nature of creative writing pdf

As it was in the last edition, we have set first page as "A" and started "Title page" from "i".

Why is there a space here?

indent title on the second line so it's clear...

This should also be added under Nonfiction as well, the Hixson piece.

insert Hixson

change to "themes of the fourth edition" to avoid repeating "new" twice

The Fiction section is not appearing here... I'm not sure where it went.

I don't think we want his name here!!

AU: \(Global\) Please check if all such headings should \ be set in title case as given in the chapters.

Hyphen added here.

changed to lowercase

hyphen added here

semi colon added here

AU: Perhaps "creative"?

colon added here

AU: Please check if "The" sho\ uld be deleted as it is not a part of the name of university.

35 spelled out here

We have set first page as "A" and started "Title page" from "i". Accordingly page reference for Preface and About the Author is listed here.

AU: This style of this component of cha\ pters is given inconsistently in the contents. Please confirm one style that can be followed consistently throughout.

Content in Chapter 12 were removed at the later phase of the project, accordingly the TOC entries are removed here.

Write or Left

(6 reviews)

Sybil Priebe, North Dakota State College of Science

Copyright Year: 2016

Last Update: 2022

ISBN 13: 9798783934094

Publisher: Sybil Priebe

Language: English

Formats Available

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Learn more about reviews.

Reviewed by Corinne Ehrfurth, CE Instructor, Rochester Community & Technical College on 2/10/23

Priebe's book evocatively pushes the definition of "creative writing" to teach beyond the typical genres and modes. read more

Comprehensiveness rating: 5 see less

Priebe's book evocatively pushes the definition of "creative writing" to teach beyond the typical genres and modes.

Content Accuracy rating: 5

All the content looks accurate as well as engaging and thought-provoking.

Relevance/Longevity rating: 4

Leading with tweets could easily be replaced if this social media platform goes under after all the hullabaloo with Musk at the helm.

Clarity rating: 5

While Priebe's book plays off older texts with the ABCs, theses notes--such as the B, "inclusivity" (pg. 12), frames the textbook on a progressive scale that reaches outside notions of the pre-1980s literary canon. This textbook would not fit instructors concerned with a legacy and historical approach to creative writing.

Consistency rating: 5

The pattern of exercises, student examples, questions, tips or feedback continues throughout the entire textbook to provide modeling of habits, reasoning, and qualities of the genres of creative writing while also inviting classes of students to push the boundaries.

Modularity rating: 5

Hyper-modular with sound-bite like inclusions of tweets, call-out quotes, and other breaks in the text itself. The table of contents subdivides the last chapter into subheadings that the rest of the chapters could also be split into right away. Since the author cites herself (see a blog post on pg. 24 for example), some self-referential moments occur.

Organization/Structure/Flow rating: 5

The genre-based chapters provide a familiarity to long-time instructors of creative writing while also being student-friendly for writers who want to dive right away into something particular.

Interface rating: 4

The primary font choice becomes increasingly distracting the longer one reads, as it looks as if it's from a typewriter. Students with dyslexia might have greater issues reading this text when compared with other options.

Grammatical Errors rating: 4

Chapter titles and subtitles are not capitalized, which personally bothers me but fits the trendy style that might draw in younger students and less mature writers.

Cultural Relevance rating: 3

The more one reads this textbook, the less it makes good on its promise to include diverse voices since it features Walt Whitman and other typical canonical writers' excerpts as well as white people's or organization's tweets.

I especially enjoy how interactive this textbook would feel for writing students who want to hone and practice their craft.

Reviewed by Rachele Salvini, Emerging Writer Lecturer, Gettysburg College on 11/7/22

I decided to adopt Write or Left: an OER Book for Creative Writing Classes for my Introduction to Creative Writing classes for multiple reasons. The clarity and conciseness of the textbook makes it an excellent tool for college students who are... read more

I decided to adopt Write or Left: an OER Book for Creative Writing Classes for my Introduction to Creative Writing classes for multiple reasons. The clarity and conciseness of the textbook makes it an excellent tool for college students who are approaching writing creatively for the first time. I have used a few commercial textbooks and anthologies throughout the years, and while I found them to be extremely detailed and exhaustive, students seem to struggle with theoretical sections and they expressed difficulty understanding some of the anthologized readings. While most creative writing textbooks and anthologies might be extremely helpful for teachers, some of the selected readings might not be particularly accessible for students who are approaching reading literature as writers for the first time. However, the editors of Write or Left chose readings that seem to align with the taste and aesthetic that young writers find enjoyable or at least approachable.

Content Accuracy rating: 4

Introduction to Creative Writing is a class mostly based on workshops and lively discussions, but the students also need a foundational element — they need to familiarize themselves with a vocabulary that allows them to discuss writing. Write or Left provides brief and concise definitions that help the students navigate the vocabulary surrounding the particularities of poetry, fiction, creative nonfiction, and dramatic writing.

Relevance/Longevity rating: 3

While the book does not provide a wide or particularly updated range of readings for each genre, it covers the main concepts that students need to know to start talking about writing and workshopping each other’s work — which is, I think, the main purpose of the basic Introduction to Creative Writing course.

Write or Left is an excellent tool for students who are approaching creative writing for the first time and need to familiarize themselves with the most important terms to use during reading discussion and workshop. Notably, this book also covers more innovative aspects of creative writing — flash fiction and multimodal writing — to avoid a banal and cut-and-dry institutionalization of the four main genres, and show once again the fluid, regenerating, and ever-shifting nature of creative writing.

The textbook offers very clear and consistent definitions of terms that students of creative writing should get familiar with during an introductory course.

I am very excited with the briefness of the "theoretical" chapters, as students usually struggle with long chapters that break down the elements of craft in the four genres of creative writing. I would be happy to assign a whole chapter for the introductory class of each genre (each module).

I found it hard to make most commercial textbooks approachable for the students, who seem often confused by the readings or bored with the lengthy theoretical explanations of creative writing terms. This textbook might be implemented with readings chosen by the instructor, allowing the course to benefit from a personalized, unique approach to creative writing, which might feel more dynamic and adventurous than following a textbook or an anthology page by page. Write or Left might be a great tool for sections of Introduction to Creative Writing with a high student count, as instructors might struggle to find the time to workshop every student in each genre, and also cover the readings from a commercial textbook to make it worthwhile for students who spent a lot of money on it. In fact, a lot of Introduction to Creative Writing students might have to take Creative Writing as a requirement and not an elective course, so having them buy expensive textbooks that they might not really use throughout the semester and then ever again might be a waste.

Interface rating: 5

The textbook is extremely easy to access. I think the students will be very happy to access their book online for free.

Grammatical Errors rating: 5

I haven't found any grammatical errors.

Cultural Relevance rating: 4

The readings used as example might represent a wider range of experiences and identities, but overall I'm satisfied.

Reviewed by Yelizaveta Renfro, Assistant Professor of English, Saint Mary's College on 5/5/22

This book’s ambitious attempt to cover so much ground—fiction, poetry, nonfiction, drama, experimental fiction, and specialized genres like fantasy, science fiction, horror, and romance—is ultimately its biggest weakness. There is no way a single... read more

Comprehensiveness rating: 3 see less

This book’s ambitious attempt to cover so much ground—fiction, poetry, nonfiction, drama, experimental fiction, and specialized genres like fantasy, science fiction, horror, and romance—is ultimately its biggest weakness. There is no way a single textbook can adequately cover all of these areas (and especially a slim volume like this one). As a result, the book is only the most cursory exploration of these multiple creative forms, barely scratching the surface of the field of creative writing. I could not imagine assigning this book in any course that I teach at the college level. Even my introduction to creative course—which covers fiction, poetry, and creative nonfiction in one semester—requires a text that goes more deeply into these genres and that offers more substantial content.

I would like to see more precision and thoughtful wording, especially in defining terms. For example, the glossary definition of “fantasy” that is offered at the end of the book is, “the kind of writing that cannot take place in real life.” This is imprecise and even potentially confusing; doing the simplest internet search will yield a much a better definition. For much of the book, the information is not so much inaccurate as it is general and incomplete.

The general topics included in the book are certainly relevant, but an instructor using this text would need to supplement every step along the way. Not only are the explanations in some of the chapters too basic and brief, but the examples (when they exist at all) leave much to be desired, being limited mostly to older texts (nineteenth-century texts like an excerpt from Frankenstein or a story by Kate Chopin) or texts written by the instructor’s students (which are very typical of works produced by beginning creative writers). What students need most are high-quality, recent models for their own work. There are thousands of such works available online. While I understand that Priebe cannot reproduce these texts in her book, readers could still be pointed towards online literary journals that publish excellent creative writing.

Clarity rating: 4

The writing is generally clear, though as I noted elsewhere, definitions of terms could be more precise. The tone of the book is informal and friendly, making it easy to follow. I think that most student would find the book clear and accessible.

Consistency rating: 3

The book seems somewhat inconsistent in the depth of treatment it gives to different genres. For example, in the chapter on drama, there is an exhaustive discussion of the proper way to format a screenplay (the correct font and margins, rendering action and dialogue, and so forth), which makes up the majority of the chapter and strikes me as an unnecessary level of detail for beginning students (and the student example that is offered at the end of the chapter does not even adhere to these “proper formatting” rules). Meanwhile, other chapters are woefully lacking in necessary content. In the poetry chapter, for example, the poetic “forms” that are included seem arbitrary, and there is no real discussion of poetic meter. An introduction to poetry is incomplete without a basic overview of metrical feet.

Modularity rating: 4

In principle, it would be possible to use any of the chapters in this book as stand-alone readings for a course. Instructors could easily switch the order of the chapters around to suit their own progression through genres. The most useful chapter, in my option, is Chapter 10: Assignment and Project ideas, which offers a sizable collection of writing prompts, reading response activities, and portfolio ideas. While these are of varying usefulness and I would not offer them all as options for my students, some do stand out as excellent exercises.

Organization/Structure/Flow rating: 3

I did question the order of some of the chapters. For example, why does the chapter on flash fiction (a sub-genre of fiction) come before the general fiction chapter? And why does flash fiction have a chapter of its own, when there is barely any content? (The chapter is all of two and a half pages long.)

Interface rating: 3

The font in the pdf version that I read is not at all reader friendly and is hard on the eyes, in my opinion. I also found the screenshots of Tweets that lead off most chapters to be distracting and confusing, and the text offers no explanation or discussion of these, which adds to the impression that the book is a superficial hodgepodge, dropping in content without engaging with it.

Grammatical Errors rating: 3

While Priebe’s portion of the text is largely free of errors, the student texts that she includes do sometimes contain grammatical errors. While I understand the urge to present student writing as it is written, in a textbook I would expect writing that has been proofread.

This is a book that is at least aware of diversity/and inclusivity. In the opening chapter, Priebe lists the steps she has taken: “Most of the he/she pronouns have been flipped for they/them pronouns,” “‘White-sounding’ names have been replaced by more diverse ones,” “‘Husband’ or ‘wife’ have been replaced by ‘partner,’” and “The majority of examples in this book, by students or otherwise, are not written by white, heterosexual, cisgender men.” While I commend Priebe for her efforts, some of these moves strike me as cosmetic fixes, and the example published and student-written texts do not obviously reflect diverse perspectives (that is, they don’t explicitly tackle issues of race, gender, sexual orientation, ability, etc.). I would imagine that as Priebe continues to gather more information for future editions of this book, the diversity of voices represented will increase.

While I would not use this book in my college courses in its present form, I do think that is has a lot of potential and that future iterations of the book are likely to have enhanced content. As Priebe collects more student writing samples and as students fill in the numerous empty “Questions/Activities” sections that occur at the end of many chapters, this book may very well grow into a rich resource for creative writing instructors. I am planning to revisit this book in future editions to see what new material it has to offer.

Reviewed by Megan Green, Assistant Teaching Professor, Bowling Green State University on 4/25/22

This book offers a useful, concise guide for beginning creative writers. While many of the topics could be expanded upon, it fulfills its promise to offer only condensed snapshots of each subject. It would make a helpful addition to readings... read more

This book offers a useful, concise guide for beginning creative writers. While many of the topics could be expanded upon, it fulfills its promise to offer only condensed snapshots of each subject. It would make a helpful addition to readings chosen by a professor and to selective texts about elements that may require more insightful approaches and in-depth discussions. Chapters that may require additional readings for most introductory classes include the chapters about flash fiction and drama.

The content offers accurate, up-to-date information about creative writing.

Relevance/Longevity rating: 5

The chapter topics are highly relevant and up-to-date. I particularly enjoyed that the author chose to incorporate a chapter on multimodal works, which is something I have found numerous authors either glance over or fail to explore. Likewise, the choice to conclude with a section about how to get published offers relevant and significant points that students should be made aware of at an early stage.

Priebe implements small doses of humor throughout the book that are engaging (I do wish there were more, though!) and utilizes Plain Language to make the reading accessible.

Each chapter is structured identically, beginning with readings about the chapter's topics and ending with exercises.

Each chapter is short and could, in itself, be an easy reading assignment. However, chapters have smaller reading sections that can be assigned. Instructors should be aware that many exercises are written as thoughts to instructors rather than students and, thus, may require editing.

Each chapter offers concise readings over topics followed by exercises. Multiple exercises are listed so teachers can find one or two they would like to employ, and many are creative and effective at reiterating learning objectives.

The book is offered in multiple formats, including PDF, Word, and Google Doc. In the PDF version I perused, there were no interface issues.

There are a very few small mechanical and/or grammatical mistakes.

Cultural Relevance rating: 5

The author makes it a point to offer a variety of works in this textbook rather than canonical works that are oftentimes the labor of White male authors. Non-binary language also makes the text more inclusive.

The strongest element of this work is its suggested exercises, many of which may be used as in-class activities to further explore topics.

Reviewed by Clifford Buttram, Assistant Professor of Management, University of Saint Francis on 3/22/22

The discussion of key writing areas is organized in a smoothly flowing manner. From Poetry to Experimental and Children's Literature, the content was well organized and indexed efficiently for understanding and analysis. The book is neither too... read more

The discussion of key writing areas is organized in a smoothly flowing manner. From Poetry to Experimental and Children's Literature, the content was well organized and indexed efficiently for understanding and analysis. The book is neither too long or too short (page length) to still be quite effective.

While I'm not a Creative Writing expert, I found the book quite accurate regarding the elements of idea formation and flow from an author or writer's perspective. I've written three historical fiction books and am currently working on a ten novella set in the same category. In choosing to review this book, I found it's accuracy in how an author thinks, organizes, and creates scenarios to be very helpful. The many quotes and references helped me greatly in forming new ideas and writing strategies, even in one chapter or sub chapter of my current book. I found no bias in any chapters, however, the informative proved was both relevant and useful.

I feel this book is not only relevant, but highly useful as a handbook companion piece. Although the title refers to a textbook, I found its organization to be formatted in a more usable sense as a handbook. A reader could focus on one chapter, a few chapters, or the entire book as a strong and handy reference. Although I read the entire book, a particular focus for me were the Fiction, Drama, and Flash Fiction chapters. Each provided much needed guidance and advice for idea creation and tips to improve elemental writing.

The chapter organization was clear throughout the book. Each chapter utilized an introduction of the key topic, self-questions, reading strategies, and exercises. I also enjoyed the dispersed quotes throughout the chapters that helped to support the key points within the chapter.

As noted above, the consistency of each chapter (organization) helped ensure a stronger understanding and immersion into the specific area of writing by chapter. The author cleverly injects quotes, references, and definitions to combine an effort to improve the reader's ability to apply these concepts. Additionally, this allows for a more even flow of information, even in chapters that may not be in the reader's interest.

Each chapter is distinct, however, the coordination and organization of the entire book creates a crescendo effect for the reader. Although each chapter is specific, it can be both compartmentalized and utilized as a complete handbook. This modularity further enables a reader to use the book as a specific reference or a complete handbook/guide.

The book was well organized and logical. The reading was made easier by the flow of information and the combination of data, quotes, and references used throughout the book.

I did not note any interface issues.

I did not note any grammatical errors.

The text is neither culturally insensitive or offensive. I noted that the character/third person student examples were mostly benign which helped to decipher the author's intent. In Chapter 2, a section noted as 'Your Voice' spoke to holes in diversity when writing. I found this helpful for students to understand that not all areas of writing interest are not interesting to everyone. However, one should write to increase the value to the audience and the writer. I found this to be excellent advice and guidance.

I found the book to be an excellent resource for a creative writer. The final chapter discussed Children's Literature and how the previous chapters were applicable to this specific genre. The final chapter (Assignment and Project Ideas) was quite useful for a writer experiencing a block or one simply working a new idea. One recommendation would be to title the book as a Handbook or Reference Guide as the Table of Contents and structure is formatted to provide specific and detailed information on specific creative writing elements. At 168 pages, it has the length for a small textbook, but a better fit as a Handbook for creative writers of all genres. There are many ideas, strategies, and helpful tips throughout the book to help most writers think and write more clearly and effectively.

Reviewed by Justine Jackson Stone, Special Purpose Faculty, Radford University on 3/8/22

The book’s overall intention is to present condensed chapters on the various genres of creative writing, and while condensed, the content is too terse. Chapters one through eight are generalized approaches that provide basic information with some... read more

Comprehensiveness rating: 2 see less

The book’s overall intention is to present condensed chapters on the various genres of creative writing, and while condensed, the content is too terse. Chapters one through eight are generalized approaches that provide basic information with some examples few and far between. The chapter on flash fiction is brief, only lasting from pages 53-57. The textbook also appears to be incomplete, missing student writing examples in addition to other literary recommendations. In chapter nine, the large overview of different genres such as horror, young adult, etc. provides some recommended writers for students, but this is not consistent throughout the textbook. In order for students to improve their creative writing skills, they need to read. A recommended reading list would make this textbook more effective. The index is well-done and easy to read. The glossary could benefit from additional terms added, but it’s a good start for students to grasp the terminology.

The content is accurate. For a college-level course, however, some of the content is quite juvenile. For example, a writing prompt on page 100 asks the writer to “Tell the story of a dragon who owns a jelly bean factory in an experimental way.” This prompt seems far more appropriate for elementary and middle school students. If the author suggested this prompt as an activity for how to write a children’s book, I could understand its inclusion.

The content of the book is expansive but basic. Overall, the textbook will remain relevant, though a teacher using this book would need to find supplemental material to increase student understanding of the different categories of creative writing. In addition, chapter nine briefly discusses publication opportunities and includes instructions on how to publish directly through Amazon. I found this to be an odd inclusion and question if it is necessary.

Clarity rating: 3

The author uses a conversational and informal tone throughout, which students tend to appreciate. Terms are well-defined for a basic understanding, though more context or examples would deepen student learning. The author tends to share more of her own personal experiences with writing rather than those of her students, which I think misses the mark for her intended audience. In addition, her humor ranges from childish to lewd, which I found at times to be off-putting.

Consistency rating: 4

Terminology is included in each chapter, though due to the condescending nature of the textbook, instructors may consider using supplemental material. In chapter two, the author covers a few fundamentals of creative writing such as point of view, character, setting, etc. For an introduction to creative writing class, it may be necessary to expand these definitions as some students may not have prior knowledge of understanding of these terms. The framework is fairly solid though lacking in student examples. I do appreciate the ample inclusion of creative writing prompts as students tend to find these useful and fun.

Modularity rating: 3

The author effectively uses subheadings to organize information. Information was well-displayed, avoiding larger blocks of text. Each chapter was clearly laid out, and the index was easy to follow. The text is very self-referential to the author. In example 2 of chapter zero, one of the activities states the following: “When we write, we’re using the alphabet. Duh. Yet, how many times have we used these letters to organize or brainstorm? Try using the alphabet to brainstorm different things characters could say in different pieces of fiction and drama and nonfiction.” The author uses herself in this example, including statements such things as, ‘J = “Jeezus Marth and Mary… will you please hurry up?’ (p. 16). I think the exercise would have been more effective if a character bio was given and then examples were provided rather than assuming the reader knows anything about the author. In addition, phrases like ‘Duh’ and other slang can be confusing for students who do not speak English as a first language.

I do not think the chapters are effectively organized. The fiction chapter should come before the flash fiction chapter, and I would personally place nonfiction after fiction instead of drama coming next. In chapter two of the review of the elements, I would personally discuss character first before point of view. I also ponder if it would be better to know these terms first before doing creative exercises to have a basic foundation before students start writing.

Interface rating: 1

The inclusion of Twitter screen captures at the beginning of each chapter is grossly unnecessary. They do not add anything to the chapter context and do not fit well into the design. Without a caption to explain these pictures' inclusion, I do think students could find them confusing. As far as I can tell, there’s no text over the image or note that the images are decorative. The charts included in chapter zero may be useful to some, but I did not find them overly beneficial. Finally, I found the textbook fonts to be hard on the eyes while reading.

The text was mostly free of grammatical errors. The author sometimes uses internet text speech or ALL CAPS, which I find to be inappropriate for a college textbook. In one of the dialogue examples, the author writes, “’Oh.My.God. For real?’” (p. 16). In another example, the author writes, “Writer’s block can happen to ANYONE” (p. 22). There are other ways to create emphasis, and if we want students to be published, they should know how to emphasize their work without gimmicks.

The book does contain adult language which may not be appropriate for all readers. As far as inclusion goes, the author has made a point to be inclusive, stating on page 12: “'White-sounding’ names have been replaced by more diverse ones … ‘husband’ or ‘wife’ have been replaced by ‘partner’ … and ‘the majority of examples in this book, by students or otherwise, are not written by white, heterosexual, cisgender men.’” In addition, the author discusses “holes in diversity” in chapter two, which is an incredibly important topic to address.

Write or Left: an OER textbook for creative writing classes is the kitchen sink of creative writing books, and unfortunately, is too broad in scope to be effective. While the author clearly states this is an introductory textbook for creative writing classes “with condensed chapters,” the notion that a student should learn poetry, flash fiction, fiction, drama, nonfiction, and experimental writing in a single semester is haphazard. Rather than developing a solid foundation of each type of creative writing, students and teachers alike are expected to blitz through each chapter, complete some creative writing prompts, and miraculously be competent. Combine this with the notion that students shouldn’t be assigned grades for their creative writing (p. 13), and it’s no wonder academia often sneers at creative writing as a field of study. While I do applaud the author’s efforts to make this textbook more diverse and inclusive in its examples, I found the overall book greatly lacking in content to be effective in the classroom.

Table of Contents

• Chapter 1: Intro to Creative Writing
• Chapter 2: Review of Elements
• Chapter 3: Poetry 
• Chapter 4: Flash Fiction
• Chapter 5: Fiction 
• Chapter 6: Drama 
• Chapter 7: Nonfiction   
• Chapter 8: Experimental Literature
• Chapter 9: Final Chapter
• Chapter 10: Assignment and Project Ideas

Ancillary Material

About the book.

In this book, we'll go over some of the general principles of writing practices as well as advice and tips on how to write creatively, but mainly, you’ll be introduced to as many genres and categories as possible. We won’t get bogged down in doing the writing process “perfectly” or creating “perfect literature.” The goal is to learn about as many genres as possible, practice writing in those genres, and get feedback.

About the Contributors

Sybil Priebe lives in the upper Midwest with her partner-in-crime and crabby old cat. She teaches various composition courses at the North Dakota State College of Science in Wahpeton, ND. She likes books, bicycles, and blasphemy.

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Emily Potter

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Creative Writing in the Natural World: A Framing

• Resources & Preparation
• Instructional Plan
• Related Resources

To promote development, detail, and focus of ideas in students' writing, it sometimes helps to start with a fun, creative writing activity that encourages what you want to see in all of their writing. In this minilesson, students practice writing detailed, sensory-rich descriptions by framing a small piece of nature and freewriting about it. From this, students can develop a variety of types of writing including poetry, short stories, science writing, reflections, and other academic genres.

Featured Resources

• Literal vs. Figurative Language Guide
• Internet access and the Flip Book Interactive

From Theory to Practice

This lesson explores figurative language comparisons formally known as simile and metaphor; however, the focus of the lesson is on students' use of their their imaginations to describe their observations in writing rather than on the official terminology for language use. In Wondrous Words: Writers and Writing in the Elementary Classroom , author Katie Wood Ray advises, "Give it [the craft element you identify in a text] a name so you can refer to it easily in the future as you study craft and as you writing your own texts"; yet the name that students use need not be the formal, "correct" name (42). The formal name of the element simply detracts from the ways that writers work. As Ray explains, "What's important is that, in seeing it and naming it for yourself, you have a new vision of what's possible when you try to write well" (42). When we do use formal names for craft elements, best practice pairs such words with students' definitions of the elements. Ray and Lisa Cleaveland say, "We are careful to use the words most writers in the world use for the important concepts of writing . . . if we embed kid-friendly explanations of what they mean...we need not shy away from the words themselves" (98). Further Reading

Common Core Standards

This resource has been aligned to the Common Core State Standards for states in which they have been adopted. If a state does not appear in the drop-down, CCSS alignments are forthcoming.

State Standards

This lesson has been aligned to standards in the following states. If a state does not appear in the drop-down, standard alignments are not currently available for that state.

NCTE/IRA National Standards for the English Language Arts

• 5. Students employ a wide range of strategies as they write and use different writing process elements appropriately to communicate with different audiences for a variety of purposes.
• 6. Students apply knowledge of language structure, language conventions (e.g., spelling and punctuation), media techniques, figurative language, and genre to create, critique, and discuss print and nonprint texts.
• 8. Students use a variety of technological and information resources (e.g., libraries, databases, computer networks, video) to gather and synthesize information and to create and communicate knowledge.
• 11. Students participate as knowledgeable, reflective, creative, and critical members of a variety of literacy communities.
• 12. Students use spoken, written, and visual language to accomplish their own purposes (e.g., for learning, enjoyment, persuasion, and the exchange of information).

Materials and Technology

• A piece of loose paper, paper to take notes on, and a writing utensil (pen or pencil)

Preparation

• Scout out a good spot to take students outdoors on the school grounds, a place that preferably has grass or that feels somewhat “natural.” If such an area isn’t available, it is okay to do this activity on constructed spaces such as sidewalks, playgrounds, and even inside the classroom if absolutely necessary, but it’s best done outdoors.
• Prepare the Literal vs. Figurative Language Guide by making it into a transparency or making copies for each student.
• Test out the Flip Book Student Interactive .

Student Objectives

Students will:

• freewrite about a specific place that is framed by their piece of paper using imaginative and literal observations.
• identify nouns in their writing that they would like to focus on and develop further.
• write using specific sensory imagery and figurative language in order to accurately describe their framed “worlds.”

Session One

• Ask students to get out a loose piece of paper.
• Have them fold it in half at least once and tear or cut out the center. (Some students may want to fold it more than once in order to create an unusual shape. That’s okay.) The goal is to be left with a piece of paper with a hole in the middle of it like a frame. The frame can be of any shape or size.
• Explain that you will be taking the class outdoors and that each student will find a spot to place his or her frame. Also explain that students will pretend that what is inside the frame is the entire world, the only thing students will focus on. In their notebooks, students will freewrite about what they find in their frames. Encourage students to use their imaginations. Perhaps they’ll find a bug and write about it as a giant dinosaur or a talking creature. However they proceed, students should write as freely as possible to get as much detailed information down about their framed “worlds” as they can.
• Once students have found a place outdoors for their frames, give them ten to fifteen minutes to freewrite.
• Back inside the classroom, ask students to remind you what a noun is. Ask them why nouns are important in writing. How do they function in a sentence, for example? (One answer is that nouns help us know who or what a sentence is about. They are they focus, and they help us visualize ideas as we talk or write about them in any genre.)
• Have them read over their freewriting and underline three to five nouns that they would like to focus on.
• Collect students' freewriting to be returned in the next session.

Session Two

• Return students' freewriting from the previous session where they had finished by underlining three to five nouns to focus on.
• Ask students to list their five senses. Ask for a volunteer or two to provide one of their nouns. Use these to practice developing these nouns into fully described sensory experiences. Help students describe them using all five senses. Encourage imaginative leaps so students understand that their descriptions don’t have to be literal.
• At this point, discuss the difference between literal and figurative language, and explain that the goal is for students to describe their nouns using sensory detail and figurative language. Show students the Literal vs. Figurative Language Guide overhead or give them the handout. If the students were to write literal descriptions of their framed “worlds,” for example, they will simply write exactly what is in their frames (Grass looks green; sand feels rough; grasshoppers make a high pitched noise, etc.), but if they write figuratively, they will use their imaginations to describe their observations. This might include using similes, metaphors, hyperbole, and personification. For example, the grass looks like spiky green hair; sand is solid water; grasshoppers are fiddlers who play their legs, etc.
• Using the Flip Book Student Interactive , have students create a page for each of the three to five nouns they underlined. (Each student should complete at least three pages.) On each page, they will develop these nouns by adding sensory-rich, figurative descriptions of them in paragraph or poetry form. The goal is to describe each noun using as many of the five senses and as much figurative language as possible. Encourage students to be imaginative for this process. What might an ant sound like? How might a rock smell?
• Students may need to finish their Flip Books outside of class, or you might reserve some class time tomorrow to finish these up.
• Give students the opportunity to share their finished pieces with the class.
• Encourage students to develop their flip book pages further by illustrating them.
• Students might also use an additional page in their flip books to create a piece of writing such as a short story, poem, or reflection about the natural world. Encourage them to find connections between the nouns in their list. How might that list become one piece of writing instead of three to five separate pieces?
• Discuss ways students can use these writing techniques to improve other writing that they are doing. You might ask students to review one of their past writing assignments and underline places where they might add detail or figurative language in order to develop their ideas.

Student Assessment / Reflections

As long as students participate fully in the freewriting activity and complete at least three pages on their Flip Books, they should receive full credit for this activity. If you would like to turn the Flip Book into a graded assignment, you might require that each page include at least three sensory images and one instance of figurative language. Students might also earn credit by reading one of their pages aloud in front of the class.

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9 of DU’s Coolest Undergrad Research Projects

Emma atkinson, supported by the undergraduate research center, dozens of students got the chance to present their work at this spring’s showcase..

From science to the arts, students from departments across the University of Denver gathered this spring to present their research projects at the annual Undergraduate Research Showcase.

The Undergraduate Research Center awarded many of these students grants to conduct their research, which culminated in a diverse display of creative and engaging projects. The research represents the a dvancing intellectual growth dimension of the 4D Experience. 

“DU’s undergraduate research activities are truly premier, providing students with rigorous opportunities to work with thought leaders from across campus—flexing their muscles as thought explorers, translating and learning critical skills, and building the confidence to tackle the problems of tomorrow,” says Corinne Lengsfeld, senior vice provost for research and graduate education.

Here are descriptions of nine of this year’s coolest research projects, along with what students told us about their experience.

Saint Brigit and Her Habits: Exploring Queerness in Early Medieval Ireland

Jacqueline Stephenson

“By examining how scholars have used a lens of queerness and mediation to analyze key hagiographies—first of saints, more broadly, and then of female saints—and using these approaches to examine the inherently queer actions, positions and roles found in Saint Brigit’s First Life, we can gain a clearer view of societal views towards queerness during the early medieval period and in early medieval Ireland, in particular.

In doing so, this thesis will help chip away at the monolithic view of the period as well as the queer erasure within—demonstrating that queerness has always been a fundamental part of human society.”

What was the best part about doing this research?

The best part about doing this research was actually contributing to the scholarship and demonstrating that queerness has always been here, even in the places we might least expect. Additionally, seeing concepts we often don't associate with religion and this period were fascinating.

An example is one of her miracles being essentially an abortion, where a young unmarried woman didn't want to be pregnant and came to Saint Brigit, who made the fetus disappear. This is literally a celebrated miracle and not condemned—something shocking considering present-day religious attitudes toward abortion.

Questioning the Effectiveness of the Olympic Truce

Vincent Pandey

“A modern model for peace is the Olympic Truce, a United Nations General Assembly resolution that calls for the pausing and prevention of new conflicts from one week before the Olympic Games through one week after the Paralympic Games. Some argue that the symbolic nature of the truce allows it to create moments of peace in conflicts, while others argue that it is nothing more than a gesture of goodwill that has not actually been used for peace.

My research question is: Has the Olympic Truce ever been successfully implemented to prevent the onset of new conflict or in creating a ceasefire during an ongoing conflict? I use conflict data and case studies to determine the prevalence of conflict during Olympic Truce periods and four case studies to analyze attempts to use the Olympic Truce and some of the challenges faced.”

Hawai'i Uncovered

Lauren Tapper

“Through photography, Hawai'i Uncovered aims to explore the conflicting aspects of identity in Hawai'i, reveal the true characteristics of the state and separate its perception by tourists from the reality that locals know all too well. Photos were taken at popular tourist and lesser known ‘locals-only’ destinations on multiple of the Hawaiian Islands. The photos focused mostly on the way that people interact and exist within these places and amongst each other through a candid and observational lens.

The idea of community and belonging are both the saving grace and downfall of these islands, allowing many to be proud and excited about who they are while also leaving some cast out and forgotten. Both the romanticized and ignored aspects of these islands are what make the state unlike anywhere else in the world and are essential in defining Hawai'i in an honest fashion.”

How did the idea for this research come about?

I got the idea for this research as someone who was born and raised in Hawaii and came to the mainland to notice that there was a huge discrepancy between what people think they know about Hawaii versus what is true, or at least what I know to be true.

Flower Study

Haven Hinds

“This project is a study of extinct flowers, their histories, environments, biology, colors and assigned personalities—manifested in 3D models and a digital book. The goal was to select six flowers with interesting histories and/or cultural connections. Since the flowers can, for the most part, not be seen or kept, they were created in Blender as accurately as possible. To give people a means of connection with the flowers, each was assigned a personality based on different factors. These factors could be the colors they possess, where geographically they thrived, parts of their history or biological factors.

To allow these personalities to further flourish, color spaces were created in Affinity Designer to be applied not only as the background of the models but also as the background of half of the book’s pages. Each person who interacts with the book is encouraged to pick out flowers they connect to and create their own garden of these now-gone flowers.”

The best part about doing this research was finding out some of the love stories connected to these flowers. I am a hopeless romantic, so I enjoyed even the tragic ending to the ancient stories connected to the flowers. Their stories allowed me the opportunity to give the flowers personality traits, allowing others to further connect.

A Midsummer Night’s Dream Specialty Props

“ʽA Midsummer Night’s Dream’ is one of Shakespeare’s most renowned plays, steeped in a world of dreams and magic, and will be the second show in the Department of Theatre’s winter quarter season. This show has the goal of bringing in college audiences that have not had the full experience of witnessing live theatre and who may have previous, negative notions about Shakespearean plays. The goal was to transform our audience for the two hours they witnessed this play into people that can enter a world of magic, try something new, appreciate it, challenge their own thinking and revitalize an art that took a heavy blow in recent years.

In order to achieve this fantastical reality onstage, I worked closely with the costume designer (Janice Lacek) and director (Sabin Epstein) to research, design, prototype and fabricate specialty props and costumes to create the multiple distinct worlds present in ‘A Midsummer Night’s Dream.’ By the end of the project, I designed, prototyped and fabricated five large-scale specialty props sporting at least 50 separate pieces, each using advanced painting and texturing methods, LEDs lights and wiring techniques, foam molding, paper mâché, and wig making techniques.”

Immersive Stargazing: Leveraging VR for Astronomy Education

“This project leverages virtual reality (VR) technology to create an immersive stargazing experience that makes the wonders of the cosmos accessible to all. By integrating VR with educational strategies, we aim to revolutionize the teaching and experience of astronomy. Our primary objective is to enhance astronomy education by developing a VR platform that transcends conventional teaching methods, making celestial phenomena accessible and engaging for users from diverse educational and geographical backgrounds.

This initiative will democratize access to astronomy, promote STEM education and introduce users to advanced technological learning tools. The approach involves constructing detailed celestial models and integrating them into a user-friendly VR interface.”

Flamethrower Vol. 1-3: Innovation in Multidisciplinary Electronic and Acoustic Music

Trevor Briggs

“Flamethrower Vol. 1-3 is a series of three EPs (short albums) that combine jazz, classical and commercial electronic music to produce an artistic work in which the perception, function and musical context of electronic instruments is challenged. I approached these compositions treating electronic components as instruments, writing out scores as I would for brass and wind instruments. I also utilized cutting-edge electronic hardware to generate degenerated, fragmented and evolving sounds.

This type of in-depth sound design allowed me to write, perform and record novel parts for unique instruments. The remainder of the sounds on these recordings incorporate sampling of field recordings to generate new instruments or soundscapes and unconventional recordings of woodwinds (saxophone, clarinet, flute, bass clarinet and alto flute) from Professor Remy Le Boeuf, my faculty partner.”

The best parts of this project were tiny moments where I was really able to see how the final product was coming together. These times came through all parts of the writing and production process. I recorded Professor Remy Le Boeuf on woodwinds a few times for the album, and those sessions were full of those moments. There's a lot of momentary joy in making music with other people. As a recording engineer and producer, I have been feeling very lucky and grateful that I'm the one that gets to capture and shape these moments for others to listen to.

Technology and Homelessness: How Accessibility and Blockchain Technology Could Impact the Unhoused

“This paper discusses how the unhoused population suffers at the hand of technological inequality despite being relatively offline. It presents theories on how this would change if we reapproached how technology is used to assist the unhoused. It suggests implementing blockchain as a resource as well as modifying the websites built for the unhoused.

Employees at shelters are interviewed for this paper about their experiences with using digital resources to rehouse and restabilize the vulnerable. They are asked how the sites can be improved for more optimized use. The sites are also tested against current user experience (UX) standards for accessibility.”

My idea for this research came from two different sources. The first was the approximately 100 hours of volunteer work that I did with a local organization that works with the unhoused. I worked with caseworkers and other employees to get a better understanding of how the organization was run and what major needs were held by the unhoused population. It opened my eyes to a lot of problems that I hadn’t thought about before, especially how difficult it is to escape homelessness and why it is so difficult. 

The second source came later, when I was already working on my thesis paper. I was studying abroad in Greece and took a really interesting UX design class. That class made me start thinking about what UX looked like throughout my life, so when I was looking at government sites to understand where the unhoused would need to be using personal identification, I started noticing all these UX problems that would be easy to fix, which was baffling and frustrating to me, so I decided to add a second part to my paper.

Data Quality Matters: Suicide Intention Detection on Social Media Posts Using RoBERTa-CNN

“Suicide remains a global health concern for the field of health, which urgently needs innovative approaches for early detection and intervention. This paper focuses on identifying suicidal intentions in SuicideWatch Reddit posts and presents a novel approach to detect suicide using the cutting-edge RoBERTa-CNN model, a variant of RoBERTa (Robustly Optimized BERT Approach). RoBERTa is a language model that captures textual information and forms semantic relationships within texts.

By adding the Convolution Neural Network (CNN) head, RoBERTa enhances its ability to capture important patterns from heavy datasets. To evaluate RoBERTa-CNN, we experimented on the Suicide and Depression Detection dataset and obtained solid results. For example, RoBERTa-CNN achieves 98% mean accuracy with the standard deviation (STD) of 0.0009. It also reaches over 97.5% mean area under the curve (AUC) value with an STD of 0.0013. Then, RoBERTa-CNN outperforms competitive methods, demonstrating the robustness and ability to capture nuanced linguistic patterns for suicidal intentions. Hence, RoBERTa-CNN can detect suicide intention on text data very well.”

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