syllabus for creative writing course

ENG 231. Intro to Creative Writing

Spring 2014.

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• Creative Writing

The vital presence of creative writing in the English Department is reflected by our many distinguished authors who teach our workshops. We offer courses each term in fiction, poetry, nonfiction, screenwriting, playwriting, and television writing. Our workshops are small, usually no more than twelve students, and offer writers an opportunity to focus intensively on one genre. 

Apply to Creative Writing Workshops

Workshops are open by application to Harvard College undergraduates, graduate students, staff, and students from other institutions eligible for cross registration. Submission guidelines for workshops can be found under individual course listings; please do not query instructors.  Review all departmental rules and application instructions before applying.  

Fall 2024 Application Deadline: 11:59 pm ET on Sunday, April 7, 2024. Spring 2025 Application Deadline: TBD

Please visit our course listings for all the Fall 2024 workshops.

Our online submission manager (link below) will open for Fall 2024 applications on Friday, March 22 , 2024.

Students who have questions about the creative writing workshop application process should contact Case Q. Kerns at [email protected] .

Featured Faculty

Teju Cole  is a novelist, critic, and essayist, and is the first Gore Vidal Professor of the Practice. "Among other works, the boundary-crossing author is known for his debut novel “Open City” (2011), whose early admirers included Harvard professor and New Yorker critic James Wood." 

Faculty Bookshelf

Known and strange things by teju cole (2016).

In Defense of Food by Michael Pollan (2008)

The Isle of Youth by Laura van den Berg (2013)

Find Me by Laura van den Berg (2015)

Creative Writing Workshops

• Spring 2024

English CACD. The Art of Criticism

Instructor: Maggie Doherty Wednesday, 12:00-2:45pm | Location: TBD Enrollment: Limited to 12 students Course Site

This course will consider critical writing about art–literary, visual, cinematic, musical, etc.—as an art in its own right. We will read and discuss criticism from a wide variety of publications, paying attention to the ways outlets and audience shape critical work. The majority of our readings will be from the last few years and will include pieces by Joan Acocella, Andrea Long Chu, Jason Farago, and Carina del Valle Schorske. Students will write several short writing assignments (500-1000 words), including a straight review, during the first half of the semester and share them with peers. During the second half of the semester, each student will write and workshop a longer piece of criticism about a work of art or an artist of their choosing. Students will be expected to read and provide detailed feedback on the work of their peers. Students will revise their longer pieces based on workshop feedback and submit them for the final assignment of the class. Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7) Supplemental Application Information:  Please write a letter of introduction (1-2 pages) giving a sense of who you are, your writing experience, and your current goals for your writing. Please also describe your relationship to the art forms and/or genres you're interested in engaging in the course. You may also list any writers or publications whose criticism you enjoy reading. Please also include a 3-5-page writing sample of any kind of prose writing. This could be an academic paper or it could be creative fiction or nonfiction.

English CACW. Advanced Fiction Workshop

Instructor: Paul Yoon TBD | Location: TBD Enrollment: Limited to 12 students Advanced fiction workshop for students who have already taken a workshop at Harvard or elsewhere. The goal of the class is to continue your journey as a writer. You will be responsible for participating in discussions on the assigned texts, the workshop, engaging with the work of your colleagues, and revising your work. Supplemental Application Information:   * Please note: previous creative writing workshop experience required. * Please submit ONLY a cover letter telling me your previous creative writing workshop experience, either at Harvard or elsewhere; then tell me something you are passionate about and something you want to be better at; and, lastly, tell me why of all classes you want to take this one this semester. Again, please no writing samples.

English CBBR. Intermediate Poetry: Workshop

Instructor:  Josh Bell   Monday, 12:00-2:45pm | Location: Barker 018 Enrollment: Limited to 12 students Course Site

Initially, students can expect to read, discuss, and imitate the strategies of a wide range of poets writing in English; to investigate and reproduce prescribed forms and poetic structures; and to engage in writing exercises meant to expand the conception of what a poem is and can be. As the course progresses, reading assignments will be tailored on an individual basis, and an increasing amount of time will be spent in discussion of student work. Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7)

Supplemental Application Information:  Please submit a portfolio including a letter of interest, ten poems, and a list of classes (taken at Harvard or elsewhere) that seem to have bearing on your enterprise.

English CCEP. Ekphrastic Poetry: Workshop

Instructor: Tracy K. Smith Wednesday, 3:00-5:45 pm | Location: Lamont 401 Enrollment: Limited to 12 students Course Site What can a poem achieve when it contemplates or even emulates a work of art in another medium? In this workshop, we'll read and write poems that engage with other art forms--and we'll test out what a foray into another artistic practice allows us to carry back over into the formal methods and behaviors of poetry. With poems by Keats, Rilke, Auden, Hughes, and Brooks, as well as Kevin Young, Evie Shockley, Ama Codjoe and other contemporary voices. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26) Supplemental Application Information:  Please submit a writing sample of 5-10 poems and an application letter explaining your interest in this course.

English CCFC. Poetry Workshop: Form & Content

Instructor: Tracy K. Smith Tuesday, 12:00-2:45pm | Location: Sever 112 Enrollment: Limited to 12 students Course Site

In this workshop, we’ll look closely at the craft-based choices poets make, and track the effects they have upon what we as readers are made to think and feel. How can implementing similar strategies better prepare us to engage the questions making up our own poetic material? We’ll also talk about content. What can poetry reveal about the ways our interior selves are shaped by public realities like race, class, sexuality, injustice and more? Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26)   

Supplemental Application Information:  Please submit a writing sample of 5-10 poems and an application letter explaining your interest in this course.

English CCIJ. Intermediate Fiction Workshop

Instructor: Jesse McCarthy Thursday, 3:00-5:45 pm | Location: Barker 269 Enrollment: Limited to 12 students Course Site This is an intermediate course in the art of writing literary fiction. Previous experience with workshopping writing is encouraged but not required. The emphasis of the course will be learning how to read literature as a writer, with special attention given to the short story, novella, or short novel. We will read these works from the perspective of the writer as craftsperson and of the critic seeking in good faith to understand and describe a new aesthetic experience. We will be concerned foremost with how literary language works, with describing the effects of different kinds of sentences, different uses of genre, tone, and other rhetorical strategies. Together, we will explore our responses to examples of literature from around the world and from all periods, as well as to the writing you will produce and share with the class. As a member of a writing community, you should be prepared to respectfully read and respond to the work of others—both the work of your peers and that of the published writers that we will explore together. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26) Supplemental Application Information:  This course is by application only but there are no prerequisites for this course and previous experience in a writing workshop is not required . In your application please submit a short letter explaining why you are interested in this class. You might tell me a bit about your relationship to literature, your encounter with a specific author, book, or even a scene or character from a story or novel. Please also include a writing sample of 2-5 pages (5 pages max!) of narrative prose fiction.

English CCFS. Fiction Workshop

Instructor: Teju Cole Spring 2024: Tuesday, 6:00-8:45pm | Location: TBD Enrollment: Limited to 12 students Course Site Spring 2025: TBD This reading and writing intensive workshop is for students who want to learn to write literary fiction. The goal of the course would be for each student to produce two polished short stories. Authors on the syllabus will probably include James Joyce, Eudora Welty, Toni Morrison, Alice Munro, Jhumpa Lahiri, and Diane Williams.

Supplemental Application Information:   Please submit a cover letter saying what you hope to get out of the workshop. In the cover letter, mention three works of fiction that matter to you and why. In addition, submit a 400–500 word sample of your fiction; the sample can be self-contained or a section of a longer work.

English CLPG. Art of Sportswriting

Instructor: Louisa Thomas Spring 2024: Tuesday, 9:00-11:45am | Location: TBD Enrollment: Limited to 12 students Course Site Spring 2025: TBD

In newsrooms, the sports section is sometimes referred to as the “toy department” -- frivolous and unserious, unlike the stuff of politics, business, and war. In this course, we will take the toys seriously. After all, for millions of people, sports and other so-called trivial pursuits (video games, chess, children’s games, and so on) are a source of endless fascination. For us, they will be a source of stories about human achievements and frustrations. These stories can involve economic, social, and political issues. They can draw upon history, statistics, psychology, and philosophy. They can be reported or ruminative, formally experimental or straightforward, richly descriptive or tense and spare. They can be fun. Over the course of the semester, students will read and discuss exemplary profiles, essays, articles, and blog posts, while also writing and discussing their own. While much (but not all) of the reading will come from the world of sports, no interest in or knowledge about sports is required; our focus will be on writing for a broad audience.  Supplemental Application Information:  To apply, please write a letter describing why you want to take the course and what you hope to get out of it. Include a few examples of websites or magazines you like to read, and tell me briefly about one pursuit -- football, chess, basketball, ballet, Othello, crosswords, soccer, whatever -- that interests you and why.

English CALR. Advanced Screenwriting: Workshop

Instructor: Musa Syeed Spring 2024: Wednesday, 12:00-2:45pm | Location: TBA Enrollment: Limited to 12 students Course Site Spring 2025: TBD

The feature-length script is an opportunity to tell a story on a larger scale, and, therefore, requires additional preparation. In this class, we will move from writing a pitch, to a synopsis, to a treatment/outline, to the first 10 pages, to the first act of a feature screenplay. We will analyze produced scripts and discuss various elements of craft, including research, writing layered dialogue, world-building, creating an engaging cast of characters. As an advanced class, we will also look at ways both mainstream and independent films attempt to subvert genre and structure. Students will end the semester with a first act (20-30 pages) of their feature, an outline, and strategy to complete the full script.

Supplemental Application Information:  Please submit a 3-5 page writing sample. Screenplays are preferred, but fiction, creative non-fiction, poetry, and plays are acceptable as well. Also, please write a short note to introduce yourself. Include a couple films/filmmakers that have inspired you, your goals for the class, as well as any themes/subject matter/ideas you might be interested in exploring in your writing for film.

English CNFR. Creative Nonfiction: Workshop

Instructor: Darcy Frey Fall 2024: Wednesday, 3:00-5:45 pm | Location: TBD Enrollment: Limited to 12 students. Course Site Spring 2025: TBD

Whether it takes the form of literary journalism, essay, memoir, or environmental writing, creative nonfiction is a powerful genre that allows writers to break free from the constraints commonly associated with nonfiction prose and reach for the breadth of thought and feeling usually accomplished only in fiction: the narration of a vivid story, the probing of a complex character, the argument of an idea, or the evocation of a place. Students will work on several short assignments to hone their mastery of the craft, then write a longer piece that will be workshopped in class and revised at the end of the term. We will take instruction and inspiration from published authors such as Joan Didion, James Baldwin, Ariel Levy, Alexander Chee, and Virginia Woolf. This is a workshop-style class intended for undergraduate and graduate students at all levels of experience. No previous experience in English Department courses is required. Apply via Submittable  (deadline: 11:59pm ET on Sunday, April 7)

Supplemental Application Information:   Please write a substantive letter of introduction describing who you are as writer at the moment and where you hope to take your writing; what experience you may have had with creative/literary nonfiction; what excites you about nonfiction in particular; and what you consider to be your strengths and weaknesses as a writer. Additionally, please submit 3-5 pages of creative/literary nonfiction (essay, memoir, narrative journalism, etc, but NOT academic writing) or, if you have not yet written much nonfiction, an equal number of pages of narrative fiction.

English CKR. Introduction to Playwriting: Workshop

Instructor: Sam Marks TBD | Location: TBD Enrollment: Limited to 12 students This workshop is an introduction to writing for the stage through intensive reading and in-depth written exercises. Each student will explore the fundamentals and possibilities of playwriting by generating short scripts and completing a one act play with an eye towards both experimental and traditional narrative styles. Readings will examine various ways of creating dramatic art and include work from contemporary playwrights such as Ayad Aktar, Clare Barron, Aleshea Harris, Young Jean Lee, and Taylor Mac, as well established work from Edward Albbe, Caryl Churchill, Suzan Lori-Parks, and Harold Pinter. Supplemental Application Information:  No experience in writing the dramatic form is necessary. Please submit a 5-10 page writing sample (preferably a play or screenplay, but all genres are acceptable and encouraged). Also, please write a few sentences about a significant theatrical experience (a play read or seen) and how it affected you.

English CACF. Get Real: The Art of Community-Based Film

Instructor: Musa Syeed Wednesday, 12:00-2:45pm | Location: TBD Enrollment: Limited to 12 student Course Site

“I’ve often noticed that we are not able to look at what we have in front of us,” the Iranian director Abbas Kiarostami said, “unless it’s inside a frame.” For our communities confronting invisibility and erasure, there’s an urgent need for new frames. In this workshop, we’ll explore a community-engaged approach to documentary and fiction filmmaking, as we seek to see our world more deeply. We’ll begin with screenings, craft exercises, and discussions around authorship and social impact. Then we each will write, develop, and shoot a short film over the rest of the semester, building off of intentional community engagement. Students will end the class with written and recorded materials for a rough cut. Basic equipment and technical training will be provided.

Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7)

Supplemental Application Information:  Please submit a brief letter explaining why you're interested to take this class. Please also discuss what participants/communities you might be interested in engaging with for your filmmaking projects. For your writing sample, please submit 3-5 pages of your creative work from any genre (screenwriting, poetry, fiction, non-fiction, etc.)

English CAFR. Advanced Fiction Workshop: Writing this Present Life

Instructor: Claire Messud Thursday, 3:00-5:45 pm | Location: TBD Enrollment: Limited to 12 students Course Site Intended for students with prior fiction-writing and workshop experience, this course will concentrate on structure, execution and revision. Exploring various strands of contemporary and recent literary fiction – writers such as Karl Ove Knausgaard, Rachel Cusk, Chimamanda Adichie, Douglas Stuart, Ocean Vuong, etc – we will consider how fiction works in our present moment, with emphasis on a craft perspective. Each student will present to the class a published fiction that has influenced them. The course is primarily focused on the discussion of original student work, with the aim of improving both writerly skills and critical analysis. Revision is an important component of this class: students will workshop two stories and a revision of one of these. Apply via Submittable  (deadline: 11:59pm ET on Sunday, April 7)

Supplemental Application Information:  Please submit 3-5 pages of prose fiction, along with a substantive letter of introduction. I’d like to know why you’re interested in the course; what experience you’ve had writing, both in previous workshops and independently; what your literary goals and ambitions are. Please tell me about some of your favorite narratives – fiction, non-fiction, film, etc: why they move you, and what you learn from them.

English CAKV. Fiction Workshop: Writing from the First-Person Point of View

Instructor:  Andrew Krivak Tuesday, 9:00-11:45 1m | Location: TBD Enrollment: Limited to 12 students Course Site This course is a workshop intended for students who are interested in writing longer form narratives from the first-person point of view. The “I” at the center of any novel poses a perspective that is all at once imaginatively powerful and narratively problematic, uniquely insightful and necessarily unreliable. We will read from roughly twelve novels written in the first-person, from Marilynne Robinson and W.G. Sebald, to Valeria Luiselli and Teju Cole, and ask questions (among others) of why this form, why this style? And, as a result, what is lost and what is realized in the telling? Primarily, however, students will write. Our goal will be to have a student’s work read and discussed twice in class during the semester. I am hoping to see at least 35-40 pages of a project —at any level of completion—at the end of term.  Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7) Supplemental Application Information:  Please write a substantive letter telling me why you’re interested in taking this class, what writers (classical and contemporary) you admire and why, and if there’s a book you have read more than once, a movie you have seen more than once, a piece of music you listen to over and over, not because you have to but because you want to. Students of creative nonfiction are also welcome to apply.

English CCSS. Fiction Workshop: The Art of the Short Story

Instructor: Laura van den Berg Tuesday, 12:00-2:45 pm | Location: TBD Enrollment: Limited to 12 students Course Site This course will serve as an introduction to the fundamentals of writing fiction, with an emphasis on the contemporary short story. How can we set about creating “big” worlds in compact spaces? What unique doors can the form of the short story open? The initial weeks will focus on exploratory exercises and the study of published short stories and craft essays. Later, student work will become the primary text as the focus shifts to workshop discussion. Authors on the syllabus will likely include Ted Chiang, Lauren Groff, Carmen Maria Machado, and Octavia Butler. This workshop welcomes writers of all levels of experience. Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7) Supplemental Application Information:  Please submit a letter of introduction. I’d like to know a little about why you are drawn to studying fiction; what you hope to get out of the workshop and what you hope to contribute; and one thing you are passionate about outside writing / school. Please also include a very brief writing sample (2-3 pages). The sample can be in any genre (it does not have to be from a work of fiction). 

Write an Honors Creative Thesis

Students may apply to write a senior thesis or senior project in creative writing, although only English concentrators can be considered. Students submit applications in early March of their junior year, including first-term juniors who are out of phase. The creative writing faculty considers the proposal, along with the student's overall performance in creative writing and other English courses, and notifies students about its decision in early mid-late March. Those applications are due, this coming year, on TBA . 

Students applying for a creative writing thesis or project must have completed at least one course in creative writing at Harvard before they apply. No student is guaranteed acceptance. It is strongly suggested that students acquaint themselves with the requirements and guidelines well before the thesis application is due. The creative writing director must approve any exceptions to the requirements, which must be made in writing by Monday, February 7, 2022. Since the creative writing thesis and project are part of the English honors program, acceptance to write a creative thesis is conditional upon the student continuing to maintain a 3.40 concentration GPA. If a student’s concentration GPA drops below 3.40 after the spring of the junior year, the student may not be permitted to continue in the honors program.

Joint concentrators may apply to write creative theses, but we suggest students discuss the feasibility of the project well before applications are due. Not all departments are open to joint creative theses.

Students who have questions about the creative writing thesis should contact the program’s Director, Sam Marks .

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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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Course Syllabus

Course Description

Unleash Your Inner Wordsmith: A Journey into the Heart of Creative Writing

In a world punctuated by visual and auditory marvels, the eloquence of words remains timeless. Just as an artist delicately strokes the canvas and a sculptor molds life into clay, a writer weaves dreams and realities on the blank slate of paper. And in this digital age, the dance of fingers over a keyboard becomes a symphony of creativity. Our comprehensive course is a sanctuary for both budding and seasoned writers, serving as the compass to navigate the boundless seas of creative writing.

Why This Course Resonates:

Diverse Palette : Dive deep into the myriad realms of fiction, poetry, screenplays, and immersive nonfiction.

Foundations & Flourishes : Whether you're penning your first word or your thousandth page, master the basics and nuances that make your writing resonate.

A World of Forms : Understand the quintessence of diverse writing styles, from captivating memoirs and revealing biographies to incisive articles for newspapers and dynamic blogs.

Break the Shackles : Battle and conquer the daunting demon of writer's block, ensuring your creativity flows unhindered.

From Creation to Celebration : Not only nurture your creation but also learn the art of showcasing it to the world, understanding the avenues to get your masterpiece recognized and published.

Course Highlights:

15 Engaging Lessons : Each lesson, a stepping stone, builds upon the last, ensuring a holistic grasp of creative writing.

Hands-On Exercises : Post-lesson exercises designed to solidify your understanding and hone your skills.

Innovative Assignments : Fuel your creativity with tailored writing assignments that ignite inspiration and set your imagination aflame.

This course isn't just an introduction; it's an odyssey into the enchanting universe of creative writing. It celebrates the spirit of expression, empowering even the greenest novices to seamlessly translate their thoughts into words. So, whether you're scribbling in hidden notebooks or longing to ink your thoughts for the first time, this course promises to be the wind beneath your literary wings.

Join us, and be astounded by the symphony of words you can orchestrate. Embark on this journey, and etch your own legacy in the annals of creative writing!

• Completely Online
• 6 Months to Complete
• 24/7 Availability
• Start Anytime
• PC & Mac Compatible
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• Accredited CEUs

Learning Outcomes

• Describe the creative writing process.
• Define elements of short story and fiction writing.
• Demonstrate dialogue.
• Demonstrate point of view.
• Demonstrate writing nonfiction.
• Demonstrate writing poetry.
• Demonstrate writing articles, blogs, and journalistic pieces.
• Demonstrate writing dramas, scripts, and screenplays.
• Describe the importance of editing.
• Describe techniques overcoming writer's block.
• Recognize new ways to unlock your creativity.
• Describe ways to publish your writing.
• Demonstrate mastery of lesson content at levels of 70% or higher.

Assessment Guide

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Creative writing for adults - module i.

Whether you are a scribbler, a secret diarist, or a would-be journalist, come find your unique writing style with British Council’s Creative Writing course - Module I . Two batches have been scheduled. Batch 1 is starting from  Saturday, 22 July 2023 and batch 2 is starting from  Saturday, 29 July 2023.

This course will help you:

• Develop your unique writer’s voice and perspective
• Help your creativity find expression
• Enhance your knowledge of literature
• Help you structure your thoughts
• Develop a critical appreciation of different writing styles

Required English language level:  Above upper-intermediate level (Level B2).

Course duration: 36 hours I 9 weeks I weekend online classes | all the participants will receive a digital certificate upon completion of the course.

Course fee:  INR 10,000 per participant Click here to register

Special offer to British Council library members - 10% discount on the course fee Click here to register

About the Course

Our Creative Writing- Module I course offers the opportunity to learn a variety of techniques to improve your writing process and enhance creativity.

The course content covers plot, characters, dialogue and setting when writing fiction. You will also learn how to travel write and blog, learn to differentiate between news reports and feature articles, be introduced to screenwriting and writing memoirs. You will explore the tools of a poet and learn to write poetry. In addition, you will be introduced to experimental writing and children’s fiction. The syllabus is specifically designed to guide those who wish to write creatively and explore their writing talent to realise their dreams of becoming a writer.

Our experienced teachers will help you find your unique writer’s voice through this enjoyable writing course. You will receive feedback on your writing to help you know your prospects as a future writer. Once you join our Creative Writing course, you will realize that lively and interactive sessions are exactly what you need to begin your journey as a writer.  The course is, however, not aimed at those wishing to improve their academic or technical writing skills.

Schedule for July 2023

Course delivery.

36 hours of learning will happen through online classes and 14 hours of interaction and peer-learning will be facilitated through our online interactive learning platform.

There will be assessments by the teacher during the mid and end of the course

Participants should use laptop/desktop to attend the session. 

• Recording/taking screenshot/photos of the course is strictly prohibited.

Course Fee: INR 10,000 per participant.

Special offer: British Council library members can avail a special discount of 10% on the course fee.

How to ascertain your English language level and register?

Step 1: Ascertain your language level (required English Language level)

The course is open for all. However, English Language level suitable for the course is above upper-intermediate level (B2) and advanced level (C1 and C2).

• You are at Elementary level(A1) if you can say simple things about your day. For example:  I wake up at 7 am every day.
• You are at Pre-intermediate level(A2) if you can communicate in simple and routine tasks on familiar topics and activities. For example: I like exercising early in the morning if I sleep on time. 
• You are an Intermediate level(B1) if you can share your thoughts, opinions, and views. For example:  She must be really tired. She’s worked late every night this week.
• You are at Upper intermediate level(B2) if you can present clear, detailed descriptions on a wide range of subjects related to your field of interest. For example: Unfortunately for him, the situation turned out to be opposite to what he thought it was.
• You are at Advanced level (C1 & C2) if you can present clear, detailed descriptions of complex subjects. For example: Being born and raised in India, I believe her to be the country’s best ambassador in the world.

Step 2 : Once you have ascertained your English language level, please proceed for the course registration.

Course fee: INR 10,000 per participant. Click here   to register.

Special offer to British Council library members - 10% discount on the course fee. Click here  to register.

Terms and Conditions

• Participants must be over 18 years of age.
• Non-refundable fee is payable in full prior to the commencement of course.
• If obliged to cancel the course, the British Council reserves the right to do so without further liability, subject to the return of any fee already paid. 
• The course schedule is subject to change. Participants will be notified the changes, if any.

For any query, please email us at [email protected] .

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Syllabus: Introduction to Creative Writing

Writing is actually a three-part process—reading, writing, and rewriting. We will read to soak up different modes, styles, points of view. We will write to explore how to express ourselves using those techniques. We will revise based on the feedback of our peers and our own thoughts and instincts. Creative writing, like its academic counterpart, is still about communication, with the readers and writers of the past, present, and future. Along the way, perhaps most importantly, we will learn how to give constructive and respectful critiques, and also how to graciously receive, evaluate, and implement feedback.

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ENGL 3301/3302: Creative Writing Workshop: Syllabus

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Syllabus: ENGL 3301/3302: Creative Writing Workshop

• Syllabus 3301_3302 Spring 2023 Helen Phillips Downloadable Syllabus. Includes Course Information, Grading, Assignments, Course Requirements and Policies, University Policies and Schedule

Course Information

ENGL 3301 (#3615)/ENGL 3302 (#3480): Writing Fiction I & 2 (Spring 2023): Section TR2               

Prof. Helen Phillips (she/her): email: [email protected]

Class Time: Tues./Thurs. 2:15-3:30pm; Office hour: Thurs. 3:30-4:30pm

Classroom: Boylan Hall 3146; Office: 3108 Boylan Hall

Course Requirements

• Five Writing Exercises . During the first part of the semester, you will complete five one-to-two-page writing exercises based on prompts I will give you. These exercises will facilitate experimentation and will arise from the assigned readings . The writing prompts will be given in class and posted on our Blackboard site.  
• Short Shares . Each of you will share one of your short writing exercises with the class. On your appointed short share date, please bring 22 hard copies of your piece to class.
• Readings. During the first part of the semester, there will be assigned readings of short fiction relevant to the weekly themes. Please read these works thoughtfully, as class discussion (both in person and on Blackboard) will center on them and your writing exercises will arise from them. We will also be “adopting” the literary magazine One Story , and editor Lena Valencia from One Story will visit our class.
• Journal . Please keep a journal for in-class writing exercises. We may sometimes share these writings aloud. You will type up all of your journal entries and submit them as part of your final portfolio on Fri., May 19.
• Blackboard: Four Blog Entries + Sixteen Blog Responses. Each week, I will post a prompt on Blackboard to be completed and posted on the class blog. Each week, one-third of the class will be assigned to post their response to the prompt, and the other two-thirds of the class will be assigned to write comments for at least two of those classmates who posted their responses to the prompt. The online blog entries are due by midnight every Tuesday, and the comments are due by midnight every Wednesday. PLEASE NOTE THAT YOUR BLACKBOARD POSTS COUNT TOWARD YOUR ATTENDANCE GRADE, AS THE FOURTH HOUR OF THIS COURSE TAKES PLACE ONLINE. Please reach out to me if you need help navigating Blackboard.
• Workshop Story . During the second part of the semester, you will hand in a story to be discussed in workshop.
• It should be 5-10 pages (please discuss with me first if shorter or longer).
• It should be a new piece that you’ve written specifically for this class.
• 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 that you would like to discuss .

• 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 response (min. five sentences) to each workshop piece. There are two options for your response:
• You may write a direct response , in which you:

(a) articulate your observations about the piece.

(b) ask the writer questions about the piece.

• Print two copies of your workshop response : one for me and one for the writer. You may also email or give them in hard copy the marked-up text.
• IMPORTANT: Your workshop responses are an essential component of your grade. Through these responses, you express your respect for your classmates’ efforts. Your grade will be severely affected if you fail to 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 was useful, what questions you still have, ideas you have for revision, etc.
• Post-Workshop Meeting . I will meet with each of you individually following your workshop, typically during my Thursday office hour. We will discuss your workshop and I will give you my in-depth feedback.
• Final Portfolio . On Friday, May 19 , by midnight , you will hand in your final portfolio (by email to [email protected]). This consists of:
• 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 “Something New,” and why? What are your creative aims going forth?
• Something New: A revision of something you’ve written earlier in the semester? An expansion of a journal entry or short writing exercise? A new story? You tell me. (Approx. 5-10 pages)
• In-Class Journals : All of the in-class journal entries. typed. 
• Literary Magazine Submission : You will submit something you’ve written to a literary magazine of your choice and will fill out the “Submission Worksheet” (we will be discussing the submission process as a class). There is a 99% chance that your story will be rejected! This will enable you to begin your rejection letter collection, a prized possession of all writers.  

Extra Credit

Option #1: Attend a Literary Event (in person or remote). In order to get credit, email me the event details and a paragraph in which you describe your experience.

Option #2: Review a Literary Magazine. Read at least three works in a literary magazine (many are listed here: http://www.clmp.org/directory ), and write a one-to-two-page description/analysis of what you read.

Required Reading

• Course readings : All readings for the course are available as PDFs on our LibGuides website: https://libguides.brooklyn.cuny.edu/cww . PDFs are password-protected with the password engl3301.
• One Story : As soon as possible, please subscribe to the literary magazine One Story through CLMP’s Literary Magazine Adoption Program . Go to https://adoption.clmp.org/students/ and enter our class code, 82592858313849117471 , to order your bargain year-long subscription for $15.00. One Story editor Lena Valencia will visit our class, and we will discuss Spring 2023 issues of the magazine.  
• Recommended Reading : In preparation for workshop, I highly recommend The Anti-Racist Writing Workshop: How to Decolonize the Creative Classroom by Felicia Rose Chavez (Haymarket Books, 2021) and Craft in the Real World: Rethinking Fiction Writing and Workshopping by Matthew Salesses (Catapult, 2021).

Course Policies

• 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 sixteen Blackboard comments, your responses to the readings, your involvement in workshopping others’ stories, your meeting with me, your promptness, your attendance both in class and on Blackboard.

Attendance Policies

• As per English Department policy, you will receive an automatic F if you miss six 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.
• Please note that your Blackboard posts count toward your attendance grade , as the fourth hour of the course is online.
• Class discussion is a critical element of this course. I expect everyone to contribute each week.
• 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.

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.

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 are invited to schedule an interview by calling (718) 951-5538 or emailing [email protected]. If you have already registered with CSDS, email [email protected] or [email protected] to ensure accommodation emails are sent to your professor.

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, finding an internship, choosing a career, and more. 

The Brooklyn College Library: http://www.brooklyn.cuny.edu/web/academics/library.php

Student Support Services : Including Food Pantry & Counseling: http://www.brooklyn.cuny.edu/web/about/offices/studentaffairs/student-support-services.php

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, Assistant Director of Judicial Affairs, Division of Student Affairs (718.951.5352) as appropriate.

Course Schedule

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

Blackboard posts are due Tues. at midnight; Blackboard responses are due Wed. at midnight.

Thurs. 1/26                Introduction to course

Tues. 1/31                 Assignment : Bring in a paragraph from a published piece of writing to which you have a strong reaction. Please type this paragraph & bring in 22 copies.

Thurs. 2/2                  “Robo-Baby” Matthea Harvey

“Twilight” J. Robert Lennon

“Fingers” Rachel Heng

“Thin City 5” Italo Calvino

“The Letter from Home” Jamaica Kincaid

Tues. 2/7                  “The Swan as Metaphor for Love” Amelia Gray

“Mary When You Follow Her” Carmen Maria Machado

“The Funeral” Tony Wallin-Sato

“Zoology” Natalie Diaz

“Jane Death Theory #13” Rion Amilcar Scott

“Rongorongo” Ed Park

Thurs. 2/9                  In-Class Writing Intensive

                                    “Your Brain on Fiction” Annie Murphy Paul             

Tues. 2/14                 Flash Fiction Assignment (300 Words) + 4 Short Shares

Thurs. 2/16                “Puppy” George Saunders  

“The Burglar” Sarah Shun-lien Bynum

Tues. 2/21                  NO CLASS (MONDAY CONVERSION DAY)

Thurs. 2/23                Point-of-View Assignment + 4 Short Shares

Tues. 2/28                 Bring 3 questions for BC alum De’Shawn Charles Winslow

First chapter of In West Mills or Decent People by De’Shawn

Thurs. 3/2                  “Birds in the Mouth” Samanta Schweblin

“The Hunter” E.L. Doctorow                                    

Tues. 3/7                   (Un)Familiar Assignment + 4 Short Shares

Thurs. 3/9                  “Interiors” Kathleen Collins

“The First Full Thought of Her Life” Deb Olin Unferth

Tues. 3/14                 Innovative Structure Assignment + 5 Short Shares  

Thurs. 3/16                “Friday Black” Nana Kwame Adjei-Brenyah

“Fairy Tale” Alexandra Kleeman

Tues. 3/21                 “The Ones Who Walk Away from Omelas” Ursula K. Le Guin

“The Ones Who Stay and Fight” + “Intro” by N.K. Jemisin

Thurs. 3/23                “Parable” Assignment + 4 Short Shares

Tues. 3/28                 Bring 3 questions for One Story editor Lena Valencia

One Story Reading Assignment

Thurs. 3/30                2 Workshops

Tues. 4/4                   2 Workshops

Thurs. 4/6                 SPRING BREAK

Tues. 4/11                 SPRING BREAK

Thurs. 4/13               SPRING BREAK

Tues. 4/18                 2 Workshops

Thurs. 4/20                2 Workshops

Tues. 4/25                 2 Workshops 

Thurs. 4/27                2 Workshops 

Tues. 5/2                   2 Workshops

Thurs. 5/4                  2 Workshops

Tues. 5/9                   2 Workshops

Thurs. 5/11                2 Workshops

Tues. 5/16                 1 Workshop + Course Celebration & Writer’s Life Discussion

Fri. 5/19                     Final Portfolios

d ue via email to [email protected] by midnight

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Course Syllabus

Foundations of Creative Nonfiction

Creative nonfiction has become one of the fastest-growing genres in the literary and publishing community. It encompasses forms from memoir and personal essay to literary journalism, travel writing, and hybrid forms like the lyric essay, as well as many others. In this course, participants will get to experience working in a few of these subgenres by writing three essays of approximately 2,500 words. Each of the weekly lectures and readings will focus on a particular issue relevant to writing creative nonfiction, like how to go about conducting research, how to find and select subjects to write about, and how to use the scene building elements of craft to create memorable essays. There will also be optional writing assignments leading up to these larger assignments.

How it works:

Each week provides:

• written lectures and a selection of readings
• discussions of assigned readings and other general writing topics with peers and the instructor

Some weeks also include:

• writing exercises and prompts
• opportunities to submit a full-length essay for instructor and/or peer review (up to 2,500 words and typically in weeks 3, 6, and 9)
• optional video conferences that are open to all students in Week 2 (and which will be available afterward as a recording for those who cannot participate)

Aside from the live conference, there is no need to be online at any particular time of day. To create a better classroom experience for all, you are expected to participate weekly in class discussions to receive instructor feedback on your work.

Week 1: An Overview of Creative Nonfiction

During this introductory week, the lecture and readings will take a broad look at the various genres and subgenres in creative nonfiction. We’ll discuss the tactics writers use to pull us in as readers and we’ll look at what distinctively marks them as creative nonfiction. Because sometimes we know what to write about but other times we may need a jumpstart, the optional writing exercise will focus on techniques for launching a topic and for further developing our ideas in depth.

Week 2: Voice and Authenticity

Having the right voice (or voices) for your subject can harness commitment and understanding from your reader. This week we’ll explore the role voice plays in creative nonfiction. Can we ever really write in an authentic voice? Through a writing exercise, we’ll learn how to draw on our own experiences to individualize our voice. We’ll also discuss how to find the “right” narrative voice for our subjects.

Week 3: Particulars of Scene 

How do we weave together storytelling strategies like description, dialogue, anecdote, character development, and a strong authorial presence to engage the reader in a new world? This week will focus on the building blocks of creative nonfiction. Participants will learn how to create effective scenes that make characters come alive on the page, when to use dialogue and description to dramatize crucial moments, and how to gracefully include backstory without overwhelming the narrative. Participants will submit their first full-length essay (up to 2,500 words) by the end of the week.

Week 4: The Role of Research

This week we’ll talk about the importance of incorporating outside voices in our work, mainly those from research, and how these voices can affirm, support, challenge, and judge our own. The lecture will focus in depth on the ways to gather research—from mining our own memories and utilizing discussions from our friends and family to gathering information online or from public resources. We’ll learn how to use this research seamlessly in our work without sounding pedantic and while still maintaining the authorial voice. With the optional writing exercise, participants will learn how they can broaden the scope of their stories, shifting their work from the personal to the universal.

Week 5: Participatory Journalism

Immersing oneself, firsthand, in a life experience is one of the best research tools for creative nonfiction writers to use. This genre of writing, known as “immersion writing” or participatory journalism, was pioneered by writers like George Plimpton and Hunter S. Thompson. Recent practitioners of the form include Barbara Ehrenreich and A.J. Jacobs. This week we’ll follow in their footsteps and discover ways in which we can immerse ourselves in new experiences and opportunities for our writing—from taking up a new class or hobby to going “undercover” to following a particular subculture.

Week 6: Writing About Other People

This week’s focus will be on the ways we can accurately and honestly portray the subjects we write about. We’ll go over strategies for interviewing people that will let us into familiar worlds through new avenues, and we’ll discuss the legalities of writing about real people. Through this week’s lecture and the readings, we’ll see how writers use description and dialogue, as well as making sure to work in a pertinent backstory, to create individualized portraits.

Week 7: Writing About Place

Sometimes the “main character” in an essay can be a landscape—whether it is a new place we’ve visited, a place like our own hometown that we know very well, or a place we’ve merely passed through once. This week the lecture will focus on the role place can have in our writing, and, through the readings, we’ll examine the ways in which a writer’s presence can still be felt, whether up close or from afar, through the use of sensory details to make the reader feel the writer’s experience. We’ll combine our own memories with here-and-now observation to fully capture a particular place. Participants will submit their second full-length essay (up to 2,500 words).

Week 8: Polemics

Through writers like James Baldwin, David Foster Wallace, and Joan Didion, we’ll look at the polemic or opinion essay, a form that allows writers to construct and share an argument based on evidence, facts, and reason. We’ll discuss the role narrative tone can play in these essays and how to use rhetorical appeals to persuade our audience.

Week 9: Credibility and Fact-Checking

What is our obligation to the people we are writing about? Creative nonfiction writers often walk a thin line between being creative and truthful. This week’s lecture will focus on issues relating to truth, accuracy, and fact-checking in writing creative nonfiction. We’ll discuss the boundary between ethical and artistic clarity to consider whether emotional truth supersedes factual truth. At the end of the week, participants will turn in their third full-length essay (up to 2,500 words).

Week 10: Structure and Form 

A writer must have a repertoire of forms to draw from in shaping their work and so this week will have an emphasis on structure—what are the different ways writers can organize their ideas, images, and facts on the page, and how do these various structures affect how we understand the genre? For our final week, we’ll look at the interplay between form and content, and the readings will focus on writers who’ve pushed the conventions of narrative form.

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Prof. Jessica Penner | D304 | Spring 2022

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ENG1141: Creative Writing Syllabus

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Table of Contents

Instructor: Professor Jessica Penner

Email: [email protected] / [email protected]

Office Hours:   Tuesdays  and  Thursdays , 12-1:30PM. I’ll be available through Zoom and will send an invitation via email that you should keep all semester . 

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.

I. Nuts & Bolts

How this class operates.

Please note the following details:

• This class is entirely “in person” once a week, which means we’ll be meeting in the classroom (unless another lockdown is called for by the college). The day and time we’ll meet are as follows: Wednesday, 11:30AM – 2PM .
• You must wear a mask (that covers both your nose and mouth–amazingly enough, one can breathe in and transmit the virus through both orifices!) at all times during class. If you don’t want to do this–please sign up for an online course!
• Attendance and active participation at the majority of meeting times are crucial to earning a passing grade in this class.
• What is “active participation”? If you are at the beginning, middle, and end of class, ask questions, contribute to the class discussions, comment on your peers’ work, and show that you’ve read the assigned assignments before class—these are examples of active participation.
• Since we only meet once a week, YOU are responsible for assignments during the week. Do not wait until we meet to look at the website.
• Some assignment deadlines are small, some are large.  All  of them count toward your final grade! Don’t assume that because you completed only the major assignments, you’ll get a passing, much less a desirable grade.
• If you are feeling ill and/or get a positive COVID test , do NOT attend class. Let me know ASAP, and be sure to check this website, which will have weekly Announcement and Assignment pages.
• If you miss a class (whether for illness or life issues), check this website. Being absent is not an excuse to be unprepared for class. Everything we do in a given week will be here: a summary of our discussion topics ( Announcement ) and a list of homework with due dates ( Assignment ).
• This schedule is a  living document , which means it may change. I will let you know as soon as possible if I make any alterations to assignments or due dates.  Be sure to check your email and/or OpenLab on a daily basis to keep up with everything for this class.

Aspects of a Writing Class

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.”

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, 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.

Required Material

• 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) .

City Tech Course Description

Techniques and skills in writing poetry, drama, the short story and the essay. Emphasis on the student’s awareness of creative potential.

General Education Learning Outcomes Students will be able to:

Gather, interpret, and assess information from a variety of sources and points of view. Evaluate evidence and arguments critically or analytically. Produce well-reasoned written or oral arguments using evidence to support conclusions.

Pathways Learning Outcomes Creative Expression

A course in this area must meet at least three of the following additional learning outcomes. A student will:

• Identify and apply the fundamental concepts and methods of a discipline or interdisciplinary field exploring creative expression, including, but not limited to, arts, communications, creative writing, media arts, music, and theater.
• Analyze how arts from diverse cultures of the past serve as a foundation for those of the present, and describe the significance of works of art in the societies that created them.
• Articulate how meaning is created in the arts or communications and how experience is interpreted and conveyed.
• Demonstrate knowledge of the skills involved in the creative process.
• Use appropriate technologies to conduct research and to communicate

Learning Outcomes

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

You’ll note that these sections are weighted equally–which means that every assignment, whether it’s a critique of a peer’s writing or your own creative writing, is important. Just because you turn in all the Major Writing assignments does not guarantee you’ll get a desirable (or passing) grade. I do not assign “busywork.” All the assignments lead to the same goal for this class: improvement of your writing skills. (And have fun doing it!) 🙂

20% Published Author Critiques

Completion of critiques of published work by various authors and genres. You must complete each critique on the due dates in order to receive points. There will be six total and 10 points possible for each assignment.

20% Critical Responses to Peers’ Writing

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. You must complete each response on the due dates in order to receive points.  There will be six total and 10 points possible for each assignment.

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. You must complete each journal on the due dates in order to receive points.  There will be ten total and 10 points possible for each assignment.

20% Major Writing

Throughout the semester, we will be writing memoir essays, short stories, poetry, and dialogues. I will respond to these pieces with constructive criticism and suggestions for revision. If you follow the genre guidelines, word count, and show you made an effort to write a thoughtful piece, you’ll receive all of the points. You must complete each assignment on the due dates in order to receive points. There will be 100 points possible for each assignment.

20% Writing Portfolio

This will be a showcase/revision of three major writing projects and a final reflection essay highlighting how you’ve evolved as a writer. You must complete this project on the due date in order to receive points. There will be 200 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

Communication.

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.

Participation in this Course

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 discussion or paragraph (How do you feel about your cultural identity? Why do people love or hate the Kardashians?), and one student responds or writes a single sentence, they have not shown effort, while another student who responds at length or writes five to eight sentences, they have shown effort.

It’s been my experience (and I’ve been teaching for over 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).

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

Office Hours

My office hours are at the top of this page. I’ll be available through Zoom and will send an invitation through email . 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!

Late Writing Assignment Policy

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) .

If you have life issues that may hinder your turning assignments in on time, talk to me before the due date and we can work out a specific new due date–that said, this has to happen at least 24 hours before an assignment is due, not five minutes before!

Extra Credit

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).

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.

Student Accessibility

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.

A Note on Course Workload

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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