Courses
| Course # | Course | Title | Mode | Days/Times | Syllabus |
|---|---|---|---|---|---|
| 90475 | CRW3120 | Fiction Writing Workshop Ⅰ | In Person (P) | M,W 3:00 PM - 4:15 PM | Unavailable |
| 90111 | CRW6920 | Fiction Workshop | In Person (P) | W 6:00 PM - 8:50 PM | Unavailable |
| Course # | Course | Title | Mode | Days/Times | Syllabus |
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| Course # | Course | Title | Mode | Days/Times | Syllabus | |
|---|---|---|---|---|---|---|
| 17492 | CRW3120 | Fiction Writing Workshop Ⅰ | In Person (P) | M,W 3:00 PM - 4:15 PM | Unavailable | |
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Stories are so common in our lives that we often take them for granted. In this class, we will slow down and ask some seemingly basic questions about stories and how we make them. What is a story? How does a story work? Why/how does a story move us? I am calling this class “Eight Beginnings, Three Middles, and an End.” That’s because you will write the beginning of eight story sketches and then expand three of them into “middles,” and finish one complete story (with an end). Your “beginnings” will be responses to short story readings for the first eight weeks of class. In other words, you will use the readings as occasions to write your own stories. I encourage you to imitate and emulate the authors we read however you see fit. In the final third of the course, you will revise, expand, and develop three of your eight stories. Along the way, we will focus on nitty-gritty techniques of writing fiction: voice, style, mood, character, point of view, dialogue, tension, conflict, style, setting and—of course—beginnings, middles, and endings. While we will mostly be reading short stories in this class, we will also read one play and one novel to help us think more broadly about storytelling techniques and plot devices. I value emotional and formal risk-taking. I value hard work. I value openness to criticism and a sense of humor, especially about yourself. Respect for others. Community building. Empathy for all your characters. Complex details and themes. Specificity in language. A sense of place. Surprise. Above all, passion for reading and writing and paying attention to being alive.
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| 17629 | CRW4122 | Fiction Writing Workshop Ⅱ | In Person (P) | M,W 12:00 PM - 1:15 PM | Unavailable | |
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How do great writers do what they do? How does a writer create a voice that feels entirely their own? How does a story generate tension, surprise us, move us, or make us see the world differently? And how can we steal some of these tricks for ourselves? In this class, we will approach the writing of fiction through the art of imitation. We will read closely and widely, studying some of the greatest short story writers, and then try our hands at writing like them. We will borrow their voices, structures, sentences, techniques, and ways of creating . The idea is not to become a second-rate version of another writer, but to discover new possibilities for our own work by attempting things we might never have thought to do on our own. Each week, we will read stories by writers with distinctive approaches to fiction and use those stories as models for our own experiments. We will pay close attention not only to what these writers do, but how they do it: how they handle time, build characters, construct scenes, manipulate point of view, create tension, and make their sentences move. We will think about what a story tells us and what it leaves unsaid, what its form makes possible, and what we can learn by taking it apart and putting it back together. Along the way, you will write a series of imitations and experiments, some of which you will develop into longer, more fully realized stories. Because this is an advanced fiction course, we will spend considerable time thinking about revision, not simply as a process of fixing what doesn't work, but as a way of discovering what a story might become. |
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| 20017 | CRW4122 | Fiction Writing Workshop Ⅱ | Asynchronous Online (W) | 12:00 AM - 12:00 AM | Unavailable | |
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How do great writers do what they do? How does a writer create a voice that feels entirely their own? How does a story generate tension, surprise us, move us, or make us see the world differently? And how can we steal some of these tricks for ourselves? In this class, we will approach the writing of fiction through the art of imitation. We will read closely and widely, studying some of the greatest short story writers, and then try our hands at writing like them. We will borrow their voices, structures, sentences, techniques, and ways of creating . The idea is not to become a second-rate version of another writer, but to discover new possibilities for our own work by attempting things we might never have thought to do on our own. Each week, we will read stories by writers with distinctive approaches to fiction and use those stories as models for our own experiments. We will pay close attention not only to what these writers do, but how they do it: how they handle time, build characters, construct scenes, manipulate point of view, create tension, and make their sentences move. We will think about what a story tells us and what it leaves unsaid, what its form makes possible, and what we can learn by taking it apart and putting it back together. Along the way, you will write a series of imitations and experiments, some of which you will develop into longer, more fully realized stories. Because this is an advanced fiction course, we will spend considerable time thinking about revision, not simply as a process of fixing what doesn't work, but as a way of discovering what a story might become. |
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