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We work on public speaking, but that might be the least important part of what the reading does. We get students used to the idea of an audience when we have them read their work aloud, both in front of each other and as a performance at the end of the semester. Was that successful? What things did you feel while reading the piece? What “how” tools did you spot and how are they working?Ĥ. It’s not about whether you liked it or not, but rather what the author was attempting to do.
#Collaboratory classroom how to#
We teach students how to talk about their work and others’ work. Compassionate critical feedback as part of a revision process.
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Students respond to readings with their own creative work, sometimes made right there in class.ģ.
![collaboratory classroom collaboratory classroom](https://i.pinimg.com/474x/b4/f0/e6/b4f0e636f8f140be3d31f7e6795857aa.jpg)
It’s an actionable thing that anyone can do, even with just a few minutes each day. Writing isn’t a sacred act that other people do. How can we apply the “how” to our own work?Ģ. Not just any reading, but reading outside the Western (white) literary canon, breaking pieces down into the “what” (what is this piece about?) and the “how” (what techniques is the author using to drive the point home? Dialogue? Short sentences? Long sentences? Meter? Rhyme?). The second, to teach middle school boys the art and love of writing by structuring lessons around four key concepts:ġ. Our overall goals are twofold: first, give MFA candidates a chance to flex teaching muscles in an extremely rewarding and elastic classroom. They were empowered by the reception they received, and our students said they had a life-changing experience working with them. The boys’ work was powerful, funny and strong. (Current research suggests that even a one time visit to a college or university setting increases the likelihood that a child will attend college in the future.) The result was an overwhelming success. They hosted a reading at The New School for the boys at the end of the semester, that was attended by their families (some of whom never set foot in a University before), their fellow students and our community. The MFA students worked with Helen and George Jackson and developed a curriculum. Born of a desire to enrich these bright young men’s educational experience, introduce them to literary role models, and help them develop and trust their own voices, WriteOn! NYC was piloted by Fiction Chair, Professor Helen Schulman and two selected MFA candidates in January 2016.