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Ann Hood
Ann Hood (Fiction; on leave Summer 06) is the author of seven novels, including Somewhere Off the Coast of Maine and Ruby and a new collection of short stories, An Ornithologist's Guide to Life (Norton). She has also published a nonfiction book, Do Not Go Gentle: My Search for Miracles in a Cynical Time; and a book on the craft of fiction, Creating Character Emotions. Ann's short stories and essays have appeared in the New York Times, Glimmer Train, Double Take, The Missouri Review, The Washington Post, Traveler, Bon Appetit, and many other publications. Her awards include a Best American Spiritual Writing Award, a Pushcart Prize, and the Paul Bowles Prize for Short Fiction. Selected Publications: An Ornithologist's Guide to Life (Norton, July, 2004) Teaching Philosophy: When I critique the monthly packets, I do a lot of line editing. I usually write notes in margins to clarify these comments or to ask questions. Of course, some manuscripts are very clean already and come back to the student without many marks. My cover letters tend to be at least 3 pages. If there is a lot to consider for revision, they can be double that or more. I prefer to communicate through e mail and to exchange packets and critiques via snail mail. If a student needs to have a telephone conversation, we can arrange that through email. If someone is anxious about a packet, or if I am running slow, I email comments as well as snail mail them so they can get a faster response. I have not assigned particular writing exercises, nor have I had anyone request any. If someone wanted them, I would probably steer him/her toward books on craft that offer them. I don't think in a graduate writing program that is necessarily the best use of time. However, I have resources to share with anyone who wants to practice or do exercises on their own. I assign the required amount of reading, but always suggest additional reading. Once I start understanding a student's work, I am always inspired to share other books. If someone asks for a craft text, or if it becomes clear that one is needed, I will assign one after the first semester. Although I don't grade annotations, I always respond to them. I line edit and read them for content and observations. If necessary, I ask for them to be revised. I often ask questions about points made, usually because I am interested in what the writer has observed. Sometimes I want clarification. I think that the annotations are useful for the writers to learn how to think about literature critically and how to discuss it intelligently. My favorite annotations are a combination of analysis and response. I like to see how what the student has read will inform his/her own work. I am less sanguine about stylistic imitations. As a writing exercise, they're great. My own favorite teachers acted as role models and inspirations as well as critics. They were honest without being mean or hurtful. They offered concrete examples of what worked and what didn't work and ideas for how to revise. It sounds obvious to say this, but I learned from them. That is what I hope I bring to my students. At the end of a semester working together, I hope they feel that they have learned something new and that their writing has improved. It is hardest to teach someone how to write with honesty. Emotional honesty. But a teacher's job is to keep pushing the student to go deeper. I love short stories and novels most, although I write and teach non-fiction as well. I feel less knowledgeable about some genres, such as science fiction, and worry that I would not be as helpful as someone else. Overall, I have had wonderful students at Stonecoast, and I believe most of them would say they learned something about literature and the craft of writing from us working together. I have high standards for my own work, and as a result I have high standards for my students. They always impress me with their growth and talent. ^top
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