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Santiago, Chile - LOTS of couples making out on every park bench, side street, and grassy knoll that you could find. You would swear that there was some type of aphrodisiac in the Chilean water. I was not the only one to notice this, and after a few laughs and "oh, you noticed that too?? We started by looking at a range of books and texts to find out what they have in common.
Then we researched a Victorian invention choosing from the telephone, ice cream, stamps and bicycles to write about. When writing non-fiction texts we need to use: headings and subheadings factual information technical language mostly past tense third person and conjunctions. After we had drafted our information pages we spent time editing to make improvements such as checking capital letters and full stops, common spellings and that it makes sense.
We then wrote it out neatly to put together into a class book! A well-written cover letter is one of the most important tools you have to convince your employer that you are the right person for the job. When crafted carefully, a cover letter will demonstrate how your skills and expertise can add value to the company you want to work for. Writing a cover letter is a task that requires research, consideration and personalisation. But a poorly written cover letter - even if you are the perfect candidate for the job - will see your CV go straight to the bottom of the pile. A resume cover letter is a letter to the hiring manager that accompanies the resume.
These days, most CVs are emailed or submitted electronically, and the cover letter will either be the first page of the document or included as an accompanying attachment. The purpose of a cover letter is to give a preview, or a sneak-peak, into what your resume will contain. It links your CV to the role that you are applying for and persuades the hiring manager that your application is worth the time to read. A cover letter is often overlooked, or approached as an after-thought. The cover letter is usually the first thing an employer will see, before they begin to read your CV.
Imagine your CV is a book: the story of your career. The cover letter is the letter to the publisher, convincing them why they should read your manuscript. Some employers specifically request a cover letter. If they do, then you can be confident that they will read it. The purpose of a cover letter is to sell your skills and ability to the hiring manager - think of it as your one chance to catch their eye to read your resume.
Keep your cover letter to four paragraphs that fit on one page in total. If your cover letter is any longer, it will only demonstrate to your employer that you lack focus. The purpose of the resume cover letter is to first Connect with your hiring manager. Then you should aim to Convince the hiring manager that your CV is worth reading. Whilst including a cover letter may seem old-fashioned, such Courtesies are highly valued in the professional world, and a professional cover letter will thank the hiring manager for their time reading your CV and considering you for the role.
Learn more Your cover letter should always include your contact details, and follow a clear structure, to convince the hiring manager that your CV is the one they should read. You should ensure your cover letter adheres to a formal letter format, for example addressing the reader by name. Here is a definitive list of what to include in a cover letter - and what to avoid.
Learn more In writing a cover letter, remember that it should never be generic — it should be personalised and tailored to the job and company that you are applying for. Scrutinise the job advertisement and ensure the details are exactly mirrored in your resume. In your research, you may have identified what the company goals or values are. Ensure that you reference those goals and values when writing a cover letter, and articulate how they reflect your own goals and values.
Learning how to write a cover letter can be time-consuming, but once you have practiced it, it will become second nature. Investing the time to tailor and personalise the cover letter will always stand you in good stead, and help your cover letter — and CV — stand out from the crowd. Learn more If you need to write a cover letter, you may consider using a cover letter template, or cover letter examples to inspire you.
Whether you decide to use a cover letter template or not in your job search, it is key to use it as inspiration, or as a stepping stone to creating your unique cover letter. Always remember that your objective is to stand out, and you can only stand out if you invest the time to craft a cover letter that is personalised, tailored and convincing. It makes the recipient feel like they are special and that efforts have been appreciated by the writer wholeheartedly.
Panels and interviewers will be happy to receive such letters, especially after giving you an opportunity to showcase your strengths and qualifications on a more personal level. Thank-you letters after an interview are a great strategy to making the interviewer remember you better and make your presence felt. Sending post-interview letters also increases the chances of you getting another call from the company.
They have also been considered to be the norm now and have been openly welcomed by many employers nowadays. For every industry, getting interviewed is one of the things that people go through before becoming an employee in a certain company. Lucky for you, we were able to give you a collection of high-quality samples that you can check out in case you are having a hard time formulating a well-written letter of thanks. The samples we have are pretty easy to follow and are drafted to be used by aspiring nurses like you. The fruit of the theory is the writing workshop, a combination of ritual scarring and twelve-on-one group therapy where aspiring writers offer their views of the efforts of other aspiring writers.
People who take creative-writing workshops get course credit and can, ultimately, receive an academic degree in the subject; but a workshop is not a course in the normal sense—a scene of instruction in which some body of knowledge is transmitted by means of a curricular script. The workshop is a process, an unscripted performance space, a regime for forcing people to do two things that are fundamentally contrary to human nature: actually write stuff as opposed to planning to write stuff very, very soon , and then sit there while strangers tear it apart.
There is one person in the room, the instructor, who has usually published a poem. But workshop protocol requires the instructor to shepherd the discussion, not to lead it, and in any case the instructor is either a product of the same process—a person with an academic degree in creative writing—or a successful writer who has had no training as a teacher of anything, and who is probably grimly or jovially skeptical of the premise on which the whole enterprise is based: that creative writing is something that can be taught.
This skepticism is widely shared, and one way for creative-writing programs to handle it is simply to concede the point.
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Sixteen Pulitzer Prize winners and three recent Poet Laureates are graduates of the program. Iowa merely admits people who are really good at writing; it puts them up for two years; and then, like the Wizard of Oz, it gives them a diploma. Some writers do seem to make it a matter of principle to bite the hand that writes the checks. Other writers, though, are very much with the program. John Barth taught for twenty-two years in the Writing Seminars at Johns Hopkins, one of the oldest and most luminous programs in the country.
It eventually renamed itself the Association of Writers and Writing Programs, and it now has more than twenty-five thousand members. Verlin Cassill was a novelist and short-story writer who graduated from Iowa in and returned after the war to get an M. In , shortly after arriving at Brown and just at the start of a boom in university-based creative-writing programs, he founded the Associated Writing Programs, the professional association of academic creative writers.
Cassill stunned the membership by suggesting that the organization should be disbanded. Around the time that Cassill delivered his renunciation, there were seventy-nine degree programs in creative writing in the United States. When Barth wrote his piece for the , he might have been recalling a speech given three years earlier by one of the leading figures in the field, R. But at a convention in Boston on the fifteenth anniversary of the A.
The academic system was corrupting, and it was time for the writers to get out. Still, the creative-writing program, unsystematic or even anti-system as it might believe itself to be, is a system. People go in at one end and they come out the other, bearing like the Scarecrow a piece of paper with a Latin inscription, but also bearing unlike the Scarecrow the impress of an institutional experience.
Mc Gurl suggests that these mantras encode shifting patterns of cultural assumptions—about identity, about work, about gender and class, and, of course, about what counts as good writing—and that they have had a big effect on the stories and novels that American writers have produced. As Mc Gurl points out, the university is where most serious fiction writers have been produced since the Second World War. It has also been the place where most serious fiction readers are produced: they are taught how to read in departments of literature.
First, it interprets works of fiction as what philosophers of language call illocutionary acts. The form of a Carver short story—ostentatiously brief, emotionally hyper-defended—expresses something. He notes that Carver once called Oates the most important writer of his generation.
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She came out of the undergraduate creative-writing program at Syracuse, where she studied with Donald Dike, and she has spent most of her career teaching at Princeton, where Morrison, until her recent retirement, was also on the faculty. Carver started as a correspondence student in an outfit known as the Palmer Institute of Authorship. Writing is a technology, after all, and there is a sense in which human beings who write can be thought of as writing machines. They get tooled in certain ways, and the creative-writing program is a means of tooling.
But Mc Gurl treats creative writing as an ant farm where the ants are extremely interesting. He never reduces writers to unthinking products of a system. After all, few activities make people more self-conscious than participating in a writing workshop.
Mc Gurl thinks that this habit of self-observation is not restricted to writing programs. Constant self-assessment and self-reflection are part of our program. There are also flow charts and the like, diagrams suited to systems analysis. Mc Gurl argues that, far from homogenizing literature or turning it into an academic exercise, creative-writing programs have been a success on purely literary grounds.
And, as Mc Gurl suggests, presenting a story in a writing workshop is a little like making a business presentation in a corporate workplace. The unexpected result of combining a history of creative fiction writing with a history of education and management theory is a kind of slide show of postwar American life. On the contrary, university creative-writing courses situate writers in the world that most of their readers inhabit—the world of mass higher education and the white-collar workplace. Putting them in the ivory tower puts them in touch with real life.
Creative-writing courses did not suddenly spring into being in A course called Verse Making was available at Iowa in , and from to George Pierce Baker taught a drama workshop at Harvard, the first graduate writing course in the country; Thomas Wolfe took it. In , Schramm was replaced by Paul Engle, a prodigious creative-writing proselytizer and cultural Cold Warrior, who made Iowa into a global power in the field.
Engle eventually brought writers from seventy countries to study at Iowa. There was a surge in creative-writing degree programs after the Second World War. As is the case with most new developments in higher education, changes in funding were responsible. Bill—provided forty-eight months of tuition for veterans who enrolled in colleges and universities. More than two million veterans, a much bigger number than anticipated, took up the offer, and by the government had spent more money on tuition and other college costs than on the Marshall Plan.
The key requirement of Title II was that the tuition assistance be used only for study in degree or certificate programs, which is why creative-writing courses grew into degree-granting creative-writing programs. In the nineteen-sixties, the universe of higher education underwent a fantastic expansion. Between 19, enrollments doubled and more professors were hired than had been hired in the entire previous three hundred and twenty-five years. At the height of the expansion, between 19, new community-college campuses were opening in the United States at the rate of one every week.
A way for institutions to raise their academic profiles was to add graduate programs. Creative-writing programs attract students good for public universities, where enrollment may determine budgets , but, contrary to what many people assume, they are not generally cash cows. Once added, they became virtually impossible to subtract. Most of the top programs—until recently, Columbia was the major exception—provide fellowship support for all their students, and the classes are tiny.
This is one reason that there is an oversupply of Ph. By , there were fifteen creative-writing M. The identification of certain writers with university creative-writing programs is, therefore, a postwar phenomenon. And many writers who are not normally imagined in an academic setting have circulated through the creative-writing system.
Philip Roth has taught at several universities, including Iowa and Princeton. Kurt Vonnegut and Nelson Algren both taught at Iowa. Algren claimed to find writing programs worthless. And it is remarkable how many fiction writers have come through university writing programs since the war—not just individual writers but entire cohorts. The absorption of fiction writing into the university has a lot to do with the emergence of robust traditions as opposed to scattered works of so-called multicultural literature.
As Mc Gurl notes, virtually all the major figures in Latino literature have been American academics. This amount is subject to change until you make payment. For additional information, see the Global Shipping Program terms and conditions - opens in a new window or tab. Item location:. Roswell, Georgia, United States. Posts to:. United States and many other countries See details. For additional information, see the Global Shipping Program terms and conditions - opens in a new window or tab This amount includes applicable customs duties, taxes, brokerage and other fees.
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