 Photo by Bruce Matsunaga by Caitlin Hertzberg
As early as I can remember, I’ve always been a writer. I’d always been gifted diaries throughout my childhood, swirling gel pen tips to doodle hearts in the margins near the names of boys I crushed on, spilling the ink of my secrets onto lavender-scented paper. I would steal phrases from overheard conversations and work them into melodies that tortured me from inside my head (I still do this). One of my earliest memories of being a writer is from 4th grade, ripping out sheets from a 99-cent spiral notebook and begging my grandmother to “staple it good” down the middle so that I can write stories like Judy Blume and Jerry Spinelli. Notice I make no mention of writing in school: The kind of writing with strict sentence and paragraph minimums, about topics I couldn’t care about no matter how hard I tried. The kind of writing that you work on for weeks on end in the overheated computer lab, revising, revising, revising, memorizing the teacher-provided rubric until every word of your assignment sounds like an owner’s manual for a VCR.
0 Comments
by Emily Nolan  The old saying attributed to Lucille Ball that “comedy can’t be taught, you either got it or you don’t” is outdated, to say the least. It’s clear that a lot has changed since the I Love Lucy era. In the past decade, comedy has started to creep its way into the world of research and academia. There has been extensive research on the benefits of comedy, the reasons comedy makes people laugh, and the most effective structure of jokes, and comedic storytelling.
Comedy or the act of laughing has been proven to stimulate your organs due to an increase of oxygen-rich air coming into your body, improve your immune system, and lessen feelings of anxiety or depression. While humor may not cure every ailment, the idea that laughter is the best medicine is not too far-fetched. Comedy can also be looked at as a vital tool in the classroom, as it can act as a key instrument in explaining complicated issues and ideas, it can lead to further retention from students. by Aleksandr Chebotarev
by Connor Buckmaster  Photo by Joseph Chan on Unsplash For decades now, the study and practice of writing has been on a revolutionary roller coaster. Leaps in pedagogy surrounding college composition classes, translanguaging, and collaborative learning have changed the way college students today learn and produce writing. At the same time, the (dated) values of Standard American English, the five paragraph essay, and the thesis statement are still upheld in many pockets of American public schools. We wonder why Americans struggle to write, and there seems to be a host of answers: an inability to construct sentences, a fundamentally bad approach in teaching how to read, and a school culture which rewards surface learning and quick responses, viewing texts as inert information rather than an argument. The more and more we look, America seems to be in a literacy crisis.
by Taylor Blum  via Pixabay Ever since I was a child writing “books” in my third-grade class about a superhero cat that shot lasers out of its eyes, I knew I wanted to write novels. What I also learned growing up is that I enjoy acting and the comradery that forms between yourself and other actors on stage. After finally having the opportunity to act in college, alongside earning a BA in English and creative writing, I learned how these skills go hand in hand.
The most important thing I realized from my acting experience was how much dialogue affects my writing. Dialogue has always been so important to me–I can’t read something if I find the dialogue unrealistic or stiff. Honestly, the common mistakes of stiff, expository language makes me cringe and takes me out of the story. Dialogue is also something I realized is hard for writers to master. The good news is that when it comes to plays, dialogue is arguably the most important part. By reading a play, you can see how so much can be said with so little words, and by performing in a play, you become aware of your own voice and how conversations work. We’re often told in fiction classes to pay attention to conversations and to eavesdrop on people to understand how people talk, but this isn’t always manageable, and sometimes feels a bit weird to do. But when acting, it is your sole job to interpret the dialogue, to understand how to raise the subtext out of it, and even change the overall meaning of the words through your tone. This teaches you to understand when less is more in dialogue. |
Archives
February 2023
Categories
All
|
RSS Feed
|
glassworks is a publication of Rowan University's Master of Arts in Writing 260 Victoria Street • Glassboro, New Jersey 08028 glassworksmagazine@rowan.edu |
All Content on this Site (c) 2023 glassworks
|