (or thinking of taking) a writing workshop.2) It will benefit workshop teachers.3) It will be a helpful companion to a solitary writer, who can be thought of as a ''workshop of one.''4) It will be pleasant to read! While this book does focus on the workshop experience, it is impossible to truly explore the workshop without dealing with the heart that sustains the workshop's brain; the act of creation. Thus, Part One is concerned with the work that leads to the drafts on the workshop table, and Part Two emphasizes what happens around the table while these drafts are critiqued. The two Parts are not discrete; the issues in Part One often occupy workshop discussion. Teachers of writing do not open up cans of lectures; pedagogy in workshops gets doled out in brief exegeses, organized opportunistically as the work comes across the table. Ziegler replicates this process by arranging the material into notes, which the reader can absorb sequentially or alight on as he flips through the pages.

Tap into your inner writer with this book of practical advice by the bestselling author of How Writers Work and the ALA Notable Book Fig Pudding. Writers are just like everyone else—except for one big difference. Most people go through life experiencing daily thoughts and feelings, noticing and observing the world around them. But writers record these thoughts and observations. They react. And they need a special place to record those reactions. Perfect for classrooms, A Writer’s Notebook gives budding writers a place to keep track of all the little things they notice every day. Young writers will love these useful tips for how to use notes and jottings to create stories and poems of their own.

Presents tips for elementary and middle school teachers on how to use writing notebooks to help students develop skills and habits associated with good writing.

In clear language, Fletcher and Portalupi explain the simple principles that underlie the writing workshop and explore the major components that make it work.

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.

When writing workshop first blossomed in classrooms, its hallmarks were genuine curiosity, individual choice, quality conversations, and engaging children's literature. A joyous hum of intention, creativity, and craft enlivened the school day. But today's teachers are often faced with a range of obstacles, as new initiatives are embraced, mandates handed down, and scripted programs purchased. Sometimes teachers must sacrifice the original principles of writing workshop and lose that joyous hum. Above and Beyond the Writing Workshop by Shelley Harwayne is filled with original, joyful writing challenges designed to bring back the spirit of the original writing workshop model while encouraging educators to enhance it through invention, innovation, and inspiration. These challenges are meant to generate other lessons and other projects, as teachers come to realize that teaching writing is not only possible but perhaps the most important, relevant, and gratifying part of their instruction. Shelley invites teachers to keep the groundbreaking spirit alive by: taking back their writing workshops finding time for professional conversations trying out new ideas in the company of colleagues encouraging children to be inquisitive, outspoken, and independent reminding children how fascinating the world is helping students delight in figuring out how things work and then teaching others what they have learned offering children an opportunity to think deeply about their passions and giving one another new things to love showing children that high quality writing can and will make a difference in the world. Shelley believes children who write what matters to them - their experiences, their beliefs, their observations - will find their lives enhanced. She seeks to raise activists who, by becoming more aware of the world and asking why things are the way they are, will be empowered to make it better.