Search

Dr. Charlie Katica Associate Professor of Kinesiology Phone: 253-535-7636 Email: katicacp@plu.edu Office Location:Olson Auditorium - Room 103 Professional Additional Titles/Roles Title IX Formal Process Team Faculty Athletics Representative and Gateway Program Director for the University of Southeastern Norway President of Rainier Adaptive Sports Education Ph.D., Kinesiology and Exercise Science, The University of Alabama, 2014 M.S., Exercise Science, Central Washington University, 2009 B.S

Carolina, Chapel Hill, and now teaches at Clemson University. Mentor.  Workshops and classes in fiction. Statement: “The most important thing your writing can be is interesting.  And by that I mean interesting to you, because when you’re deeply engaged in the process, the work sparks alive.  This level of engagement involves writing into places you didn’t expect and opening to the risk of surprise. In art as in life, we often enough try to dodge what would make us grow because it’s uncomfortable, and

radical revision, with the hope that you will develop enduring strategies for maintaining your writing practice long after completing the program. Being a writer takes time, patience, and practice, there’s no universal formula for finding your voice and improving your craft. As you progress, my focus remains on process and revision, with the understanding that eventually you’ll likely have to negotiate your work’s intentions more directly with readers, editors, and critics. No matter your artistic and

-Required Reading.  She is a professor in the Department of English-MFA/MA in Creative Writing and Publishing Program at DePaul University in Chicago, where she directs the LGBTQ Studies minor and edits Slag Glass City, a journal of the urban essay arts.  Mentor. Workshops and classes in nonfiction. Statement: “Writing is a process: part thought, part instinct, part wish. Every honest draft holds some glimmer of what your work might become. To write is to try, try, and try again, until we’re stunned to

process, treating each draft as a space for experimentation, for excess, and for bold choices they might otherwise never make.In the creative writing classroom, I aim to rethink and decenter traditional approaches to the workshop, which structurally privilege a small set of identities and formal approaches. Integrating critical interventions by Arielle Greenberg and Felicia Rose Chavez, I use an alternative workshop pedagogy that engages each writer in shaping the structure of the workshop. This

-process’ learning and elevating student agency and sense-making across content areas. If you need to meet with me, please schedule an appointment through email. There is a physical calendar of my available hours on the door of my office! 

according to the complex joys and troubles of living. I believe both art and artist fare better when we advance aesthetic choices together with questions about the philosophical implications behind our creative work. I also find that candor about my own failures and successes can help reframe the writing process on more accessible and therefore healthier terms. Through a combination of support, challenge, and surprise, writers should leave workshop with a renewed sense of reflection and feeling

also focus my feedback on fundamentals of craft. Early in the drafting process, I consider mostly large-scale concerns such as structure and scope, which encourages student writers to articulate and sharpen their artistic vision for a piece of writing. Later, we’ll focus more on line-level concerns, to polish a piece toward its final form. In workshop, I strive to create an environment of mutual respect. Students should read their classmates’ work with diligence and care, and articulate their

information. I believe that education is not something that can be handed to students during the course of their college careers. Education is an active process that requires commitment from both student and professor. Ultimately, students need to be responsible for their own learning and professors encourage and challenge them to grow.  It is important to me that my students to be able to critically examine information they encounter after they leave college and to use their education to formulate

Student Life Responsibilities PLUS 100 Coordinator & Instructor  Co-convener THRIVE* Network (*Transition, Holistic Wellbeing, Retention, Innovation, Vocation, Engagement) Coordinate the annual Student Life Assessment process and support divisional program review and accreditation planning  Represent division on Institutional Effectiveness team Co-coordinate divisional onboarding, trainings, and events Serve on Student Life Council Selected Publications Takla, J. (2023). Becoming CRITICAL CREATIVES: A