BFA Course Descriptions

*Note: for day & time information, please go to SeaNet and search for courses.
Click here for the 2014–15 undergraduate catalogue course descriptions.

 

Spring 2015


CRW 201: INTRODUCTION TO CREATIVE WRITING

Introduction to the principles and techniques of creative writing, aimed at developing the creative process. Includes lectures, reading, and writing exercises in poetry, fiction, and creative nonfiction. Partially satisfies University Studies II: Approaches and Perspectives/Aesthetic, Interpretive, and Literary Perspectives.

CRW 201-008: INTRODUCTION TO CREATIVE WRITING, BRADFORD J
Text: Show & Tell 6th Ed., various handouts, and student work.
In this introductory course you will learn the basic terminology, principles, and techniques for writing poetry, fiction, and nonfiction. With the aid of prompts and exercises, you will write your own original material in each genre, which we will discuss in class. The course will conclude with a portfolio of your revised, creative work. Partially satisfies University Studies II: Approaches and Perspectives/Aesthetic, Interpretive, and Literary Perspectives.

CRW 201-009: INTRODUCTION TO CREATIVE WRITING, APFELD B
Text: Show & Tell 6th Ed., various handouts, and student work.
This class offers an introduction to the principles and techniques of creative writing in the three major genres--poetry, fiction, and creative nonfiction--and is aimed at developing the student's creative process. Coursework and assignmentswill include regular readings and writing exercises,workshop sessions,and culminate in a portfolio of revised student work. As a discussion-based class, students are expected to be engaged participants, active listeners, and to attend class regularly. This course partially satisfies University Studies II: Approaches and Perspectives/Aesthetic, Interpretive, and Literary Perspectives.

CRW 201-010: INTRODUCTION TO CREATIVE WRITING, CIPRIANI E
Text: Show & Tell 6th Ed., various handouts, and student work.
Introduction to the principles and techniques of creative writing, aimed at developing the creative process. Through reading, and, most importantly, practice, this course will introduce students to the discipline and craft of creative writing in the three major genres: fiction, poetry, and creative nonfiction. Students will write both short exercises and longer finished pieces in each genre, and read a sampling of contemporary published fiction, poetry, and nonfiction. Partially satisfies University Studies II: Approaches and Perspectives/Aesthetic, Interpretive, and Literary Perspectives.

CRW 201-011,-012: INTRODUCTION TO CREATIVE WRITING, SHUBERT C
Text: Show & Tell 6th Ed., various handouts on Blackboard, and student work.
In this introductory course you will learn the basic terminology, principles, and techniques for writing poetry, fiction, and nonfiction by reading great literary works, by reading craft essays by writers, by reflecting on what makes for good writing in reading journals, and by taking brief reading quizzes. Furthermore, you will enhance your knowledge of various online platforms for e-learning as well as hone your "netiquette": that is, how you comport yourself professionally online with your colleagues and instructor. With the aid of online prompts and exercises, you will write your own original material in each genre, which we will critique as a class through blackboard. The course will conclude with a portfolio of your own revised, creative work, from which the bulk of the final grade will be determined. Partially satisfies University Studies II: Approaches and Perspectives/Aesthetic, Interpretive, and Literary Perspectives. Students need be advised that though the online format gives them more flexibility during the week in terms of when they choose to complete activities, they will be penalized for not logging in and fulfilling each weekly assignment by Saturday at midnight. As such, it is imperative students stay organized and responsible for their work starting Day 1 of the course. No late work will be accepted for credit.

CRW 203-001: FORMS OF CREATIVE WRITING, JONES L
Texts: Jennifer Egan, A Visit from the Goon Squad; Cheryl Strayed, Wild; Jack Gilbert, The Great Fires; David Auburn, Proof; additional texts on Blackboard
How are characters within a novel written differently from those written for the stage? How do formal choices in poetry and nonfiction contribute to emotional piquancy within a work? How is writing between genres different? How is it similar? In this reading-intensive course we will study poetry, fiction, drama, and creative nonfiction to understand the choices and connections between genres. This class will require in-class discussion as well as analytical and creative writing. This is not a workshop class, however, so students should be prepared to read closely with an eye toward understanding form more than anything else. There will be a final exam.

CRW 203-002: FORMS OF CREATIVE WRITING, SIEGRIST J
In this class, we will study all major forms of literature (fiction, nonfiction, poetry, and drama) to understand the artistic techniques employed by writers such as Fitzgerald, Shakespeare, David Foster Wallace, and Sylvia Plath. Student assignments will include critical essays and creative responses designed to explore the craft of creative writing.

CRW 207-001: FICTION WRITING, KUSNIC P
In this course, students will learn the fundamentals of fiction writingthrough readings of published short stories, craft essays, and some narrative theory. Besides close readings of assigned texts, coursework will include weekly writing and revision exercises, journal entries, and a full-length short story, which students will develop over the course of the semester, from the conceptual phase to a final draft. With an emphasis on the revision process, the goal of this course is to help students discover and refine their voices as writers, equip them with the language of craft, and to strengthen their sense of the hard choices writers make in orderto create great art.

CRW 207-002: FICTION WRITING, SIEGRIST J
Texts: The Scribner Anthology of Contemporary Short Fiction, 2nd ed. (edited by Lex Williford and Michael Martone); Bird by Bird: Some Instructions on Writing and Life by Anne Lamott.
In this course, students will learn the fundamentals of short fiction by reading assigned texts and writing their own stories. Students will journal about their readings and turn in regular creative exercises, culminating in full-length short stories. Class participation and attendance are essential to ensure a quality workshop experience. Imagination is also required.

CRW 207-004: FICTION WRITING, CIPRIANI E
In this course, students will explore the fundamentals of writing fiction through readings of contemporary published short stories, craft essays, and other pertinent texts, such as author interviews. Besides close readings of assigned texts, coursework will include weekly writing exercises and a full-length short story to be workshopped by the class. Each student will revise their story as part of a final portfolio, which will also include an introductory essay detailing the student’s growth as a writer and reader over the course of the semester. This is an online class.

CRW 208-001: POETRY WRITING, JONES L
Texts: The Penguin Anthology of Twenty-First Century American Poetry, edited by Rita Dove; Letters to a Young Poet, by Rainer Maria Rilke, M.D. Herter Norton; Ordinary Genius by Kim Addonizio
Anne Carson notes, “"Prose is a house, poetry a man in flames running quite fast through it. ”In this intro to poetry class, we will focus on relating to poetry in an academic and creative context. Through focused reading, reading responses, in-class writing, and workshops, we will explore what it is to write poetry today. As this course is discussion-oriented, consistent attendance is required: come to class, bring your words.

CRW 208-002: POETRY WRITING, CLARK C
In this craft workshop, students will explore the fundamentals of poetry writing through writing exercises and readings of contemporary poems, craft essays, and other pertinent texts. Poetry workshops will allow students to receive constructive and encouraging feedback on one another’s poems. Each student will revise their workshopped poems as part of a final portfolio, which will also include a craft essay on a contemporary published poem of the student’s choosing. Required texts will include The Poet’s Companion (1997) and The Penguin Anthology of 20th Century American Poetry.

CRW 209-001: CREATIVE NONFICTION, RAMOS M
Texts: On Writing Well: The Classic Guide to Writing Nonfiction by William Zinsser; The Best Creative Nonfiction Vol. 1 edited by Lee Gutkind.
What is creative nonfiction? What's the difference between a news story and creative nonfiction? An analytical essay and a personal one? Why do people read creative nonfiction at all? Creative nonfiction writers share their personal truth in the context of fact, taking inspiration from fiction, journalism, and poetry. In this introductory, discussion-based course, we will read and write extensively, learn to identify our own stories, and find engaging, unique ways to tell them. We will also complete in-class exercises and respond to each others' essays via the workshop.

CRW 209-002: CREATIVE NONFICTION, PALMER A
Some writers have called it “the art of truth”; others, a genre of “true stories well told.” But what *is* creative nonfiction? This introductory, discussion-based course will familiarize students with creative nonfiction both practically and conceptually. Together, we will learn what distinguishes creative nonfiction as a genre and develop our skills as nonfiction writers by completing a variety of writing and reading assignments that inform these objectives. Coursework will focus on personal essay, memoir, and literary journalism, but will include writing exercises and assignments in other forms as well (e.g., science writing and travel writing). We will also complete in-class exercises and respond to each other’s creative work via the workshop component of the class.

CRW 302-001: FORMS OF CREATIVE WRITING, GESSNER D
This course focuses on the history of New Journalism from its roots in the 1950s through the 60s and 70s. We begin with Kerouac’s On The Road and then will read the work of Tom Wolfe, Joan Didion, Hunter Thompson, Truman Capote and others. The goal of the class is to give students a sense of the history (and possibilities) of the genre. It should be noted that this class is very reading heavy. But the reading is fun.

CRW 303-001: FORMS OF POETRY, MORLING M
In this class we will consider forms and how they fit and inform the philosophical perspective of our poems. What choices do we make in crafting our poems? What is our process of selection? Are poems, like the bowls of the ancient Japanese potters, born? Or are they made? Emily Dickinson wrote: “Nature is a haunted house. Art--/a house that tries to be haunted.” How can our poems be as natural as possible, the form and the content inevitable to the point of near invisibility? The global designer Bruce Mau has said: “For most of us, design is invisible. Until it fails.” Is this what the 18th century Japanese poet Ryokan meant when he wrote: “Who says my poems are poems?/My poems are not poems,/ After you know my poems are not poems,/ Then we can begin to discuss poetry.”

CRW 306-001: FORMS OF FICTION, CHAI M
In the class, we will be exploring various forms of fiction, including novels, short stories, and narrative film. This is primarily a reading and discussion class, and as such weekly attendance is crucial. Students may be assigned short writing exercises in the form of creative responses to works or critical analysis of texts from a craft perspective. Students will turn in a final revised exercise and a longer essay at the end of the class. Writers/directors studied will include Ryunosuke Akutagawa, Robert Olen Butler, E. M. Forster, Nina de Gramont, Akira Kurosawa, Felicia Luna Lemus, Julie Otsuka, Karen Russell, and Charles Yu, among others.

CRW 307-003: INTERMEDIATE FICTION, SIEGEL R
An intermediate workshop focused on literary fiction. Course will stress the exploration of craft and the building of writing skills through a series of graduated exercises leading up to a complete story. The class will also read, write about, and discuss published fiction.

CRW 308-001: INTERMEDIATE POETRY WRITING , COX M
A craft workshop. Student poets critique and encourage each other's work, emphasizing extensive revision. Journal consists of responses to reading assignments in modern and contemporary poetry and poetics, as well as numerous process exercises. Students will choose a poet to study in depth. Individualized reading lists and handouts on Blackboard. Prose writing students are welcome.

CRW 315-001: SHAKESPEARE THE PLAYWRIGHT, FURIA P
A study of Hamlet, Othello, Much Ado About Nothing, and three or four other plays that exemplify Shakespeare’s craft as a playwright.  Rather than “interpretation,” the emphasis will be on the art of the playwright—how Shakespeare uses the stage, establishes setting through dialogue, makes exposition dramatic, builds a scene, develops character, and uses the blank verse line.  We will also consider how he has actors take double or even triple roles so that with a company of only twelve actors (including two boys to take women’s roles) he could mount plays with thirty or more characters. Students will stage certain scenes to get a “hands on” sense of his playwriting craft.

CRW 318-001: SCREENWRITING I: INTRODUCTION, LINEHAN T
(FST 318) Prerequisite: PCRW, PFST, CRW, or FST major; and CRW 207, CRW 208, CRW 209, or FST201or permission of instructor. Theory and practice of screenplays and/or documentary scripts for television and film with an emphasis on the fundamentals of narrative structure. Students write original scripts, including a short screenplay for possible use in FST495.

CRW 318-002: SCREENWRITING I: INTRODUCTION, BUTTINO L
(FST 318) Prerequisite or co-requisite: FST 201; or prerequisite: PCRW, CRW and CRW 207, CRW 208 or CRW 209; or permission of instructor. Theory and practice of screenwriting with an emphasis on the fundamentals of narrative structure. Students write original scripts, including a short screenplay for possible use in FST 495.

CRW 320-001: ADVENTURE WRITING, HOLMAN V
This nonfiction course will take students far beyond the classroom. Our first adventure is scheduled for (Saturday) February 7. This will be a half day group challenge experience run through UNCW. Our second adventure will on (Saturday) April 11. This will be a daylong kayak trip on the Black River to view a pristine cypress swamp that is home to the oldest known living trees east of the Rockies. On each excursion, students will have the opportunity to observe and explore, conduct interviews, and take notes while in the field. Students will then utilize the material gathered during these experiences (field notes, interviews, research) to create two new works of creative nonfiction.
Students may expect to read articles and essays by John Branch, Annie Dillard, Jonathan Franzen, Jack Kerouac, Evelyn C White, and others. We'll also read two books: Into The Wild (Jon Krakauer) and Wild (Cheryl Strayed).
A spirit of adventure (and attendance on both trips) is essential.

CRW 322-001: EDITING FOR PUBLICATION, BASS T
Required texts: The New Well-Tempered Sentence, by Karen Elizabeth Gordon, and Polishing Your Prose, by Steven M. and Victor L. Cahn. [Recommended but not required: On Writing Well, by William Zinsser.] CRW and PCRW majors only. Prerequisite: CRW 207, 208, or 209. This course will focus on editing students’ own creative writing for precision and clarity. We will emphasize developing and applying skills in self-editing for grammar, mechanics, spelling, manuscript formatting, style, and other fundamentals crucial to effective, polished writing in the creative writing profession. Students will complete exercises and write/edit work using a series of prompts and assignments. Exams and homework will make up the grade, along with a brief presentation. An attendance policy will be enforced. [Note: This course is required for the completion of the BFA degree. It also is a core required course for the Certificate in Publishing.]

CRW 323-001: BOOKBUILDING, MCSHEA J
Prerequisite: CRW 207, 208, 209, or consent of instructor. This course offers hands-on training in the basics of effective graphic design and typography for book publishing. Students will become proficient in the Adobe Creative Suite—InDesign, Photoshop, and Illustrator—while completing a progressively complex series of projects, culminating in a finished chapbook of their own work. The course also incorporates a survey history of publishing, with a focus on current trends and the future of the book. Students should be prepared for a rigorous, fast-paced course that requires lab work outside of class hours. [Note: Bookbuilding counts toward the BFA degree and the 12-hour Certificate in Publishing.]

CRW 324-001: DEVELOPMENTAL EDITING (SPECIAL TOPICS IN PUBLISHING), STAPLES B
This course provides an introduction to the art and craft of developmental editing, a skill useful on the job market as well as in improving one’s own writing. We will focus on editing for nonfiction, fiction, and poetry for magazine and book publishers. Topics will include proposal development, narrative, argument, and voice, as well as editing for style and substantive editing at the line level. We will explore how to create and maintain collegial relationships throughout the editing process, and work to gain an understanding of how developmental editing fits within the publishing process overall. Students will be evaluated via individual and group editing projects and a final portfolio. Course texts will include Developmental Editing, by Scott Norton, and the Chicago Manual of Style, 16th edition.

CRW 324-002: CHAUTAUQUA LITERARY JOURNAL, GERARD P
This course is designed to give students a practical magazine publishing experience. Students will read and respond to submissions, work on editing projects, search for possible cover art, and assist with design work. In addition to the work required to build the next issue of Chautauqua, students will have the opportunity to work on marketing and sales projects. We will work in teams – with each group presenting regular updates on their projects and work. Course may be repeated for credit.

CRW 460-001: PUBLISHING PRACTICUM, STAPLES B
Students must have been admitted to the certificate program in order to receive permission to enroll in the publishing practicum. Prerequisite: CRW 321, 322, 323
A select group of students support the work of The Publishing Laboratory, with responsibility for editing, designing, and producing books and other publications. Undergraduate practicum students work 9 hours weekly in the Lab (including a 1.5 hour staff meeting), under faculty supervision. Completion of CRW 321, 322, and 323, with a minimum grade of B in 321 or 322, is a prerequisite for the Practicum. Participants are selected by permission of instructor; a brief application is required. Working hours are scheduled at each student’s convenience during standard Pub Lab hours. May be repeated once for credit.

CRW 407-001: ADVANCED FICTION WRITING, LEE R

CRW 418-001: SCREENWRITING II: FEATURE FILM, HACKLER F
(FST 418) Prerequisites: FST 318 (CRW 318) or consent of instructor. The craft of screenwriting applied to the feature form. Students plan a feature-length screenplay, and write, workshop, and complete the first act.

CRW 460-002: PUBLISHING PRACTICUM: LOOKOUT, SMITH E
[Prerequisites: Students must have been accepted into the Certificate in Publishing program and must have completed both CRW 323 and 460-001. Permission of instructor is required.]
Want to gain experience working for a small press? A select group of undergraduate students helps with the daily work of the department’s literary imprint, Lookout Books (www.lookout.org). The practical course functions as an internship and provides hands-on experience in our daily operations. Interns assist with the writing of press releases and other promotional materials; research sales and marketing leads; mail review copies and press kits; update our database of review outlets and bookstores; design, produce, and mail promotional materials; assist with maintenance of our website and social media outlets; and attend weekly staff meetings. Lookout practicum students work 8 hours weekly in the Lab (including a 3-hour meeting), under faculty supervision. Participants are selected by permission of instructor on the basis of excellent performance in previous publishing courses and demonstrated interest in the field. What students get out of the course—in advancement of their own understanding of the publishing enterprise, or in marketable skills to take with them—will be directly proportionate to their leadership, professionalism, and dedication. A brief application is required. Working hours are scheduled during standard Pub Lab hours. May be repeated once for credit. [Note: This course counts toward the BFA degree and the 12-hour Certificate in Publishing.]

CRW 496-001: SENIOR SEMINAR IN WRITING, DEGRAMONT M

In this course students will compile, perfect, and submit their BFA theses, collaborate with other writers and our department’s Publishing Lab to create an anthology of BFA student work, and give a public reading of their own fiction.  The class will also include discussion of professional issues such as submitting creative work for publication, careers in writing and publishing, and applying to graduate school.

CRW 496-002: SENIOR SEMINAR IN WRITING (FICTION AND CREATIVE NONFICTION), FURIA P
The Senior Seminar is the capstone course in our BFA program.  Students will prepare their BFA thesis, write a critical preface, and work with the Publishing Laboratory to create an anthology of student writing. In addition, each student will give a public reading of his or her prose at the end of the semester.  We’ll discuss such topics as graduate MFA programs, publication, and careers in writing.  Students should bring to the class creative work they have completed in previous workshops, including a three to five page selection suitable for the anthology.

 


Fall 2014


CRW 201: INTRODUCTION TO CREATIVE WRITING
Text: Show & Tell 6th ed.
Introduction to the principles and techniques of creative writing, aimed at developing the creative process. Includes lectures, reading, and writing exercises in poetry, fiction, and creative nonfiction. Partially satisfies University Studies II: Approaches and Perspectives/Aesthetic, Interpretive, and Literary Perspectives.

CRW 203: FORMS OF CREATIVE WRITING, FURIA P
Students will study the major forms of creative writing--poetry, drama, fiction, and creative nonfiction--by writers such as Sophocles, Shakespeare, Austen, Twain, Dickinson, and Hemingway.There will be a combination of lectures and small, discussion-workshop sections. Writing assignments will include both creative and analytical exercises designed to heighten student appreciation of artistic achievement in various forms. There will also be a final examination over all the reading in the course.

CRW 207-001: FICTION WRITING, KUSNIC P
What makes great fiction great? Deferring to great works of literature from the 20th and 21st centuries, this class will attempt to answer that question, and others, as students learn the basic tools of narrative and how to employ them in their own work. In CRW 207, students will share and critique each other’s work sporadically throughout the semester, though much time will be spent discussing readings and the elements of craft in addition to doing in-class writing exercises. Examining an eclectic array of voices, from Virginia Woolf and William Faulkner to Zadie Smith and Jonathan Franzen, students will begin cultivating their own literary voices—figuring out not only what it is they have to say in their fiction, but also how to say it.

CRW 207-002: FICTION WRITING, APFELD B
Texts: The Scribner Anthology of Contemporary Short Fiction, 2nd ed. (edited by Lex Wiliford and Michael Martone); Bird by Bird: Some Instructions on Writing and Life by Anne Lamott.
In this course, students will explore the basic elements of short story writing, by both reading widely from published works, and also by writing and revising their own stories.  We will discuss various technical aspects of fiction—such as description, dialogue, or character—as well as the more intangible elements of stories: what draws us to fiction? why do we write it? what does fiction mean for us today?  Coursework will include close reading of assigned stories and essays, and short written exercises.  Students will also write a longer story that will be workshopped, revised, and submitted as part of a final portfolio.  As a discussion-based class, students are expected to be engaged participants, active listeners, and to attend class regularly.

CRW 207-003: FICTION WRITING, SIEGRIST T
Texts:The Scribner Anthology of Contemporary Short Fiction, 2nd ed. (edited by Lex Williford and Michael Martone);Bird by Bird: Some Instructions on Writing and Lifeby Anne Lamott.
In this course, students will learn the fundamentals of short fiction by reading assigned texts and writing their own stories. Students turn in regular creative exercises, culminating in full-length short stories. Class participation and attendance are essential to ensure a quality workshop experience. Imagination is also required.

CRW 208-001: POETRY WRITING, BRADFORD J
Texts: Penguin Anthology of Twentieth-Century American Poetry ed. Rita Dove, The Art of Recklessness by Dean Young
This course will serve as an introduction to reading and writing poetry. We will read contemporary poets, and discuss the ways in which metaphor, imagery, and sound create tiny worlds for us to live inside, even if only for a moment. You will also write your own poems, which we will also discuss with an eye toward revision. The class will culminate in a final portfolio of revised poems.

CRW 208-002: POETRY WRITING, JONES L
Texts:The Penguin Anthology of Twenty-First Century American Poetry,edited by Rita Dove;Letters to a Young Poet,byRainer Maria Rilke, M.D. Herter Norton; Craft book TBA
Anne Carson notes, “"Prose is a house, poetry a man in flames running quite fast through it.”In this intro to poetry class, we will focus onrelating to poetryin anacademic and creative context. Through focused reading, reading responses, in-class writing, and workshops, we will explore what it is to write poetry today. As thiscourseis discussion-oriented, consistent attendance isrequired: come to class, bring your words.

CRW 209-001: CREATIVE NONFICTION, RAMOS M
Texts: On Writing Well: The Classic Guide to Writing Nonfiction by William Zinsser; The Best Creative Nonfiction Vol. 1 edited by Lee Gutkind.
What is creative nonfiction? What's the difference between a news story and creative nonfiction? An analytical essay and a personal one? Why do people read creative nonfiction at all? Creative nonfiction writers share their personal truth in the context of fact, taking inspiration from fiction, journalism, and poetry. In this introductory, discussion-based course, we will read and write extensively, learn to identify our own stories, and find engaging, unique ways to tell them. We will also complete in-class exercises and respond to each other’s essays via the workshop.

CRW 209-002: CREATIVE NONFICTION, PALMER A
Some writers have called it “the art of truth”; others, a genre of “true stories well told.”  But what *is* creative nonfiction? This introductory, discussion-based course will familiarize students with creative nonfiction both practically and conceptually.  Together, we will learn what distinguishes creative nonfiction as a genre and develop our skills as nonfiction writers by completing a variety of writing and reading assignments that inform these objectives. Coursework will focus on personal essay, memoir, and literary journalism, but will include writing exercises and assignments in other forms as well (e.g., science writing and travel writing). We will also complete in-class exercises and respond to each other’s creative work via the workshop component of the class.

CRW 305-001: THE CREATIVE PROCESS, GASKILL M
Prerequisite or corequisite: CRW 206, 207, 208 or 209 or consent of instructor.
Investigation through reading, lectures, discussions, writing, and exercises of the creative process in general and its particular application to literary art. Readings include studies of the creative process in a variety of other disciplines.

CRW 306-001: FORMS OF FICTION, SIEGEL R
This course is an exploration of the major forms of literary fiction: the short story; the linked short-story collection; the novella; and the novel. We will read, write about and discuss examples of these forms with an eye to issues of craft, looking at how they are put together and how they work. The ultimate aim is to learn how to read like a writer.

CRW 307-001: INTERMEDIATE FICTION WRITING, CHAI M
Texts: Best American Short Stories 2012, edited by Tom Perrotta, as well as supplementary texts as handouts or pdfs.
In this class students will have the opportunity to practice various elements of craft in the tradition of literary fiction.  Each week students will read assigned short stories, excerpts from novels, and other prose pieces for discussion of craft and aesthetic choices. Students will respond with their own creative pieces and receive feedback from the class, which they will use for revision. In addition to their original creative work and feedback for classmates, on occasion students may be asked to write a page or two of reflection on how readings, exercises, and discussions have affected their writing process.

CRW 307-002: INTERMEDIATE FICTION WRITING, DE GRAMONT
In this class, students will work on developing craft through in-class and at-home writing exercises.  These exercises should progress toward a completed piece of fiction, either a short story or a chapter of a longer work.  Each student will have a workshop for his or her completed first draft.  Prior to this workshop, each student will have two shorter workshops of a first page.  Students will read, listen to, and discuss each other’s work, as well as handing in written critiques.

CRW 315-001: WOMEN POETS AND THE PULITZER PRIZE, ADAMS L
We will examine the work of numerous celebrated poets, beginning with selected readings by early winners of this prestigious prize, and culminating with the more recent full-length collections. Texts will include the following: Mueller, Alive Together; Sexton, Live or Die; Kumin, Up Country; Oliver, American Primitive; Kizer, Yin; Dove, Thomas & Beulah; Glück, The Wild Iris; Emerson, Late Wife; Trethewey, Native Guard; Smith, Life on Mars; Olds, Stag’s Leap. Grade will include two analytical essays (midterm and final), as well as oral presentations.

CRW 318-001: SCREENWRITING I: INTRODUCTION, LINEHAN T
(FST 318) Prerequisite: PCRW, PFST, CRW, orFSTmajor; andCRW 207,CRW 208,CRW 209, orFST201or permission of instructor. Theory and practice of screenplays and/or documentary scripts for television and film with an emphasis on the fundamentals of narrative structure. Students write original scripts, including a short screenplay for possible use inFST495.

CRW 318-002: SCREENWRITING I: INTRODUCTION, HACKLER C
(FST 318) Prerequisite or corequisite: FST 201; or prerequisite: PCRW, CRW and CRW 207, CRW 208 or CRW 209; or permission of instructor. Theory and practice of screenwriting with an emphasis on the fundamentals of narrative structure. Students write original scripts, including a short screenplay for possible use in FST 495.

CRW 318-003: SCREENWRITING I: INTRODUCTION, BUTTINO L
(FST 318) Prerequisite or corequisite: FST 201; or prerequisite: PCRW, CRW and CRW 207, CRW 208 or CRW 209; or permission of instructor. Theory and practice of screenwriting with an emphasis on the fundamentals of narrative structure. Students write original scripts, including a short screenplay for possible use in FST 495.

CRW 320-001: WRITERS’ WEEK FALL 2014, GESSNER D
This two-credit intensive course was designed to complement Writers’ Week. The week will consist of workshop sessions, panels, readings, and an individual manuscript conference with MFA program students or alumni.  Students will meet to familiarize themselves with the work of our visiting writers and to learn the ins and outs of organizing the week.  As a group, we are responsible for keeping the week itself running smoothly. Class members will participate in the many facets of the week, from introducing the writers at readings to driving them around town. Students are expected to attend a total of 15 event-hours over the course of the symposium.

CRW 320-004: POETRY OF PLACE, ADAMS L
We will be reading three poetry collections in which place plays a significant role: Bad River Road, by Nebra Nystrom; Floating City, be Anne Pierson Wiese, and The Whole Field Still Moving Inside It, by Molly Bashaw. As we discuss these collections, we will consider the role of place, how the narrator interacts with locale, how environment imprints and shapes the psyche of those who inhabit any particular space. The remainder of the semester will be focused on workshopping student work with the goal of creating a cohesive collection of work. Grades include responses to collections, oral presentations, and a portfolio which will include revised poems and a critical/analytical introduction.

CRW 320-005: SPECIAL WORKSHOP IN CREATIVE NONFICTION, HOLMAN V
This dynamic class will focus on the wide variety of writing that is considered creative nonfiction. The first half of the semester we will read and analyze a short work of creative nonfiction each week. In addition, student will complete exercises designed to help generate new ideas. The second half of the semester we will workshop student work. We have three major goals in this class: to improve and expand your reading repertoire of published creative nonfiction, to build a common critical vocabulary with which to better analyze and discuss creative nonfiction, and to refine your writing skills. Active in-class participation (both spoken and written) is expected and essential for a good grade.
The instructor will provide the class with handouts.
CNF majors: this elective can be used to fulfill the requirement for 309 or 409.

CRW 320-006: TRAVEL NARRATIVES: THE ART OF THE JOURNEY, CHAI M
This mixed-genre class will examine the narrative art of depicting journeys in creative nonfiction, poetry, fiction, and film, including works by Joan Didion, Lixin Fan, Gao Xingjian, Roxane Gay, lê thi diem thúy, Julie Otsuka, W.G. Sebald, and Luis Alberto Urrea, among others. We will read/watch and discuss the works, analyzing them for craft, content, and aesthetic sensibilities. Students will also have opportunities to respond with their own short, creative pieces to experiment with form and genre. Pre-requisite: CRW 201.

CRW 321-001, 002: BOOKS & PUBLISHING, SMITH E
An introduction to the culture and commerce of books, this course examines the life cycle of a book; the people and processes involved in book publishing;and the history, business, economics, and ethics of the publishing industry. The class will be broken into formal lectures, given by the professor and invited industry professionals, each Tuesday morning, and smaller, discussion-basedsectionson Thursdays. Readings, research assignments, and a book auction will help students discover how publishing decisions are made. [Note: This course counts toward the BFA degree and the 12-hour Certificate in Publishing.

CRW 322-001: EDITING FOR PUBLICATION, BASS T
Required texts: The New Well-Tempered Sentence, by Karen Elizabeth Gordon, and Polishing Your Prose, by Steven M. and Victor L. Cahn. [Recommended but not required: On Writing Well, by William Zinsser.] CRW and PCRW majors only. Prerequisite: CRW 207, 208, or 209. This course will focus on editing students’ own creative writing for precision and clarity. We will emphasize developing and applying skills in self-editing for grammar, mechanics, spelling, manuscript formatting, style, and other fundamentals crucial to effective, polished writing in the creative writing profession. Students will complete exercises and write/edit work using a series of prompts and assignments. Exams and homework will make up the grade, along with a brief presentation. An attendance policy will be enforced. [Note: This course counts toward the BFA degree and the Certificate in Publishing.]

CRW 323-001: BOOKBUILDING, PRINCE K
Prerequisite: CRW 207, 208, 209, or consent of instructor. This course offers hands-on training in the basics of effective graphic design and typography for book publishing. Students will become proficient in the Adobe Creative Suite—InDesign, Photoshop, and Illustrator—while completing a progressively complex series of projects, culminating in a finished chapbook of their own work. The course also incorporates a survey history of printing, with a focus on current trends and the future of the book. Students should be prepared for a rigorous, fast-paced course that requires work in the Publishing Laboratory outside of class hours. [Note: counts toward the 12-hour Certificate in Publishing.]

CRW 324-001: CHAUTAUQUA LITERARY JOURNAL, GERARD P
This course is designed to give students a practical magazine publishing experience. Students will read and respond to submissions,work on a developmental editing projects, search for possible cover art, and assist with design work. In addition to the work required to build the next issue of Chautauqua, students will have the opportunity to work on marketing and sales projects. We will work in teams – with each group presenting regular updates on their projects and work. Course may be repeated for credit.

CRW 324-001: COPYEDITING, PHILLIPS A
This course provides a thorough introduction to the art and craft of copyediting, a skill useful on the job market as well as in substantive editing of both others’ and one’s own work. We will focus on editing for magazine and book publishers—and will thus spend a good deal of time with the Chicago Manual of Style—but we will also consider other settings for copyediting. In addition to marking copy by hand and on screen, we will explore how to create and maintain collegial relationships throughout the editing process, with the goal of improving proficiency in what Carol Fisher Saller calls “working through the writer for the reader.” We will consider levels of editing; freelance and in-house editorial processes; making and using style sheets; effective use of style guides; and the finer points of grammar and usage. Students will be evaluated via quizzes (including editing tests similar to those given by publishers), editing projects, and a final portfolio. Texts: The Chicago Manual of Style, 16th edition; The Copyeditor’s Handbook, 3rd edition, by Amy Einsohn; the AP Stylebook, 2014 edition; The Subversive Copyeditor, by Carol Fisher Saller.

CRW 407-001: ADVANCED FICTION WRITING, DE GRAMONT N
In this class, students will work on craft through close reading of each other’s fiction in a workshop format.  Students will write two new and original pieces for workshop and revise one of these pieces substantially.  Reading assignments will be based on issues that arise during workshops.

CRW 408-001: ADVANCED POETRY WRITING, COX M
A craft workshop.  Student poets critique and encourage each other's work, emphasizingextensive revision.  We'll focus on the structural aspects of lyric and narrative poetry. Journal consists of responses to extensive reading assignments in modern and contemporary poetry and poetics, as well as numerous process exercises.  Individualized reading lists and handouts on Blackboard.

CRW 418-001: SCREENWRITING II: WRITING THE FEATURE FILM, HACKLER F
(FST 418) Prerequisites: FST 318 (CRW 318) or consent of instructor. The craft of screenwriting applied to the feature form.Students plan a feature-length screenplay, and write, workshop, and complete the first act.

CRW 460-001: PUBLISHING PRACTICUM, STAPLES B
Students must have been admitted to the certificate program in order to receive permission to enroll in the publishing practicum. Prerequisite: CRW 321, 322, 323.
A select group of students support the work of the Publishing Laboratory, with responsibility for editing, designing, and producing books and other publications. Undergraduate practicum students work 9 hours weekly in the Lab (including a 1.5 hour staff meeting), under faculty supervision. Completion of CRW 321, 322, and 323, with a minimum grade of B in 321 or 322, is a prerequisite for the Practicum. Participants are selected by permission of instructor; a brief application is required. Working hours are scheduled at each student’s convenience during standard Pub Lab hours. May be repeated once for credit.

CRW 496-001: SENIOR SEMINAR IN WRITING (FICTION AND CREATIVE NONFICTION) HOLMAN, V
The Senior Seminar is the capstone course in our BFA program. We have several goals: selection and preparation of your thesis material, creation of your critical preface, and collaboration with the Publishing Laboratory students to create an anthology of student prose. We will also organize your public reading at the end of the semester. In addition, we'll discuss topics such graduate school, publication, and employment. Students should enter the class with a three to five page selection of prose suitable for the anthology.

CRW 496-002: SENIOR SEMINAR IN POETRY, COX M
The senior seminar is a capstone course for graduating BFA majors only. Prerequisite: CRW 408. You will consolidate and polish a selection of your poetry from previous workshops into a manuscript, write a critical preface, then read from that manuscript in a public presentation.   You will also collaborate with Publishing Laboratory students to create an anthology that incorporates poems from your manuscript.  To this latter end, you must be prepared to immediately provide five poems from which to choose anthology content. Relevant issues of the profession (publication, graduate school, etc.) will be discussed as we go.

BFA Course Descriptions Archive


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