English Course Descriptions: Spring 2011

Creative Writing Courses

All courses in the creative writing series emphasize the student’s own work and are taught as workshops. The classes have an enrollment limit of 18 to insure the maximum efficiency of the workshop and to permit adequate individual attention. Class attendance and participation will be counted as an extremely important part of the course requirement.

104 INTRODUCTORY NARRATIVE WRITING

Practice in the writing of narrative prose, with primary emphasis on short fiction. Prerequisite: Completion of campus Composition I general education requirement.

106 INTRODUCTORY POETRY WRITING

Practice in the writing of poetry; experimentation with a number of fixed forms and free verse, but emphasis mainly on the student's freedom to develop a personal style. Prerequisite: Completion of campus Composition I general education requirement.

202 G TOPICS IN CREATIVE WRITING, Shakar. M 3:30-5:50

TOPIC: Screenwriting

A workshop in the fundamentals of screenwriting, exploring the basic theory and formal aspects of story structure, character development, use of conflict, scene-writing and dialogue. Students will do exercises and conceive of a premise for their own feature-length screenplay, for which they will then write a treatment, a synopsis, an outline, and the first act. This course assumes familiarity with the basics of fiction writing. Students must have completed CW 104 to take this course.

202 WC TOPICS IN CREATIVE WRITING, Coyoca. TUTH 12:30-1:50

meets with LLS 296, AAS 299

TOPIC: Creative Writing for Marginalized People

This course is a creative writing workshop designed particularly for writers of color, but also inclusive of writers from other marginalized and oppressed groups. Students will turn in either narrative fiction or creative non-fiction stories to be critiqued by their peers. The workshop will be a safe space in which writers can explore and develop their craft in an atmosphere of support and understanding, where writers can get feedback from each other, and where writers can be empowered to continue to write about the stories they feel are important and necessary. In this class we will examine the relationship between form and content, stories and politics. In addition to sharing your own creative pieces with each other, you will also read and discuss stories by published writers.

204 INTERMEDIATE NARRATIVE WRITING

Practice in the writing of fiction, with emphasis on the short story. Prerequisite: CW 104 or equivalent.

206 INTERMEDIATE POETRY WRITING

Builds upon the workshop format of CW 106, with an emphasis on prosody and poetic technique. Students will deepen their sense of craft by putting into practice their study and understanding of a variety of poetic forms (e.g., syllabic poetry, dramatic monologue, sonnet, bound/free verse) and technical concerns (e.g., voice, tone, line, line break, image). The workshop component of the course typically includes 8-12 completed poems and their revisions. Prerequisite: CW 106.

208 CREATIVE NONFICTION WRITING

Types of nonfiction prose, including the personal essay, memoir, literary journalism, and historical writing. Prerequisite: RHET 233 or RHET 243, or equivalent, or consent of instructor.

404 ADVANCED NARRATIVE WRITING

Prerequisite is CW 204. This third level workshop continues the writing of fiction at a more advanced level. Students meet regular deadlines and work on projects of their own design.

406 ADVANCED POETRY WRITING

Practice of the writing of poetry aided by intensive study of examples. Prerequisite: CW 206 or equivalent.

455 WRITING TUTORIAL - EXPOSITORY, POETRY OR NARRATIVE

This is a tutorial course which is designed to accommodate advanced student-writers of either fiction, poetry or exposition. In fiction the course is designed to follow CW 404. In poetry it follows CW 406. In exposition CW 455 follows CW 208. The students have some, though not complete choice of instructor, with whom they plan their work and arrange their conferences. A substantial amount of writing is expected, either as a single longer project or as a series of shorter pieces. As in all tutorial arrangements, self-motivation and self-discipline are essential in successfully meeting the demands of the course. This course may be used to help fulfill the requirements in Honors. This course may be repeated for a total of 6 hours.

GRADUATE SEMINARS

504 R WRITING WORKSHOP IN FICTION, Shakar. TU 1:30-3:20

Directed projects in fiction writing, either short stories or sections of a novel, with group discussion and critique. There will be a course packet for the class, featuring short stories and essays on the writing of fiction and related topics; there will be a discussion of these readings at the beginning of each class meeting.

506 R WRITING WORKSHOP IN POETRY, Harrington. TH 3-4:50

Directed individual projects, with group discussion in fiction.

560 NL LITERARY PUBLISHING & PROMOTION, Stanley. Arranged

A working practicum designed to teach graduate students the basics of literary journal publishing and to introduce them to career and entrepreneurial opportunities in other types of literary arts organizations. Students will attend weekly editorial meetings, complete weekly reading assignments, and will work 2 hours per week in the ‘Ninth Letter’ office, reading manuscript submissions and completing various clerical tasks for the journal. Approved for both letter and S/U grading. May be repeated to a maximum of 8 hours. Prerequisite: MFA candidate standing.

563 E SPECIAL TOPICS, Graham. M 1-2:50

TOPIC: Writing Workshop in Creative Non-Fiction: All Writing is Travel Writing

This graduate level nonfiction writing course will be structured around the notion that the best writing is a form of travel, taking us to a place we’ve never been to before so that, on return, even if only in a small way, we return changed. Every work of literature should strive to offer a journey, the challenge of an interior excursion, a secret mapping that leads a reader to him or herself. Travel isn’t simply a geographical exercise. A journey into the land of adolescence, for example, is perhaps the loneliest type of travel there is. The acceptance of one’s suppressed sexual orientation is another form of travel, from one state of personal understanding to another. Our past experiences travel with us, those overlapping inner maps can add complexity to our expectations of what we will encounter in the future. The list could go on and on. This course is open to any interested fiction writers or poets, as well as students from other disciplines, such as journalism, sociology, education, anthropology, etc. NOTE: enrollment is limited to 9 students.

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