course description of creative writing

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Creative Writing Major and Minor, Course Descriptions

Creative writing major and minor, course descriptions.

ENG 209. Introduction to Creative Writing. 3 Credit Hours.   This is an introductory course in writing fiction and poetry.  A basic premise of this course is that powerful stories and poems often emerge from attentive reading, fearless writing, and rigorous revision.  Some writers may be born, but all writers are made (as are athletes, doctors, painters, lawyers, and musicians) through the deliberate and persistent practice of discipline.  In English 209, readings, class discussions and in-class writing exercises will focus on the elements of craft.  We will pay special attention to reading as models and jumping off places into our own work.  We will, in effect, “imitate toward originality.” 

Learning Outcomes

Develop a working knowledge of the differences between poetry, fiction and the third genre.

Understand how to talk about these genres as writers.

Become familiar with the workshop as a form of receiving and giving feedback.

Understand the writing process, from idea to draft, workshop to revision, and the importance of all steps.

Gain a familiarity with reading and writing work that is multilingual.

Attend literary events and write reflections about them.

Produce a final portfolio of writing samples, including first drafts, intermediate drafts, and final revisions (three samples—one in each genre).

ENG 290/219. Introduction to Fiction Workshop .   3 Credit Hours.    This course is an introduction to the writing of contemporary short fiction where you will develop critical as well as creative thinking and writing skills.  We will focus on building your understanding of the elements of fiction and how you might use these elements to design your stories.  We are also concerned with developing your sense of what it means to be part of a writing community. The workshop environment requires extensive peer collaboration as we practice various writing strategies and examine the stages of the writing process: mining, collecting, shaping, drafting, and revising. This course meets requirements for creative writing majors and minors.

Prerequisite:  ENG 209 or   Requisite:   Creative Writing Majors or Creative Writing Minors. May not be taken in the same term with another Creative Writing course

Define and know the difference between a short story, vignette, flash fiction, novel, and the novella.

Develop and implement a vocabulary for talking about the craft of fiction. Terms should include tension, conflict, character, setting, plot, structure, pacing, voice, point of view, tone, revision, epiphany, resolution, scene, exposition, summary, narrative, sensory details, concrete details.

Recognize scenes as the building blocks of stories.

Write from the ground up, i.e. begin with the writing of scenes that develop character and conflict, that can move a story forward.

Write complete short stories, built upon the work done at the scene level.

Become comfortable with the workshop, with the giving and receiving of feedback.

Become aware of their personal writing process, and be able to describe it in reflection.

Continue to become familiar with work that is multilingual.

Produce at least one assignment that is multilingual.

Write work that fall under the literary tradition.

Produce a final portfolio of writing samples, including first drafts, intermediate drafts, and final revisions.

ENG 292/219.  Introduction to Poetry Workshop. 3 Credit Hours.   Our aim is to help each of you develop your interests and abilities as poets. This means we’ll be doing a lot of reading, writing, and revising during this semester. We’ll spend much of our time in the detailed discussion of your own creative work. We’ll also read the work of a diverse array of contemporary writers to gain an understanding of contemporary American poetry. You will learn the state of the art and you will contribute to its continuing evolution as engaged and active artists.

Actively participate in the workshop by receiving and providing critical feedback

Define key terms including diction, syntax, line break, stanza, image, metaphor, simile, and cliché.

Define the term ‘free verse’ and write free verse poems that feature tactile imagery and original phrasing/description free of clichéd language.

Understand the difference between concrete and abstract language.

Understand the poetic line as a unit of sound and meaning.

Generate evocative titles for their poetry.

Understand how punctuation shapes rhythm, cadence, and meaning in a poem.

Produce at least one poem that is multilingual.

Produce a final portfolio of free verse poetry that includes first drafts and final revisions.

ENG 390/391. Intermediate Fiction Workshop. 3 Credit Hours.   This workshop will look at the construction of effective contemporary stories. Its intention is to build a community of writers with a commitment to craft, to risk taking, and to building each other’s own sense of story. Students are expected to generate 20-30 pages of new writing and to complete one revision of a full-length story. In addition, each student may be expected to discuss writing from a reflective and critical perspective in the form of an annotated bibliography, close reading, essay, presentation, response paper, review, or some other form determined by the instructor. Topics may include an element of craft (i.e. balancing story with flashback), a narrative strategy (such as the unreliable narrator) or an exploration of a particular writer, group of writers, or writing school. This course meets requirements for creative writing majors and minors.

Prer equisite:  ENG 219 Or ENG 290 Or Permission of Creative Writing Director.  May not be taken in the same term with another Creative Writing course.

Write and revise 20-30 pages of new writing.

Develop and refine the use of literary elements in their short stories.

Develop their sense of what it means to be part of a writing community via workshop, attendance of literary events.

Read contemporary writers, including work from multilingual and/or multicultural writers.

Discuss writing from a reflective or critical perspective in the form of an annotated bibliography, close reading, essay, presentation, response paper, review or some other form determined by the instructor.

ENG 392/391. Intermediate Poetry Workshop .   3 Credit Hours.   This course will continue your development as writers and critical readers of poetry. While you may be familiar with workshop practices from prior courses, this intermediate workshop will challenge you into offering increasingly sophisticated feedback to your peers. We’ll be seeking similarly sophisticated turns of thought and language in the poems you write. Our course reading will complicate your notions of what’s possible in poetry and inspire you to write poems unlike any you have written before. 

Prerequisite:   ENG 219 Or ENG 292.  Or Permission of Creative Writing Director. May not be taken in the same term with another Creative Writing course.

Learning outcomes

Receive and offer critical feedback in workshop with an eye towards submitting their work to undergraduate literary journals like   Mangrove .

Display a deeper understanding of the terminology and elements of craft introduced in ENG 292/219.

Experiment with more figurative language, unconventional forms, and cross-genre work.

Be able to distinguish between free verse and formal poetry with an increased knowledge of terms like metered verse, blank verse, rhyme scheme, and fixed form.

Develop a stronger sense of his/her revision process with an emphasis on independent self-direction.

Produce a final portfolio of free verse poetry that includes first drafts and final revisions with an eye towards submitting their work to undergraduate literary journals at UM or elsewhere.

Read and offer original analysis of poetry by contemporary writers, including work from multilingual and/or multicultural poets.

ENG 404. Creative Writing (Fiction Prose). 3 Credit Hours.   This workshop will look at the construction of effective contemporary short stories. Its intention is to build a community of serious writers with a commitment to craft, to risk taking, and to building each other’s own sense of story. It is my hope that you find the material deep inside you and that you use your craft, your ability to risk and your community to develop your works. In addition to workshopping student narratives, we will ground our discussions in published contemporary short stories to give your own stories context in form and inspiration to grow. In the end, I intend for you to be strong storytellers and readers, able to write, critique and revise your works in a confident manner. This course meets requirements for creative writing majors with a concentration in fiction.

Prer equisite : ENG 390 Or Permission of Creative Writing Director.  May not be taken in the same term with another Creative Writing course.

Students should produce 20-30 pages of writing.

Construct effective short stories and write outside the short story form as well. This may include flash fiction, novellas, chapters from novels-in-progress, digital expressions, etc.

Read at an advanced and challenging level.

Take risks in their writing in order to develop the content of their work.

Be introduced to basic ideas about publishing for emerging writers.

Create a portfolio that is future-minded. In other words, the portfolios should include samples of work and the revision process, as well as proposals regarding either longer work to be written post-graduation, or postgrad plans, a process letter that serves as self-assessment, or an annotated list of goals for continuing the life of the writer after the undergraduate degree is completed.

ENG 406. Creative Writing (Poetry Workshop). 3 Credit Hours.   Students in this advanced poetry workshop will have the opportunity for hands-on experimentation with poetic crafts—structure, language, musicality—as well as for research, collaboration, and critique.  We’ll mine memory, mix genres, and explore culture and linguistic inventions, while enjoying the work of a diverse array of contemporary and canonical poets.  Through annotations and lively discussions of both contemporary poems and student work, as well as through exercises and assignments, students will create poetry of increasing risk and quality and develop the skills necessary to advance their craft.  A final portfolio of creative and critical work is due at the semester’s end.

Prerequisite:   ENG 392 Or ENG 391 Or Permission of Creative Writing Director. May not be taken in the same term with another Creative Writing course.

Receive and offer highly informed and eloquent critical feedback in workshop with an eye towards submitting their work to undergraduate literary journals like   Mangrove   and/or towards the compilation of an MFA application portfolio.

Write original work that reveals their unique aesthetic interests and displays a strong sense of individual voice.

Discuss their specific literary models and influences by speaking and writing knowledgably about the work of published poets they either admire or find difficult.

Experiment with more figurative language, unconventional forms, and cross-genre work

Effectively experiment in multiple languages, including writing in vernacular, dialects, and even invented language.

Be able to dramatically transform their poems from one draft to another with an emphasis on linguistic originality, descriptive sophistication, and thematic complication.

Produce a final portfolio of poetry that includes final revisions with an eye towards submitting their work to undergraduate literary journals at UM or elsewhere or towards the compilation of an MFA application portfolio.

Course Description for 407

Special Topics Advanced Workshop in Creative Writing

This course explores special topics in Creative Writing. Students will be taken step by step through the process of writing compelling fiction, poetry or nonfiction in the genre and specific form of the professor’s choice. Students will learn the basic skills and attitudes needed to research, produce and write in that specific form. Readings in the form will be broad and challenging. By the end of the course, students will have developed a portfolio of work that reflects the form under study.

Prerequisite:  ENG 390 or Permission of Creative Writing Director. This course may not be taken concurrently with another creative writing workshop.

Produce a significant amount of written work, equivalent to what is asked of them in ENG 404, but tailored to the needs and standards of the form being studied.

Recognize the major elements of the topic under study, and be able to talk about them in formal terms related to that topic.

Model the readings in their work via writing assignments, reflecting an understanding of the topic.

Complete a final portfolio or project that reflects their best work, their understanding of the topic, and their process.

Course Description for 408

Writing Autobiography

This course explores the writing of prose or poetry as autobiography. Students will be taken step by step through the process of writing compelling memoir, the essay, blogging or creative nonfiction as a way of exploring the Self. Students will learn the basic skills and attitudes needed to research, produce and write autobiography. Readings in the form will be broad and challenging. By the end of the course, students will have developed a portfolio of work that reflects the form under study.

Recognize the major elements of autobiography, creative nonfiction and the essay; and be able to talk about them in formal terms.

Model the readings in their work via writing assignments, reflecting an understanding of form.

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Creative writing undergraduate course descriptions , engl 3420: introduction to fiction writing (waugh) .

This introduction to short story writing will help you see all the many things a story is besides what happens. Plot may be “the soul of a tragedy,” according to Aristotle, but it certainly won’t keep your readers if that’s all there is. We will examine why character matters, as well as imagery, description, setting, time, point of view, and sparkling prose, among many other things. By taking this course, you will learn to: 1) use a basic fiction writing vocabulary, 2) identify the core narratological concepts in a work of fiction, 3) recognize the sound and rhythm of good prose, 4) understand and employ various narrative modes and structures, and 5) participate fully and constructively in a workshop oriented class. In-person. Logan.

ENGL 3420 Introduction to Fiction Writing (Denetsosie-Mitchell)

This introduction to short story writing will draw upon natural patterns that exist within nature and help you apply those patterns to your fiction. The craft of writing should extend beyond the dramatic arc, where tension reaches a climax and then falls. Although many great stories have been written using this structure, it can feel stifling. By taking this course, you will experiment with form and nonlinear prose to explore the texture of narrative writing and consider how your story might meander, spiral, or explode. Using Jane Alison’s text, 'Meander, Spiral, Explode,' we will collectively identify new patterns and natural shapes within our stories to produce new narrative vessels that make our stories ring true. In-person. Logan.

ENGL 3420 Introduction to Fiction Writing (Olsen)

This is a fiction writing course that is accessible to beginning fiction writers and beneficial to writers who have had practical experience with fiction writing but minimal academic study in the field. The course is workshop-driven (meaning there will be extensive hands-on analysis of student work) but will also feature serious craft discussion and thorough readings of published material to help students better understand how to approach their own work. Students are encouraged to write in genres and styles that interest them. The course is structured as a hybrid with every-other-week in-class meetings that alternate with weeks where we discuss specific issues related to craft and contemporary fiction. Connect.

ENGL 3430 Introduction to Poetry Writing (Gunsberg)

This course is designed to help you become better writers and readers of poetry. To this end, we’ll discuss student work as well as poetry written by established authors. Our conversations will revolve around craft, which means we’ll explore those time-tested techniques that guide and strengthen poets’ efforts. This approach begins with close attention to the language that moves us and, moreover, careful consideration of why it moves us. Class discussion and careful reading of student work will be enhanced by your efforts to develop a critical/literary vocabulary, one that broadens your understanding of poetry and enlivens your responses to your classmates’ work. In person. Logan.

Eng 3430 Introduction to Poetry Writing: Poetry and Art: Building New Worlds (Grimmer)

In this workshop-based course, we will explore poetry’s role in articulating “better worlds” through a combination of classroom-based learning and experiential learning outside of the classroom. Our guiding questions include: 1. How does poetry interact with and create effects across different modes of art, including popular music and visual arts? 2. What are the relationships between language, bodies, and content across digital and analog forms of writing? 3. What are the sociopolitical effects of these relationships across racialized, gendered, and classed identity groups? This course will be a workshop-styled attempt to explore these questions by reading and experimenting with poetry in a variety of formats and in a variety of settings. Students can expect a combination of individual writing exercises, group-based arts projects, and experiential learning in local museums and cafes. Students will learn different craft techniques for playing with the effects of text-based poems; they will also experiment with translating those effects into audio and visual mediums. Students are expected to attend local readings, write outside the classroom in libraries, cafes, and museums, and practice navigating the dynamic between individual writing, digital content, and community-based arts. In person. Logan.

ENGL 3430 Introduction to Poetry Writing (Olsen)

Regardless of your previous experience or comfort level with poetry, this is a course that will help you find your way. By reading engaging contemporary poems and discussing techniques that will allow your writer's voice to emerge and shine, this class will use both discussion and workshop to help students improve. This is a hybrid course—that means we'll be meeting via Connect every other week and then engaging in poetry writing discussions over Canvas during weeks when we're not in class. There will be frequent workshops in which we will discuss student work and find ways to improve our work. Connect. 

ENGL 3440 Introduction to Creative Nonfiction Writing (Beck)

Nonfiction is the only genre that starts with an apology. It knows that you wished it were fiction and, sometimes, it does too. Because it starts with a stutter step—by defining itself by what it’s not—nonfiction is the most accepting of all genres. If you can follow nonfiction’s one rule, DMSU (don’t make stuff up) you can do whatever you want in the genre. English 3440 will be a mix of lectures and workshops that will focus on creating new nonfiction projects. Few parameters will be placed on the projects you will complete, but the class will emphasize narrative and personal writing. Project mediums will include traditional essays, podcasts and will be open to other experimentations. In person. Logan.

ENGL 3440 Introduction to Creative Nonfiction Writing (Engler)

You got something to say about the world? About your life? About Stranger Things, Beyoncé, or Neon Genesis Evangelion? Say goodbye to boring, dry, academic papers, and come join this workshop-style community where we experiment with the tools of nonfiction artist (like story, character, voice, and style) to learn the genre more popular than fiction. Whatever you might hope to say, this course will help you add layers of meaning and intrigue to find a compelling way to say it. In person. Logan.

ENGL 4420 Advanced Fiction Writing (Waugh)

The purpose of this advanced fiction writing course is to allow you to make the step from story dabbler to serious fiction writer, and to help you, as M.S. Bell says, “deploy unconsciously, intuitively, instinctively” the rudimentary skills you learned in the introductory course. The readings of our own work will be the basis for our workshop discussions, which means you must read the work in advance and come to class prepared with notes to help you give thoughtful, constructive criticism. We will also read exemplary texts to help us better understand what creates good writing, to train ourselves always to read as a writer, and to find how a particular word or sentence contributes to the overall effect. Similarly, we’ll cultivate a writer’s approach to life, the goal being to become what Henry James called, “one of the people on whom nothing is lost.” In person. Logan.

ENGL 4430 Advanced Poetry Writing: Advanced Multimodal Poetry: Building New Worlds (Grimmer)

In this workshop-based course, we will practice techniques for “building better worlds” through poetry and related multimedia arts. Our approach will combine in-class writing workshops with experiential learning outside of the classroom. Our guiding questions include: 1. How can we create poems that can create varied effects across multiple modes of art, including popular music and visual arts? 2. How can our poems help us navigate the relationships between language, bodies, and content across digital and analog forms of writing? 3. What do our own, our colleagues, and contemporary poems in general teach us about the sociopolitical effects of these relationships across racialized, gendered, and classed identity groups? This course will be a workshop-styled attempt to explore these questions by reading and experimenting with poetry in a variety of formats. Students can expect a combination of individual writing exercises, group-based arts projects, and experiential learning in local museums and cafes. Students will learn different craft techniques for playing with the effects of text-based poems; they will also experiment with translating those effects into audio and visual mediums. Students are expected to attend local readings, write outside the classroom in libraries, cafes, and museums, and practice navigating the dynamic between individual writing, digital content, and community-based arts. As an advanced course, students must receive and provide weekly feedback in writing workshops. In person. Logan.

ENGL 4440 Advanced Creative Nonfiction (Wells)

Michel de Montaigne says, “Every man has within himself the entire human condition.” By fairly and accurately investigating the larger meaning of a personal experience, a nonfiction writer can speak to the universal. The nonfiction writer is, therefore, tasked with honesty in their pursuit of discovery and greater knowledge. Often, we hear this described as a pact formed with the reader. However, we also know that memory can be fallible. David Lazar asserts that “Nonfiction blends fact and artifice in an attempt to arrive at truth, or truths.” Calling on memory for meaning may, at times, involve some imagination. So, then, where do the boundaries (if there are any) lie between fiction and nonfiction? What obligation does the nonfiction writer have to the reader? How does structure and form contribute to this discussion?

Advanced Creative Nonfiction builds off of the introductory course, which focuses on memoir and personal essay, to examine varied essay forms. We’ll examine craft techniques in order to deepen our understanding of form and structure. Together, we’ll look closely at braided, lyric, and flash essays to develop and hone our craft, while evaluating our own assumptions regarding writing strategies, memory, and fact along the way. Students will engage in writing exercises and workshops, with a focus on revision strategies to produce a final portfolio of innovative and polished essays. In person. Logan.

ENG 5450 Special Topics in Creative Writing: Mixtures and Margins: An Introduction to Multimodal Composition (Gunsberg)

How do contemporary writers use digital technology to adapt their poems, stories, and essays to a diverse and rapidly changing media textscape? English 5450 investigates this question by exploring different media forms, including alphanumeric writing, film, music, electronic literature, visual art, performances, and installations. Students will have opportunities to create new media texts that combine audio, visual, and interactive elements, such as printed poems that also occur as audio files or videos in conversation with print-based texts. We’ll discuss theories and historical antecedents of contemporary multimodal work before tackling three major assignments: 1) a multimodal adaptation of alphanumeric writing, 2) a digital media project, and 3) a performance or installation. Your efforts on these assignments will be supported by readings, experiments, and class visits from writers who steer their work in many exciting directions. In person. Logan.

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Creative Writing Course Descriptions

Winter 2021, wr 224, introduction to fiction writing.

See the Course Catalog for available sections.

WR 224 is an introduction to the writing of fiction. Our approach in this fiction writing workshop will be to develop your skills as a creative writer through several means: careful reading and analysis of our own work; careful reading and analysis of established writers’ work; the execution of several meaningful fiction exercises; and a constant commitment to revision. Assessment methods include creative writing exercises, quizzes and reading checks on textbook craft sections, peer review, and the evolution of a short story from first to final, polished draft by the end of the term. Successful completion of Writing 121 is a prerequisite for this course.

Bacc Core, Skills – Writing II (CSW2)

Liberal Arts Fine Arts Core (LACF)

Wayne Harrison

WR 224 is an introduction to the writing of fiction. Our approach in this online fiction writing workshop will be to develop your skills as a creative writer through several means: careful reading and analysis of our own work; careful reading and analysis of established writers’ work; the execution of several meaningful fiction exercises; and a constant commitment to revision. Assessment methods include creative writing exercises, quizzes and reading checks on textbook craft sections, peer review, and the evolution of a short story from first to final, polished draft by the end of the term. Successful completion of Writing 121 is a prerequisite for this course

WR 240, INTRODUCTION TO NONFICTION WRITING

Creative nonfiction is the genre of creative writing that bridges the act of making literary prose--the crafting of vivid scenes, a thoughtful narrative voice, and meaningful formats--with the kinds of practical personal writing often required in our academic and professional lives. In this course, we will discuss several published pieces from the creative nonfiction genre, including personal essays, memoir, and lyric essay. More importantly, we will also write, edit, workshop, and revise several pieces of our own creative nonfiction. Expect a lively class with lots of imaginative prompts, free-writes, and hardy discussion.

Bacc Core Requirement(s) Fulfilled: Core, Skills, WR II

WR 241, INTRODUCTION TO POETRY WRITING

“The art of poetry is ultimately an art of attention—Michael Blumenthal.” Throughout this course, we will consider the tools necessary to approach poetry more attentively as both readers and writers. This course will provide a firm grounding in the rudiments of poetic craft such as word choice, line breaks, imagery, structure, and other devices, as well as an introduction to different forms available to poets. We will consistently work through writing exercises and read/ discuss the work of various poets in order to aid us in the generation of our own poems.

WR 324, SHORT STORY WRITING

Kristin Griffin

Prerequisite: WR 224. This class is a workshop for writers experienced in writing fiction. Students learn techniques of the form by discussing their work, as well as the assigned readings, in a group setting. We’ll be reading work by current writers, some of whom will Skype in with advice, and learning the features of today’s literary landscape. The course assumes familiarity with major fiction writers and fundamental craft concepts such as point of view, characterization, dialogue, and theme. If you’re hoping to take your short story writing skills to the next level, this course is for you!

WR 424, ADVANCED FICTION WRITING

Rob Drummond

In this workshop we will read and write fiction.  Using published stories as models, we’ll discuss methods of characterization, plotting, scene-setting, dialogue, and so on.  Much of our work together will involve close reading and analysis of the texts in question.  Our emphasis will be on writing more complicated and sophisticated stories with concision and economy.

WR 440, ADVANCED CREATIVE NONFICTION

Justin St. Germain

In WR 466/566, Professional Writing, we’ll study texts, contexts and concepts important to the practice of professional writing and produce documents for both paper and digital distribution. As future professional writers, students will be expected to analyze organizations and institutions in order to develop effective communicative practices. Therefore, the class is organized with an eye towards future action: you will be reading what others have done and we will be developing strategies for your own future writing activities. The fundamental question addressed in this class is: what do professional writers do? Through the course, students will read definitions of professional and technical writing from academic and professional perspectives. Students will also research and report on a variety of documents in genres common in professional and technical writing as they develop an awareness of genre. Class reading and writing assignments have been designed to help students gain greater insight into the issues and challenges of professional writing in a variety of workplace contexts.

Click here for a full list of Winter 2021 course descriptions in Applied Journalism, English, Film, and Writing.

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Creative Writing BA Courses

Our undergraduate course offerings move from introductory courses in both poetry and prose through intermediate-level speciality courses into advanced-level workshop courses . In introductory courses , students read a breadth of literature representing a range of stylistic possibilities and cultural backgrounds while experimenting with different approaches to form; in advanced-level courses , completed work is often shared and critiqued in a seminar format.

200-Level Courses

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Creative Writing Course Descriptions

Whether you want to try something for the first time, or dive deep into your area of study, our courses offer you the opportunity to shine a light on what interests you. 

Please note:  The Course Catalog  should be used for all official planning. 

Explore a sample of Creative Writing courses offered by the Department of English:

ENG 180:  Introduction to Creative Writing  

A survey of prominent literary works through the lens of creative writing. Students will analyze works of fiction, nonfiction, and poetry and will have the opportunity to respond creatively to the assigned readings-- i.e., by composing original stories, creative essays, and poems. Assigned texts will seek to expose students to various writing styles, and provide examples of the successes and strategies of other writers. In addition to learning various aspects of reading and discussing texts as writers, students will learn how to respond to writing in different genres. Units: 6 

ENG 350:  Creative Writing: Non-Fiction  

Practice in the writing of non-fictional prose. Units: 6  Prerequisite: ENG 180. Sophomore standing or consent of instructor 

ENG 360:  Creative Writing: Fiction 

Practice in the writing of short fiction. Units: 6  Prerequisite: ENG 180. Sophomore standing or consent of instructor 

ENG 370:  Creative Writing: Poetry 

Practice in the writing of poetry. Units: 6  Prerequisite: ENG 180. 

ENG 560:  Advanced Creative Writing: Fiction 

A workshop for students with previous fiction writing experience. Units: 6  Prerequisite: ENG 360 or consent of instructor 

ENG 562:  Advanced Creative Writing: Novel Writing  

Course for students composing creative, book-length works of prose. Units: 6  Prerequisite: ENG 350 or ENG 360, and ENG 550 or ENG 560 

ENG 565:  Advanced Creative Writing: Poetry 

A workshop for students with previous poetry writing experience. Units: 6  Prerequisite: ENG 370 or consent of instructor 

ENG 601:  Senior Seminar in Creative Writing 

A seminar involving analysis of theoretical, critical, literary, and practical (i.e.,craft-related) readings at an advanced level in conjunction with students' writing of an original, substantial creative work, in either poetry or prose. Students working in different genres will have the opportunity to read one another's work and discuss, as a group, both the challenges and possibilities associated with composing lengthy creative projects. Each section of the seminar will focus on a theme that can accommodate variety in students' individual research projects. Units: 6  Prerequisite: Majors only; junior standing for spring term, otherwise, senior standing; at least two English courses numbered 400 or above, and two workshops numbered 500 or above. 

Creative Writing Course Descriptions

Happy spring, writers! The opening of William Carlos Williams’s “Spring and All” feels about right for these times in this place:

By the road to the contagious hospital under the surge of the blue mottled clouds driven from the northeast-a cold wind.

As we look forward to those cold winds turning warm, it’s time to think again about registering for classes. In this Creative Writing (CW) Program Course Bulletin for Summer 2022 – Winter 2023 you’ll find a list of the courses offered by the CW program for the next three terms.

For the first time, we are offering CW 2100 Intro to Prose/Poetry Writing and CW 2500 Intro to Memoir & Essay in Summer I and continue to offer CW 2400 Screenwriting in Summer II.

Don’t forget about our internship option, CW 4950. Contact Professor Gilson to learn more at [email protected] .

If you have any questions about these classes, please reach out to us!

Useful Links:

• Creative Writing
• Fiction, Poetry, Memoir & Essay, Screenwriting Major Requirements
• Creative Writing Minor Requirements
• Meet the Faculty/Staff

Summer I (May3-June 24)

CW 2100: Intro to Creative Writing Workshop taught by Professor McCarty Contact at [email protected] . (Online via Zoom MW 1-4:20 p.m.) Whether you’ve been writing your whole life, never or somewhere in between, you will find something inspiring, beautiful, innovative and interesting in this introduction to fiction, poetry and creative nonfiction writing. We’ll explore creative writing on the page (tension in fiction, images in poetry and the meaning of “truth” in creative nonfiction) and off the page (slam poetry, Twitter fiction and podcasting). All students will share their writing in peer-led workshops. Other assignments include weekly creative writing experiments and reading responses. No previous experience in writing or workshopping is necessary. Prerequisite: WRT 1060 with a grade of C or higher. Also offered: Fall 2022 and Winter 2023

CW 2500: Intro to Memoir and Essay taught by Professor Pfeiffer Contact at [email protected] . (Online via Zoom Tues and Th 1-4:20 p.m.)

“True stories, well told,” the catchphrase of “Creative Nonfiction,” the magazine, also describes the goals of memoirists and essayists, and it will be our guiding principle this semester. Students will explore the creative potential of memoir and essay through the study and practice of various techniques, styles, voices and variations. We will read and discuss writing which illustrates the range of possible topics for “true stories,” and we will practice a variety of approaches to craft which demonstrate how many ways our stories can be “well told.” Student writing will be shared in the workshop with a strong focus on revision. Lecture, discussion, workshop, with attendance and active participation required. Prerequisite: WRT 1060 with a grade of C or higher. Also offered: Winter 2023

Summer II (June 27-Aug 16)

CW 2400: Intro to Screen/TV Writing taught by Professor Shaerf Contact at [email protected] (Fully online/asynchronous)

This course will provide a historical and theoretical understanding of narrative screenwriting as both a storytelling format and an integral part of the cinematic production process. We will begin with an overview of the history of screenwriting and the development of industrial practices. This context will illustrate how the development of screenwriting for film and television narratives has evolved to its present- day formatting and style. We will see how screenwriters develop and progress paradigms as we push boundaries of how film stories are told. There will be creative projects throughout the semester to help give you the opportunity to experiment creatively with the screenplay format. Much of CW 2400 in this summer online course relies on forum discussions and live chat sessions around the topics of the week. You will be required to be an active participant in all discussions throughout the seven weeks of the course. Prerequisite: WRT 1060 with a grade of C or higher. Also offered: Fall 2022 and Winter 2023

Fall (Sept. 1-Dec. 5)

CW 2100: Intro to Prose/Poetry Writing taught by Professor Markus Contact him at [email protected] (Section 1: MW 3:30-5:17 p.m.) (Section 2: M 6-9:20 p.m.)

Do you like to write? Are you creative? Do you like to tell the truth? Do you like to make things up? If you've answered yes to any of these questions, then this class will be a good fit for you. In this class students will be given the time, space, inspiration and guidance to write the poems and stories (true and invented) that you want to write. There is no mistake here in CW 2100. There is only the world that we make and the world we make believe in where the rules of others are yours to break. Prerequisite: WRT 1060 with a grade of C or higher. Also offered: Summer 2022 and Winter 2023

CW 2400: Intro to Screen/TV Writing taught by Professor Chappell Contact at [email protected] (Tues 5:30-8:30 p.m.)

Students will table read industry screenplays, develop loglines, pitch ideas, review podcasts, as well as screen WGA-recognized films and television episodes. For the final, students will deconstruct the film or television script of their own choice to present a multi-media analysis that includes a detailed beat-by-beat scene breakdown. Lecture topics include the differences between screenwriting and other literary forms, visual storytelling techniques and industry formatting. Lectures will also explore how to subvert genre expectations, Aristotle’s three act structure, The Hero's Journey, character arcs and Jungian archetypes. Students will learn about scene construction and dialogue tools in the craft. Additionally, students will be given tools to plan how to launch a career as a screenwriter through personal anecdotes and true stories about working within the Hollywood studio system. Prerequisite: WRT 1060 with a grade of C or higher. Also offered: Summer 2022 and Winter 2023

CW 3200: Workshop in Fiction (intermediate level) taught by Professor Gilson Contact at [email protected] (Tues 6-9:20 p.m.)

What brings a story alive? In this second class in the workshop sequence for the fiction track, we will begin to explore that question by writing pieces that focus on different key elements of fiction, such as character and setting, narrative voice and dialogue, conflict and pacing. We will also work on exercises designed to help writers develop their understanding of basic elements of narrative. Students will present three to five  full stories to the class for the workshop (the first will be a flash fiction piece.) It’s three to five stories because everyone has the option to opt out of one or two stories if they like. At the end of the semester, students will workshop a revision of any story they did for the class. Throughout the semester we will do in-class exercises designed to help students find their voices and to surprise themselves. We will analyze stories by published authors from a number of craft approaches, to help students understand how writers achieve their particular narrative effects. In addition, we will spend time in each class talking about the process. Students will learn how to develop their subjects and to understand their strengths as writers. At the same time, they will explore their new identities as members of a writing community. That involves learning how to engage with other writers in the classroom and learning about how an audience responds to their work. Tending to these matters will help students to build a sustained writing practice and will help them in the future when they go out into the world to tell their own stories. Prerequisite: CW 2100. Also offered: Winter 2023.

CW 3300: Poetry Workshop taught by Professor Hartsock Contact at [email protected] (Wed 6-9:20 p.m.)

The poet Henri Cole writes, “A poem is like a bottled genie. The bottle makes the genie stronger.” Following Cole's emphasis on craft, you will practice not only writing new genie-poems, but imagining new bottles for them too. You will read and compose in a variety of poetic forms, from sonnets to free verse. Meetings will include in-class writing exercises, discussion of assigned readings, introductions to literary movements and poetic forms and workshops of fellow students’ poems. Geared towards poets, but instrumental for any aspiring creative writer, the class gives you the opportunity to slow down with language and dwell with words, developing a sense of your own creative voice as you provide feedback on your fellow writers’ work. Prerequisite: CW 2100.

CW 3400: Screenwriting taught by Professor Chappell Contact at [email protected] (Thurs 5:30-8:30 p.m.)

This intermediate screenwriting course is a writers workshop, where students give and receive critical feedback as they develop, pitch, draft and revise three short screenplays: a low budget realistic short, a collaborative adaptation and a genre short. Students will also learn from master screenwriters, including Quentin Tarantino, David Mamet, Aaron Sorkin, Joel and Ethan Coen and Jordan Peele, among others, by brainstorming “riffs” off of exemplary mentor scenes. The instruction emphasizes the correct application of industry formatting, the turning of scenes and advanced dialogue techniques. Prerequisites: CW 2400 and either FLM 1150 or FLM 2100. Also offered: Winter 2023

CW 3500: Workshop in Memoir and Essay taught by Professor McCarty Contact at [email protected] (Tues and Thurs 3-4:47 p.m.)

True Crime: In Memoir and Essay, we focus on the crafting of the true story. But what if that true story is a crime? This semester, we will read true crime essays and memoirs written by both survivors and observers. We’ll talk about true crime as a genre and cultural phenomenon that has particular characteristics and pitfalls. We’ll think about the ethical imperatives of writing about crime and violence and ask questions like: how do we write about something that is “unspeakable?” and what do writers owe victims? We’ll read works such as “In Cold Blood” by Truman Capote, “The Red Parts” by Maggie Nelson, “Son of a Gun” by Justin St. Germain, and essays and excerpts by Charles Bowdoin, Ross Gay, Claudia Rankine and others. We’ll also listen to true crime podcasts such as “My Favorite Murder” and examine the expectations of the genre. We’ll discuss both content and structure, and the ways different authors approach writing the crime. Students will workshop their own writing, but are not required to write about crime. We will discuss craft techniques (such as imagery, setting and style) and do formal writing exercises to practice these techniques through the lenses of personal experiences, memories, and interests. Prerequisite:  CW 2100 or CW 2500.

CW 3600: Playwriting taught by Professor Dubin Contact at [email protected] (Tues and Thurs 1-2:47 p.m.)

The first part of this course will focus on the craft of playwriting: structure, character and dialogue. The rest will function as a writing workshop where students read each other’s work aloud in class and exchange feedback. Course objectives include learning the basic elements of playwriting, analyzing these elements in existing works and writing several short plays that incorporate these elements. Professor Kitty Dubin provides a fun and supportive atmosphere where creativity can flourish. Playwriting is a four credit course that fulfills English, Theatre and Creative Writing credit. Prerequisite: WRT 1060 with a grade of C or higher. Also offered: Winter 2023

CW 3800: Editing and Publishing a Literary Journal taught by Professor Powell Contact at [email protected] (Online via Zoom Tues and Thurs 10-11:47 a.m.)

Literary magazines are a crucial player in the field of creative writing and literary publishing today. In this class, students learn about the exciting history of literary magazines in Britain and America and explore the current literary magazine landscape. They also will gain hands-on experience in the field by working to produce one issue of the “Oakland Arts Review,” OU’s undergraduate international literature and arts journal. This class offers a unique opportunity for students in English and other disciplines to learn the process of editing and publishing a literary journal. Students will apprentice in the practical business of publishing— managing a submission database, advertising and marketing the journal, maintaining an online presence, etc. They will evaluate the quality of individual submissions that they themselves solicited, discussing aesthetic choices the authors are making and considering which pieces should be accepted. Finally students will edit and proof the final draft of the journal, according to the style of previous issues. Prerequisite: WRT 1060 with a grade of C or higher.

CW 4200: Advanced Workshop in Fiction taught by Professor Chapman Contact at [email protected] (Tues and Thurs 8-9:47 a.m.)

This fiction capstone workshop will focus on taking you a step closer to being a published author. You will develop strong writing habits. You will write several stories and, through workshop and revision, develop one of these stories into a strong draft, ready to be submitted to literary journals. In the process, we will study the marketplace for short fiction and find a journal to which you will submit your story. Prerequisite(s): CW 2100, CW 3200. Also offered: Winter 2023

Students will table read industry screenplays, develop loglines, pitch ideas, review podcasts, as well as screen WGA-recognized films and television episodes. For the final, students will deconstruct the film or television script of their own choice to present a multi-media analysis that includes a detailed beat-by-beat scene breakdown. Lecture topics include the differences between screenwriting and other literary forms, visual storytelling techniques and industry formatting. Lectures will also explore how to subvert genre expectations, Aristotle’s three act structure, The Hero's Journey, character arcs and Jungian archetypes. Students will learn about scene construction and dialogue tools in the craft. Additionally, students will be given tools to plan how to launch a career as a screenwriter through personal anecdotes and true stories about working within the Hollywood studio system. Prerequisite: WRT 1060 with a grade of C or higher. Also offered: Summer 2022 and Winter 2023

What brings a story alive? In this second class in the workshop sequence for the fiction track, we will begin to explore that question by writing pieces that focus on different key elements of fiction, such as character and setting, narrative voice and dialogue, conflict and pacing. We will also work on exercises designed to help writers develop their understanding of basic elements of narrative. Students will present three to five  full stories to the class for the workshop (the first will be a flash fiction piece.) It’s three to five stories because everyone has the option to opt out of one or two stories if they like. At the end of the semester, students will workshop a revision of any story they did for the class. Throughout the semester we will do in-class exercises designed to help students find their voices and to surprise themselves. We will analyze stories by published authors from a number of craft approaches, to help students understand how writers achieve their particular narrative effects. In addition, we will spend time in each class talking about the process. Students will learn how to develop their subjects and to understand their strengths as writers. At the same time, they will explore their new identities as members of a writing community. That involves learning how to engage with other writers in the classroom and learning about how an audience responds to their work. Tending to these matters will help students to build a sustained writing practice and will help them in the future when they go out into the world to tell their own stories. Prerequisite: CW 2100. Also offered: Winter 2023.

The poet Henri Cole writes, “A poem is like a bottled genie. The bottle makes the genie stronger.” Following Cole's emphasis on craft, you will practice not only writing new genie-poems, but imagining new bottles for them too. You will read and compose in a variety of poetic forms, from sonnets to free verse. Meetings will include in-class writing exercises, discussion of assigned readings, introductions to literary movements and poetic forms and workshops of fellow students’ poems. Geared towards poets, but instrumental for any aspiring creative writer, the class gives you the opportunity to slow down with language and dwell with words, developing a sense of your own creative voice as you provide feedback on your fellow writers’ work. Prerequisite: CW 2100.

This intermediate screenwriting course is a writers workshop, where students give and receive critical feedback as they develop, pitch, draft and revise three short screenplays: a low budget realistic short, a collaborative adaptation and a genre short. Students will also learn from master screenwriters, including Quentin Tarantino, David Mamet, Aaron Sorkin, Joel and Ethan Coen and Jordan Peele, among others, by brainstorming “riffs” off of exemplary mentor scenes. The instruction emphasizes the correct application of industry formatting, the turning of scenes and advanced dialogue techniques. Prerequisites: CW 2400 and either FLM 1150 or FLM 2100. Also offered: Winter 2023

True Crime: In Memoir and Essay, we focus on the crafting of the true story. But what if that true story is a crime? This semester, we will read true crime essays and memoirs written by both survivors and observers. We’ll talk about true crime as a genre and cultural phenomenon that has particular characteristics and pitfalls. We’ll think about the ethical imperatives of writing about crime and violence and ask questions like: how do we write about something that is “unspeakable?” and what do writers owe victims? We’ll read works such as “In Cold Blood” by Truman Capote, “The Red Parts” by Maggie Nelson, “Son of a Gun” by Justin St. Germain, and essays and excerpts by Charles Bowdoin, Ross Gay, Claudia Rankine and others. We’ll also listen to true crime podcasts such as “My Favorite Murder” and examine the expectations of the genre. We’ll discuss both content and structure, and the ways different authors approach writing the crime. Students will workshop their own writing, but are not required to write about crime. We will discuss craft techniques (such as imagery, setting and style) and do formal writing exercises to practice these techniques through the lenses of personal experiences, memories, and interests. Prerequisite:  CW 2100 or CW 2500.

The first part of this course will focus on the craft of playwriting: structure, character and dialogue. The rest will function as a writing workshop where students read each other’s work aloud in class and exchange feedback. Course objectives include learning the basic elements of playwriting, analyzing these elements in existing works and writing several short plays that incorporate these elements. Professor Kitty Dubin provides a fun and supportive atmosphere where creativity can flourish. Playwriting is a four credit course that fulfills English, Theatre and Creative Writing credit. Prerequisite: WRT 1060 with a grade of C or higher. Also offered: Winter 2023

Literary magazines are a crucial player in the field of creative writing and literary publishing today. In this class, students learn about the exciting history of literary magazines in Britain and America and explore the current literary magazine landscape. They also will gain hands-on experience in the field by working to produce one issue of the “Oakland Arts Review,” OU’s undergraduate international literature and arts journal. This class offers a unique opportunity for students in English and other disciplines to learn the process of editing and publishing a literary journal. Students will apprentice in the practical business of publishing— managing a submission database, advertising and marketing the journal, maintaining an online presence, etc. They will evaluate the quality of individual submissions that they themselves solicited, discussing aesthetic choices the authors are making and considering which pieces should be accepted. Finally students will edit and proof the final draft of the journal, according to the style of previous issues. Prerequisite: WRT 1060 with a grade of C or higher.

Winter 2023 (Jan. 5-April 18)

CW 2100: Intro to Prose/Poetry Writing taught by Professor Markus Contact at [email protected] (Section 1: MW 3:30-5:17 p.m.) (Section 2: M 6-9:20 p.m.)

Do you like to write? Are you creative? Do you like to tell the truth? Do you like to make things up? If you've answered yes to any of these questions, then this class will be a good fit for you. In this class students will be given the time, space,  inspiration and guidance to write the poems and stories (true and invented) that you want to write. There is no mistake here in CW 2100. There is only the world that we make and the world we make believe in where the rules of others are yours to break. Prerequisite: WRT 1060 with a grade of C or higher. Also offered: Summer 2022 and Fall 2022

Students will table read industry screenplays, develop loglines, pitch ideas, review podcasts, as well as screen WGA-recognized films and television episodes. For the final, students will deconstruct the film or television script of their own choice to present a multi-media analysis that includes a detailed beat-by-beat scene breakdown. Lecture topics include the differences between screenwriting and other literary forms, visual storytelling techniques, industry formatting, how to subvert genre expectations, Aristotle’s three act structure, The Hero's Journey, character arcs and Jungian archetypes, scene construction, dialogue tools, how to launch a career as a screenwriter, as well as personal anecdotes and true stories about working within the Hollywood studio system. Prerequisite: WRT 1060 with a grade of C or higher. Also offered: Summer 2022 and Fall 2022

CW 2500: Intro to Memoir and Essay taught by Professor Pfeiffer Contact at [email protected] (Online via Zoom MW 1-2:47 p.m.)

“True stories, well told:” the catchphrase of “Creative Nonfiction,” the magazine, also describes the goals of memoirists and essayists, and it will be our guiding principle this semester. Students will explore the creative potential of memoir and essay through the study and practice of various techniques, styles, voices and variations. We will read and discuss writing which illustrates the range of possible topics for “true stories,” and we will practice a variety of approaches to craft which demonstrate how many ways our stories can be “well told.” Student writing will be shared in the workshop with a strong focus on revision. Lecture, discussion, workshop, with attendance and active participation required. Prerequisite: WRT 1060 with a grade of C or higher.  Also offered: Summer 2022

CW 3200: Workshop in Fiction (intermediate level) taught by Professor Gilson Contact at [email protected] (Tues and Thurs 3-4:47 p.m.)

What brings a story alive? In this second class in the workshop sequence for the fiction track, we will begin to explore that question by writing pieces that focus on different key elements of fiction, such as character and setting, narrative voice and dialogue, conflict and pacing. We will also work on exercises designed to help writers develop their understanding of basic elements of narrative. Students will present three to five full stories to the class for the workshop (the first will be a flash fiction piece. three to five stories because everyone has the option to opt out of one or two stories if they like. At the end of the semester, students will workshop a revision of any story they did for the class. Throughout the semester we will do in-class exercises designed to help students find their voices and to surprise themselves. We will analyze stories by published authors from a number of craft approaches, to help students understand how writers achieve their particular narrative effects. In addition, we will spend time in each class talking about the process. Students will learn how to develop their subjects and to understand their strengths as writers. At the same time, they will explore their new identities as members of a writing community. That involves learning how to engage with other writers in the classroom and learning about how an audience responds to their work. Tending to these matters will help students to build a sustained writing practice and will help them in the future when they go out into the world to tell their own stories. Prerequisite: CW 2100. Also offered: Fall 2022

CW 3300: Workshop in Poetry taught by Professor Powell Contact at [email protected] (Online via Zoom Tues and Thurs 10-11:47 a.m.)

In this class, students are asked to complete a number of different writing prompts, producing poems that are then workshopped—read and commented on—by other students. The focus of each class is on honing particular skills, such as the writing of image and use of figurative language, becoming comfortable with poetic form and experimenting with different creative approaches to the writing of poetry. We will read from the Vintage Anthology of Contemporary American Poetry, as well as selected essays by poets including Richard Hugo, Philip Levine, Gregory Orr and more. Prerequisite: CW 2100.

CW 3400: Screenwriting taught by Professor Chappell Contact at [email protected] (Thurs 5:30 pm-8:30 p.m.)

This intermediate screenwriting course is a writers workshop, where students give and receive critical feedback as they develop, pitch, draft, and revise three short screenplays: a low budget realistic short, a collaborative adaptation, and a genre short. Students will also learn from master screenwriters (including Quentin Tarantino, David Mamet, Aaron Sorkin, Joel and Ethan Coen, and Jordan Peele among others) by brainstorming “riffs” off of exemplary mentor scenes. The instruction emphasizes the correct application of industry formatting, the turning of scenes, and advanced dialogue techniques. Prerequisite(s): CW 2400 and either FLM 1150 or FLM 2100. Also offered: Fall 2022

The first part of this course will focus on the craft of playwriting: structure, character and dialogue. The rest will function as a writing workshop where students read each other’s work aloud in class and exchange feedback. Course objectives include learning the basic elements of playwriting, analyzing these elements in existing works and writing several short plays that incorporate these elements. Professor Kitty Dubin provides a fun and supportive atmosphere where creativity can flourish. Playwriting is a four credit course that fulfills English, Theatre and Creative Writing credit. Prerequisite: WRT 1060 with a grade of C or higher. Also offered: Fall 2022

CW 4200: Advanced Workshop in Fiction taught by Professor Gilson Contact at [email protected] (Thurs 6-9:20 p.m.)

This is the capstone course in the fiction track. Students will build on the work they did in the intermediate course, workshopping one flash fiction story, two to four stories (or, if students prefer, short novel excerpts), and at least one revision. We’ll consider different approaches — Robert Olen Butler’s claim that writers must write from where they dream, Flannery O’Connor’s insistence that writers must pay careful attention to the world, Ursula K. Le Guin’s claim that fantasy writers must go inside and write from their deepest selves. George Saunders says, “An artist works outside the realm of strict logic. Simply knowing one’s intention and then executing it does not make good art. Artists know this.” As Donald Barthelme notes, “The writer is that person who, embarking upon her task, does not know what to do.” Toni Morrison agrees, saying, “I always get up and make a cup of coffee while it is still dark — it must be dark — and then I drink the coffee and watch the light come…For me this ritual comprises my preparation to enter a space that I can only call nonsecular . . . Writers all devise ways to approach that place where they expect to make the contact, where they become the conduit, or where they engage in this mysterious process. For me, light is the signal in the transition. It’s not being  in  the light, it’s being there  before it arrives . It enables me, in some sense.”

This class will focus on writing stories and exploring craft through short exercises, as well as on developing the vocabulary and skills to critique others’ stories. All this work will help you understand when your own story is working, when you need to revise to try to take it further and when you need to put your current draft aside and start again. We’ll also explore the process, to help students remember that every writer has ups and downs and that every writer has strengths to write to and weaknesses they can work on. One journal submission required, to familiarize students with some of the professional dimensions of being a writer. Also required are self-evaluations of the student's own progress and performance. Prerequisite: CW 3200. Also offered: Fall 2022

CW 4300: Advanced Workshop in Poetry taught by Professor Powell Contact at [email protected] (Online via Zoom Tues 6-9:20 p.m.)

This class is for advanced poetry students. It is devoted to further refining the skills of poets by prioritizing the production of work (we write! A lot!) and the close reading of some, four to six,full length collections of poetry by contemporary poets writing today. Students are expected to offer thorough, thoughtful feedback to each other’s creative work and to participate in in-class writing prompts and class discussion. Prerequisite: CW 3300.

CW 4400: Advanced Screenwriting taught by Professor Shaerf Contact at [email protected] (T 6-9:20 p.m.)

This course is the capstone for the screenwriting track. Students will take the tools learnt throughout the track, and with them write a feature film script along with a treatment of a story concept which details the plot developments for the film in its entirety. This class will help students enhance their ability to write both cinematically and dramatically, to see their work clearly and find their voices as writers. Prerequisites: CW 3400 and permission of instructor.

CW 4500: Advanced Workshop in Memoir and Essay taught by Professor Pfeiffer Contact at [email protected] (MW 3:30-5:17 p.m.)

This advanced workshop will explore the craft choices that distinguish memoir and essay writing, with special attention paid to the ethics of nonfiction writing. What are the writer’s obligations to the truth when memory disagrees with the facts, or when the facts themselves are elusive or contradictory? What even counts as a fact? How does one responsibly protect the “innocent bystanders” in nonfiction narrative? Who “owns” a story when different points of view yield different truths? We will also explore the assumptions about race and gender in the narrative construction of identity through reading and discussion of craft in Alex Marzano-Lesnevich’s “How to Write a Genderqueer Story” and David Mura’s “A Stranger’s Journey.” Prerequisite: 3500 or permission of instructor.

CW 4600: Advanced Playwriting taught by Professor Dubin Contact at [email protected] (Tues and Thurs 10-11:47 a.m.)

A continuation of Playwriting I, structure, character, development and dialogue will be studied in greater depth. Students will be required to read and attend several plays. The class will function primarily as a writing workshop where, over the course of the semester, students will write a ten minute play as well as a full-length play. Learning how to market your work is an important component of this class. Professor Kitty Dubin provides a fun and supportive atmosphere where creativity can flourish. Advanced Playwriting is a four credit course that fulfills English, Theatre and Creative Writing credit. The class is only offered during the winter term. Prerequisites: Playwriting (CW 3600 or THA 3040) and instructor permission.

“We tell ourselves stories in order to live.”  – Joan Didion    

Department of English, Creative Writing and Film

More about our degrees

Delve into the wide variety of courses you can explore in your English major or minor at Seattle University.

• All Programs
• English, BA & English & Creative Writing, BA
• More About our Degrees

In English and English/Creative Writing, we have designed our courses to open your mind, ignite your imagination, strengthen your critical and creative powers, broaden your literary and historical understanding, and promote powerful encounters with the world that will deepen your commitment to social justice.  English majors have the opportunity to supplement their coursework with cross-listed offerings in Film Studies, and vice versa.

Our professors are committed to your intellectual and creative development.  In the Jesuit tradition, we are committed to your personal and professional formation as well.

As an English major, you'll benefit from award-winning teaching in seminar-sized classes, careful advising throughout your degree, and workshops preparing you for careers and graduate school.

Internships are opportunities to network and gain valuable professional experience. English and CW students can take 5 credit internships as general electives, while Writing Studies students must take internships that are writing related toward their minor. Your faculty will help you make connections and you will work with our Pathways to Professional Formation program.

Additional opportunities enjoyed by our students have included Artist Trust, Public Leadership Education Network, Washington State Democrats, Starbucks Coffee Company, Hugo House, Seattle International Film Festival (curating), American Civil Liberties Union of Washington, Seattle Art Museum, Old Growth Northwest (producing an anthology related to poetry in the prisons) and King County, Washington, eNotes and Wave Books.

Your career path

The major in English is excellent preparation for careers in law, journalism, advertising and marketing, technical writing, video games, media, and many other fields, as well as for advanced degrees in literary studies, creative writing, rhetoric and composition, women and gender studies, cultural studies, teaching, and other disciplines in the humanities.

The faculty and students in English belong to a discipline that remains at the heart of a liberal arts education. Together, we aim to cultivate

• The power of expression, in all its variety;
• The pleasures of reading complex literary texts, visual images, performance works, and cultural objects;
• Different kinds of literacies (e.g., understanding cross-cultural rhetorics, reading images and visually-constructed meanings, and developing technological/informational fluency);
• Critical inquiry, analysis, and argumentation, which are fundamental for virtually all intellectual pursuits and many kinds of careers; and
• Creative thinking, reflection, imagination, and insight.

These strengths, skills, and abilities continue to make English not just a mainstay of core education in general but also a major asset on your professional résumé.

Sample English Courses

The English Department offers a wide variety of literature courses on range of exciting topics.  We welcome you into our curriculum, where you might enjoy some of the classes below.

Apocalypse in Film and Literature takes students on a journey to other galaxies and others' worlds.  You will meet strange beings, fight cosmic battles, view the end of time and the afterlife, and discover ultimate horizons and hopes.  The course's texts and films include H.G. Wells's War of the Worlds , Arthur Clark's 2001 , Walter Miller's Canticle for Leibowitz , Walker Percy's The Thanatos Syndrome , Doris Lessing's Memoirs of a Survivor , Terence Malick's Tree of Life , Cormac McCarthy's The Road , as well as Elysium, The Day After, and Enders Game.

In this course, we consider the historical and personal contexts of numerous American women writers and discuss the role that literary criticism and contemporary feminist scholarship play in our interpretations. In the first half of the course, we discuss studies in early American women's writing. During the colonial period, women who were in the New World rarely expressed themselves through writing, with only a few notable exceptions, Anne Bradstreet and Mary Rowlandson, two Puritan women writers who had to negotiate their social positions carefully and cautiously.  Throughout the 17th and 18th centuries, American women writers were rarely read or taken seriously, even though they offered unique perspectives on the colonies and emerging nation.  Even in the 19th and 20th centuries, American women writers have continued to deal with sexism in the literary marketplace, and there are still many hurtles that women writers must overcome.  For example, in her 1997, revised introduction to her 1963 publication of The Feminine Mystique , Betty Freidan insightfully writes, "sexual politics now feeds the politics of hate and the growing polarization of America" (xviii).  American women writers of today are shaping and molding contemporary feminisms, and we will explore these emerging feminisms through the works of Leslie Marmon Silko, Sandra Cisneros, and others.

• Are you fascinated by language and by how English has changed over time?
• Would you like to learn about linguistics?
• Would you like to know why the plural of "dog" is "dogs," but the plural of "mouse" is "mice"?
• Are you intrigued by the fact that Old English seems so different from Present Day English?
• Do you get upset when you see a split infinitive? Or, do you get upset when someone gets upset about your split infinitives?
• Do you wonder why American English sounds different in the South than it does in the West or in the Northeast and why people are often biased when they hear those differences?
•  Are you wondering about the complex political, social, economic implications of the uses of English as a global language?

HEL (History of the English Language) traces the historical development of the English language from its origins to the present time. In order for students to understand this development fully, they are introduced to basic concepts in linguistics, such as phonology, morphology, syntax, and semantics. We also review briefly the basics of grammar at the beginning of the quarter. Our basic goal is to understand the development of English by studying both its internal history (changes in sounds, vocabulary, inflections, syntax) and its external history (political, social, and cultural factors that have influenced such development). A significant amount of memorization is involved in this class, but debate and critical thinking are also highly encouraged. We will discuss broad questions, such as the following: What is language? Why do languages evolve? What are the forces that influence their development? We also discuss specific questions-for instance, what are the particular factors that have contributed to language change at specific moments in the history of English? At the end of the course, we pay special attention to English in our contemporary world and discuss the question of English and globalization as well as some of the issues that are the subject of current and controversial debates in the United States, for instance, African American Vernacular, or the English Only movement.

This class investigates various forms of the marvelous as they appeared throughout the Middle Ages. While we certainly deal with dragons, griffins, and lion-headed men, we also deal with marvelous encounters that are more intimate: the ways in which the category of the monstrous was used to define women as opposed to men; the miraculous visions and powers of saints; the interactions between the living and the dead in both "real life" and in dreams.

How and why did twentieth-century culture explore the meanings and experiences of moving in time, and what visions of human life are the result?  How is the obsession with time in modernist art and literature related to the cultural fantasy of time travel and alternate history?  How are contemporary desires to go back in time, redeem history, or experiment with sequence indebted to modernist time culture?  To fashion an answer for yourself, you'll be part of an interdisciplinary discussion that will draw on cultural history, literary theory, and media studies.  The texts we'll explore together include:  H.G. Wells's novel  The Time Machine  , T.S. Eliot's "The Love Song of J. Alfred Prufrock," Jorge Luis Borges's short stories "Funes the Memorious" and "The Garden of Forking Paths," selections of modernist art, Philip Dick's alternate-history novel  The Man in the High Castle  , Chris Marker's film  La Jetee   and Terry Gilliam's remake  Twelve Monkeys  , Christopher Nolan's  Memento  , James Cameron's  The Terminator  , and Sample short fiction from  Best Time Travel Stories of the 20th Century .

Literatures of the United States of America (a.k.a. American literature) express a multiplicity of perspectives, imagined realities, and lived experiences. Even before the existence of the nation, literatures of early America represented a diversity of ideas in relation to place, faith, identity, and culture. At the same time, the study of American literature risks erasing literary diversity by focusing on only well-known texts written by established and recognized authors. In this course, we debate this point and discuss how to engage in a multicultural and multiethnic examination of American literary history. We examine key texts that represent ethnic and multicultural views of the American experience. American literature is incredibly diverse, often challenging literary and social conventions, and literature in all of its forms invites controversy, requires rigorous intellectual debate, and has the power to change the course of human thought and behavior. The texts we study in this course invite our careful analysis, and we discuss the ethical and methodological foundations for our analyses.

Sample Creative Writing Courses

The English Department offers a wide variety of Creative Writing courses on range of exciting topics.  We welcome you into our curriculum, where you might enjoy some of the classes below.

Slam Poetry is a term used to describe the style of writing and performance that has taken the world of poetry by storm since the inception of the "Poetry Slam" in the late 80's. But what is the slam style of poetry? And what is a poetry slam? In this course, we will dive deep into those questions and their answers. A main focus of this class will be to discuss, evaluate and analyze past and present slam poems, poets and styles both on the page as well as in performance. To observe what makes these poems effective, powerful, and moving within the craft of writing and what skill the poets employ to bring those poems to life on the stage. The goals of the course will be to for you to gain the skills to write well-crafted poems (imagistic, personal, and evocative) and to then employ the performance style that will best serve the theme and voice of each piece.

While combining words and pictures to tell a story dates back to the ancient Egyptians, the combination of the two has developed rapidly since the turn of the last century, in the forms of comic books and comic strips.  Moreover, the last few decades has seen a huge expansion in the use of this distinct medium, especially in the form of long term story telling (i.e.: "graphic novels"). 

This course will go over the history of comic art over the last century in order to familiarize the students with its many achievements and applications, while also providing inspiration for your own ideas.  We'll also discuss the basic language and techniques employed by comic writers and artists to better prepare you for your own assignments.

Writers and readers are drawn to Young Adult fiction for a variety of reasons: the compelling plots of books like The Hunger Games , the unique characters that bring John Green's novels to life, Melissa Marr's exquisitely-built fantasy worlds, and the stories like Laurie Halse Anderson's Speak  and Jay Asher's Thirteen Reasons Why  that help teens survive a sometimes dark and troubling world. In this class, we'll examine all of these aspects of YA Fiction.We'll read YA books from multiple genres as models and for inspiration. Through a variety of writing exercises and discussion, we'll explore character, point-of-view, plot, construction of scene, setting, theme, and teen voice. You will begin to work on your own Young Adult novel in the genre of your choice. There will also be time spent on peer review and workshopping, revision, and an in-depth discussion of the business of publishing YA books. By the end of the course, you will have at least two revised chapters and a synopsis to guide you toward completion of a publishable quality YA novel.

This course takes a practice-based approach to screenwriting, engaging the Aristotelian foundations of story, plot, character, dialogue, and conflict within the framework of the individual writer's lived experiences. You will write scenes on a weekly basis and we will read and critique these scenes during workshop. This scene work prepares you to produce a final short film screenplay. With the filmmaking tools of the 21st century taken into account-inexpensive video cameras and audio recorders, self-promoted internet distribution, and handheld devices that literally put cinematic experiences in our hands-you will write screenplays that can be independently produced on a low/no-budget basis. Your final scripts will have the option of getting produced (either by you or someone else) in subsequent sections of Narrative Filmmaking and Filmmaking I.

Foreign lands and faraway places have captured the minds of readers and writers for centuries. In this creative writing class, we will explore the methods, styles, and ethical dimensions of writing about people and places around the world. From foundational stories like The Odyssey  and Gilgamesh  to spiritual journeys from Dante to Margery Kempe, travel-and the new insights that it can bring-has been a seminal means of intellectual and scientific discovery in western civilization. Recently, with the smashing success of bestsellers like Elizabeth Gilbert's Eat, Pray, Love , travel writing has become so popular that major New York publishing houses have begun to devote entire imprints to a steady supply of tourism-based work from "writers who travel." At the same time, cultural critics caution writers-particularly those from countries with relatively more economic and political power-about the potential dangers of typecasting or misrepresenting the people and practices that they encounter abroad. In this class, we will examine both historical foundations and contemporary trends in tales and testimonies of travel, and we will practice writing about places near and far. As part of this work, we will explore various motivations for travel writing-journey, discovery, politics, storytelling, meditation, commerce, and self-discovery-as well as the ethical complexities that accompany them. Students will be introduced to the pertinent craft components of storytelling as they relate to travel, and they will be invited to write about place, travel, and community in a variety of formats. In addition, we will consider commercial aspects of travel writing, including publication venues, paying markets, and the lifestyle of a travel writer.

The idea of writing a full-length book can be exciting, intimidating, and mind-boggling. You might ask yourself, "How do I begin?" Or, "How much is enough?" What is  the process for planning and completing a book-length work of fiction, and how should such a work ultimately be put together? This class takes on these and other related questions in order to introduce you to the process, craft, and industry of writing longer fiction. Through analysis of craft essays by working writers as well as several book-length works, we will consider core principals related to structure, time, theme, and characterization. Alongside these discussions, we will survey the principle forms that longer fiction takes in today's market: novels, novellas, multi-perspective novels, vignette-driven novels, and story cycles. Your own work in this course will include original writing that will contribute to a larger work-in-progress that you will summarize and outline by the end of the term. Full-class workshops will provide you with feedback on your work, and additional professionally-oriented assignments will introduce you to the process of seeking publication for book-length works of fiction.

Sample Minor Courses

This course moves beyond a "micro" focus on grammar and punctuation basics to work on "macro" issues of polish and persuasion.  It teaches you how to recognize and recreate varying complexity in sentence structure and expression, to understand appropriate writing styles for different contexts, and to strengthen your writing through careful attention to transitions, strong/active word choice, coherence, and persuasiveness. It will help you appreciate the stylistic choices that writers make for rhetorical effect as you learn how to achieve these effects in your own writing.  As you learn how to edit and strengthen your and others' writing, you will improve the sophistication and elegance of your prose.   ENGL 2135 Grammar and Punctuation leads naturally into this course but is not a prerequisite.

This course focuses on the theory and practice of argument, approaching argument as a process of inquiry, of carefully considering alternative views and multiple sources, and of building your own reasoned arguments.  At this historical moment in the United States, a number of philosophers, journalists, analysts, and scholars have underscored the importance of argument in the functioning of democracy. Besides studying the principles of classical argument as an important preparation for diverse careers and your role as a citizen, you will learn Rogerian communication and listening rhetoric as a means of having what social conflict managers call "difficult conversations," leading to cooperative and collaborative problem solving.  As you write different genres of argument (academic and civic) and different types of arguments (definition, causal, evaluation and proposal) for audiences of your choice, you will hone your rhetorical skills and develop control, elegance, and grace with your prose style.  This foundational course in the Writing Studies Minor is useful to all majors, especially to students heading for careers in law, education, the arts, public leadership, business, the environmental field, and English studies.

This course offers an opportunity to think about writing, its cognitive demands and its personal rewards, as you focus on yourself as a writer.  The course's three main goal are (1) to acquaint you with the developments in composition theory and the teaching of composition from the last thirty years; (2) to give you an opportunity to work creatively and reflectively on your writing from the vantage point of this theoretical knowledge; and (3) to help you think out ways you might use writing as a professional in your career, or perhaps as a teacher, tutor, or supervisor.  In order to further your growth as a competent, confident writer, this course examines different theoretical approaches to writing and the teaching of writing as well as discusses writing process strategies, including ways to generate ideas and tap your creativity, overcome writer's block, and revise your writing more effectively. The writing for this course-in personal, academic, and civic genres-will give you different writing experiences to nurture your development as a versatile, reflective, sophisticated writer.

Literatures of the United States of America express a multiplicity of perspectives, imagined realities, and lived experiences although the diversity of literatures of early America have sometimes been erased or eclipsed by focusing on only well-known texts and authors. This course discusses how to engage in a multicultural and multiethnic examination of American literary history, with a specific emphasis on multiethnic rhetorics and the importance of written expressions to civil rights movements. An examination of diverse perspectives in American literature offers glimpses into the past and an underchristanding of various literary, social, and multicultural movements while simultaneously challenging readers of today.  This course is designed to prepare you to understand advanced literary inquiry and participate in written debates as well as to write clearly and concisely for various audiences.

This course explores the historical development of the English language from its origins to the present time. In order to understand this development fully, you will be introduced to basic concepts in linguistics, such as phonology, morphology, syntax, and semantics. This course traces the development of English by studying both its internal history (changes in sounds, vocabulary, inflections, syntax) and its external history (political, social, and cultural factors that have influenced such development).  This study involves a significant amount of memorization, but it also promotes lively debate and critical thinking about language: What is language? Why do languages evolve? What are the forces that influence their development?   What particular factors have contributed to language change at specific moments in the history of English?  The end of the course will explore English in our contemporary world and will discuss the question of English and globalization as well as controversial issues such as "Ebonics" and the English Only movement.

This course is geared toward writing opinion for public readership in the form of Op-Eds, personal and political essays, critical arts reviews and guest columns in a variety of media platforms including print and digital writing. Students learn strategies for generating ideas and persuasive arguments  for editorials, columns and reviews; students build blogs and develop a persuasive and critical voice needed for writing in digital formats. This course teaches journalistic research, source development, and writing for shaping public opinion in traditional and new media.

Creative Writing Courses

Arts Core courses and Beginning Workshops are open to all College students via the standard pre-registration process. Other courses are listed open-bid during pre-registration and prioritize students enrolled in Creative Writing degree programs. 

Arts Core Courses

These multi-genre courses are introductions to topics in creative writing and satisfy the College's general arts education requirement. Arts Core courses are generally taught under two headings—"Reading as a Writer" and "Intro to Genres"—and feature class critiques of students’ creative work. Open to all undergraduate students during pre-registration, these courses do not count towards the Creative Writing major.  

Beginning Workshops

These courses are intended for students who may or may not have previous writing experience, but are interested in gaining experience in a particular genre. Beginning Workshops focus on foundational elements of craft (such as scene-building, different forms of the essay, etc.) and feature workshops of student writing. They are open to all undergraduate students during pre-registration and are cross-listed with a graduate number. 

Fundamentals in Creative Writing

The Fundamentals in Creative Writing course is an introductory multi-genre seminar to be taken by all students in the major and minor. Each section of the course focuses on a theme that is relevant to all forms of literary practice and introduces students to a group of core texts from the genres of fiction, nonfiction, and poetry.

Courses may center around a range of topics—such as truth, literary empathy, or creative research—meant to draw attention to relationships across genres and to establish a deeper understanding of fundamental issues and questions in contemporary writing. Further aims of the course are to develop cohort solidarity, promote a culture of articulate exchange, and to foster a reflection on practice that will serve students’ artistic and professional development.

Fundamentals in Creative Writing is restricted to undergraduate students who have declared the major or minor. The course is taught in a seminar format and requires a final paper that analyzes one or more contemporary works in the context of a question or problem discussed in the class. Students should plan to take the course as early as possible after declaring the major or minor, ideally during their first or second quarter in the Program.  

Technical Seminars

Technical Seminars are designed to give students a deep grounding in core technical elements of their primary genre. In these courses, students examine works of contemporary literature to deepen their understanding of a particular literary technique central to the genre. A Technical Seminar in Fiction might concentrate on point of view in several novels and short stories; a Technical Seminar in Poetry might look closely at the line in a range of poems.

Technical Seminars act as a “bridge” between the literature courses included in the major and the creative writing workshops. While literature courses offered through other departments may take a distinctly scholarly approach to literature from a range of time periods, Technical Seminars ask students to approach contemporary literature as critics and, crucially, as practitioners.

These courses prepare students for the writing and critiquing they will do in workshops, but with a focus on published work and critical texts rather than original student material. Instructors may include creative exercises in the syllabus, but core writing assignments focus on analysis of assigned readings with a specific technical element in mind.

These courses give priority to students in the major and are cross-listed with a graduate number. Students in the minor may take Technical Seminars as electives (meaning they can count towards the minor but not towards the workshop requirement).

Advanced Workshops

These courses are intended for students with substantive writing experience in a particular genre. Students are required to complete a fundamentals in creative writing course and a beginning workshop prior to enrolling in an advanced workshop. Advanced Workshops focus on class critiques of student writing with accompanying readings from exemplary literary texts. Priority is given to students in the major, minor, or the MAPH Creative Writing Option. These courses are cross-listed with a graduate number. 

Thesis/Major Projects Workshops

The Thesis/Major Projects Workshop is only offered during Winter Quarter and centers on workshops of Creative Writing major, minor, and MAPH Creative Writing Option student work. Priority is given to students in the major, minor, or the MAPH Creative Writing Option. These courses are cross-listed with a graduate number. 

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	Jun 18, 2024   2024-2025 Undergraduate Catalog     2024-2025 Undergraduate Catalog | TOTAL DEGREE HOURS: 120 Plans of Study   A bachelor’s degree in English prepares students for any field that values critical thinking, high reading comprehension, clear and effective writing, and the ability to interpret and analyze language. It provides two concentrations from which students must choose one: Creative Writing and Literary Studies. University Admissions - College of Arts and Sciences Admission to the University is based on the University’s Undergraduate Admission Requirements that may be found by clicking on the following urls: Freshman: https://www.usf.edu/admissions/freshmen/admission-information/requirements-deadlines.aspx Transfer: https://www.usf.edu/admissions/transfer/admission-information/index.aspx International: https://www.usf.edu/admissions/international/admission-information/index.aspx For Admission information specific to the College of Arts and Sciences, see the information at College of Arts and Sciences   . Graduation Requirements - College of Arts and Sciences Satisfactory completion of the following requirements: Students must complete all State and University level graduation requirements. The College may approve an exception when a student has successfully earned the minimum grade required for all courses applied in the major but does not have a major GPA of 2.0. Physical Education coursework is limited to two (2) semester hours. ROTC courses that are primarily physical training and field experiences will not be applied to College of Arts and Sciences degree programs. All other military Science coursework will apply, in particular, coursework utilized toward completing an established ROTC minor will be applied to the total hours toward degree.  When earning a second degree, double major or concurrent degree, the Major Core and Major Elective/Concentration areas of the degree audit must not overlap for both degrees.  All other areas of the degree audit may have overlapping credit hours applied. Maximum of 20 hours of S/U option. S/U contracts must be negotiated in writing within the first three (3) weeks of the term. None of the 20 credits may be taken in the student’s major unless S/U is the only grading option. Coursework fulfilling the General Education Core Curriculum Requirements and the State Communication Requirement (formerly known as Gordon Rule Writing) and State Computation Requirement (formerly known as Gordon Rule Math) may not be taken S/U. The Audit option is available only during the first 5 days of classes. Complete all major course requirements. College of Arts and Sciences students are expected to complete a minimum of 50% of their major and/or minor coursework in residence at USF. Some College of Arts and Sciences Departments/programs/majors have established additional major course hours to be taken in residency at USF. See the major or program section of the catalog for these credit-hour requirements. English Required Courses: (51 credit hours) State mandated common course prerequisites - english b.a. (6 credit hours). Following Florida BOG Regulation 8.010, state mandated common course prerequisites are lower-division courses that are required for progression into the upper division of a particular baccalaureate degree program.  Transfer students should complete the State Mandated Common Course Prerequisites at the lower level prior to entering the university. If these courses are not taken at a Florida College System institution, they must be completed before the degree is granted. Successful completion of the common prerequisites alone does not guarantee a student admission into the degree program. Unless stated otherwise, a grade of C is the minimum acceptable grade in prerequisite courses. ENC X101 or ENC X000-X999* - 3 credit hours ENC X102 or ENC X000-X999* - 3 credit hours * Six semester hours of English coursework in which the student is required to demonstrate college-level English skills through multiple assignments. State Mathematics Pathway – English B.A. (6 Credit Hours) The English B.A. uses the Mathematical Thinking in Context Mathematics Pathway with the following requirements: MGF 1130 - Mathematical Thinking Credit(s): 3 MGF 1131 - Mathematical Thinking in Context Credit(s): 3 English B.A. Major Core Courses (39 credit hours) English major core courses: 2 courses: 6 credit hours. LIT 2000 - Introduction to Literature Credit(s): 3 ENC 3310 - Expository Writing Credit(s): 3 English Major (Restricted) Electives: 5 courses; 15 credit hours Choose 15 credit hours of coursework from the following list of courses: AML 3031 - American Literature From the Beginnings to 1860 Credit(s): 3 AML 3032 - American Literature From 1860 to 1912 Credit(s): 3 AML 3051 - American Literature From 1912-1945 Credit(s): 3 AML 3243 - American Literature 1945 to the Present Credit(s): 3 AML 3604 - African American Literature Credit(s): 3 AML 3630 - U.S. Latino/Latina Literature in English Credit(s): 3 AML 3641 - Native American Literature and Film Credit(s): 3 AML 3674 - Asian American Literature and Film Credit(s): 3 AML 4111 - Nineteenth-Century American Novel Credit(s): 3 AML 4121 - Twentieth-Century American Novel Credit(s): 3 AML 4261 - Literature of the South Credit(s): 3 AML 4300 - Selected American Authors Credit(s): 3 AML 4931 - American Literary Movements and Genres Credit(s): 3 AML 4933 - Studies in American Literature and Culture Credit(s): 3 CRW 3111 - Form and Technique of Fiction Credit(s): 3 CRW 3211 - Form and Technique of Nonfiction Credit(s): 3 CRW 3112 - Fiction I Credit(s): 3 CRW 3121 - Fiction II Credit(s): 3 CRW 3212 - Nonfiction I Credit(s): 3 CRW 3221 - Nonfiction II Credit(s): 3 CRW 3311 - Form and Technique of Poetry Credit(s): 3 CRW 3312 - Poetry I Credit(s): 3 CRW 3321 - Poetry II Credit(s): 3 CRW 4930 - Selected Topics in Creative Writing Credit(s): 1-3 ENC 3241 - Scientific Writing and Presentation Credit(s): 3 ENC 3242 - Technical Communication for Majors Credit(s): 3 ENC 3250 - Professional Writing Credit(s): 3 ENC 3330 - Rhetorical Traditions Credit(s): 3 ENC 3331 - Client and Civic Communication Credit(s): 3 ENC 3371 - Rhetorical Theory for Technical Communication Credit(s): 3 ENC 3373 - Rhetoric of Marginalized Communities Credit(s): 3 ENC 3376 - Multimodal Composition Credit(s): 3 ENC 3416 - New Media for Technical Communication Credit(s): 3 ENC 3435 - Rhetoric and Gaming Credit(s): 3 ENC 4212 - Professional & Technical Editing Credit(s): 3 ENC 4218 - Visual Rhetoric for Technical Communication Credit(s): 3 ENC 4260 - Technical and Professional Communication Capstone Credit(s): 3 ENC 4311 - Advanced Composition Credit(s): 3 ENC 4351 - Writing for Publication Credit(s): 3 ENC 4353 - Public Rhetorics Credit(s): 3 ENC 4377 - Advanced Rhetoric Credit(s): 3 ENC 4431 - Writing and New Media Credit(s): 3 ENC 4931 - Selected Topics in Professional and Technical Writing Credit(s): 3 ENC 4940 - Professional Internship Credit(s): 3 ENG 3113 - Film as Narrative Art Credit(s): 3 ENG 3674 - Film and Culture Credit(s): 3 ENG 4042 - Studies in Theory and Criticism Credit(s): 3 ENG 4060 - History of the English Language Credit(s): 3 ENG 4818 - Feminist Digital Humanities Credit(s): 3 ENG 4906 - Individual Research Credit(s): 1-4 ENG 4907 - Directed Reading Credit(s): 3 ENG 4935 - Honors Seminar I Credit(s): 3 ENG 4936 - Honors Seminar II Credit(s): 3 ENG 4940 - Internship in English Credit(s): 1-4 ENG 4955 - English Studies Abroad Credit(s): 1-6 ENG 4970 - Honors Thesis Credit(s): 3 ENL 3015 - British Literature to 1616 Credit(s): 3 ENL 3016 - Studies in 17th and 18th Century British Literature Credit(s): 3 ENL 3017 - Studies in 19th Century British Literature Credit(s): 3 ENL 3230 - British Literature 1616-1780 Credit(s): 3 ENL 3251 - British Literature 1780-1900 Credit(s): 3 ENL 3270 - British Literature, 1900 to the Present Credit(s): 3 ENL 3273 - British Literature 1900-1945 Credit(s): 3 ENL 3331 - Early Shakespeare Credit(s): 3 ENL 3332 - Late Shakespeare Credit(s): 3 ENL 4112 - Eighteenth-Century British Novel Credit(s): 3 ENL 4122 - 19th Century British Novel Credit(s): 3 ENL 4132 - British Novel: Conrad to the Present Credit(s): 3 ENL 4203 - Introduction to Old English Credit(s): 3 ENL 4303 - Selected British Authors Credit(s): 3 ENL 4311 - Chaucer Credit(s): 3 ENL 4341 - Milton Credit(s): 3 ENL 4501 - Studies in Medieval and Early Modern Literature Credit(s): 3 ENL 4930 - Selected Topics Credit(s): 3 ENL 4931 - Studies In British Literature And Culture Credit(s): 3 LIN 4671 - Traditional English Grammar Credit(s): 3 LIN 4680 - Structure of American English Credit(s): 3 LIT 3022 - Modern Short Prose Credit(s): 3 LIT 3031 - Survey of Poetry Credit(s): 3 LIT 3043 - Modern Drama Credit(s): 3 LIT 3093 - Contemporary Literature Credit(s): 3 LIT 3101 - Literature of the Western World Through the Renaissance Credit(s): 3 LIT 3102 - Literature of the Western World Since the Renaissance Credit(s): 3 LIT 3103 - Great Literature of the World Credit(s): 3 LIT 3144 - Modern European Novel Credit(s): 3 LIT 3155 - Twentieth-Century Literature Credit(s): 3 LIT 3301 - Cultural Studies and the Popular Arts Credit(s): 3 LIT 3353 - Literature, Race, and Ethnicity Credit(s): 3 LIT 3374 - The Bible As Literature Credit(s): 3 LIT 3410 - Religious and Philosophical Themes Credit(s): 3 LIT 3451 - Literature and the Occult Credit(s): 3 LIT 3513 - Literature, Gender, and Sexuality Credit(s): 3 LIT 3621 - Literature of Climate Change: Climate Fiction Credit(s): 3 LIT 3930 - Special Topics in English Studies Credit(s): 3 LIT 4233 - Postcolonial Literature Credit(s): 3 LIT 4386 - British and American Literature by Women Credit(s): 3 LIT 4804 - Literature as Cultural Study Credit(s): 3 LIT 4930 - Selected Topics in English Studies Credit(s): 1-3 LIT 4932 - Selected World Authors Credit(s): 3 LIT 4933 - World Literary Movements And Genres Credit(s): 3 Creative Writing Concentration: 6 courses; 18 credit hours Courses used to satisfy concentration requirements cannot be used to satisfy in the English Major Elective Courses. Any course appearing in both English Major Elective Courses and a Concentration will be manually removed by your advisor.  Concentration Core: 2 courses; 6 credit hours Concentration restricted electives: 4 courses; 12 credit hours. Choose four courses from the following list: Additional Information - English B.A. Other requirements. Students must complete a minimum of 6 credit hours at the 4000 level. Students declaring English as a second major need to complete 30 credit hours. To do so, they must make a written request to the Undergraduate Director at the time they declare English as a second major. Courses taken in the first major may not count toward the 30 hours in English as a second major. GPA Requirements Major GPA (All USF courses which are applied to major requirements): 2.5 General Education GPA (All USF courses which are applied to General Education requirements): 2.0 USF GPA: 2.0 Overall GPA: 2.0 Grading Requirements C- or better to meet major course requirements unless specified elsewhere. Will vary by area. Note:  Some USF courses have higher grade criteria to meet prerequisite knowledge necessary for progression into higher level courses. Residency Requirement Department and College of Arts & Sciences Major Academic Residency Requirement - 50% of major must be completed at USF USF Academic Residency Requirement - 30 of the last 60 hours earned must be from USF Optional Honors Program The Department of English Honors Program provides a carefully selected group of seniors with opportunities for advanced scholarship: Closer contact with faculty tutors than students in the regular major program; An opportunity to work and exchange ideas in the stimulating environment of a small group of fellow students with similar aims and abilities; An opportunity to develop individual initiative and sophisticated critical skills. The English Honors Program will benefit those interested in graduate work, advanced professional study, or greater intellectual challenges. Admissions Criteria Students may apply for the program after completing 60 hours of coursework. Applicants should have a GPA of 3.30 in the major and an overall GPA of 3.00 and should submit signatures of recommendation from two English faculty supporting their applications. After screening all applications, the Department’s Honors Committee will select participants for each year’s program. Requirements for Completion of Departmental Honors The Honors student will complete the requirements of their chosen English Department major as described in the current catalog. All Honors students are required to complete at least one (three-hour) Honors seminar ( ENG 4935     or ENG 4936   ). Up to two more (three-hour) Honors seminars ( ENG 4935     or ENG 4936   ). A list of courses available for this option will be made available prior to registration each semester. Students will attend some or all of the scheduled course meetings but will be enrolled in an independent study with the instructor. The independent study will be considered a special “Honors section” of the course and will require additional work that may include extra reading, class presentations, and advanced research-based writing. To enroll in an independent study, students will need written permission of the instructor, who will determine an Honors-appropriate workload for the course. The proposed plan for independent study must be approved by the Honors Committee and filed with the Undergraduate Director prior to registration. Students may count a maximum of one independent study in fulfillment of their degree requirements. A three-hour Honors thesis, supervised by a member of the English faculty. The Director of the English Honors Program will serve as instructor of record for the thesis hours. Under the direction of the instructors of the Honors seminars and/or the Director of the English Honors Program, the student will choose a member of the English Department faculty to serve as director of their thesis and one or two additional faculty members to serve as readers of the thesis. The completed thesis must be at least 25-pages in length, not including bibliography. A three-hour graduate-level course. Enrollment in a graduate course is limited to Honors students in their final semester and requires written permission of the Undergraduate Director, Graduate Director, and the instructor of the course. To be eligible, students must have completed at least one Honors seminar with a grade of A- or higher. Complete 9 hours of English Honors courses as described above with a 3.30 GPA; Complete all major requirements with a 3.30 GPA and academic coursework with an overall GPA of 3.0. The student who completes all requirements above will graduate with Honors in English. **Faculty who are willing to accommodate the extra needs of Honors students will notify the Undergraduate Director before registration to have their course put on the list of eligible courses. The Honors student will enroll in an independent study but will attend the scheduled course and complete the bulk of the reading and written requirements for the course in addition to a special Honors project for the course (this could include a formal presentation of research, an independent research project, a longer research paper, a long annotated bibliography, a larger collection of creative work, etc. The independent study represents 3 hours of coursework. Research Opportunities - College of Arts and Sciences Undergraduate students in any degree program are able to participate in undergraduate research. Several options exist to show mentored undergraduate research activity on a student’s official transcript. Those who wish to enroll in an undergraduate research course should consult with their academic advisor to understand how the credit will apply towards the degree requirements. If no credit is needed, students may be eligible to enroll in the 0-credit IDS 4914    course. This course will not impact degree credits or GPA but will show on an official transcript and document the experience. The  Office of High Impact Practices and Undergraduate Research  is able to assist with further inquiries. Advising Information - College of Arts and Sciences Undergraduate Advising Information The College of Arts & Sciences (CAS) Advising Team provides students with support to create timely graduation plans that will integrate both their academic and professional goals.  Each of our undergraduate programs has dedicated professional advisors with specialized knowledge and understanding of the major requirements, course offerings, undergraduate research, and career opportunities in their field.  Additionally, we have dedicated pre-health and prelaw advisors to help students prepare for admission to professional graduate programs. CAS Academic Advisor Contact information can be found here: CAS Advisors To schedule an advising appointment: Advising Appointments Plans of Study - English B.A., with Creative Writing Concentration   English B.A., with Creative Writing Concentration - 2 Year Plan of Study         English B.A., with Creative Writing Concentration - 4 Year Plan of Study (Fall Start)     MFA in Creative Writing About the Program Our innovative MFA program includes both studio instruction and literature courses. Writers can take workshop courses in any genre, and they can write a thesis in fiction, nonfiction, poetry or “hybrid” (multi-genre) form. In the second year, they teach popular Creative Writing courses to Davis undergraduates under faculty supervision, gaining valuable experience and sharing their insight  and enthusiasm with beginning practitioners. Questions? Contact: Sarah Yunus Graduate Program Coordinator, MFA Program in Creative Writing [email protected]   Pronouns: she/her   Admissions and Online Application Events, Prizes, and Resources Funding Your MFA At UC Davis, we offer you the ability to fund your MFA. In fact, all students admitted to the program are guaranteed full funding in the second year of study, when students serve as teachers of Introduction to Creative Writing (English 5) and receive, in exchange, tuition and health insurance remission as well as a monthly stipend (second year students who come to Davis from out of state are expected to establish residency during their first year). We have a more limited amount of resources – teaching assistantships, research assistantships, and out of state tuition wavers – allocated to us for first year students, but in recent years, we’ve had excellent luck funding our accepted first years. We help students who do not receive English department funding help themselves by posting job announcements from other departments during the spring and summer leading up to their arrival. We are proud to say that over the course of the last twenty years, nearly every incoming student has wound up with at least partial funding (including a tuition waiver and health insurance coverage) by the time classes begin in the fall.   We have other resources for students, too – like the Miller Fund, which supports attendance for our writers at any single writer’s workshop or conference. Students have used these funds to attend well-known conferences like AWP, Writing By Writers, and the Tin House Conference. The Davis Humanities Institute offers a fellowship that first year students can apply for to fund their writing projects. Admitted students are also considered for University-wide fellowships. Cost of Attendance Course of Study The M.F.A. at Davis is a two-year program on the quarter system (our academic year consists of three sessions of ten-week courses that run from the end of September until mid-June). The program includes classes and a thesis project. It requires diverse, multidisciplinary study and offers excellent mentorship.   Writers concentrate in fiction, nonfiction, poetry, or “hybrid” (multi-genre) forms. They take at least four graduate workshops, and they’re required to take one workshop outside their primary genre (many of our students choose to take even more). Writers at Davis also take graduate courses in literature from abundant options, including the program’s Seminars for Writers. Writers can also take graduate courses in literary study taught by scholars in the English Department. And many of our writers enroll in courses relevant to their work in other departments like art history, comparative literature, linguistics, and performance studies.   At the end of the first year, writers form a thesis committee with a Director and two additional readers from the faculty. In the second year, writers at Davis concentrate on Individual Study units with these mentors, working closely with their committee to create a book-length creative work. Writers present their projects at intimate, intense, celebratory defense in May with all members of their committee in attendance. History of the Program We’re a new MFA, but we’ve been a successful and respected Creative Writing Program since 1975—a “sleeper” program, as one guide to MFA programs called us. The people who founded the CW program at UC Davis were all lovers and teachers of literature, and chose to call the program an MA, rather than an MFA because they wanted to ensure that the degree would not be seen as a “studio” degree but one in which the study of literature was integral.  In the 1980’s and 1990’s, most often under the leadership of Jack Hicks and Alan Williamson, the program emphasized writing on the American West and the wilderness. Our high profile faculty included Sandra McPherson, Gary Snyder, Sandra Gilbert, Clarence Major, Katherine Vaz, Elizabeth Tallent, Max Byrd, and Louis Owens.   We also created an introductory sequence of workshops taught by graduate students, which has become one of the highlights of the program for the second years who teach the courses and the undergraduates who take them. There’s more to teaching these courses than learning to teach; teaching helps our writers understand their own writing in ways that no other aspect of a writing program can do. Pam Houston joined the program in the early 2000’s and she led a faculty that included Lynn Freed and Yiyun Li. As an MFA, we remain a place that values sustained literary study as core to the making of art, but we’re also allowing our vision of genre to expand and embrace the other arts and media. The town of Davis began as "Davisville," a small stop on the Southern Pacific railway between Sacramento and the Bay Area.  Some of our graduate students choose to live in Sacramento or the Bay Area, making use of the commute-by-train option, which is still very much in place.  For those commuting by car, Davis is a 15-25 minute drive from Sacramento and a 60-90 minute drive from the Bay Area. Students also choose to live in Davis itself, which CNN once ranked the second most educated city in the US.  Davis is a college town of about 75,000 people. Orchards, farms and ranches border it on all sides. The town boasts a legendary twice-weekly farmers market (complete with delicious food trucks and live music). Bike and walking paths lead everywhere (many students prefer not to own a car while they are here) and there are copious amounts of planned green space in every subdivision. The flatness of the land makes Davis ideal for biking, and the city over the past 5 decades has installed bike lanes and bike racks all over town. In fact, in 2006,  Bicycling Magazine , in its compilation of "America's Best Biking Cities," named Davis the best small town for cycling. Packed with coffee houses, bookstores, and restaurants that serve cuisine from every continent, Downtown Davis has a casual vibe. It’s a great place to hole up and write. Davis is filled with hard wood trees, and flower and vegetable gardens, and wild ducks and turkeys walk the campus as if they own the place. It’s a gentle place to live. Although summers get quite hot, the other three seasons are mild, and each, in their own way, quite beautiful. For more about the town, check out  the Davis Wikipedia page . Woodland and Winters, two small towns close by to Davis, are also options for housing—and they’re good options for those who are not so desirous of the college town scene.  Yet another option is to live in the scenic rural areas Davis is surrounded by. To the west of Davis, Lake Berryessa and the Napa valley are close by.  To the east, the Sierra mountains are close by; Reno and Tahoe are just a couple hours drive in that direction.  WRIT 201 Introduction to Creative Writing Course Description Students will learn the literary components, complexity, and craft of creative writing. For information regarding prerequisites for this course, please refer to the  Academic Course Catalog . Course Guide View this course’s outcomes, policies, schedule, and more.* Requires a student login to access. *The information contained in our Course Guides is provided as a sample. Specific course curriculum and requirements for each course are provided by individual instructors each semester. Students should not use Course Guides to find and complete assignments, class prerequisites, or order books. The student will study the literary components, complexity, and craft of creative writing, including how to successfully explicate selected poems, creative nonfiction essays, and short fiction. The student will also learn how to create original works of publishable quality. The course allows the student to develop creative writing skills to impact the world for Christ. Course Assignment Textbook readings and lecture presentations. No details available. Course Requirements Checklist After reading the Course Syllabus and Student Expectations , the student will complete the related checklist found in the Course Overview. Discussions are collaborative learning experiences. Therefore, the student is required to create a thread in response to the provided prompt for the discussion and will also respond to at least 2 peers to foster an engaging discourse relating to the topic. Analysis of Reading Assignments (3) The student will analyze various creative aspects of the readings assigned throughout the course in the three genres of fiction, nonfiction, and poetry. The student will analyze the craft used by the author, and in the analysis, the student should convey an understanding of the story’s or poem’s content and an evaluation of the effectiveness of the author’s message and skill. As a result of this exercise, the student will observe writing strategies and techniques that he/she may end up adopting and using in his/her own creative pieces. Original Work of Short-Short Fiction: Outline Assignment The student will create an outline of a short-short fiction story, including the elements of theme, characters, conflict, and plot development. Writing Workshop: Original Work of Short-Short Fiction: Rough Draft and Peer Review Assignment The student will write a 300–500-word short-short fiction piece based on the elements of fiction described in the reading. The student will write a rough draft based on the outline and submit it for professor and peer feedback. In the peer review, the student will provide substantive feedback to at least 2 classmates regarding their original compositions. Original Work of Short-Short Fiction: Final Draft Assignment The student will revise and edit his/her rough draft and submit a final draft which incorporates the feedback from his/her classmates and professor. Original Work of Creative Nonfiction: Outline Assignment The student will create an outline of a creative nonfiction story, including the elements of theme, characters, conflict, and plot development. Writing Workshop: Original Work of Creative Nonfiction: Rough Draft and Peer Review Assignment The student will write a 500–750-word creative nonfiction piece based on the elements of nonfiction described in the reading. The student will write a rough draft based on the outline and submit it for professor and peer feedback. In the peer review, the student will provide substantive feedback to at least 2 classmates regarding their original compositions. Original Work of Creative Nonfiction: Final Draft Assignment Writing workshop: original work of poetry: rough draft and peer review assignment. After completing the assigned readings, the student will write 1 original work of poetry based on the elements of poetry described in the reading. The student will write an original poem. The student will also complete a set of questions detailing his/her reasoning for writing the poem. Then, the student will submit it for professor and peer feedback. In the peer review, the student will provide substantive feedback to at least 2 classmates regarding their original compositions. Original Work of Poetry: Final Draft Assignment The student will revise and edit his/her rough draft and submit a final draft which incorporates the feedback from his/her classmates and professor. The student will also respond to a set of questions detailing his/her process revising and improving the poem.  Self-Evaluation and Writing Plans Assignment The student will evaluate progress and growth in the course, reflecting on what he/she gained from the process of feedback and revision. The student will also forecast what he/she plans to do with the writing created throughout the course. Have questions about this course or a program? Speak to one of our admissions specialists. Inner Navigation Assignments Have questions? Are you ready to change your future? Apply FREE This Week* Request Information *Some restrictions may occur for this promotion to apply. This promotion also excludes active faculty and staff, military, non-degree-seeking, DGIA, Continuing Education, WSB, and certificate students. Request Information About a Program Request info about liberty university online, what program are you interested in, choose a program level. Choose a program level Bachelor’s Master’s Certificate Select a Field of Study Select a field of study Select a Program Select a program Next: Contact Info Legal first name. Enter legal first name Legal Last Name Enter legal last name Enter an email address Enter a phone number Full Address Enter an address Apt., P.O. Box, or can’t find your address? Enter it manually instead . Select a Country Street Address Enter Street Address Enter State ZIP/Postal Code Enter Zip Code Back to automated address search Start my application now for FREE INTRODUCTION TO CREATIVE WRITING Kara Mae Brown Course Description Our introduction to creative writing takes seriously the idea that to write creatively is both a craft and a practice. A craft meaning: writing is something that can be taught, learned, and improved with time and practice. A practice meaning: creative writing must be a habitual act that you dedicate yourself to without the promise of a quick or easy reward. This class will tend to the craft of creative writing by introducing some of the core conventions of both poetry and prose. We will tend to the practice of creative writing by engaging in many reading, writing, and revising exercises and exploring the ways communities of writers work together to strengthen each others’ work. Apply to UW Programs & Majors Cost & Financial Aid Current Students UW Libraries Online Degrees & Programs Degree Plans & Courses Advising & Career Services UW College of Law Honors College Academic Affairs Geological Museum All Colleges Campus Recreation Campus Maps Housing & Dining Transit & Parking University Store Student Organizations Campus Activities Campus Safety Diversity, Equity & Inclusion Research & Economic Dev. Wyoming INBRE Neuroscience Center Research at AMK Ranch Technology Transfer Office Supercomputing Water Research WY EPSCoR/IDeA American Heritage Center Where We Shine About Laramie Student Stories Campus Fact Book UWYO Magazine Marketing & Brand Center Administrative Resources Strategic Plan +Application Login UW Homepage Creative Writing Program 1000 E. University Ave. Laramie, WY 82071 Phone: 307-766-6452 Fax: 307-766-3189 Email: [email protected] Course Descriptions CW 1040 Intro to Creative Writing    Bergstraesser       This course is designed to help you craft various works of fiction, poetry, and nonfiction. In addition to in-class writing exercises, creative exercises outside of class, and discussions, you will critique each other’s writing in a constructive workshop atmosphere—thereby developing useful editorial skills that will help you improve your own writing. Through lecture and discussion, we will explore the technique and devices involved in creating these three genres. We will read and discuss the works of many different writers, using their technique and content as a guide for your own writing. And if this course description seems dull, the class is anything but. CW 2080 Intro to Poetry      Northrop        TR 11 a.m. - 12:15 p.m. In this course we will read and write poetry; we will discuss, enthuse over and question our responses, question the poems and our expectations of poems. Completing and revising both in- and out-of-class writing assignments, students should expect to produce, by the end of the semester, a poetry portfolio (and artist statement).  Class time will be divided between discussion of reading assignments and workshop submissions.  Please see instructor with any questions.  CW 2125 Special Topics in Writing: Animals. Northrop. TR 2:45 p.m. - 4:00 p.m. Our worlds are not the only worlds. We live with and beside the non-human animals: pronghorn, Swainson’s hawks, lap dogs, mountain lions straying through town, pine beetles, Mourning Cloaks, drowned kittens, nighthawks overhead, raccoons in the kitchen, Mountain Whitefish.  How do we sound these worlds?  And why? To what ends?  Writers have long looked to and imagined the non-human, but how  do  we do that?  How do we write (and think) that which we name but may not be able to fully know?  In this course we will consider (through class discussion of assigned readings, independent research, writing exercises and semester-long creative writing projects) ways of thinking / representing non-human animals and our relationships with them. In this course, we will approach and mind those relationships. We will be considering a range of creative work: stories, poems, essays, short videos, dramatic monologues, paintings, photographs.  Of each creative piece we will discuss the questions that we read as driving the piece, and the questions the piece raises for us.  It’s not possible for me to know our questions now, ahead of time, but some  possible  questions, or rather, some of my own questions:  How do we look at non-human animals?  How are we looked at?  How do non-human animal and human animal lives intersect?  What boundaries have been erected historically and why, to what end?  How are our lives shaped by non-human animals?  How are non-human animals lives shaped?  What responsibilities do humans have?  What causes for joy, what concerns? CW 4050-02 Writers Workshop: Fiction. Pexton. TR 1:20 p.m. - 2:35 p.m.   In this class students will read examples of published short stories, and possibly some longer work, and participate in discussions that break down the elements of fiction at work: character, setting/place, point of view, tone/style/narrative voice, dialog, conflict/plot, main ideas, etc. The reading will be mostly, if not entirely, Realism. The writing will be short stories of varying length, from flash fiction to short-short stories to full-length stories. Students who wish to write longer pieces should discuss the work with the instructor before committing to such a project for this class. The writing will be approximately 30 pp +/- of original fiction (this excludes, for the purposes of this course, fan fiction or game fiction) plus additional writing of occasional exercises and critiques/analyses of the outside reading and peers' work. Attendance required. If circumstances force the class to move entirely online, attendance will consist of posting required materials on the required date at the required hour. Text materials supplied by the instructor.    CW 5540-01 Seminar: Writing for Public Audiences. Brown.  CW 5540-02 Seminar. Northrop. T 4:10 p.m. - 7:10 p.m. CW 5560-01 Writing Workshop: Time & Place. Hagy. M 3:10 p.m. - 6:20 p.m. CW 5560-02 Writing Workshop: Creative Nonfiction. Brown. W 3:10 p.m. - 6:20 p.m. For a full listing all courses offered by Creative Writing, please use the UW Catalog . Purdue Online Writing Lab Purdue OWL® College of Liberal Arts Welcome to the Purdue Online Writing Lab Welcome to the Purdue OWL This page is brought to you by the OWL at Purdue University. When printing this page, you must include the entire legal notice. Copyright ©1995-2018 by The Writing Lab & The OWL at Purdue and Purdue University. All rights reserved. This material may not be published, reproduced, broadcast, rewritten, or redistributed without permission. Use of this site constitutes acceptance of our terms and conditions of fair use. The Online Writing Lab (the Purdue OWL) at Purdue University houses writing resources and instructional material, and we provide these as a free service at Purdue. Students, members of the community, and users worldwide will find information to assist with many writing projects. Teachers and trainers may use this material for in-class and out-of-class instruction. The On-Campus and Online versions of Purdue OWL assist clients in their development as writers—no matter what their skill level—with on-campus consultations, online participation, and community engagement. The Purdue OWL serves the Purdue West Lafayette and Indianapolis campuses and coordinates with local literacy initiatives. The Purdue OWL offers global support through online reference materials and services. Social Media Facebook twitter. 443 COMMENTS Course Descriptions and Learning Outcomes Course Description for 407. Special Topics Advanced Workshop in Creative Writing. This course explores special topics in Creative Writing. Students will be taken step by step through the process of writing compelling fiction, poetry or nonfiction in the genre and specific form of the professor's choice. Creative Writing Undergraduate Course Descriptions By taking this course, you will learn to: 1) use a basic fiction writing vocabulary, 2) identify the core narratological concepts in a work of fiction, 3) recognize the sound and rhythm of good prose, 4) understand and employ various narrative modes and structures, and 5) participate fully and constructively in a workshop oriented class. Creative Writing Specialization [5 courses] (Wesleyan) Specialization - 5 course series. This Specialization covers elements of three major creative writing genres: short story, narrative essay, and memoir. You will master the techniques that good writers use to compose a bracing story, populated with memorable characters in an interesting setting, written in a fresh descriptive style. Creative Writing Course Descriptions This course will provide a firm grounding in the rudiments of poetic craft such as word choice, line breaks, imagery, structure, and other devices, as well as an introduction to different forms available to poets. We will consistently work through writing exercises and read/ discuss the work of various poets in order to aid us in the generation ... PDF UNDERGRADUATE CREATIVE WRITING Students are introduced to a range of technical and imaginative concerns through exercises and discussions, and they eventually submit their own writing for the critical analysis of the class. Outside readings supplement and inform the exercises and longer written projects. Instructors. Sec 01 Christian Kennedy Sec 02 Sabrina Qiao. Creative Writing BA Courses Creative Writing BA Courses. Our undergraduate course offerings move from introductory courses in both poetry and prose through intermediate-level speciality courses into advanced-level workshop courses. In introductory courses, students read a breadth of literature representing a range of stylistic possibilities and cultural backgrounds while ... PDF Creative Writing Course Descriptions Course Descriptions MCW 600 Pedagogy of Creative WritingExamines the practical and theoretical models of teaching and learning creative writing with particular attention to the developments of the last twenty years. An introduction to and overview of contemporary theories, practices, INTRODUCTION TO CREATIVE WRITING Course Description. The purpose of W&L CS 10: Introduction to Creative Writing is to introduce. students to the craft of creative writing. In part, that means learning the conventions of some of the major genres of creative writing, such as fiction, poetry, creative nonfiction, and scriptwriting. We will consider writing in scene ... INTRODUCTION TO CREATIVE WRITING INTRODUCTION TO CREATIVE WRITING Major. Writing & Literature. Quarter. Spring. Year. 2021. Course Number. W&L CS 10, Section 1. Enrollment Code. 48199. Instructor(s) Kara Mae Brown; Date & Time. TR 12:00PM - 1:50PM (Synchronous) Location. On Line. Course Description. Provides an introduction to the major genres of creative writing, including ... Creative Writing: The Craft of Style There are 4 modules in this course. Your style is as unique and distinctive as your face, your voice, except that you can choose it, you can can work on it, enhance it. In this course we will introduce aspiring writers to the art of putting pressure on written language. We will study the use of metaphor and imagery, and demonstrate how clarity ... Creative Writing Course Descriptions A workshop for students with previous fiction writing experience. Units: 6. Prerequisite: ENG 360 or consent of instructor. ENG 562: Advanced Creative Writing: Novel Writing. Course for students composing creative, book-length works of prose. Units: 6. Prerequisite: ENG 350 or ENG 360, and ENG 550 or ENG 560. ENG 565: Advanced Creative Writing ... Creative Writing Course Descriptions We'll explore creative writing on the page (tension in fiction, images in poetry and the meaning of "truth" in creative nonfiction) and off the page (slam poetry, Twitter fiction and podcasting). All students will share their writing in peer-led workshops. Other assignments include weekly creative writing experiments and reading responses. Selected Course Descriptions In this creative writing class, we will explore the methods, styles, and ethical dimensions of writing about people and places around the world. From foundational stories like The Odyssey and Gilgamesh to spiritual journeys from Dante to Margery Kempe, travel-and the new insights that it can bring-has been a seminal means of intellectual and ... INTRODUCTION TO CREATIVE WRITING Course Description. Our introduction to creative writing takes seriously the idea that to write creatively is both a craft and a practice. A craft meaning: writing is something that can be taught, can be learned, and can be improved with time and practice. A practice meaning: creative writing must be a habitual act that you dedicate yourself to ... Best Creative Writing Courses Online with Certificates [2024] In summary, here are 10 of our most popular creative writing courses. Creative Writing: Wesleyan University. Write Your First Novel: Michigan State University. Script Writing: Write a Pilot Episode for a TV or Web Series (Project-Centered Course): Michigan State University. Sharpened Visions: A Poetry Workshop: California Institute of the Arts. Course Descriptions Current Creative Writing Course Offerings. ENG 1141: Introduction to Creative Writing. Introductory techniques and skills in writing poetry, drama, the short story and the essay. Emphasis on the student's awareness of creative potential. Foundation course for the Academic Minor in Creative Writing. ENG 2142: Writing Poetry. Creative Writing Courses Fundamentals in Creative Writing. The Fundamentals in Creative Writing course is an introductory multi-genre seminar to be taken by all students in the major and minor. Each section of the course focuses on a theme that is relevant to all forms of literary practice and introduces students to a group of core texts from the genres of fiction ... English B.A., with Creative Writing Concentration The Course Catalog contains a description of specific polices, programs, degree requirements, and course offerings for Undergraduate and Graduate students at the University of South Florida ... Creative Writing Concentration: 6 courses; 18 credit hours. Courses used to satisfy concentration requirements cannot be used to satisfy in the English ... MFA in Creative Writing Writers can take workshop courses in any genre, and they can write a thesis in fiction, nonfiction, poetry or "hybrid" (multi-genre) form. ... when students serve as teachers of Introduction to Creative Writing (English 5) and receive, in exchange, tuition and health insurance remission as well as a monthly stipend (second year students who ... WRIT 201 Introduction to Creative Writing Course Description. Students will learn the literary components, complexity, and craft of creative writing. For information regarding prerequisites for this course, ... INTRODUCTION TO CREATIVE WRITING Course Description. Our introduction to creative writing takes seriously the idea that to write creatively is both a craft and a practice. A craft meaning: writing is something that can be taught, learned, and improved with time and practice. A practice meaning: creative writing must be a habitual act that you dedicate yourself to without the ... PDF Creative Writing Subject Title: Creative Writing/Malikhaing Pagsulat No. of Hours/ Semester: 80 hours/ semester Prerequisite: 21st Century Literature from the Philippines and the World Subject Description: The course aims to develop practical and creative skills in reading and writing; introduce students to the fundamental techniques of writing fiction, Creative Writing: The Craft of Setting and Description In this course aspiring writers will be introduced to the techniques that masters of fiction use to ground a story in a concrete world. From the most realist settings to the most fantastical, writers will learn how to describe the physical world in sharp, sensory detail. We will also learn how to build credibility through research, and to use ... Course Descriptions Course Descriptions Creative Writing Program. CW 1040 Intro to Creative Writing Bergstraesser . This course is designed to help you craft various works of fiction, poetry, and nonfiction. In addition to in-class writing exercises, creative exercises outside of class, and discussions, you will critique each other's writing in a constructive ... Creative Writing and Literature Course Descriptions 3.00 units. Develops critical thinking, reading, and writing skills as they apply to the analysis of fiction, poetry and drama; literary criticism; and related non-fiction from diverse cultural sources and perspectives. Emphasis on the techniques and principles of effective written argument as they apply to literature. Some research required. Welcome to the Purdue Online Writing Lab The Online Writing Lab (the Purdue OWL) at Purdue University houses writing resources and instructional material, and we provide these as a free service at Purdue. Students, members of the community, and users worldwide will find information to assist with many writing projects. Best Writing Courses Online with Certificates [2024] For those looking to take their writing skills to the next level, Coursera offers excellent advanced writing courses. The Just Reading and Writing English course is a great resource for anyone wanting to brush up on their reading and writing skills. Additionally, for those looking for more in-depth grammar instruction, the English: Writing and Grammar: Adverb Clauses, English: Writing and ... essay homework paper phd project resume review speech study thesis