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BFA Course Descriptions

Undergraduate Student Resources

Please see below for our current course descriptions. 

  • Note: for updated day & time information, and for delivery mode, please go to SeaNet and "Search for Courses" (select Creative Writing and for Course Level, Graduate).
  • SeaNet provides the instructors' names and email addresses for searched courses.
  • Please visit the undergraduate catalogue for course descriptions (choose current catalogue year from drop-down, then see link in left column for course descriptions).

 

Fall 2024 BFA Course Descriptions

Spring 2024 BFA Course Descriptions

This participation-intensive course offers an introduction to the writing of fiction, creative nonfiction, and poetry. Students will learn fundamental craft elements, read and discuss published works, and produce their own poems, stories, and essays to be workshopped in small groups. CRW 201 partially satisfies University Studies II: Approaches and Perspectives/Aesthetic, Interpretive, and Literary Perspectives. Sections 001-007 all meet together in an auditorium on Tuesdays with Nina de Gramont, then the individual sections meet on Thursdays in classrooms with the assigned GTA.
This course explores three genres of creative writing: nonfiction, fiction and poetry. We will read and discuss a diverse selection of voices and styles, and then create our own writing. Daily practices in the class include writing, reading, craft lessons and participation. We will also use the format of a writer's workshop to revise, give feedback, and advance our ability to communicate on the page. In place of a final exam, students will produce a final portfolio of their work to showcase their learning, growth and effort.
This course will be, as the title implies, an introduction to the three genres of creative writing: fiction, nonfiction, and poetry. Students will read texts and be exposed to multimedia pieces in each genre, as well as perform writing exercises in class. Each student will submit original short works and workshop each other's drafts with eyes toward revision for a portfolio rather than a traditional final. This is a writing and participation intensive course, meant to foster an appreciation for the written word through a small community of beginners willing to learn together. The environment of a close-knit, supportive writing community will be paramount for this class.
 
This course explores the fundamentals of creative writing, from the simplicity of noticing to the craft of creation. How do amazing stories, essays, and poems come to be? Together we will venture to find out! To do so, we will examine texts which represent a diversity of voices and styles, practice discussing what we read, and generate our own writing with an eye on revision as a means of discovery. In place of a culminating exam, students will produce a final portfolio that is representative of their learning and growth over the course of the semester in the realms of self-reflection, fiction, poetry, and creative nonfiction. Active participation and a willingness to get curious are required.
Annie Dillard wrote, "One of the things I know about writing is this: spend it all, shoot it, play it, lose it, all, right away, every time. Do not hoard what seems good...give it, give it all, give it now." This course will provide students opportunities to read, write, and share work in three primary genres: poetry, fiction, and creative nonfiction. We'll use the classroom to develop an atmosphere of serious play — a space for risk-taking, skill-building, and creative experimentation. A place where you can give it your all.
This course is designed to give students the tools to both read and write creatively. We will be reading (and writing, of course) across all three major genres with an eye toward the seams between them. Students will read as writers and write as readers.
This course aims to introduce students to poetry, fiction, and creative nonfiction. This course is participation and writing heavy. Students will read and discuss published works, complete generative writing exercises, participate in workshop for all three genres, and learn to appreciate (if not fall in love with) the act of writing.
 
This course explores three genres of creative writing: nonfiction, fiction and poetry. We will read and discuss a diverse selection of voices and styles, and then create our own writing. Daily practices in the class include writing, reading, craft lessons and participation. We will also use the format of a writer's workshop to revise, give feedback, and advance our ability to communicate on the page. In place of a final exam, students will produce a final portfolio of their work to showcase their learning, growth and effort.
 
 
This class is an introduction to the principles and techniques of creative writing with a focus on exploring and developing the creative process. We will study fiction, creative non-fiction and poetry and will spend the early weeks of the semester familiarizing ourselves with the fundamental elements of the craft of writing. There will be weekly reading assignments and writing exercises designed to give your own writing a jump-start. We will spend time discussing the reading as well as sharing new work in class. Over the course if the semester, each student is expected to learn how to engage with and critique their peers' work in a manner that is helpful and constructive.
This course will cover writers and their work across different centuries, parts of the world, and genres. While the evolution of writing does lay in the beginnings of the craft, it is always, still, evolving. There will be a variety of class formats, including lecture-style, discussion, and group work, with the goal of becoming more knowledgeable and comfortable writing and reading creative writing. Through reading and analyzing a variety of works on a weekly basis, students can expect to understand more about the kinds of writing they enjoy and why they enjoy them. The main goals are the production of new writing that students remain proud of after this class has ended, and a deeper knowledge of the writers who have come before them, as well as modern writers leading the literary charge.
This course will take a retrograde dive into the historical development of American literature. Together, we will read, discuss, and analyze contemporary poems and works of fiction, working our way from 21st century creative trends and formal innovations, into groundbreaking 20th and 19th century texts. Consider these writers as guides and sources of inspiration on a journey to generating your own creative work and honing your craft. Through a combination of close reading, group discussions, stream-of-consciousness free-writes, and weekly writing exercises, we will encourage each other to experiment with different modes of creative self-expression, develop critical thinking skills, and establish a foundational knowledge of the traditions and techniques of American poetry and fiction.
Students will learn a variety of ways to best employ research in their own creative writing. Recognizing that research is a vital tool for all writers, this open-genre course will invite students to craft their own well-researched pieces within creative nonfiction, fiction, and/or poetry. Students will choose the topics of their work, researching relevant people, places, things, eras, processes and/or events relevant to said topics. Students will learn to better express themselves verbally and in writing, all with a focus on fostering creative capacities, as well as skills, abilities, and perspectives vital for creative writers. Students will also gain a broader understanding and appreciation for writing and literature while learning to critically evaluate diverse ideas, arguments, and perspectives. By the end of the semester, students should have written at least one short, well-researched piece of creative writing that is ready to submit for publication.
 
This course is designed to sharpen fiction writing skills, with a focus on reading and writing short stories. Students will read and discuss contemporary short stories and craft essays, engage in lively conversations, and nurture skillsets that will help students with their own stories. Students will submit exercises and discussion posts and complete two stories to be workshopped over the course of the semester. By the end of the course, students will have a sharper sense for their voice and literary preferences and submit a final portfolio of their own short stories.
This course is designed to hone the skills necessary to write captivating short stories. Throughout the semester, students will be assigned contemporary readings and craft essays aimed at building a repertoire of resources to aid in the writing process. The course will consist of workshops, in-class discussions, and writing exercises. Course will culminate in a final portfolio of revised, polished work.
This course will focus on reading, writing, and studying poetics, especially regarding poetic forms. As a creative workshop group, we will explore modern and experimental forms of poetry, while offering in-class and out-of-class opportunities for students to produce their own poems. The semester will include time and space for students to workshop their pieces during class time and engage with providing feedback for their peers in both large and small groups.
This course will serve as an introductory experience in writing, reading, and critiquing poetry. There will be a variety of class formats, including lecture-style, discussion, and workshop, with the goal of becoming more knowledgeable and comfortable writing and reading poetry. Through reading and analyzing a variety of poems on a weekly basis, students can expect to understand more about the kinds of poems they enjoy and why they enjoy them, thus explaining such both orally and in written reflection. Of course, the main goal is the production of new, wholly original poems that students remain proud of after this class has ended. Some pieces will be created as imitations of existing poems, and others will be "free rein", showcasing students' unique poetic style.
This poetry workshop is designed to introduce students to the basic elements of verse, with an emphasis on imagery, prosody (rhythm and sound), and defamiliarizing everyday language. Students will experiment with different poetic approaches, inside and outside the classroom, oscillating on a spectrum between lyric and narrative verse. Curriculum will include a combination of assigned readings, group discussions, lectures, writing exercises, and workshops, during which students will receive written and vocal feedback on their work from their instructor and peers. Readings will consist of craft essays and a diverse range of poems and voices in the contemporary American poetry scene. Together, we will mine for inspiration by experimenting with nontraditional methods of composition, including (but not limited to) stream-of-consciousness free-writes, erasures, ekphrasis, cut-ups, and found poems, training our ears and eyes to discern the music in routine textual exchanges and casual conversation. Through various prompts, writing exercises, brainstorming, and other modes of engagement, students will help each other cultivate their inner poet, relying on our imaginations and figurative modes of expression to promote self-empowerment.
 
Creative nonfiction is more than autobiography. It is personal essay, literary journalism, eco-writing, travel writing, lyric essay, memoir, and so much more. Creative nonfiction encompasses forms like braided, hermit crab, and flash. In this class, creative writers will read examples of and write their own creative nonfiction (CNF). We will explore different forms of CNF, along with applying fiction, poetry, and research techniques to tell true stories that make a difference. Students will lead discussions on select works and topics. In-class and at-home writing exercises will help students build a repertoire of skills and a plethora of writing from which to select at least three workshop pieces. Class workshops are cooperative and intended to help students build on their strengths to improve their writing and storytelling. A portfolio of revised work will be the final requirement of the class.
This participation-intensive course offers an introduction to the writing of fiction, creative nonfiction, and poetry. Students will learn fundamental craft elements, read and discuss published works, and produce their own poems, stories, and essays to be workshopped in small groups. CRW 201 partially satisfies University Studies II: Approaches and Perspectives/Aesthetic, Interpretive, and Literary Perspectives. Sections 001-007 all meet together in an auditorium on Tuesdays with Nina de Gramont, then the individual sections meet on Thursdays in classrooms with the assigned GTA.
 
Passports Please!! In this intermediate poetry workshop, we will be studying a variety of international poets, focusing not only on their techniques, but also the subject matters and themes they chose to highlight and their relevance to the past and the present. Along with individual poems from various poets, we will be carefully analyzing collections of poetry such as Deaf Republic, The Book of Questions, The City in Which I Love you, and A History of Disappearance. Students will also be required to submit their own poetry. Poems will be workshopped, critiqued, with opportunities to revise throughout the semester. The main goal of this class is for the student to hone their poetic craft, using cultural voices and subjects as inspiration. A final portfolio of new and revised work, along with a paper analyzing a poetry collection of choice will be submitted at the end of the semester.
 
 
"Fill your paper with the breathings of your heart" - William Wordsworth. While journaling can take on different forms and tones, the one thing all journaling has in common is it is very personal. In this class, students will explore the art of journal writing, reading and analyzing examples from prolific journal writers to learn how to best convey personal thoughts or specific moments in time. Students will explore the comical and raw tones of journal writing as seen in Kitchen Confidential and Bridget Jones Diary, as well as the more traditional and informative entries from A Gentleman in Moscow and The Diary of Virginia Wolfe. The class will also explore poetic forms of journaling as demonstrated by Pablo Neruda. Throughout the semester, students will continuously cultivate their own journal writing techniques and tone through in-class exercises as well as assigned journal prompts. Workshopping and critiquing of both student and assigned text writing will be integral in class discussion.
 
 
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 two parts: formal lectures on Tuesdays and smaller, discussion-based sections on Thursdays. Lectures will be given by the professor and invited industry professionals and break-out sessions will be led by the class TAs. 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.]
 
This course offers hands-on training in the basics of effective graphic design and typography for book publishing. Students will become familiar with the Adobe Creative Suite, in particular InDesign and Photoshop, while completing a progressively complex series of projects, culminating in a finished chapbook of their own work, which will be designed, printed, and bound by the student. The course also incorporates a survey history of design and 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 work in the Publishing Laboratory outside of class hours. [Note: Bookbuilding counts toward the BFA degree and the 12-hour Certificate in Publishing.]
The lack of diversity in publishing has been a subject of conversation in recent years. Steps to remedy the situation have included embracing social media and technology; an increase in collaborations among allies, professionals, and writers; the active pursuit of stories from marginalized and underrepresented communities; and the creation of safe, visible, and accessible spaces in conferences and seminars. This course will attempt to understand and analyze what constitutes an inclusive book culture and strategies that can meaningfully make a difference. Through discussions, research, readings, and writing assignments, students will engage with and respond to a variety of sources and perspectives while learning about how issues of diversity affect the wider culture.
This course is designed to give students a practical magazine publishing experience. The class is a practicum not a lecture. As such, students will read and respond to submissions, work on editing projects, search for possible cover art, and assist with design work. Most of our work is done in teams. Undergraduate students work with a graduate team leader on a variety of projects. Students may repeat for credit.
 
In this open-genre workshop, students will write, revise, and critique their own writing. This course is an opportunity for you to take risks and write whatever you may have lacked the freedom or courage to write in the past. While we will discuss readings by various authors about their unique motivations as writers, this class will be primarily a workshop wherein you will explore your motivations and interests with respect to the writing craft. By the end of this semester, at least one piece students have written for this class should be ready to submit for publication.
Octavio Paz said: "Translation is an art of analogy, the art of finding correspondences. An art of shadows and echoes…" Charles Baudelaire said that poetry is essentially analogy. The idea of universal correspondence comes from the idea that language is a micro cosmos, a double of the universe. Between the language of the universe and the universe of language, there is a bridge, a link: poetry. The poet, says Baudelaire, is the translator." In this class we will study multiple translations of single poems, examine the choices and strategies of translation. In addition, each student in the class will also provide weekly contributions of their own translation of given poems. These translations will serve as focal points for the larger subject of translation, that of the poet and writer as translator. This class is co-taught by Professor, Claudia Desblaches at the University of Rennes 2 in Rennes, France. We will virtually collaborate with her class during shared weekly meetings. For this class, knowledge of a second language is welcome but not at all necessary.
Will focus on aspects of place in poetry. This could include prose poetry, if that is of more interest to prose writing students.
What can a novel do? What questions should it ask? How does one even begin to approach such a daunting task as novel writing? The goal of this course is to answer these questions and offer practical techniques for building a novel. In a workshop setting, we'll consider subjects such as story structure and scene-building as students share original work. By the end of the course, students will have produced a novel outline and drafted the first chapters of their book.
[Students must have been accepted into the Certificate in Publishing program and must have completed CRW 321, 322, and 323. To apply to the Lookout practicum, please reach out to the instructor by email in advance of registration.] Want to gain experience working for an independent publishing house? A select group of undergraduate students works alongside the graduate-student team to support the work of the department's award-winning literary imprint, Lookout Books (lookout.org). This practical course functions as an internship and provides hands-on experience in our daily operations. Interns research marketing and publicity; ship review copies and press kits; design, produce, and mail books and promotional materials; and write copy for social media. Practicum students work approximately 9 hours weekly in the Publishing Lab, including a 2.45-hour staff meeting. 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, teamwork, and dedication. May be repeated once for credit. [Note: This course counts toward the BFA degree and the capstone requirement in the 12-hour Certificate in Publishing.]
Students must have been accepted into the Certificate in Publishing program in order to receive permission to enroll in the Publishing Practicum. Prerequisites: CRW 321, 322, 323. Up to five interns support the work of The Publishing Laboratory, with responsibility for editing, designing, producing, and promoting the senior BFA anthology in conjunction with CRW 496, the senior seminar. Practicum students work 9 hours weekly in the Lab (including a staff meeting), under faculty supervision. 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. [Note: This course counts toward the BFA degree and the 12-hour Certificate in Publishing.]
Students must have been accepted into the Certificate in Publishing program in order to receive permission to enroll in the Publishing Practicum. Prerequisites: CRW 321, 322, 323 Up to five interns support the work of The Publishing Laboratory, with responsibility for editing, designing, producing, and promoting the senior BFA anthology in conjunction with CRW 496, the senior seminar. Practicum students work 9 hours weekly in the Lab (including a 2-hour meeting), under faculty supervision. Completion of CRW 321, 322, and 323, with a minimum grade of B in 321 and 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. [Note: This course counts toward the BFA degree and the 12-hour Certificate in Publishing.]
In this class we will ask and address questions such as: What does it mean to be a writer in the world today and what is the writer's purpose and responsibilities and how can we even prepare for such a vocation? We will read and workshop stories and work together to each assemble a BFA thesis to which each student will write a critical preface. We will discuss professional issues such as applying to graduate school, working regular jobs and teaching and publishing. We will familiarize ourselves with the world of literary journals and magazines and submit our poems and stories for publication.
In Senior Seminar, students consolidate and polish a selection of work from the past three semesters into a cohesive manuscript representing the best of their writing, and then use that manuscript as the basis of two other audience-focused projects. The first of these is a public reading given with other members of the seminar; the second is the creation of a class anthology to be edited and published by The Publishing Laboratory. The Seminar also considers issues facing writers post-graduation, such as how to stay motivated and how to create a supportive writing community.
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