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In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit­hole, and that means comfort. It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. The door opened on to a tube­shaped hall like a tunnel: a very comfortable tunnel without smoke, with panelled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats ­ the hobbit was fond of visitors. The tunnel wound on and on, going fairly but not quite straight into the side of the hill ­ The Hill, as all the people for many miles round called it ­ and many little round doors opened out of it, first on one side and then on another. No going upstairs for the hobbit: bedrooms, bathrooms, cellars, pantries (lots of these), wardrobes (he had whole rooms devoted to clothes), kitchens, dining­rooms, all were on the same floor, and indeed on the same passage. The best rooms were all on the left­hand side (going in), for these were the only ones to have windows, deep­set round windows looking over his garden and meadows beyond, sloping down to the river. This hobbit was a very well­to­do hobbit, and his name was Baggins. The Bagginses had lived in the neighbourhood of The Hill for time out of mind, and people considered them very respectable, not only because most of them were rich, but also because they never had any adventures or did anything unexpected: you could tell what a Baggins would say on any question without the bother of asking him. This is a story of how a Baggins had an adventure, found himself doing and saying things altogether unexpected. He may have lost the neighbours' respect, but he gained­well, you will see whether he gained anything in the end.In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit­hole, and that means comfort. It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. The door opened on to a tube­shaped hall like a tunnel: a very comfortable tunnel without smoke, with panelled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats ­ the hobbit was fond of visitors. The tunnel wound on and on, going fairly but not quite straight into the side of the hill ­ The Hill, as all the people for many miles round called it ­ and many little round doors opened out of it, first on one side and then on another. No going upstairs for the hobbit: bedrooms, bathrooms, cellars, pantries (lots of these), wardrobes (he had whole rooms devoted to clothes), kitchens, dining­rooms, all were on the same floor, and indeed on the same passage. The best rooms were all on the left­hand side (going in), for these were the only ones to have windows, deep­set round windows looking over his garden and meadows beyond, sloping down to the river. This hobbit was a very well­to­do hobbit, and his name was Baggins. The Bagginses had lived in the neighbourhood of The Hill for time out of mind, and people considered them very respectable, not only because most of them were rich, but also because they never had any adventures or did anything unexpected: you could tell what a Baggins would say on any question without the bother of asking him. This is a story of how a Baggins had an adventure, found himself doing and saying things altogether unexpected. He may have lost the neighbours' respect, but he gained­well, you will see whether he gained anything in the end.In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit­hole, and that means comfort. It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. The door opened on to a tube­shaped hall like a tunnel: a very comfortable tunnel without smoke, with panelled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats ­ the hobbit was fond of visitors. The tunnel wound on and on, going fairly but not quite straight into the side of the hill ­ The Hill, as all the people for many miles round called it ­ and many little round doors opened out of it, first on one side and then on another. No going upstairs for the hobbit: bedrooms, bathrooms, cellars, pantries (lots of these), wardrobes (he had whole rooms devoted to clothes), kitchens, dining­rooms, all were on the same floor, and indeed on the same passage. The best rooms were all on the left­hand side (going in), for these were the only ones to have windows, deep­set round windows looking over his garden and meadows beyond, sloping down to the river. This hobbit was a very well­to­do hobbit, and his name was Baggins. The Bagginses had lived in the neighbourhood of The Hill for time out of mind, and people considered them very respectable, not only because most of them were rich, but also because they never had any adventures or did anything unexpected: you could tell what a Baggins would say on any question without the bother of asking him. This is a story of how a Baggins had an adventure, found himself doing and saying things altogether unexpected. He may have lost the neighbours' respect, but he gained­well, you will see whether he gained anything in the end.In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit­hole, and that means comfort. It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. The door opened on to a tube­shaped hall like a tunnel: a very comfortable tunnel without smoke, with panelled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats ­ the hobbit was fond of visitors. The tunnel wound on and on, going fairly but not quite straight into the side of the hill ­ The Hill, as all the people for many miles round called it ­ and many little round doors opened out of it, first on one side and then on another. No going upstairs for the hobbit: bedrooms, bathrooms, cellars, pantries (lots of these), wardrobes (he had whole rooms devoted to clothes), kitchens, dining­rooms, all were on the same floor, and indeed on the same passage. The best rooms were all on the left­hand side (going in), for these were the only ones to have windows, deep­set round windows looking over his garden and meadows beyond, sloping down to the river. This hobbit was a very well­to­do hobbit, and his name was Baggins. The Bagginses had lived in the neighbourhood of The Hill for time out of mind, and people considered them very respectable, not only because most of them were rich, but also because they never had any adventures or did anything unexpected: you could tell what a Baggins would say on any question without the bother of asking him. This is a story of how a Baggins had an adventure, found himself doing and saying things altogether unexpected. He may have lost the neighbours' respect, but he gained­well, you will see whether he gained anything in the end.In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit­hole, and that means comfort. It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. The door opened on to a tube­shaped hall like a tunnel: a very comfortable tunnel without smoke, with panelled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats ­ the hobbit was fond of visitors. The tunnel wound on and on, going fairly but not quite straight into the side of the hill ­ The Hill, as all the people for many miles round called it ­ and many little round doors opened out of it, first on one side and then on another. No going upstairs for the hobbit: bedrooms, bathrooms, cellars, pantries (lots of these), wardrobes (he had whole rooms devoted to clothes), kitchens, dining­rooms, all were on the same floor, and indeed on the same passage. The best rooms were all on the left­hand side (going in), for these were the only ones to have windows, deep­set round windows looking over his garden and meadows beyond, sloping down to the river. This hobbit was a very well­to­do hobbit, and his name was Baggins. The Bagginses had lived in the neighbourhood of The Hill for time out of mind, and people considered them very respectable, not only because most of them were rich, but also because they never had any adventures or did anything unexpected: you could tell what a Baggins would say on any question without the bother of asking him. This is a story of how a Baggins had an adventure, found himself doing and saying things altogether unexpected. He may have lost the neighbours' respect, but he gained­well, you will see whether he gained anything in the end.In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit­hole, and that means comfort. It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. The door opened on to a tube­shaped hall like a tunnel: a very comfortable tunnel without smoke, with panelled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats ­ the hobbit was fond of visitors. The tunnel wound on and on, going fairly but not quite straight into the side of the hill ­ The Hill, as all the people for many miles round called it ­ and many little round doors opened out of it, first on one side and then on another. No going upstairs for the hobbit: bedrooms, bathrooms, cellars, pantries (lots of these), wardrobes (he had whole rooms devoted to clothes), kitchens, dining­rooms, all were on the same floor, and indeed on the same passage. The best rooms were all on the left­hand side (going in), for these were the only ones to have windows, deep­set round windows looking over his garden and meadows beyond, sloping down to the river. This hobbit was a very well­to­do hobbit, and his name was Baggins. The Bagginses had lived in the neighbourhood of The Hill for time out of mind, and people considered them very respectable, not only because most of them were rich, but also because they never had any adventures or did anything unexpected: you could tell what a Baggins would say on any question without the bother of asking him. This is a story of how a Baggins had an adventure, found himself doing and saying things altogether unexpected. He may have lost the neighbours' respect, but he gained­well, you will see whether he gained anything in the end.In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit­hole, and that means comfort. It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. The door opened on to a tube­shaped hall like a tunnel: a very comfortable tunnel without smoke, with panelled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats ­ the hobbit was fond of visitors. The tunnel wound on and on, going fairly but not quite straight into the side of the hill ­ The Hill, as all the people for many miles round called it ­ and many little round doors opened out of it, first on one side and then on another. No going upstairs for the hobbit: bedrooms, bathrooms, cellars, pantries (lots of these), wardrobes (he had whole rooms devoted to clothes), kitchens, dining­rooms, all were on the same floor, and indeed on the same passage. The best rooms were all on the left­hand side (going in), for these were the only ones to have windows, deep­set round windows looking over his garden and meadows beyond, sloping down to the river. This hobbit was a very well­to­do hobbit, and his name was Baggins. The Bagginses had lived in the neighbourhood of The Hill for time out of mind, and people considered them very respectable, not only because most of them were rich, but also because they never had any adventures or did anything unexpected: you could tell what a Baggins would say on any question without the bother of asking him. This is a story of how a Baggins had an adventure, found himself doing and saying things altogether unexpected. He may have lost the neighbours' respect, but he gained­well, you will see whether he gained anything in the end.In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit­hole, and that means comfort. It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. The door opened on to a tube­shaped hall like a tunnel: a very comfortable tunnel without smoke, with panelled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats ­ the hobbit was fond of visitors. The tunnel wound on and on, going fairly but not quite straight into the side of the hill ­ The Hill, as all the people for many miles round called it ­ and many little round doors opened out of it, first on one side and then on another. No going upstairs for the hobbit: bedrooms, bathrooms, cellars, pantries (lots of these), wardrobes (he had whole rooms devoted to clothes), kitchens, dining­rooms, all were on the same floor, and indeed on the same passage. The best rooms were all on the left­hand side (going in), for these were the only ones to have windows, deep­set round windows looking over his garden and meadows beyond, sloping down to the river. This hobbit was a very well­to­do hobbit, and his name was Baggins. The Bagginses had lived in the neighbourhood of The Hill for time out of mind, and people considered them very respectable, not only because most of them were rich, but also because they never had any adventures or did anything unexpected: you could tell what a Baggins would say on any question without the bother of asking him. This is a story of how a Baggins had an adventure, found himself doing and saying things altogether unexpected. He may have lost the neighbours' respect, but he gained­well, you will see whether he gained anything in the end.In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit­hole, and that means comfort. It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. The door opened on to a tube­shaped hall like a tunnel: a very comfortable tunnel without smoke, with panelled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats ­ the hobbit was fond of visitors. The tunnel wound on and on, going fairly but not quite straight into the side of the hill ­ The Hill, as all the people for many miles round called it ­ and many little round doors opened out of it, first on one side and then on another. No going upstairs for the hobbit: bedrooms, bathrooms, cellars, pantries (lots of these), wardrobes (he had whole rooms devoted to clothes), kitchens, dining­rooms, all were on the same floor, and indeed on the same passage. The best rooms were all on the left­hand side (going in), for these were the only ones to have windows, deep­set round windows looking over his garden and meadows beyond, sloping down to the river. This hobbit was a very well­to­do hobbit, and his name was Baggins. The Bagginses had lived in the neighbourhood of The Hill for time out of mind, and people considered them very respectable, not only because most of them were rich, but also because they never had any adventures or did anything unexpected: you could tell what a Baggins would say on any question without the bother of asking him. This is a story of how a Baggins had an adventure, found himself doing and saying things altogether unexpected. He may have lost the neighbours' respect, but he gained­well, you will see whether he gained anything in the end.In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit­hole, and that means comfort. It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. The door opened on to a tube­shaped hall like a tunnel: a very comfortable tunnel without smoke, with panelled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats ­ the hobbit was fond of visitors. The tunnel wound on and on, going fairly but not quite straight into the side of the hill ­ The Hill, as all the people for many miles round called it ­ and many little round doors opened out of it, first on one side and then on another. No going upstairs for the hobbit: bedrooms, bathrooms, cellars, pantries (lots of these), wardrobes (he had whole rooms devoted to clothes), kitchens, dining­rooms, all were on the same floor, and indeed on the same passage. The best rooms were all on the left­hand side (going in), for these were the only ones to have windows, deep­set round windows looking over his garden and meadows beyond, sloping down to the river. This hobbit was a very well­to­do hobbit, and his name was Baggins. The Bagginses had lived in the neighbourhood of The Hill for time out of mind, and people considered them very respectable, not only because most of them were rich, but also because they never had any adventures or did anything unexpected: you could tell what a Baggins would say on any question without the bother of asking him. This is a story of how a Baggins had an adventure, found himself doing and saying things altogether unexpected. He may have lost the neighbours' respect, but he gained­well, you will see whether he gained anything in the end.

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The ship, the stalwart vessel known as 'The Serenity Mariner,' was plunged into chaos as the sky became a swirling maelstrom of opalescent tendrils. The flying jellyfish, their bioluminescent bodies illuminating the blackened sky, descended upon the ship with an otherworldly fury. Their membranous bodies pulsated as they sailed through the air, their long, poisonous tentacles trailing behind them like deadly streamers.

Captain Anabelle "Storm-Eye" Hawthorne stood at the helm, her grip firm on the worn, salt-crusted wheel. Her eyes, the color of the stormy sea itself, narrowed as she watched the spectral onslaught. Years of navigating treacherous waters had hardened her, but she'd never faced a tempest of living, breathing creatures before.

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Hit the "Generate Text" button. Squibler's AI will instantly provide you with creative text based on your input.

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Log in or create an account to refine and integrate the generated text into your content using various Squibler tools. Once satisfied, you can save or export your final content in your preferred format.

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Open-Ended Generation: Begin a story/piece with a broad theme or idea.

Example: "Write a story about the concept of time."

Specific Generation: Request a piece on a precise topic.

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First Line Generation: Provide an opening sentence.

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Persuasive or Argumentative Generation: Write a persuasive argument.

Example: "Argue for or against the use of renewable energy sources."

Poetry Generation: Encourage poetic composition.

Example: "Compose a haiku about a blooming cherry blossom."

Daily or Journaling Generation: Prompt daily journaling.

Example: "Write about your most memorable moment from today."

Flash Fiction Generation: Create a very short story.

Example: "Write a 100-word story about a lost key."

Random Word or Object Generation: Include a random word or object.

Example: "Incorporate the word 'umbrella' into your story."

What is Writing Prompt Generator?

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How to use Writing Prompt Generator?

Step1. Select a Prompt Type. Step2. Click the Generate Button. Step3. Get the Universal Prompt Structure and add the area [] you want. Step4. Copy the Prompt. Step5. Paste into GPT (Any Chat Bot) and find better results.

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A collaborative creative writing app where stories are built line by line.

Contribute to multiplayer stories, seeing only what the previous author wrote. modeled on the game exquisite corpse, each creation is gloriously unique still curious learn more..

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Stories in need of a line, what is byline.

A multiplayer creative writing experience where a group of authors creates a story, one line at a time.

How does it work?

Loosely based on exquisite corpse, each author writes a line having only seen the line directly before theirs. Once complete, the creator titles the story and shares it with the group.

Is this a game?

Yes! Get started by creating a story and sharing it with friends. Don't know any writers? No problem. Post your story to Byline and you'll meet some!

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Public stories, private stories.

If you invite individual people (by username, email, or phone number) and make sure Plus others on Byline is deselected then your story becomes private and only those invited can contribute.

What's a breadcrumb?

Breadcrumbs give authors an opportunity to select a key word/phrase from their line that they think is important. Breadcrumbs are visible for the life a the story and can act as clues that offer additional context.

They are optional, but fun to add!

What's a sequel?

Sequels are stories spawned from the last line of other stories. To create a sequel go to the bottom of a finished story and select Write More → Create sequel based on this story .

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Changes are automatically synced and backed up to the cloud as you write.

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What is Reedsy Studio?

Reedsy Studio is an all-in-one book production tool that allows you to effortlessly plan, write, edit, and format any piece of writing for publishing. Built for authors by authors, it’s helped hundreds of thousands of authors publish beautiful books to date.

Can I use Studio offline?

Not yet. As of right now, you can only access Studio through an online browser, though we plan to make offline use a paid feature in the future.

How can I write a book on Reedsy Studio?

Simply go to https://editor.reedsy.com/ and sign up for a free account! You’ll be taken straight to your dashboard, where you can begin writing a book immediately. Within the app, you’ll gain access to a powerful array of features, from the ability to set writing goals to a variety of ways to format your text. Reedsy Studio will also automatically typeset your book to professional industry standards for you, so that you only need to concentrate on one thing: writing your book.

Will I be able to see my version history?

Yes, Reedsy Studio automatically saves previous versions of your work. When you’re in the app, simply navigate to “Writing Timeline” in the panel on the right to view all versions of the book you’re writing. You can also star different versions of your manuscript for easy access.

Can I create writing goals for myself?

Absolutely! Reedsy Studio comes with an in-built feature to keep you on track with your writing goals. On top of the overall word count goal for the manuscript that you set, you can also create time-sensitive goals (for instance, a weekly word count goal, or daily and sprints-related goals).

Do I keep the copyright to my words?

Yes! To learn more about the copyright to your work, we also recommend reading this blog post .

Will my work be used to train AI?

No. We guarantee that your works, your books, and your words are your own. We will never use it to train AI. Nor did we build Reedsy Studio for that purpose.

Is Studio free to use?

Yes! Reedsy Studio is currently 100% free. There will be premium features available for purchase in the future, but they are optional. Every functionality that you need to write a book in Reedsy Studio will remain free.

I’d like to share feedback about Reedsy’s already-awesome writing software and make it even better! How can I do that?

We work hard to improve our product. Feel free to email us at [email protected] with some feedback and we’ll get back to you as soon as possible.

Storyboard That

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Online Comic Maker

One amazing free comic creator, multiple editions for your creation needs, comics in education.

Create comics with Storyboard That in your Classroom

Encourage reluctant readers or reluctant writers to get more involved in their schoolwork by making a comic strip online!

Comics in Business

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Boost morale and get the point across with some fun relief. Creating your own custom comic strip can strengthen collaboration!

Comics in Life

Create comics for fun!

Using our comic book maker online, you can create a comic book, graphic novel, or comic strip for a blog, social media, or printing!

What is a Comic Strip?

A comic strip is a sequential art form that tells a story through a series of illustrated panels. It typically combines images and text to convey narratives, humor, or messages in a visually engaging format. The panels are arranged in a specific order to guide readers through the storyline, and dialogue or captions are used to provide additional context or convey character thoughts and emotions.

They are often published in newspapers, magazines, and online platforms, providing entertainment and commentary on a wide range of subjects. Comic strips offer a unique and creative way to engage readers, express ideas, and explore storytelling through the power of visuals and words.

Comics tell stories through sequential artwork

Comics in Education!

With a comic creator online, students create their own masterpiece to show they understand a process or concept:.

  • Reinforce reading comprehension
  • Enhance understanding of complex literary topics like conflict and irony
  • Address differentiated learning types
  • Develop creative writing skills
  • Reinforce understanding through the retelling of a historical event

Find more examples of why Comics are Great in education!

Learn more about our education edition and start your Free Trial.

For Your Business or Team!

Work doesn't have to be a stressful place. humor can help boost morale and get the point across..

  • Fun in difficult situations
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Strengthen collaboration by having your team create something together. Find more great examples why Comics are Great for your company!

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Bring the power of comics to your team

Comics for Personal Use

We love posting and sending funny things to our friends and to the world. making your own masterpiece is easy and fun with comic strip generator like storyboard that. try it today for:.

  • Your Website
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  • So much more!

Why Do People Like to Use Storyboard That to Create Comics?

Our comic strip creator is not only a fun and engaging tool, but it also offers great educational value. Teachers can use it to enhance their lessons and make learning more interactive. With our platform, students can express their ideas, showcase their understanding of a subject, or even become a comic character creator for a class project. The possibilities are endless!

Whether you're creating for entertainment, education, or personal expression, our free comic maker for kids provides you with the freedom to bring your ideas to life. So, don't wait any longer. Get started with our comic creator free and unlock a world of creativity today!

Creating captivating and impressive projects is a breeze with our comic book maker. Whether you're a seasoned artist or just starting out, Storyboard That will help you unleash your creativity and make something amazing.

Love Comics? Comic Book Creator

Everyone loves comics!

Are you ready to dive into the exciting world of comic strips? Our creator is the perfect tool to unleash your creativity and bring your ideas to life. Whether you're a student looking to create something educational, or you are a budding artist wanting to explore the art of storytelling, our free comic strip maker for students and adults is here to help you every step of the way.

With our user-friendly interface and a wide range of templates, you can easily create your own masterpiece in just a few clicks. Let your imagination run wild as you design captivating characters, craft compelling dialogue, and set the stage for your unique stories.

Comics are Great For

Some of our favorite reasons to create comics.

  • Reading Comprehension
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  • Explain a Process/Concept in STEM (and beyond)
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  • Explaining a Process
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  • Instructions for Your Customers

Image what you can do with the power of comics

Storyboard That Comic Book Templates

Example of Template of Creating a comic with Storyboard That

With our comic character maker and builder, and other powerful features, you have all the tools you need to create your own masterpiece. Unleash your imagination, experiment with different styles and techniques, and have fun expressing your creativity through art. Start creating amazing projects today with our comic strip maker and let your storytelling skills shine!

Take your skills to the next level by exploring other exciting features on our website. Our storyboard maker allows you to visually plan and organize your story ideas, while our book maker enables you to bring your ideas to life in a professionally designed book format. Dive into the world of storytelling with Storyboard That and unleash your creativity like never before.

How to make a comic strip

How To Make a Comic Strip

Click on the “create a storyboard” button.

This will bring you to our state of the art, easy to use comic maker.

Give Your Masterpiece a Name

Be sure to call your project something specific so that you can easily find it in the future.

Choose a Layout

Use the comic generator to choose a layout. To do this, click on the “layout” button in the right hand menu. This is where you can add and delete cells, and add titles and descriptions if you would like.

Find the perfect scenes for the setting; all of our scenes are customizable! Simply drag the scene into the cell, and edit as you wish. Look for the "Edit Scene" button on the menu!

Add Characters and Items

Find and customize characters. We have TONS to choose from! Use our filter to help narrow your search. Next, choose from our thousands of items. Check out the "items" category, or search for anything in the search bar.

Add Dialogue

Add dialogue and thought bubbles by clicking on the “speech bubbles” categories. We have all kinds of styles to choose from.

Add Additional Text

Did you include a title and/or description box in your layout? Add your text in the boxes to make your comic even more exciting and unique!

Click "Save and Exit"

When you are finished with your work, click the button in the lower right hand corner to exit. From here you can print, download it as a PDF, share it digitally, and more. Well done!

Frequently Asked Questions about The Comic Maker

Why make comic strips.

They are a fun and engaging way for students to show what they know, and they are excellent visual tools. Our comic strip maker for students allows students to use characters, images, scenes, and speech bubbles to tell a story. When they create art rather than typing or writing out a summary or essay, students hardly feel like they are working!

Can I make a comic book online?

Yes, you can! Storyboard That makes it simple to create comic strips and make your own comic book! Check out our images, scenes, characters, and so much more today!

What is a graphic novel maker?

A graphic novel is often synonymous with a comic strip or book. Our comic maker online makes it simple to create either from scratch! Check out our graphic novel templates and comic strip templates to help you get started!

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Writing Challenges

Come back everyday for a new daily writing challenge from daily poetry challenges to our short story challenge, explore the full list of available challenges below..

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Describe this random image in at least 100 words.

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The Best Apps for Distraction-Free Writing

Hands writing on computers with black squiggle background

We are bombarded by distractions every moment of every day. Some of them are of our own making; others are basically unavoidable. As I sat writing this story my Fitbit reminded me to get up and move, I received well over 100 emails, Duolingo told me it was time for a lesson, Google let me know it was screening a suspicious call , and I received an alert to water my plants. All of this noise would make it hard to accomplish any task, but it’s particularly problematic when you’re trying to write.

Even the tiniest of distractions can completely disrupt your flow when you’re trying to put words down on a page, and so a whole cottage industry has cropped up around making tools for distraction-free writing. These apps can’t stop telemarketers from calling you or deflect the deluge of Instagram notifications, but they do strip away the extraneous nonsense found in traditional word processors like rulers, toolbars, and tables, and focus on what’s most important: words.

Distraction-free writing apps come in a variety of shapes and sizes, and at various price points. Here are a few of my favorites.

Google Docs

Sometimes the best tool is the one you’re already using. Google Docs wouldn’t qualify as “distraction-free” by most measures. It has all the bells and whistles you’d expect from an office suite. But if you go up to the View menu and click “Full screen,” you get a surprisingly clean and minimal interface.

In full screen mode, you see a page with words, rulers along the top and sides, and a document outline on the left. That’s it. The toolbar and most other interface elements are removed. You can hide the rulers and document outline as well; just go to the View menu.

A screenshot of the Google Docs writing application.

To make Docs as close to the other distraction-free apps in this roundup, go to Tools, Preferences, and turn on Enable Markdown. This allows you to format your work with simple text cues like putting words between asterisks to style them with italics. My biggest complaint is that there’s no dark mode for Google Docs at the moment.

The best feature of Google Docs though, is the price: Free.

At the other end of the price spectrum is iA Writer . The desktop app for macOS is $50. And if you want to use it on your iPad or iPhone, that’s another $50. Windows and Android users get a bit better of a deal at $30, but the experience isn’t quite as smooth, and features generally come to Apple’s platforms first.

That being said, I think it might provide the best experience of the bunch. Even in standard mode, iA Writer is a clean and minimal text editor with a decent amount of customization and support for simple Markdown formatting .

But the real magic happens when you click the focus mode button in the top bar. There are a few ways to customize focus mode, but by default the line you’re actively typing on is highlighted and centered. As you move on to the next line, the completed text fades to a dull gray and moves upwards. It’s not too different from what you’d experience with a typewriter.

A screenshot of the iA writing application.

iA Writer has dark mode and shortcut integration for macOS, iOS, and iPadOS. Plus it’s just plain pretty. Given the high price though, you have to be pretty dedicated to the idea of a distraction-free working environment to spring for iA Writer.

The basic layout and feature set of Ulysses isn’t terribly different from iA Writer. There’s a sidebar for navigating and organizing your files, and a large main pane for composing. But it’s definitely more feature-rich, including tools for goal tracking and proofreading. Thanks to its simple but thoughtful organization system, you could probably even use Ulysses as a note-taking app in a pinch.

A screenshot of the interface for Ulysses.

Like iA Writer it has a typewriter mode with line highlighting and text scrolling. But you have to turn on the various parts of it individually the first time. One of its bigger draws is its styles that allow you to export documents using templates customized for scripts, novels, blog posts, and more.

The knock against Ulysses is that it’s available only as a $40 annual subscription. And it’s strictly for macOS, iOS, and iPadOS. If you’re a Windows user, you’re out of luck.

FocusWriter

This is perhaps the most bare-bones of the bunch, but it shouldn’t be overlooked. FocusWriter has all the basics you’d expect from a text editor, including spell check and the ability to have multiple documents open simultaneously. It also has tools for serious writers, like stat tracking and goal setting.

Unlike most of the other apps here, FocusWriter uses rich text (RTF) for formatting instead of Markdown. It probably has the most customizable interface of the bunch, though. You can meticulously choose the interface colors, fonts, and background.

A screenshot of the Focus Writer writing application.

One of the biggest draws will be that it’s free and open source, though right now it’s available for Windows and Linux only. While you can probably get it running on macOS if you know your way around a command line, it will take some legwork, and there’s no mobile client or file syncing.

The idea of distraction-free writing is, inherently, kind of gimmicky. But OmmWriter is probably the most gimmicky of the bunch. It doesn’t just strip away the extraneous nonsense; it aims to immerse you in an environment conducive to a flow state. That includes gentle soundscapes to help you focus and even various typing sound effects to enhance the vibes.

If you want more audible feedback while typing, but don’t want to invest in a nice mechanical keyboard, this might do the job. Though, the very slight lag between your fingers hitting the keys and the sound coming out of the speakers bugged me.

Otherwise, the UI is pretty bare, with a resizable text box in the center and a few buttons to the right for changing settings. It’s the cheapest of the commercial options here at $9.93 for macOS or Windows. But you can also give it a whirl in your browser by playing with a stripped down version for free.

Scrivener has a dedicated following among long-form writers, and for good reason. While the app does have an excellent distraction-free mode, complete with typewriter-style scrolling, it also sports advanced organizing tools that you’re sure to appreciate if you’re working on a book or a screenplay. It’s made specifically with longer writing projects in mind.

Its project outlines make it simple to collect research or rearrange ideas until you find what clicks. When it comes time to actually write, the full screen composition mode gets rid of everything but the text box. It’s the most minimal of editors.

A screenshot of the interface for the Scrivener writing application.

Scrivener is available on macOS and Windows for $60, or iOS for $24. Unfortunately you will have to purchase a separate license for each platform, which could get expensive if you use multiple devices.

This is perhaps the best deal of the bunch if you’re looking for a true distraction-free experience without having to jump through a lot of hoops. For $15, Calmly offers some customization of the interface and basic stat tracking, but mostly it’s just focused on writing.

A screenshot of the Calmy Writer writing application.

Like many of the other apps, Calmly is Markdown based, so your resulting files are just plaintext and easily transferred between apps. What you won’t find here are any file management tools or flashy export options, though it does allow you to insert images and add comments, which many of the other apps don’t.

Calmly is available as a desktop app for Windows, Linux, and macOS, but there’s also a stripped down web-based version that is free.

Obsidian isn’t really a distraction-free writing app; it’s a full-featured notetaker. But its clean UI and reliance on Markdown make it a pretty solid writing tool. Plus, its wealth of customization options and deep catalog of extensions mean you can turn Obsidian into the specific writing environment that suits your needs. You can add typewriter-like modes, or set up goal tracking to monitor your productivity. You can just as easily remove features and strip away any of the bits you don't want.

A screenshot of the interface for the Obsidian writing application.

The best part is that Obsidian is free for personal use. If you want to use it as more than just a text editor, I highly recommend you spring for the $4 monthly subscription. This enables file syncing, which keeps all your work in order across all your devices. Obsidian is also platform agnostic and available for macOS, iOS, iPadOS, Windows, Android, and Linux. Just don't let browsing and trying out all those extensions become a distraction itself.

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Master of Fine Arts in Creative Writingm, Distance Education (MFA)

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Creative Writers are at the heart of our cultural industries. Poets, novelists, screenwriters, playwrights, graphic novelists, magazine writers: they entertain, inform and inspire. For more than 15 years, UBC's Creative Writing program has been educating writers through distance education in a program which complements our long-standing on-campus MFA program.

A studio program with the writing workshop at its heart, the distance MFA focuses on the work created by students as the primary text. Through intensive peer critique and craft discussion, faculty and students work together with the same goal: literary excellence.

The MFA granted to distance students is the same degree as granted to on-campus students, and the same criteria of excellence in multiple genres of study apply.

For specific program requirements, please refer to the departmental program website

What makes the program unique?

UBC's Optional-Residency (Distance) MFA was the first distance education MFA program in Canada and remains the only full MFA which can be taken completely online. It is designed to be uniquely flexible, allowing students across Canada and around the world to study writing at the graduate level while still living in their local communities and fulfilling career and family obligations.

The program is unique globally for its multi-genre approach to writing instruction: students are required to work in multiple genres during the course of the degree. As a fine arts program rather than an English program, students focus on the practice of writing rather than the study of literature. Students may work on a part-time basis, taking up to five years to complete the degree.

My time in the Creative writing grad program at UBC has given me the discipline and focus I need to complete long-form writing pieces and larger poetry projects.

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Quick Facts

Program enquiries, admission information & requirements, program instructions.

The optional residency MFA (distance) program only has a July intake.

1) Check Eligibility

Minimum academic requirements.

The Faculty of Graduate and Postdoctoral Studies establishes the minimum admission requirements common to all applicants, usually a minimum overall average in the B+ range (76% at UBC). The graduate program that you are applying to may have additional requirements. Please review the specific requirements for applicants with credentials from institutions in:

  • Canada or the United States
  • International countries other than the United States

Each program may set higher academic minimum requirements. Please review the program website carefully to understand the program requirements. Meeting the minimum requirements does not guarantee admission as it is a competitive process.

English Language Test

Applicants from a university outside Canada in which English is not the primary language of instruction must provide results of an English language proficiency examination as part of their application. Tests must have been taken within the last 24 months at the time of submission of your application.

Minimum requirements for the two most common English language proficiency tests to apply to this program are listed below:

TOEFL: Test of English as a Foreign Language - internet-based

Overall score requirement : 90

IELTS: International English Language Testing System

Overall score requirement : 6.5

Other Test Scores

Some programs require additional test scores such as the Graduate Record Examination (GRE) or the Graduate Management Test (GMAT). The requirements for this program are:

The GRE is not required.

2) Meet Deadlines

3) prepare application, transcripts.

All applicants have to submit transcripts from all past post-secondary study. Document submission requirements depend on whether your institution of study is within Canada or outside of Canada.

Letters of Reference

A minimum of three references are required for application to graduate programs at UBC. References should be requested from individuals who are prepared to provide a report on your academic ability and qualifications.

Statement of Interest

Many programs require a statement of interest , sometimes called a "statement of intent", "description of research interests" or something similar.

  • Supervision

Students in research-based programs usually require a faculty member to function as their thesis supervisor. Please follow the instructions provided by each program whether applicants should contact faculty members.

Instructions regarding thesis supervisor contact for Master of Fine Arts in Creative Writingm, Distance Education (MFA)

Citizenship verification.

Permanent Residents of Canada must provide a clear photocopy of both sides of the Permanent Resident card.

4) Apply Online

All applicants must complete an online application form and pay the application fee to be considered for admission to UBC.

Tuition & Financial Support

FeesCanadian Citizen / Permanent Resident / Refugee / DiplomatInternational
$114.00$168.25
Tuition *
Tuition per credit$679.79$1,322.47
Other Fees and Costs
Student FeesVary

Financial Support

Applicants to UBC have access to a variety of funding options, including merit-based (i.e. based on your academic performance) and need-based (i.e. based on your financial situation) opportunities.

Scholarships & awards (merit-based funding)

All applicants are encouraged to review the awards listing to identify potential opportunities to fund their graduate education. The database lists merit-based scholarships and awards and allows for filtering by various criteria, such as domestic vs. international or degree level.

Graduate Research Assistantships (GRA)

Many professors are able to provide Research Assistantships (GRA) from their research grants to support full-time graduate students studying under their supervision. The duties constitute part of the student's graduate degree requirements. A Graduate Research Assistantship is considered a form of fellowship for a period of graduate study and is therefore not covered by a collective agreement. Stipends vary widely, and are dependent on the field of study and the type of research grant from which the assistantship is being funded.

Graduate Teaching Assistantships (GTA)

Graduate programs may have Teaching Assistantships available for registered full-time graduate students. Full teaching assistantships involve 12 hours work per week in preparation, lecturing, or laboratory instruction although many graduate programs offer partial TA appointments at less than 12 hours per week. Teaching assistantship rates are set by collective bargaining between the University and the Teaching Assistants' Union .

Graduate Academic Assistantships (GAA)

Academic Assistantships are employment opportunities to perform work that is relevant to the university or to an individual faculty member, but not to support the student’s graduate research and thesis. Wages are considered regular earnings and when paid monthly, include vacation pay.

Financial aid (need-based funding)

Canadian and US applicants may qualify for governmental loans to finance their studies. Please review eligibility and types of loans .

All students may be able to access private sector or bank loans.

Foreign government scholarships

Many foreign governments provide support to their citizens in pursuing education abroad. International applicants should check the various governmental resources in their home country, such as the Department of Education, for available scholarships.

Working while studying

The possibility to pursue work to supplement income may depend on the demands the program has on students. It should be carefully weighed if work leads to prolonged program durations or whether work placements can be meaningfully embedded into a program.

International students enrolled as full-time students with a valid study permit can work on campus for unlimited hours and work off-campus for no more than 20 hours a week.

A good starting point to explore student jobs is the UBC Work Learn program or a Co-Op placement .

Tax credits and RRSP withdrawals

Students with taxable income in Canada may be able to claim federal or provincial tax credits.

Canadian residents with RRSP accounts may be able to use the Lifelong Learning Plan (LLP) which allows students to withdraw amounts from their registered retirement savings plan (RRSPs) to finance full-time training or education for themselves or their partner.

Please review Filing taxes in Canada on the student services website for more information.

Cost Estimator

Applicants have access to the cost estimator to develop a financial plan that takes into account various income sources and expenses.

Career Options

Graduates of the MFA program have found success in varied fields related to writing and communication. The MFA qualifies graduates for teaching at the university level and many graduates have gone on to teach at colleges and universities in Canada, the United States and overseas as well as holding writing residencies. Many publish books and win literary awards. Others go on to work in publishing, and graduates have become book and magazine editors.

Although the MFA is a terminal degree, some graduates go on to further study in PhD programs in the US, UK and Australia.

The Optional-Residency MFA is particularly well suited to teachers: our teacher-students have been able to gain an advanced degree while continuing their careers.

  • Research Supervisors

This list shows faculty members with full supervisory privileges who are affiliated with this program. It is not a comprehensive list of all potential supervisors as faculty from other programs or faculty members without full supervisory privileges can request approvals to supervise graduate students in this program.

  • Belcourt, Billy-Ray (Fiction; Nonfiction; Poetry)
  • French, Whitney (memory, loss, technology, and nature)
  • Hopkinson, Nalo (Creative writing, n.e.c.; Humanities and the arts; Creative Writing: Speculative Ficton, Fantasy, Science Fiction, especially Other Voices)
  • Irani, Anosh
  • Koncan, Frances
  • Leavitt, Sarah (Autobiographical comics; Formal experimentation in comics; Comics pedagogy)
  • Lee, Nancy (Fiction; Creative Writing)
  • Lyon, Annabel (Novels, stories and news)
  • Maillard, Keith (Fiction, poetry)
  • Marzano-Lesnevich, Alex (Nonfiction)
  • McGowan, Sharon (Planning of film productions from concept to completion)
  • Medved, Maureen (Fiction, writing for screen)
  • Nicholson, Cecily (Languages and literature; Poetry)
  • Ohlin, Alix (Fiction; Screenwriting; Environmental writing)
  • Pohl-Weary, Emily (Fiction; Writing for Youth)
  • Svendsen, Linda (Script development; Novels, stories and news; Writing for Television; Fiction)
  • Taylor, Timothy (fiction and nonfiction)
  • Vigna, John (Novels, stories and news; Fiction, Literary Non-Fiction, Creative Writing)

Related Programs

Same specialization.

  • Master of Fine Arts in Creative Writing (MFA)

Same Academic Unit

  • Master of Fine Arts in Creative Writing and Theatre (MFA)
  • Master of Fine Arts in Film Production and Creative Writing (MFA)

At the UBC Okanagan Campus

  • Master of Fine Arts (MFA)

Further Information

Specialization.

Creative Writing combines the best of traditional workshop and leading-edge pedagogy. Literary cross-training offers opportunities in a broad range of genres including fiction, poetry, screenplay, podcasting, video game writing and graphic novel.

UBC Calendar

Program website, faculty overview, academic unit, program identifier, classification, social media channels, supervisor search.

Departments/Programs may update graduate degree program details through the Faculty & Staff portal. To update contact details for application inquiries, please use this form .

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    UMass Dartmouth
   
  Sep 01, 2024  
2024-2025 Undergraduate Catalog    

2024-2025 Undergraduate Catalog

Learning Outcomes

Students will be able to:

  • Write and compose original texts
  • Apply key concepts writing analytically, creatively, and professionally across multiple genres and modes based on audience needs and information design principles
  • Identify and summarize foundational concepts in creative writing, literary studies, and rhetorical studies
  • Understand and apply concepts and ideas related to issues of diversity such as race, class, sexuality, gender, ethnicity and others to texts across multiple genres and modes
  • Analyze the compositional and rhetorical strategies used in texts across multiple genres and modes
  • Synthesize primary and secondary sources, using appropriate research and writing methods across genres and modes
  • Evaluate the appropriateness of compositional and rhetorical strategies used in texts

Requirements

Students must earn a C- or better for courses to count toward the English major degree.  English majors are encouraged to take some of their electives in additional English courses.

Foundation (9 credits)

  • ENL 258 - Literary Studies Credits: 3

      ENL 258 is prerequisite for 300-level literature courses

Plus any 200-level creative writing course (3 credits) :

  • ENL 254 - Autobiographical Writing Credits: 3
  • ENL 257 - Rhetoric I: Introduction to Rhetoric Credits: 3
  • ENL 262 - Introduction to Journalism Credits: 3
  • ENL 268 - Creative Writing: Fiction Credits: 3

Writing Courses (18 credits)

Any six writing courses from the list below, with at least four taken at the 300+ level .

  • ENL 260 - Intermediate Composition Credits: 3
  • ENL 267 - Creative Writing: Poetry Credits: 3
  • ENL 269 - Creative Writing: Drama Credits: 3
  • ENL 341 - Copywriting Credits: 3
  • ENL 350 - Report and Proposal Writing Credits: 3
  • ENL 351 - Comedy Writing Credits: 3
  • ENL 352 - Public Relations Writing Credits: 3
  • ENL 353 - Sports Writing Credits: 3
  • ENL 354 - Usability Studies Credits: 3
  • ENL 359 - Tutoring Writing Credits: 3
  • ENL 360 - Special Topics in Writing and Communications Credits: 3
  • ENL 361 - Techniques of Critical Writing and Communications Credits: 3
  • ENL 362 - Writing Reviews Credits: 3
  • ENL 363 - Topics in Journalism Credits: 3
  • ENL 364 - Feature Story and Article Writing Credits: 3
  • ENL 366 - Creative Writing: Forms of Fiction Credits: 3
  • ENL 367 - Multimodal Writing: Theory and Practice Credits: 3
  • ENL 368 - Internet Communications and Culture Credits: 3
  • ENL 369 - Document Design Credits: 3
  • ENL 370 - Women, Writing, and the Media Credits: 3
  • ENL 372 - Writing about Popular Culture Credits: 3
  • ENL 376 - Digital Filmmaking I Credits: 3
  • ENL 378 - Screenwriting Credits: 3
  • ENL 379 - Playwriting Credits: 3
  • ENL 380 - Magazine Writing Credits: 3

Literature Electives (6 credits)

Any two Literature Courses at the 300+ level.

  • ENL 305 - Topics in Medieval Literature and Culture Credits: 3
  • ENL 307 - Topics in Early Modern Literature Credits: 3
  • ENL 308 - The Enlightenment Credits: 3
  • ENL 309 - Romantic Age Credits: 3
  • ENL 310 - Victorian Age Credits: 3
  • ENL 311 - Western Literature I Credits: 3
  • ENL 314 - Colonial American Lit Credits: 3
  • ENL 315 - American Renaissance Credits: 3
  • ENL 316 - The 19th Century American Novel Credits: 3
  • ENL 317 - 19 Cent American Poetry Credits: 3
  • ENL 318 - Chaucer Credits: 3
  • ENL 319 - Shakespeare Credits: 3
  • ENL 321 - Golden Age of Drama Credits: 3
  • ENL 323 - Postcolonial Theory & Criticism Credits: 3
  • ENL 326 - Studies in Modern Irish Literature and Culture I Credits: 3
  • ENL 328 - Survey of African American Literature I Credits: 3
  • ENL 329 - Survey of African American Literature II Credits: 3
  • ENL 331 - Postcolonial Literature Credits: 3
  • ENL 333 - Modern British Poetry Credits: 3
  • ENL 334 - The Victorian Novel Credits: 3
  • ENL 335 - 20th Century American Fiction Credits: 3
  • ENL 336 - 20th Century American Fiction - 1945 to the Present Credits: 3
  • ENL 337 - 20th Century American Poetry Credits: 3
  • ENL 338 - Modern Drama Credits: 3
  • ENL 339 - American Drama Credits: 3
  • ENL 340 - Literature & Psychology Credits: 3
  • ENL 345 - Literary Theory Credits: 3
  • ENL 373 - World Cinema I: Origins to New Wave Credits: 3
  • ENL 374 - World Cinema II: New Wave to the Present Credits: 3
  • ENL 377 - Topics:Film & Video Credits: 3
  • ENL 385 - Topics in Multicultural Literature Credits: 3
  • ENL 390 - Topics in Literary Studies Credits: 3
  • ENL 400 - Seminar in American Literature Credits: 3
  • ENL 415 - Seminar in a British Author Credits: 3
  • ENL 425 - Seminar in Comparative Literature Credits: 3

Capstone Course (3 credits)

  • ENL 450 - Advanced Poetry Workshop Credits: 3
  • ENL 451 - Advanced Fiction Workshop Credits: 3
  • ENL 452 - Playwriting Workshop Credits: 3
  • ENL 453 - Advanced Writing Workshop Credits: 3

Theory Course

One course (3 credits) required. May be applied to requirement area listed above that best suits student needs.

  • ENL 355 - Rhetoric II: Advanced Rhetoric Credits: 3
  • ENL 356 - Language and Culture Credits: 3
  • ENL 259 - Critical Methods: Theory and Practice Credits: 3
  • ENL 357 - Special Topics in Rhetorical Studies Credits: 3

Total Credits: 36

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A Good Appetite

All Hail Farro, Queen of the Make-Ahead Salad

This colorful grain salad is laced with juicy stone fruit and milky burrata cheese.

A seasoned ball of burrata sits in the middle of a farro salad accented with stone fruit, red onions and greens.

By Melissa Clark

Melissa Clark contributed one of the first farro salads to New York Times Cooking in 2013. She’s been perfecting them every since.

Of all the grains you can use for salads, farro is the absolute queen. It is elegant, chewy and inherently complex, and that’s before you add any seasonings. It’s also simple and quick to cook, needing about 20 minutes, and the nubby grains stay separate rather than clumping like barley or couscous.

There was a time when farro was a seldom seen in North America, a rarity found mostly in gourmet shops and specialty Italian markets, but now it can be found in supermarkets rubbing shoulders with the quinoa and bulgur, and not a bit less regal for it.

All of this means that you can stop reserving your farro salads for parties, and put them into regular rotation. Healthful, hearty and ripe for variation, the farro salad is ready for weeknight prime time.

Recipe: Herby Farro Salad With Stone Fruit and Burrata

In this simple recipe, a colorful jumble of sliced stone fruit and herbs makes for an especially jubilant presentation. You can use any stone fruit you have, pristine or not; all of those wilting, weeping, less-than-perfect specimens are magnanimously invited to join the bowl.

Actually, let’s face it, the softer and gushier the better, because that tangy fruit nectar gives the dressing a sweet-tart depth. To bring out the most juice, the fruit is briefly marinated in lemon juice, salt and a pinch of sugar, which you can do while the farro cooks.

Then dress the grains immediately after draining so the warm farro can absorb as much flavor as possible, and fold in the fruit along with a handful of herbs for freshness and zip. Once assembled, the salad can sit for hours with no ill effects, making it perfect for picnics, potlucks or lunch at your desk the next day.

There is one more element that I sometimes like to add to this salad, which raises it from a side dish to a light summer meal. In the center of the farro, almost like an egg in a nest, I place a milky ball of burrata drizzled with more of the stone fruit juice, some good olive oil and a sprinkle of flaky salt. The burrata adds richness to the mix, and provides a mellow contrast to the lemony fruit. But in the end, a stately farro salad doesn’t really need that — or anything extra — to shine and to reign.

Follow New York Times Cooking on Instagram , Facebook , YouTube , TikTok and Pinterest . Get regular updates from New York Times Cooking, with recipe suggestions, cooking tips and shopping advice .

Melissa Clark has been writing her column, A Good Appetite , for The Times’s Food section since 2007. She creates recipes for New York Times Cooking, makes videos and reports on food trends. She is the author of 45 cookbooks, and counting. More about Melissa Clark

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