advanced creative writing syllabus

Course details

• Mon 09 Sep 2024 to 22 Nov 2024
• Wed 08 Jan 2025 to 21 Mar 2025

Advanced Creative Writing (Online)

There are no time-tabled sessions on this course. Using a specially designed virtual learning environment this online course guides students through weekly pathways of directed readings and learning activities. Students interact with their tutor and the other course participants through tutor-guided, text-based forum discussions. There are no ‘live-time’ video meetings meaning you can study flexibly in your own time under the direct tuition of an expert. For further information please click here

This is an advanced course designed for students who have completed one of the introductory courses such as Getting Started in Creative Writing, or one or more of the specialist courses such as Writing Fiction, Writing Poetry, Writing Drama, or Writing Young Adult Fiction, or a similar course.

How do authors develop an initial idea into a completed work of fiction? A practical course covering all aspects of novel writing from character creation, story development to final edit. Designed to engender confidence and good writing practice for aspiring novelists.

The development of online publishing opportunities has given rise to an increased commercial success of the self-published author. Beginning with an investigation of how fiction can be created from the writer''s own experience, this course will explore the techniques used to develop and structure a sustained piece of original prose to a commercially viable standard. We will look at character creation and development across a variety of genres. We will learn how to assess the thematic content of contemporary fiction and how this is expressed in the progression of plot. We will examine how description and metaphor are used to support narrative purpose. At the same time, we will explore the role of the writer as self-editor and how close-reading and critical thinking can enable improved confidence in the development of a unique, individual voice which will appeal to a broad readership.

For information on how the courses work, please click here .

Programme details

Unit 1 - Write what you know

• Inspiration and application of ideas.
• How to write from personal experience and develop anecdote and memory into a piece of fiction.

Unit 2 - Beginnings, Middles, Endings

• How 3 act structure shapes a story.
• Where to start a story.
• Analysis of crisis points and reader expectation.
• The relationship between main plot and subplot.

Unit 3 - Character 1

• How to create a complex protagonist.
• Departure from expected archetypes.
• Internal vs. external life of character.
• The character with a secret.
• Character growth vs. character decline.

Unit 4 - Character 2

• Supporting characters and their function in story.
• The difference between primary and secondary characters and subsequent influence of story development.
• Secondary characters as chorus and jury.
• The role of the hidden/ invisible main character.

Unit 5 - What kind of story

• Genre expectation and how to subvert it.
• How to fit original ideas to specific genres.
• Commercial expectations of mainstream genres.
• How to subvert known genres.

Unit 6 - What's it all about

• Thematic development in story.
• How to identify the themes in self-created writing; how to dramatise these in character development and action to fit commercial expectation.

Unit 7 - Complex plotting

• Planning and execution in story.
• The concept of dual-plotting, and how this can play with readers' expectation.

Unit 8 - Whose story is it anyway

• Narrative point of view.
• How to choose your narrator and dramatic perspective to best serve plot and character development.

Unit 9 - How to tell it

• Use of description and metaphor.
• How descriptive prose can reveal character; the use of metaphor to provide clues within a complex narrative.

Unit 10 - When is it finished

• Self-editing.
• Good editorial practice, with a focus on how to create text to the standard expected by publishers and agents.
• How to create write synopsis and covering letter for commercial consideration.

We strongly recommend that you try to find a little time each week to engage in the online conversations (at times that are convenient to you) as the forums are an integral, and very rewarding, part of the course and the online learning experience.

Recommended reading

To participate in the course you will need to have regular access to the Internet and the following text books:

• Lodge, D., The Art of Fiction (London: Penguin, 1992)
• Mullan, J., How Novels Work (Oxford: Oxford University Press, 2006)
• Vogler, C., The Writers Journey (Studio City, CA, Michael Wise Productions, 1998)

If later editions of the course texts are available these will also be suitable.

Digital Certification

Credit Application Transfer Scheme (CATS) points 

To earn credit (CATS points) for your course you will need to register and pay an additional £10 fee for each course you enrol on. You can do this by ticking the relevant box at the bottom of the enrolment form or when enrolling online. If you do not register when you enrol, you have up until the course start date to register and pay the £10 fee. 

See more information on CATS point

Coursework is an integral part of all online courses and everyone enrolled will be expected to do coursework, but only those who have registered for credit will be awarded CATS points for completing work at the required standard. If you are enrolled on the Certificate of Higher Education, you need to indicate this on the enrolment form but there is no additional registration fee. 

Digital credentials

All students who pass their final assignment, whether registered for credit or not, will be eligible for a digital Certificate of Completion. Upon successful completion, you will receive a link to download a University of Oxford digital certificate. Information on how to access this digital certificate will be emailed to you after the end of the course. The certificate will show your name, the course title and the dates of the course you attended. You will be able to download your certificate or share it on social media if you choose to do so. 

Please note that assignments are not graded but are marked either pass or fail. 

Ms Elizabeth Garner

Elizabeth Garner is a novelist and editor with 25 years of experience of story-development in both film and publishing. She was written two novels: Nightdancing , which received the Betty Trask Award; and The Ingenious Edgar Jones , which was published to critical acclaim in the UK and USA. She has also published a collection of illustrated folk tales: Lost & Found . She is a freelance fiction editor and also teaches creative writing for OUDCE.

Ms Sara Taylor

Sara Taylor is a product of Virginia and the homeschooling movement. She received her Masters in Prose Fiction and Ph.D. in Creative and Critical Writing from the University of East Anglia. Her novels, published by Random House, explore the social construction of identity, sexuality, and family. She acts as co-director and editor of creative-critical publisher Seam Editions, and was elected a Fellow of the Royal Society of Literature in 2018.

Course aims

• Understand how to develop their ideas into a coherent, engaging and commercially viable piece of fiction.
• Become familiar with a range of fiction genres and learn how to shape their work accordingly.
• Critically analyse and discuss their own work with an awareness of the expectation of a public and professional readership.
• Learn the practical skills of self-editing and planning essential for the continuation and completion of their individual writing projects.
• Further develop confidence in their own original writing style.

Teaching methods

• Introductory section, outlining key areas of work within each unit.
• Description of required reading and recommended reading.
• Presentation of materials taken from additional (eg. online) sources, relevant to each unit.
• Online discussion forum.
• Online personal study diary.
• Area for short responses to literary extracts from key texts.
• Tutor responses to forum and exercises.
• Assessment and feedback.

Learning outcomes

By the end of this course students will be expected to:

• Appreciate the diverse skill sets and techniques required in the construction and execution of a sustained piece of prose.
• Be able to think critically about their own work and make editorial choices accordingly.
• Be prepared to apply the skills acquired to continue and complete their own original, individual writing projects.

By the end of this course students will be expected to have gained the following skills:

• The ability to plan and structure ideas into a coherent outline for a novel.
• The ability to develop complex characters to the standard expected of commercially viable modern fiction.
• Critical assessment of the thematic content of a diverse range of contemporary fiction.
• Confidence in their ability as writers through the discovery and development of their own unique voice.
• An understanding of good working practice and self-editing.

Assessment methods

You will be set two pieces of work for the course. The first of 500 words is due halfway through your course. This does not count towards your final outcome but preparing for it, and the feedback you are given, will help you prepare for your assessed piece of work of 1,500 words due at the end of the course. The assessed work is marked pass or fail.

English Language Requirements

We do not insist that applicants hold an English language certification, but warn that they may be at a disadvantage if their language skills are not of a comparable level to those qualifications listed on our website. If you are confident in your proficiency, please feel free to enrol. For more information regarding English language requirements please follow this link: https://www.conted.ox.ac.uk/about/english-language-requirements

Application

Please use the 'Book' or 'Apply' button on this page. Alternatively, please complete an Enrolment form for short courses | Oxford University Department for Continuing Education

Level and demands

FHEQ level 5, 10 weeks, approx 10 hours per week, therefore a total of about 100 study hours.

IT requirements

This course is delivered online; to participate you must to be familiar with using a computer for purposes such as sending email and searching the Internet. You will also need regular access to the Internet and a computer meeting our recommended minimum computer specification.

Terms & conditions for applicants and students

Information on financial support

View a sample page to see if this course is for you

Fall 2020: Introduction to Creative Writing: Hybridity, Identity, and Getting Weird With It

If you’d prefer to download this syllabus in PDF form—including a working schedule for the whole semester— please click here .

ENW 210: Introduction to Creative Writing: 

Hybridity, Identity, and Getting Weird With It

lehmanfallcw.commons.gc.cuny.edu

Instructor: Prof. Zefyr Lisowski

MW 12:30 – 1:45 PM 

Office Hours Monday 11:30 to 12:30 or by appointment

[email protected] | [email protected]  

Course Description

How are we creative? What in our lives leads us to be creative? This course explores various types of creative writing—playwriting, fiction, and poetry—all through the lens of identity, hybrid-ness, and getting weird. Students should be prepared to listen closely to each other and the texts we’re looking at, push themselves in their writing and thinking, and develop skills in a wide range of forms. This can be intense work! As such, I invite you all to take your time with difficult assignments, let me know if you can’t complete a reading, and try and get yourself in a state to “create freely” through writing as frequently as you can, in as many different ways as you can. 

This class will emphasize developing craft through interrogating, writing from, and (in some cases) writing against one’s identity, so be prepared to get messy!

Course Expectations

We’ll draft up course expectations together on the first day, although regardless of what we decide on, compassion and deep engagement with each others’ work is as must. Avoid talking over other people if you can, and if you’re excited about something (or, conversely, really dislike one of the readings I’ve given you) say so!

As far what you can expect to take from this, here are the department’s outcomes:

• Build a community of creative writers sustained through insightful and constructive feedback
• Analyze, produce and learn about avenues for publishing a broad range of creative writing, including fiction, poetry, playwriting, and creative nonfiction

And here are my own addendums to this: 

By the end of the semester students will  be able to: 1) demonstrate their close reading skills by reading and discussing selections in all three genres; 2) develop their creative writing through weekly writing assignments covering all three genres; 3) refine and deepen their writing through revision exercises; a final project consisting of one piece in each genre; and written reflection on the writing process; and 4) engage in verbal workshop critiques of classmates’ work that draws on critical reading skills developed through discussion of literary selections.

Course Materials Get a notebook for our class. Get a pen or pencil. If you have a smartphone, make sure you’re comfortable using the notes function on it—or even better, Google Docs (if not, don’t sweat it). Do you have all of these things? Incredible, that’s the majority of your required materials.  This class is not a comprehensive survey of the history of creative writing in the English language; what we wind up talking the most about is subject to both my own interests and your own. We’ll look mainly at PDFs and web links of poems, stories, and essays, but you will also be responsible for selecting and purchasing at least one hybrid work from the list below to discuss; take some time to google what looks the most interesting to you. We will discuss these books individually by the halfway point of the semester, so reading them ahead is recommended.

Hybrid Works (Combine Fiction, Nonfiction, and Poetry) 

These works are available at a number of sources, including online, at used and new bookstores. You will select one of these books for a final presentation. Let me know if you have any issues with affording a copy. 

Zami: A New Spelling of My Name, Audre Lorde, The Crossing Press, 1982 (available as a free PDF here ) ISBN 0895941228

Fierce Femmes and Notorious Liars, Kai Cheng Thom, Metonymy Press, 2017. ISBN 0994047134

Skim, Jillian and Mariko Tamaki, Groundwood, 2008*** ISBN 088899964X

***This book is a graphic novel/comic book; however, I invite you to think about the same ways it can also be a blurring of form!

________________

Requirements:

Readings : Come into class prepared to discuss all readings you were assigned. Think of things you liked and things you felt troubled by. Coming into your own as a writer so frequently involves coming into your own as a reader as well; connect these pieces w/ your own works in terms of techniques you could thieve, small details you noticed, and the emotional resonance of each work.

Writing Prompts: Each week you will have a creative/critical assignment due. Pick one element from the work you find interesting, and write in that mode. It could be writing a story using a similar narrator as the story we read, revealing information in the same kind of way as a specific nonfiction writer, or using a similar image to one of the poets we read. Revise as you feel necessary and turn in whatever you write. Some weeks, you will get a specific prompt, as opposed to being able to craft your own. Approach this much the same way! 

Forum Presentations: On forum presentation days, you’ll post an excerpt and short analysis on a book you’ve read outside of class that you’re especially excited by . In this post, you’ll discuss whatever you find interesting therein, and you’ll moderate (respond to, highlight, and discuss other people’s posts) a discussion on the forum.

Attendance: Attendance and participation are very important to this course. I expect everyone to be on time and be prepared for all classes; this means doing the reading, doing the assignments, and being prepared to respond to each other’s writing. However, if you have a disability, health, or family/work condition that makes completing the work (or punctuality, or attendance) difficult, let me know. 

Due dates, likewise, must be received within 24 hours of the deadline unless previously informed; the grade will drop by one letter grade each day after that. 

Workshops: Occasionally we’ll workshop each other’s work. This is indicated on the class website by “WORKSHOP” being written in all caps by the day in question. You’ll be assigned groups, and will only have to read each other’s work this week. Come in with comments, thorough questions, and a (kind) letter towards the writer on what you like or don’t like. 

University Policies:

A Note on Grading

This course practices qualitative, not quantitative assessment.  So what does that mean? I won’t give you grades on every assignment, but will provide written and feedback for everything you turn in. I’ll meet in the middle of the semester with each of you to discuss course progress, and at the end of the semester will submit a final grade based on (1) assignment completion; (2) your own self-assessment; and (3) my own evaluation of your progress. Feel free to ask any questions!  This policy is adapted from several other professors; here’s more information if you’re curious about why I’m doing this.

A Note on Scheduling

I realize that there are unique difficulties associated with digital learning. Our class is scheduled to meet twice a week on Lehman’s schedule, on Monday and Wednesday. We’ll be meeting every Wednesday synchronously, via Zoom. Mondays will be reserved for asynchronous work, a time to engage in forum posts, writing, class reading, and homework assignments in preparation for the next synchronous class. Occasionally, we may meet, either in person or one-on-one, on Mondays; you’ll receive ample notice over email when this is scheduled. We’ll discuss this more on the first day of class. 

I think it’s important to say: we’ll be reading some materials that may be difficult—either emotionally or formally. If you’re triggered by any of the materials we’re discussing, let me know and we can make accommodations together. 

This is a living syllabus; especially towards the end, what we’ll read and discuss will have as much to do with your needs and interests as my own. As such, check CUNYCommons and my class emails for the most up-to-date assignment lists.

A note on our identities:

We’re coming to this class from a wide range of different experiences, all of which impact our own writing. A lot of us may have experiences with violence that impact our comfort in the classroom and certainly can impact our writing. To this end, I encourage everyone to treat each other respectfully, including in the assignments you bring in; racist, homophobic, sexist, classist, ableist, transphobic, or otherwise discriminatory language won’t be tolerated, unless you can provide a full and convincing explanation of why you use it.

However, everyone makes mistakes (myself included)! If you see someone being rude, politely let them know. If someone tells you you were rude, consider where they are coming from! Hopefully, no one here wants to hurt anyone else.

I’ll try to put into place some safer space policies, including asking for pronouns and providing content warnings for pieces; however, I may slip up. Please, don’t feel afraid to tell me if I do so.

Above all, approach this with a sense of exploration. We’ll spend some of the first day talking about identities, but this is a conversation that is threaded through all of the works we’ll be discussing. Identities (especially gender and sexuality) can change throughout a semester. Keep that in mind, and, in your writing and class presence, try and explore who you are as much as what the writing is. Let’s jump into things.

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Advanced creative writing, read, write, workshop, revise, repeat..

• Course Length: 18 weeks
• Course Type: Elective
• High School

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Description

Shmoop's Advanced Creative Writing course has been granted a-g certification , which means it has met the rigorous iNACOL Standards for Quality Online Courses and will now be honored as part of the requirements for admission into the University of California system.

Raise your hand if you want to be the next great American novelist.

Now, raise your hand if you want to be the next J.K. Rowling.

The next Shakespeare?

Nice. We like a student with lofty goals. And while we can't promise we'll secure your place in the writing hall of fame, we can promise we'll equip you with the tools you need to get started. Advanced Creative Writing is a semester-long course that teaches you the ins and outs of writing fiction, poetry, nonfiction, and drama. Yup—drama. Because you so need more of that in your life.

Unlike your average creative writing course, we're incorporating speculative fiction (that's sci-fi, fantasy, and horror) into this Common Core standards-aligned course. Whether you want to pen a personal essay that would inspire Joan Didion or a sci-fi epic that would inspire HBO to scramble for the TV rights, we've got you covered.

By the end of the course, you'll be able to

• craft believable and compelling characters for any genre.
• write effective and realistic dialogue for your oh-so-believable characters to say.
• recognize the differences between fiction and nonfiction.
• understand what makes poetry a unique art form.
• understand what makes dramatic writing a genre worth studying—on page and onstage.
• write your own pieces of short fiction, nonfiction, poetry, and drama, to be wrapped up in a nice, shiny portfolio at the end.

You'll write. You'll read (to inspire yourself to write). You'll revise. And you'll come out of this course with a better understanding of how to write well , which is a lesson every writer-to-be needs to learn.

You can thank us later. Preferably in the acknowledgements of your first novel.

Required Skills

Unit breakdown, 1 advanced creative writing - the big short.

Since we're not expecting you to write a novel in 90 days, short stories are a common form in this course. Unit 1 gives you a quick run-down on how to write short fiction specifically, with an emphasis on mystery as a genre. You'll read some classic mysteries and try your hand at writing short story sketches, all the while acquainting yourself with methods of characterization, scene setting, and dialogue-smithing. You'll also get acquainted with writers' workshops—two words no creative writer can afford to live without hearing.

2 Advanced Creative Writing - Move Over, Prose

Have you ever been so salty about something that you're like, "Man, I wish I could write a poem about this"? We don't blame you. Salt is a powerful motivator. And in Unit 2, you'll learn all the poetic devices you need to put those feelings into words—some rhyming, some not. You'll read a ton of professional poetry (or proetry, as we call it) to inspire poetic writing of your own. From the sonnet to the haiku, you'll have a crash course in a ton of different verses, meters, and rhyme schemes. Basically, you'll get everything you need to become a great poet—minus a beret.

3 Advanced Creative Writing - Real Life is as Strange as Fiction

In Unit 3, things get personal as you venture into the world of narrative essay writing. Nonfiction might be a genre you associate with textbooks and articles, but we'll prove to you that the nonfiction narrative is just as creatively inspired as the most fantastic fantasy novel. You'll study essays from greats like Joan Didion and George Orwell, and you'll learn how to sketch your own personal experiences into nonfiction pieces worth reading. Because, despite what Facebook might tell you, it actually does take some skill to make your personal life interesting to others.

4 Advanced Creative Writing - A Fable, an Allegory, and a Satire Walk Into a Bar

We're taking a turn for the unusual in Unit 4, where you'll learn how to write fables, allegories, and satire. Yep: You'll be writing with inspiration from Aesop and Amy Sedaris. Sure, fables might be kind of an old-fashioned writing form on the surface, but there's a lot of creative impact in these bite-sized little gems (also a lot of talking animals). You'll learn how to shape ideas into allegories, to make your writing extra deep. And you'll learn how to write satirical pieces without making people feel super bad about themselves.

5 Advanced Creative Writing - Speculation Nation

In our speculative fiction unit, you'll try your hand at science fiction, horror, and fantasy stories of your own. You'll learn that there's a lot more to this kind of writing than putting a dragon in the middle of a scene and calling it a day. Speculative fiction writing is often wrapped around a bunch of metaphors and allegories, and you'll learn how to make the most of imagery and figurative language as you write speculative fiction of your own. With greats like Neil Gaiman providing you inspiration, we're sure you'll be up to the task in no time.

6 Advanced Creative Writing - Please be Dramatic

We end the course with a dramatic flourish—literally, since this is the drama writing unit. You'll read a bunch of one-act plays and scenes to learn the basics of scriptwriting, with a particular emphasis on theater. Blocking, you'll discover, is more than a function you can use on Instagram when your weird ex annoys you; it's also one of the many essential technical elements that all dramatic writers need to include in their writing. At the end of the unit, you'll do a quick little wrap-up of every kind of writing you learned in the course, by putting your best pieces into a portfolio.

Sample Lesson - Introduction

Lesson 2.06: tell us how you really feel.

So, the ballad's had its day in the sun (and then some). It's time to let another form of poetry shine—a form that, coincidentally, also has something in common with musical terminology.

We're talking about the lyric poem , here. In contemporary usage, the word "lyric" almost always applies to the words to a song. Don't worry, though. We won't be asking you to compose a song—although you can totes set your poem to music if you want to.

Lyric poems, especially the ones written a couple of hundred years ago, were often written to accompany music. Unlike fan favorite the ballad, though, the lyric poem doesn't typically tell a story. What the lyric does do is something many poets like even better than telling a story: It expresses feelings and insights.

The term lyric actually describes several types of poems, including odes , elegies , and sonnets . We'll look at some examples of those over the next few days.

As you move into consideration of these more complex forms, you won't write a complete poem every day. Instead, you'll be filling your writer's notebook with ideas, insights, images, and inspiration. Those flashes of brilliance will come in handy.

Trust us, here: you and your poetic muse will thank us later.

Sample Lesson - Reading

Reading 2.2.06: love that lyric.

First thing's first: read Shmoop's lowdown on lyric poetry . Pay attention to what we have to say about a lyric poem's form, meter—and, most importantly, subject matter.

Got it? Great.

Now for a brief summary of a lyric's form. In general, lyrics

• describe an emotion or insight.
• convey one individual's perspective.
• use first person.
• usually rhyme.
• use meter, usually, and most commonly it's iambic meter (da-DUM, da-DUM, da-DUM, da-DUM).

It probably won't surprise you to hear that many lyrics, describing the emotions and insights of a single speaker, are love poems.

Aw. We're blushing.

To get a decent sense of what we mean (and to prepare yourself for writing), we'd like you to read the following lyric poems :

• " Believe Me, If All Those Endearing Young Charms " by Thomas Moore
• " Song for the Last Act " by Louise Bogan
• " She Walks in Beauty " by Lord Byron

When you're finished reading the poems, head over to Shmoop's page on "She Walks in Beauty" to give yourself a better idea of what that poem is all about.

Then, when you've really got the content of "She Walks in Beauty" down pat, read our page on the meter and rhythm of the poem . This should give you some inspiration on the writing front, so you can better craft a sweet lyric poem in the activity.

When you're finished reading, head over to the activity so you can take a crack at lyric-smithing yourself.

Sample Lesson - Activity

Activity 2.06a: so you wanna be a lyricist.

Writing a lyric isn't necessarily a simple task. First, you've gotta have something worth—well, lyricizing about.

We mentioned that most lyric poems are love poems. Does that mean you have to have been in love to write one? Nah. We're going to give you the opportunity to write a lyric poem about anything that gets your heart a'fluttering, whether that thing is a romantic experience or a particularly difficult level of your favorite game.

Regardless of its subject, by the end of this lesson, you'll have written a lyric. We're going to work backwards and sort of reverse-engineer a lyric together—and we'll walk you through it step-by-step.

First, revisit the poems we just read and choose your favorite line or passage from one of those poems . Shmoop picked this one, from Thomas Moore's "Believe Me, If All Those Endearing Young Charms":

As the sunflower turns on her god, when he sets/The same look which she turned when he rose.

Once you've picked your fave line, freewrite for five minutes in response . You can talk about pretty much anything, but we want you to focus mainly on the feeling this particular line evokes in you.

Run out of things to say? Rewrite the last word or phrase until you come up with something—or move on to another poetic line as a prompt.

Here's how we started our freewrite:

The sunflower is such an interesting image; we don't know much about sunflowers, but we don't think they last all that long. Therefore, it's interesting how Moore uses the image of a day to suggest completeness and enduring love, even though we don't think of flowers as images suggesting permanence. If the relationship between the sunflower and the sun ("her god") represents faithful love, that happens in the course of a day…

BTW, a five-minute freewrite should be around 150 – 200 words .

Reflecting on your freewrite, think of the feeling that your chosen image evoked in you, and brainstorm a list of images you could build upon to evoke something similar . Hone in on one image from that list and hang onto it.

Our freewrite reflected on the disparity between enduring love and fleeting life. If Moore used a flower to convey this image, we'd probably use something like a fruit. Just as sweet—just as fleeting.

Of course, our lyric poem wouldn't be literally about a fruit. We'd have to use the fruit as an image to represent something deeper—something we really love.

That's why the next step is to choose a subject that you particularly care about, which you think could be well-represented with the image you chose in the last step . We're going to say "summer," because who doesn't love summer?

Write that lyric poem .

Your poem should be at least four stanzas long , and should follow our lyric conventions. Remember, we said a lyric

• describes an emotion or insight.
• conveys one individual's perspective.
• uses first person.
• usually rhymes.
• uses meter, usually, and most commonly it's iambic meter (da-DUM, da-DUM, da-DUM, da-DUM).

Also remember to use the image you decided upon in Step Two somewhere in your poem . Here's a stanza of Shmoop's ode to summer:

What ripe and rosy fruit may sway Upon a heavy branch of green? What sweet and tender succulence awaits me When, on a hazy summer's day, The morning air breathes crisp and clean, And all the summer's wonders celebrate, free?

We went with iambic meter for this one—though not iambic pentameter. Our poem actually follows the same meter as this song . Or… this one.

Go ahead and write your own four-to-five stanza poem in a Word doc . When you're good n' ready, upload it below.

Creative Written Representation Rubric - 50 Points

Activity 2.06b: lyrics + workshop.

Workshop time. Today, we'll ask you to post your poem to the discussion board, then read and respond to at least two classmates' lyrics .

Remember our guidelines:

• Be specific : Does the poem fit the lyric form? Does the meter flow? Is it written with iambs? Is it about love ?
• Be nice, though : If you wouldn't appreciate someone saying it to you, don't say it to anyone else.
• Give generously : Read the poem you're reviewing attentively and thoughtfully.

Using the discussion board, respond to the following questions regarding at least two classmates' poems, in at least one complete sentence each :

• Did the poet use iambic meter?
• Did the poet write about something they love?
• Did they include some specific image?
• What do you think is the most important thing for the poet to consider as they revise this poem?
• As a reader, what do you appreciate most about this poem?

Without further ado, forge ahead and discuss away.

Participation Only Rubric - 10 Points

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W hy's T his F unny?

• Academics /

Creative Writing and Literature Master’s Degree Program

Unlock your creative potential and hone your unique voice.

Online Courses

11 out of 12 total courses

On-Campus Experience

One 1- or 3-week residency in summer

$3,220 per course

Program Overview

Through the master’s degree in creative writing and literature, you’ll hone your skills as a storyteller — crafting publishable original scripts, novels, and stories.

In small, workshop-style classes, you’ll master key elements of narrative craft, including characterization, story and plot structure, point of view, dialogue, and description. And you’ll learn to approach literary works as both a writer and scholar by developing skills in critical analysis.

Program Benefits

Instructors who are published authors of drama, fiction, and nonfiction

A community of writers who support your growth in live online classes

Writer's residency with agent & editor networking opportunities

Personalized academic and career advising

Thesis or capstone options that lead to publishable creative work

Harvard Alumni Association membership upon graduation

Customizable Course Curriculum

As you work through the program’s courses, you’ll enhance your creative writing skills and knowledge of literary concepts and strategies. You’ll practice the art of revision to hone your voice as a writer in courses like Writing the Short Personal Essay and Writing Flash Fiction.

Within the creative writing and literature program, you will choose between a thesis or capstone track. You’ll also experience the convenience of online learning and the immersive benefits of learning in person.

11 Online Courses

• Primarily synchronous
• Fall, spring, January, and summer options

Writers’ Residency

A 1- or 3-week summer master class taught by a notable instructor, followed by an agents-and-editors weekend

Thesis or Capstone Track

• Thesis: features a 9-month independent creative project with a faculty advisor
• Capstone: includes crafting a fiction or nonfiction manuscript in a classroom community

The path to your degree begins before you apply to the program.

First, you’ll register for and complete 2 required courses, earning at least a B in each. These foundational courses are investments in your studies and count toward your degree, helping ensure success in the program.

Getting Started

We invite you to explore degree requirements, confirm your initial eligibility, and learn more about our unique “earn your way in” admissions process.

A Faculty of Creative Writing Experts

Studying at Harvard Extension School means learning from the world’s best. Our instructors are renowned academics in literary analysis, storytelling, manuscript writing, and more. They bring a genuine passion for teaching, with students giving our faculty an average rating of 4.7 out of 5.

Bryan Delaney

Playwright and Screenwriter

Talaya Adrienne Delaney

Lecturer in Extension, Harvard University

Elisabeth Sharp McKetta

Our community at a glance.

80% of our creative writing and literature students are enrolled in our master’s degree program for either personal enrichment or to make a career change. Most (74%) are employed full time while pursuing their degree and work across a variety of industries.

Download: Creative Writing & Literature Master's Degree Fact Sheet

Average Age

Course Taken Each Semester

Work Full Time

Would Recommend the Program

Professional Experience in the Field

Pursued for Personal Enrichment

Career Opportunities & Alumni Outcomes

Graduates of our Creative Writing and Literature Master’s Program have writing, research, and communication jobs in the fields of publishing, advertising/marketing, fundraising, secondary and higher education, and more.

Some alumni continue their educational journeys and pursue further studies in other nationally ranked degree programs, including those at Boston University, Brandeis University, University of Pennsylvania, and Cambridge University.

Our alumni hold titles as:

• Marketing Manager
• Director of Publishing
• Senior Research Writer

Our alumni work at a variety of leading organizations, including:

• Little, Brown & Company
• New York University (NYU)
• Bentley Publishers

Career Advising and Mentorship

Whatever your career goals, we’re here to support you. Harvard’s Mignone Center for Career Success offers career advising, employment opportunities, Harvard alumni mentor connections, and career fairs like the annual on-campus Harvard Humanities, Media, Marketing, and Creative Careers Expo.

Your Harvard University Degree

Upon successful completion of the required curriculum, you will earn the Master of Liberal Arts (ALM) in Extension Studies, Field: Creative Writing and Literature.

Expand Your Connections: the Harvard Alumni Network

As a graduate, you’ll become a member of the worldwide Harvard Alumni Association (400,000+ members) and Harvard Extension Alumni Association (29,000+ members).

Harvard is closer than one might think. You can be anywhere and still be part of this world.

Tuition & Financial Aid

Affordability is core to our mission. When compared to our continuing education peers, it’s a fraction of the cost.

After admission, you may qualify for financial aid . Typically, eligible students receive grant funds to cover a portion of tuition costs each term, in addition to federal financial aid options.

What can you do with a master’s degree in creative writing and literature?

A master’s degree in creative writing and literature prepares you for a variety of career paths in writing, literature, and communication — it’s up to you to decide where your interests will take you.

You could become a professional writer, editor, literary agent, marketing copywriter, or communications specialist.

You could also go the academic route and bring your knowledge to the classroom to teach creative writing or literature courses.

Is a degree in creative writing and literature worth it?

The value you find in our Creative Writing and Literature Master’s Degree Program will depend on your unique goals, interests, and circumstances.

The curriculum provides a range of courses that allow you to graduate with knowledge and skills transferable to various industries and careers.

How long does completing the creative writing and literature graduate program take?

Program length is ordinarily anywhere between 2 and 5 years. It depends on your preferred pace and the number of courses you want to take each semester.

For an accelerated journey, we offer year round study, where you can take courses in fall, January, spring, and summer.

While we don’t require you to register for a certain number of courses each semester, you cannot take longer than 5 years to complete the degree.

What skills do you need prior to applying for the creative writing and literature degree program?

Harvard Extension School does not require any specific skills prior to applying, but in general, it’s helpful to have solid reading, writing, communication, and critical thinking skills if you are considering a creative writing and literature master’s degree.

Initial eligibility requirements can be found on our creative writing and literature master’s degree requirements page .

Harvard Division of Continuing Education

The Division of Continuing Education (DCE) at Harvard University is dedicated to bringing rigorous academics and innovative teaching capabilities to those seeking to improve their lives through education. We make Harvard education accessible to lifelong learners from high school to retirement.

ENG 231. Intro to Creative Writing

Spring 2014.

• Toggle navigation

Prof. Jessica Penner | OL05 | Fall 2020

• Course Profile
• Contact Info & Communications
• Announcements
• Assignments
• Discussions
• Assignment Posts
• Short Stories
• Reflections
• Final Portfolio
• Course Resources
• College Resources

OpenLab Help

I have separated the one big document everyone gets at the beginning of the semester into two: the syllabus and the schedule .

This is the syllabus , which shares a lot of detail about the class. Questions about how the class is run, how you will be graded, etc., can be found here. The other document is the schedule , which shares assignments and due dates. Questions about what we will be doing each week can be found there.

Table of Contents

How This Class Operates

Aspects of a Writing Class

Required Material

Learning Outcomes

• Breakdown of the Final Grade & Grading Scale

Communication

Participation in an Online Course

Office Hours

Late Writing Assignment Policy

Extra Credit

• A Few “Oddities”
• NYCCT Policy on Academic Integrity

Student Accessibility

A Note on Course Workload

I. Nuts & Bolts

Some of you may have taken online courses before, for others, this may be a new experience. Like a face-to-face class, every teacher runs their class differently. Read on for a guide on how this class will be run:

• This is an asynchronous course, which means there is no specific time that this class will meet.
• You’ll notice I have two emails listed. The first address is my general NYCCT email. The second is just for your class. Please use the second email! Because all my classes are online, I get a lot of email every day, so your message can quickly get lost. If you use the second email, my response time will be much quicker!
• All activities/information will take place on OpenLab .
• Each Friday , I will post an Announcement (located under Activities ) message in our OpenLab website. It will summarize what we’ll be working on for the following week.
• I will also publish a weekly Assignment post (also located under Activities ) each Friday , which will provide a detailed guide on what is due throughout the following week, titled “Week 1,” “Week 2,” etc. There will usually be two sections: Read and Write , with links to the week’s reading assignments and instructions on what you need to write in response to the assignment.
• There are deadlines noted in the schedule (the other document) throughout each week, marked in red . Most of the deadlines are on Mondays and Wednesdays , with a few exceptions. Some assignment deadlines are small (posts on the Student Work section), some are large (major writing assignments). All of them count toward your final grade!
• Be advised that if you do not log onto OpenLab and participate in the writing assignments, this will be noted by me. If you have not shown participation in this class within two weeks of the start of the semester, I will notify the administration and you will be dropped from the class. (Please note: If you wait until right before the end of the two weeks, you’ll discover that you’ve lost participation points!)
• The responsibility to keep up with assignments rests on you . All the assignments in this class have specific due dates, which means once a date has passed, you cannot turn in the work and receive the points. I do not accept late work. If you have questions about assignments, please contact me and we can either work things out over Zoom or an email conversation—but this works better when you ask right away rather than wait until right before a due date arrives!

As you’ve probably guessed from ENG1101 or ENG1121, a writing class isn’t like a mathematics or computer programming class. Here’s some details about what this class will be like. Throughout this semester, we will:

Discuss – Suzan-Lori Parks once told The New Yorker : “I love my lecture tours. I get up onstage. I have my stack of books and a glass of water and a microphone. No podium, no distance between me and the audience, and I just talk to people and get all excited and tell a lot of jokes, and sing some songs, and read from my work and remind people how powerful they are and how beautiful they are.”

Although this class is asynchronous, I may at times post short video discussions or link you to PowerPoints. I refer to my lectures as discussions, because that’s how I look at them. I’ll passionately “talk” at length at times, especially when I’m introducing a topic, but I’ll also prod you for your reactions to the information via Discussion Boards, because each of you have a point of view that is unique and needs to be heard.

Read/Analyze – William Faulkner once wrote: “Read, read, read. Read everything—trash, classics, good and bad, and see how they do it. Just like a carpenter who works as an apprentice and studies the master. Read! You’ll absorb it. Then write.”

You will be asked to read material, analyze the work, and think about how you can use the example to benefit your own writing. I recommend you read the assignment at least twice—once for basic comprehension , the second time for details . If English is not your first language, you may need to read the assignment three or four times.

Write/Revise – Octavia Butler once wrote: “You don’t start out writing good stuff. You start out writing crap and thinking it’s good stuff, and then gradually you get better at it. That’s why I say one of the most valuable traits is persistence.”

You will use what we have read as a jumping-off point for your writing. On a specific date, we will have a “peer review” (see below). After the peer review, you will be given time to revise, edit, and type a second draft. I will evaluate this draft. Be sure to keep the second draft once it’s evaluated! Don’t just delete it, because you’ll have an opportunity to revise that draft for your Writing Portfolio at the end of the semester!

Peer Review – Isaac Bashevis Singer once wrote: “The waste basket is the writer’s best friend.” I add: “The peer reviewer is the writer’s next best friend.”

The class will be divided into a Cohort of four peers each. They will be given another student’s work and have time to read, fill out a peer reviewer’s worksheet, and discuss the work over email or text. You may be tempted to be “nice” and write nothing but glowing reviews during this process—please ignore this temptation. This is a time for you to work together for your common goal for this class: to become better writers.

Course Overview

All writing is creative, including the writing you do for school, internet posts to social media, and text/email messages. Where there was a blank page–virtual or otherwise–and you fill it with your words, you have, in fact, drawn on your intellectual resources to create patterns of meaning with those words.

“Creative writing,” however, generally refers to poetry, fiction, drama, and some forms of non-fiction–memoirs and narratives that use the techniques of story-telling.

We will focus on understanding how form and meaning work together and on understanding the types and complexities of each genre–notably, fiction, non-fiction, poetry, drama, and cross-genres–so each student can begin to develop their unique, individual voice .

We will be writing a lot—every day, in fact. You will be keeping a writing journal the entire semester to log your creative material and reflect on the process itself. I will be checking these journals occasionally throughout the semester—not to evaluate, but to ensure you are keeping up with assignments and know a little bit about what you are thinking as a writer.

We will be reading [1] a lot, immersing ourselves in the world of words–and analyzing forms of written expression, both student-produced and published work. Together, we will read, discuss and write memoir essays, short stories or flash fiction, and, time permitting, poetry and very short dramas (dialogues). In addition, we will give attention to the process of writing and the writing life and learn how to become adept critics by providing sensitive, useful feedback on each other’s work.

• First, make sure your email is one you check on a daily basis, because all announcements and email related to this class will go to the  email address you have set in Blackboard . See  this video  for how to check/change your email address in Blackboard. Please be sure to check that email inbox frequently during the semester.
• Make sure you have access to OpenLab .
• Log in to your OpenLab account and follow  these instructions  to join this course . If you’re new to OpenLab, follow  these instructions to create an account  and then join the course .
• You’ll be posting assignments on OpenLab, so you need to have member status.
• We may be using Google Docs for some assignments. Here’s where you can get started if you’ve never used Google Docs before.
• Have a notebook and a folder reserved specifically for this class, pens/pencils, and a laptop or tablet that has access to the Internet (since all reading material and other documents will be shared online) .

Students will be able to:

• employ characterization, specifically the representation of characters through their actions, words, descriptions of them, and the responses of others to them;
• create stories and poems with convincing points of view, specifically as it functions through the narrators of stories, speakers of poems, and characters of plays, and their perspectives on the subject matter of the works in which they exist;
• create plots, specifically the selection and ordering of events as situations or scenes, to achieve suspense through exposition and action;
• employ style, specifically its identifiable components: patterned sentence structure, word-order, manipulation of the qualitative and quantitative features of sound, and the choice of appropriate diction and tone;
• utilize structure, as a planned framework for writing, selecting from several options to achieve most effective arrangement of parts, and the desired effect and impact of the work;
• understand and demonstrate the use of symbolism and allusion in different cultural contexts;
• conduct online, archival and primary research, to mine raw material for creative works.

Breakdown of Final Grade & Grading Scale

20% Participation

Completion of weekly homework assignments that will include participation in the Discussion Board and other reading/writing activities by assigned due dates will earn these points. There will be 20 points possible for each week.

10% Critical Responses

Guidelines for critical responses to your peers’ work will be explained before our first major writing assignment. Learning to assess your own and others’ work and to offer constructive, specific feedback is a key part of our course. There will be 10 points possible for each Critical Response.

20% Journal

You will be keeping an online writing journal the entire semester to log your creative material and reflect on the process itself. I will be reading these entries—not to evaluate—but to ensure you are keeping up with assignments and know a little bit about what you are thinking as a writer. There will be 20 points possible for each Journal.

20% Writing

Throughout the semester, we will be writing memoir essays, short stories, poetry, and dialogues. You must complete each project on the due dates in order to receive points. There will be 100 points possible for each assignment.

30% Writing Portfolio

This will be a significant revision of three major writing projects and a final reflection essay highlighting how you’ve evolved as a writer. There will be 400 points possible for the Portfolio.

Grading Scale

A- 90-92.9%

B+ 87-89.9%

B- 80-82.9%

C+ 77-79.9%

F 59.9% and below

II. Details

I will be communicating via your City Tech email . Please check your City Tech email at least once a day. I check mine at least twice a day during the week. If you send me an email during the week, you can expect a response within 24 hours. If you write me on the weekend, I will respond within 48 hours.

Just because you’re logging on to OpenLab doesn’t mean you are “participating.” Just logging on every once in a while doesn’t guarantee you will pass this class or get the grade you desire. In order to pass or get the highest grade possible, you need to do the following:

Complete homework before the due date. As I mentioned above, I do not accept late work. On a positive note, homework is graded upon completion. That means if you’ve obviously shown effort (answered the question, written the paragraph, etc.) you’ll get the credit.

How does a person show effort? For example, if I ask students to answer an open-ended question in a paragraph (How do you feel about your cultural identity? Why do people love or hate the Kardashians?), and one student writes a single sentence, they have not shown effort, while another student writes five to eight sentences, they have shown effort.

It’s been my experience (and I’ve been teaching for fifteen years) that those who do the homework fare better on the larger writing assignments than those who didn’t. If I’ve assigned something, I think it’s going to help you become a better writer, it’s not just “busywork.”

Finally, when we have first drafts due for Peer Review for your Cohort, be ready to present whatever you have on that date. Even if it’s incomplete, share what you have. If you don’t share what you have, your peer reviewers won’t be able to give you feedback on what’s good about your writing and what needs work before I evaluate it (this is invaluable information).

Even though this is an online class and we won’t be physically together, it’s important to behave in a professional manner. As you’ve undoubtedly seen on social media, things can very quickly veer from joking to antagonistic if participants aren’t careful, or perhaps a way someone words a post may offend a reader (when there wasn’t an intent to offend). So, when you’re responding to another student’s post on the Discussion Board, a peer’s essay, or in email conversations, please remember the following:

Respect – Students are required to show respect to the professor and other students at all times. This includes carefully reading content the professor assigns or a post made by another student, asking questions about the topic at hand, and refraining from name-calling or using inappropriate language (ableist, racial, misogynist, and anti-LGBTQ slurs, to name a few).

Participation – Students are required to participate actively in the class. This means doing all the homework assignments, connecting with your peers and instructor in a timely manner, and being prepared for each week’s assignments.

Many of you are taking this course to fulfill a Pathways requirement. However, once you commit to the course , you will be considered as a writer who cares about your work . Therefore, all of you are writers in this class and your work will be given the respect your efforts deserve

My office hours will be 1 to 2 PM on Tuesdays, Wednesdays, and Fridays. I’ll be available through Zoom and will send an invitation through email each week. Try to join my meeting at the start of the hour, not at the end—since I may be talking to other students or have another appointment after the hour is up. If those times don’t work with your schedule, we can schedule a different time. This means you’ll have to schedule an appointment in advance via email . In order to ensure we can meet, it’s important you contact me at least 24 hours in advance. For example, if you want to meet at 11 AM on Wednesday, be sure to email me on Tuesday morning; do NOT wait until 10:30 AM on Wednesday. I may have an appointment with another student or other responsibilities scheduled during that time. Please take advantage of this. It’s a time for me to help you with reading and/or writing issues or discuss any concerns you have. I really enjoy talking with students!

ALL writing assignments not received by the due date listed on the syllabus will be recorded as an F. I do not accept ANY assignments after the due date (this includes the Writing Portfolio at the end of the semester) .

I do not offer extra credit. If you complete the assigned readings, and turn in ALL writing assignments that have been thoughtfully written and proofread, you will pass this class.

A Few “Oddities” (and Other Notes)

A Cohort is a fancy word for a small group that works toward a common goal. In this class, you’ll be divided into Cohorts for to critique writing assignments. You will be with your Cohort all semester .

Assignments and Readings

Read with gusto and discernment. Learning to read well will enhance your ability to write well. Complete all assignments and write as much as you can. Of necessity, there will be overlap between drafts, with a new sketch or draft begun and another final draft due.

Writing Dos and Don’ts

Hate speech (racist, ableist, misogynist, anti-LGBT+, anti-Semitic, Islamophobic, etc.) won’t be tolerated. Curse words are allowed, but only when there is a true need for the word (perhaps a character would use the f-word, etc.). Don’t get too stressed about grammar, but be sure your sentences are clear to the reader. More on this below…

Language Awareness and Precision

Not all of you self-identify as writers. Some of you do. All of you, though, come to this course with an interest in developing your writing and communication skills. A key goal is for students to pay attention to word choice and phrasing–and to work on exploring ways to communicate complex ideas, observations, and feelings to yourself and to others. Take risks in your thinking and writing. Use our readings as guides to genres and use of figurative language.

Peer and Self-review

Methods for responding to your own and others’ work will be explained later. Always try to understand what the author is trying to say. Suggest, rather than command, focusing on ways to bring out and shape the author’s meaning. All writers are sensitive to criticism. NEVER be rude or dismissive. All writers need to learn to accept constructive criticism. Therefore, provide honest, but gentle feedback, within the guidelines I provide.

As noted in the final grade breakdown, you will be keeping a journal on the class website. I have specific “journal assignments” that are meant to prompt you either to write creatively or reflect on the writing process. If you’re uninspired or unable to follow the prompt, go to the site: https://www.writersdigest.com/prompts or check the web for other writing prompts—just note on your post where you found your alternative prompt (make a hyperlink or write the URL).

Some of our assignments will have specialized formatting, but most typed work should be double-spaced, in 12-point, Times New Roman font, with 1” margins. The first page header (this is on the first page, NOT all pages) should look like this:

Your First and Last Name

Word Count: XXX

Page numbering: Last name and page number in upper right corner on all pages.

III. College Policies & Student Accessibility

New York City College of Technology Policy on Academic Integrity

Students and all others who work with information, ideas, texts, images, music, inventions, and other intellectual property owe their audience and sources accuracy and honesty in using, crediting, and citing sources. As a community of intellectual and professional workers, the college recognizes its responsibility for providing instruction in information literacy and academic integrity, offering models of good practice, and responding vigilantly and appropriately to infractions of academic integrity. Accordingly, academic dishonesty is prohibited in The City University of New York and at New York City College of Technology and is punishable by penalties, including failing grades , suspension , and expulsion . For further information about plagiarism, cheating and academic integrity see page 57 of the City Tech catalog .

You will earn a zero on a plagiarized assignment in my class. You will NOT be able to “make up” the assignment.

City Tech is committed to supporting the educational goals of enrolled students with disabilities in the areas of enrollment, academic advisement, tutoring, assistive technologies and testing accommodations. If you have or think you may have a disability, you may be eligible for reasonable accommodations or academic adjustments as provided under applicable federal, state and city laws. You may also request services for temporary conditions or medical issues under certain circumstances. If you have questions about your eligibility or would like to seek accommodation services or academic adjustments, please contact the Center for Student Accessibility at 718-260-5143.

Per CUNY guidelines, please calculate two hours of work per credit hour per week, exclusive of class time. This means that for a 3-credit course, you will need to budget 6 hours each week for independent study/class preparation.  Taking into consideration other professional, educational, and personal obligations, please make sure that you have the time to do the work for this course and successfully complete it.

• There are reading assignments that cover abusive relationships and death. If these topics are triggers for you, talk to me privately ; we can discuss alternative readings or I can provide a summary that will let you know if these readings will be an issue. You must approach me before the reading is due. ↑

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ENGL 4301: Advanced Seminar in Creative Writing: Syllabus

• OER Statement

Syllabus: ENGL 4301

• Syllabus 4301 Spring 2024 Helen Phillips Downloadable Syllabus. Includes Course Information, Grading, Assignments, Course Requirements and Policies, University Policies and Schedule

Course Information

Class Name: Advanced Inter-Genre Capstone Seminar in Creative Writing (Spring 2024)

Class Code: ENGL 4301, Section T3, Code 52429

Class Room: 2412 Boylan Hall 

Meeting Time: Tues. 3:40-6:25 PM  

Instructor: Prof. Helen Phillips (she/her)

Email: [email protected]

Office hour: Tues. 2:00-3:00 PM

Office: 3108 Boylan Hall

Required Reading

• Course readings : All readings for the course are available as PDFs on our LibGuides website: https://libguides.brooklyn.cuny.edu/engl4301 . PDFs are password-protected with the password engl 4 301.
• Fence : As soon as possible, please subscribe to the literary magazine  Fence  through CLMP’s Literary Magazine Adoption Program .  Go to  https://adoption.clmp.org/students/  and enter our class code, 49677604235266596617, to order your discounted year-long subscription for $18.00. A  Fence  editor will visit our class, and we will read and discuss the current issue of the magazine.   
• Recommended Reading : In order to prepare for workshop, I highly recommend The Anti-Racist Writing Workshop: How to Decolonize the Creative Classroom by Felicia Rose Chavez and Craft in the Real World: Rethinking Fiction Writing and Workshopping by Matthew Salesses.

Course Policies

50% of your grade will be based on your writing : your 5 writing assignments, your workshop piece (with workshop note and questions), your final project, your 4 Blackboard posts, your in-class journals, your mechanics, the promptness of your assignments.

• If your mechanics need attention, I will indicate that on your written work. If you would like additional support for your mechanics/grammar, I recommend Rules for Writers by Diana Hacker.

50% of your grade will be based on your participation : your contributions to discussion, your sharing of your writing, your 16 Blackboard responses, your involvement in your classmates' workshops, your workshop responses to your classmates, your meeting with me, your promptness, your attendance.

• As per English Department policy, you will receive an automatic F if you miss three or more classes. Two tardy arrivals are equivalent to one absence. You are responsible for any material you miss. Please notify me about absences in advance.
• Class discussion is a core element of this course. I expect everyone to contribute every time we meet. 
• I will mark you absent if your phone/computer/device is distracting you from class discussion. Your full presence is required, and mindfulness is essential for this course.

ChatGPT/Generative AI Policy

Because this is a creative writing course in which you are developing your unique voice as a writer, with a particular focus on process over product, all writing in this course (including on Blackboard) must be your own original work. ChatGPT and other generative AI software are not permitted in this class.

University Policies

University Policies & Information

Plagiarism :  The faculty and administration of Brooklyn College support an environment free from cheating and plagiarism. Each student is responsible for being aware of what constitutes cheating and plagiarism and for avoiding both. The complete text of the CUNY Academic Integrity Policy and the Brooklyn College procedure for policy implementation can be found at  www.brooklyn.cuny.edu/bc/policies . If a faculty member suspects a violation of academic integrity and, upon investigation, confirms that violation, or if the student admits the violation, the faculty member MUST report the violation. Students should be aware that faculty may use plagiarism detection software.  IMPORTANT NOTE: Use of an AI text generator (such as ChatGPT)—when an assignment does not explicitly allow for it—constitutes plagiarism.

Accommodations for Disability :  The Center for Student Disability Services (CSDS) is committed to ensuring students with disabilities enjoy an equal opportunity to participate at Brooklyn College. In order to receive disability-related academic accommodations, students must first be registered with CSDS. Students who have a documented disability or suspect they may have a disability (physical or mental condition which substantially limits one or more major life activity) are invited to call the Center at (718) 951-5538 or visit us in 138 Roosevelt Hall. If you have already registered with the CSDS and submitted necessary forms, you will receive your course accommodation letter to provide to your professor and these specific accommodations can be discussed when appropriate.

Consideration of Religious Observance :  New York State Education Law requires that we “make available to each student who is absent from school, because of his or her religious beliefs, an equivalent opportunity to make up any examination, study or work requirements which s/he may have missed because of such absence on any particular day or days.” 

Student Bereavement Policy : Students who experience the death of a loved one must contact the Division of Student Affairs, 2113 Boylan Hall, if they wish to implement either the Standard Bereavement Procedure or the Leave of Absence Bereavement Procedure. More information:  http://www.brooklyn.cuny.edu/web/about/initiatives/policies/bereavement.php . 

The Magner Career Center : The Magner Career Center, located in 1303 James Hall, has valuable resources, including resume and interview preparation, help finding an internship and choosing a career, and more:  https://www.brooklyn.edu/magner/ . 

Student Support Services : (Food Pantry, etc.) http://www.brooklyn.cuny.edu/web/about/offices/studentaffairs/student-support-services.php

The Brooklyn College Library :  https://library.brooklyn.cuny.edu/resources   

The Brooklyn College Health Clinic :  https://www.brooklyn.edu/dosa/health-and-wellness/health-clinic/

Brooklyn College Personal Counseling : 0203 James Hall, 718-951-5363,  https://www.brooklyn.edu/dosa/health-and-wellness/personal-counseling/

Sexual and Gender-based Harassment, Discrimination, and Title IX : Brooklyn College is committed to fostering a safe, equitable and productive learning environment. Students experiencing any form of prohibited discrimination or harassment on or off campus can find information about the reporting process, their rights, specific details about confidentiality, and reporting obligations of Brooklyn College employees on the Office of Diversity and Equity Programs website. All reports of sexual misconduct or discrimination should be made to Michelle Vargas, Title IX Coordinator (718.951.5000, ext. 3689), and may also be made to Public Safety (719.951.5511), the New York City Police Department (911 or a local NYPD precinct), or Melissa Chan, Associate Director of Judicial Affairs, Division of Student Affairs (718.951.5352) as appropriate.

For Undocumented Students : As an educator, I support the rights of undocumented students to an education. If you have any concerns in that regard, feel free to discuss them with me, and I will respect your wishes concerning confidentiality. For resources and support, please visit Brooklyn College’s Immigrant Student Support Office located at 17 Roosevelt Hall.  You can also contact them via email at  [email protected]  or via phone at 718-951-5023.

Assignments

Course Requirements

1.   Five Writing Assignments . During the first part of the semester, you will complete weekly writing assignments based on prompts I will give you. The writing assignments will be given in class and posted on our Blackboard site.  NOTE : These assignments should not exceed two double-spaced pages.

2. Short Shares . Each of you will share one of the above five short writing assignments with the class. On your appointed short share date, please bring 20 hard copies of your piece to class.

3. Readings.  The assigned readings of fiction, poetry, and plays relevant to the weekly themes are available on our LibGuides site:  https://libguides.brooklyn.cuny.edu/engl4301

Please read these works thoughtfully, as class discussion (both in person and on Blackboard) will center on them and your weekly writing assignments will arise from them. In addition, we will be “adopting” the literary magazine  Fence,  and an editor from  Fence  will visit our class. 

4. In-Class Journals.  Class will often include a 5-15--minute writing exercise in response to a prompt. Please bring a journal for this purpose. Typed journals will be due along with your final project on  Friday, May 17 . 

5. Four Blackboard Blog Entries + Sixteen Responses.  Each week, I will post a journal prompt on our class Blackboard site (accessed via CUNYfirst) to be completed and shared on the class blog. Sometimes the writing prompt will relate to the week’s reading; other times it will relate to questions that arise in workshop; often it will include a creative response option. Each week, one-third of the class will be assigned to post their response to the journal prompt, and the other two-thirds of the class will be assigned to write comments to at least two of those classmates who posted their responses to the journal prompt. The online blog entries are due by midnight every Sunday, and the comments are due by midnight every Monday.  Please note  that your Blackboard posts count toward your attendance grade, as the fourth hour of this course takes place online.   Please let me know if you are not familiar with the Blackboard interface. 

6. Workshop . During the second part of the semester, you will hand in a piece to be discussed in workshop. 

• It may be any genre. 
• It should be 8-15 pages (if more or fewer pages, please discuss with me first).
• It should be new work you have written specifically for this class. 
• Workshop Piece : Upload your workshop submission to the Blackboard blog post with your name in the title. Workshop submissions should be typed in 12 pt. font,  proofread , with  pages numbered . Fiction should be double-spaced; poetry/plays should be formatted as desired.
• Workshop Note : Please include, as the  final  page of your workshop submission, a note to us about your process, your intentions/vision for the piece, your imagined audience, and any challenges you face with it.  This should include 1-5 questions   you have about your piece. 

7. Workshop Responses.  You will read and respond to all of your classmates' workshop submissions. Come to class prepared for an active discussion. Bring a thoughtful  typed r esponse (minimum five sentences) to each workshop piece.  Print two copies of your workshop response : one for me and one for the writer. You will hand your response back to the writer. You may also email or give them in hard copy the marked-up text. There are two options for your workshop response: 

• articulate your observations about the piece. 
• ask the writer questions about the piece. 
• You may write a  creative response , in which you create a new piece of writing that is in some form a reaction to the workshop piece.  This should include a brief explanation about how the workshop piece inspired your response.

IMPORTANT NOTE:   Your workshop responses are an essential component of your grade. Through these responses, you express your respect for your classmates’ efforts. Please email your classmates and me your workshop responses if you miss their workshops.  You must hand in 100% of the workshop responses in a timely fashion.

• Workshop Self-Reflection : This consists of an email to me, of any length, sometime in the week following your workshop and prior to our post-workshop meeting, in which you reflect on your workshop experience. What you took away from the workshop, what questions you still have, ideas you have for revision, etc. 
• Post-Workshop Meeting . I will meet with each of you individually the week following your workshop, typically during my Tuesday office hour. We will discuss your workshop and I will give you my in-depth feedback in person. 
• A Learner’s Letter : A 1-3-page letter in which in which you reflect on your journey over the course of the semester. What challenged you? What inspired you? What did you explore as a writer, as a reader, as a peer? What did you choose to do for your final project, and why? What are your creative aims going forth? 
• OPTION 1: Revision and Submission. 

-Revision : You will revise your workshop piece. Your revision must be substantive, and  must include a paragraph describing the changes you made. 

-Submission : You will then submit your revision to a literary magazine/play festival of your choice. We will discuss the submission process as a class, and you will hand in proof (in the form of the “Submission Worksheet”) that you’ve sent your work out. There is a 99% chance that your work will be rejected! This will enable you to begin your rejection letter collection, a prized possession of all writers. 

OPTION 2: New Writing Assignment.  A month or so before the semester ends, you must notify me that you would like to select this option, and I will give you a personalized assignment to prompt the creation of a new 8-10-page piece of writing. 

• TYPED JOURNALS:  You will type up and hand in, as part of your final portfolio, all of the journal entries completed in class. 
• Group Celebration & Reading.  On  Tuesday, May 21,  we will gather as a class for a final celebration & reading. 

Extra Credit 

1. Attend a Literary Event.  In order to get credit, email me the event details and a paragraph in which you describe your impressions of the event. 

2. Review a Literary Journal.  Select a literary magazine (many are listed here:  http://www.clmp.org/directory ). Read at least three works in the magazine, and write a 1-2-page description of what you read. 

Course Schedule

Readings/assignments are due on the day they are listed.

Blackboard posts are due Sun. at midnight; Blackboard responses are due Mon. at midnight.

Tues. 1/30:  Day 1: Introduction to Course

Assignment due :     Bring in 20 hard copies of a brief selection from a piece of published writing by a writer whose work has made you want to write.    

Reading due :         List of writing quotes (sent by email)

Tues. 2/6:    Day 2: Monologue

                  Assignment due :     Erasure piece (+ Short Shares)

Readings due :       

1. “Out East” Kyle Francis Williams

2. “We’re Gonna Die” Young Jean Lee  

3. “As a Consequence of My Brother …” Natalie Diaz

Tues. 2/13:   Day 3: Writing Intensive with guest lecturer Alyssa Northrop

                  Reading due :

“On the Many Different Engines That Power a Short Story”

Lincoln Michel: https://lithub.com/on-the-many-different-engines-that-power-a-short-story/

Tues. 2/20   Day 4: Dialogue & Escalation

                  Assignment due :     Monologue piece (+ Short Shares)

Readings due :

1. Selection from “John” Annie Baker

2. “Far Away” Caryl Churchill

3. “Aubade with Burning City” Ocean Vuong

Tues. 2/27:   Day 5: Juxtaposition & Tension

                  Assignment due :     Dialogue piece (+ Short Shares)

1. “Orpheus at the Second Gate …” Yusef Komunyakaa

2. “The Future of Terror 3” Matthea Harvey

3. “Village Pets” Jenzo Duque

4. “The Lover” Joy Williams

Tues. 3/5:      Day 6: Form & Experimentation + Workshop Prep Discussion

                    Assignment due : Craigslist piece (+ Short Shares)

 Readings due :

1. “Two Men Arrive in a Village” Zadie Smith

2. “Mister Original Bugg” Mac Wellman

3. Selection from THOT Chanté L. Reid 

4. “scrub dark” & “(Name Withheld)” Rosamond King

5. “Incantation of the First Order” Rita Dove

Tues. 3/12:  Day 7: 2 Workshops

                  Assignment due :     Obstruction piece (+ Short Shares)

Tues. 3/19:   Day 8: 3 Workshops

Tues. 3/26:   Day 9: 3 Workshops

Tues. 4/2:     Day 10: Visit from editor Jason Zuzga + Publishing Discussion

                           NOTE : Class will take place via Zoom

Assignment due :     Three questions for the editor

               Readings due :        Selections from Fence

Tues. 4/9:   Day 11: 3 Workshops

Tues. 4/16:  Day 12: 2 Workshops + Revision Discussion

Tues. 4/23: NO CLASS (Spring Break)

Tues. 4/30: NO CLASS (Spring Break)

Tues. 5/7     Day 13: 3 Workshops

Tues. 5/14: Day 14: 3 Workshops

Fri. 5/17 :     Strongly Preferred Deadline for FINAL PORTFOLIOS

d ue via email to [email protected] by midnight

Tues. 5/21:  Exam Period: Celebration & Writer’s Life Discussion

Reading due : “The Writer’s Process” Hallie Cantor

“How Not To Write Your First Novel” L. Grossman         

Tues. 5/21 : Absolute Final Deadline for FINAL PORTFOLIOS

d ue via email to [email protected] by noon

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• Last Updated: Feb 1, 2024 2:06 PM
• URL: https://libguides.brooklyn.cuny.edu/engl4301

Browse Course Material

Course info.

• Cherie Miot Abbanat

Departments

• Urban Studies and Planning

As Taught In

• Academic Writing
• Nonfiction Prose

Learning Resource Types

Advanced writing seminar, course meeting times.

Lectures: 1 session / week, 2 hours / session

Course Description

The purpose of this seminar is to expose you to a number of different types of writing that you may encounter in your professional career. The class is an opportunity to write, review, rewrite and present your point of view both orally and in written form.

Each week in-class writing and peer review will provide the means by which you practice and refine your ability to communicate complex ideas clearly.

In addition, we will explore the following topics:

• Managing a communication crisis
• Creating effective press releases
• Presenting yourself
• Drafting memos that get results
• Writing for Grants
• Translating technical information into everyday language
• Understanding good, bad and horrible graphics

Collaborative Learning

A central component of this seminar will be the practice of giving and receiving comments on written and oral presentations. Giving and receiving constructive feedback can be a highly useful tool for learning to analyze and improve the quality of your writing and analysis. Your peers can provide a new perspective, valuable insights, and guidance for you as you work through your research question. Toward this end, you will be put into writing groups with one or two other individuals. All writing done for the class will be submitted to both to the instructor and all the writing group members.

Course Materials

The videotape on the Three Mile Island Disaster will be available for students to view. Readings should be completed by the date under which they are listed. Three books are required for the course and one is recommended.

Kliment, Stephen. Writing for Design Professionals: A Guide for Architects, Engineers, Landscape, Interior Architects and Other Designers. New York: W. W. Norton Company, 1998. ISBN: 0393730263. 

Kane, Thomas S. The Oxford Essential Guide to Writing. New York: Berkley Books, 2000. ISBN: 0425176401. 

Strunk, William and E.B. White. The Elements of Style. Boston: Allyn and Bacon, 2000. ISBN: 020530902X.

Recommended (but expensive):

Anderson, Paul V. Technical Communication: a Reader-Centered Approach. Boston: Thomson/Heinle, 2003. ISBN: 0155074210.

The grade for the course is based on a series of written and oral assignments. The lowest grade for either a written or oral assignment will be dropped.

Papers will be graded on a scale of 1 to 6 based on a rubric. ( PDF )

Written Work

Written work must be typed, spell-checked, and neatly formatted. Please include your name, the course number, assignment number, and date at the top of the page or on a cover sheet. While an occasional typo or editing error may slip through, the presence of several mistakes indicates a lack of attention and will lower your grade. Specific formatting conventions are negotiable, based on standards in your field and appropriateness for your intended audience. All work must be professional looking and designed for easy reading .

Documenting Sources

Do not cut and paste material from web pages or other documents without making evident the source of the information. Using work that is not your own without attribution is a serious offense and subject to formal action by the Institute. Inadequately documented papers (including bibliography and footnotes or in-text citations) will not receive a passing grade. When in doubt, document the source .

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