If one is engaged to teach creative writing -- and I don't mean technical writing or professional writing, I mean graduate courses in creative writing, ie with students who already have a university degree -- one will almost certainly find oneself, eventually and of necessity, spending hours teaching students about dangling participles, dangling modifiers, squinting modifiers and other ghouls and monsters of the deep dark grammatical forest. This fact is something I have known for many years.
Teaching grammar is torture for all concerned, but in this era what's even worse is the reluctant, resistant and generally bolshie attitude manifested by some -- not all, but some -- of the people on the receiving end. They seem to think you are trying to inflict on them some moral imperative when all you're really trying to do is get them to be realistic and pragmatic: if you want to be a writer, then you need to acquire the technique and the tools of the craft, because if you don't write good English, people won't publish your work.
I'm motivated to be as patient and helpful as I can in this thankless task by the still-vivid memory of my own grammatical baptism of fire, being hurled at the age of twelve into French and German classes taught by a European woman to whom it did not once occur that when she based her lessons on our assumed familiarity with the nominative, accusative and dative cases, none of us had a clue what she was talking about.
No matter how much they pay you for toiling in this thistly, thorny, stony corner of the pedagogical vineyard, it isn't enough. Or, to put it another way: "After enjoying a few chapters of the latest Harlan Coben, the marking was hard graft."