intro to creative writing syllabus

ENG 231. Intro to Creative Writing

Spring 2014.

Academia.edu no longer supports Internet Explorer.

To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to  upgrade your browser .

Enter the email address you signed up with and we'll email you a reset link.

• We're Hiring!
• Help Center

Download Free PDF

Syllabus: Introduction to Creative Writing

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

Related papers

The Right to Defend the Homeland v. the Duty to Defend the Homeland, 2024

The article reveals the structure of the right to defend the Homeland in the context of existential threats to the Ukrainian nation through the lens of positive duties of the State and the principle of republicanism as the basis for joint activities of citizens. The author proposes an approach to resolving the dilemma of the right/obligation to defend the Homeland as ensuring the security space of free citizens and identifies the main components of the subjective public right to defend the Homeland and the obligations of the State which correspond to it. The structure of the right to defence of the Homeland consists of a set of institutional and procedural means of ensuring Ukraine's defence capability as a security space for citizens who exercise their right to defend Ukraine, and the State's obligations to 1) keeping records of the population capable of performing functions of defending the Motherland; 2) organizing military training and teaching tactical medicine to citizens; 3) providing the population with military ammunition and their effective administration; 4) organizing the controllability of the national defence system in the event of a military threat. The notion of defence of the Homeland as the right to resist despotism and aggression is crucial in understanding the structure of the responsibilities of the State of Ukraine and the corresponding joint activities of citizens to implement systematic measures to build an effective defence capability of the nation and the State. Keywords: citizenship, defence capability of Ukraine, defence of the Homeland, duties of citizens, freedom, human rights, national defence, republicanism, security.

Journal of Values-Based Leadership, 2024

Terms such as “woke,” “social justice,” “cancel culture,” “identity politics,” “politically correct,” “critical race theory,” and “DEI” have been increasingly misused and politicized by both the left and the right in recent years. This paper will examine the Hebrew Bible and explore what it says about social justice, compassion for the indigent, inclusion, and many other terms causing such an uproar. The authors assert that the ancient prophets, the true social justice warriors, would be horrified by the actions of both the left and right.

Journal of Art Historiography, 2023

Alois Riegl’s first and foremost task in his Historical Grammar of the Visual Arts, the foundational text of ‘art history as a scientific discipline’, was the definition of its proper subject. The preoccupation of the scientific art history was thus defined as dealing with elements, the developmental history of thereof, and the factors that determined that development. The elements in question are ‘form and surface’ (Form und Fläche), or, more precisely, the relation between them which is developed in the course of time and which constitutes different styles, all directed by specific worldviews, different for different time periods and peoples. In the definition of the subject of art history, precisely this conjunction of a style and its prescribing worldview (Weltanschauung) is most significant. It is also the starting point for Riegl’s fellow and following art historians, Heinrich Wölfflin, Aby Warburg, Erwin Panofsky and Frederick Antal, among others. Riegl, therefore, should be credited with establishing the paradigm for the subsequent art-historical investigation.

The lessons of the story are true whether or not the rich man ever lived. The following is from the New International Version of the New Testament: 19 There was a rich man who was dressed in purple and fine linen and lived in luxury every day. Comment: The wealth of the rich man is described as a style of living "every day." 20 At his gate was laid a beggar named Lazarus, covered with sores 21 and longing to eat what fell from the rich man's table. Even the dogs came and licked his sores. Comment: Contrasted with the rich man is the lifestyle of Lazarus who was so ill that dogs licked his sores. Lazarus was in trouble. 22 "The time came when the beggar died and the angels carried him to Abraham's side. The rich man also died and was buried. Comment: Death came to both, and angels carried the beggar to Abraham who was surely blessed. 23 In Hades, where he was in torment, he looked up and saw Abraham far away, with Lazarus by his side. Comment: The rich man was in torment, and he could see Lazarus and Abraham. 24 So he called to him, 'Father Abraham, have pity on me and send Lazarus to dip the tip of his finger in water and cool my tongue, because I am in agony in this fire.' Comment: The agony is described as a real condition of the rich man after his death. He begs for pity. The rich man is now the beggar. The tables are turned. 25 "But Abraham replied, 'Son, remember that in your lifetime you received your good things, while Lazarus received bad things, but now he is comforted here and you are in agony. Comment: The reversal of lifestyles comes with agony for the rich man and comfort for the poor man. The time to decide about your lifestyle is during your lifetime. 26 And besides all this, between us and you a great chasm has been set in place, so that those who want to go from here to you cannot, nor can anyone cross over from there to us. Comment: A chasm is specifically described which adds to the reality of the description. 27 "He answered, 'Then I beg you, father, send Lazarus to my family, Comment: The rich man has real empathy and cares about his family and thinks Abraham can send Lazarus to warn them. The rich man was a good Jew except for his insensitivity toward Lazarus. 28 for I have five brothers. Let him warn them, so that they will not also come to this place of torment.' Comment: The rich man is described as believing his brothers may end up in a place of torment if they do not care for the poor. 29 "Abraham replied, 'They have Moses and the Prophets; let them listen to them.' Comment: God has already given warning and teaching through his prophets who spoke to the people. God is warning and teaching us through Jesus to care for the poor or end up in torment. 30 "'No, father Abraham,' he said, 'but if someone from the dead goes to them, they will repent.' Comment: The rich man doubles down on his request for Abraham to send Lazarus. 31 "He said to him, 'If they do not listen to Moses and the Prophets, they will not be convinced even if someone rises from the dead.'" Comment: We must be convinced by the warnings and teachings of the prophets rather than by a miraculous sign of raising someone from the dead. God's word comes through those he sends and whose word is confirmed by signs and wonders. The reader has no excuse and will suffer the same fate as the rich man if s/he does not care for the poor. "Judge for yourselves. It is wrong to live in luxury when others are in need. Be ashamed of holding on to what belongs to others, and none shall be poor."-Clement of Alexandria (190 A.D.), Instructor II.xiii.20:6).

Springer eBooks, 2022

Rome, IAI, June 2024, 6 p. (IAI Commentaries ; 24|26), 2024

Journal of Old Turkic Studies, 2024

Kalman Filters - Theory for Advanced Applications, 2018

Journal of Physical Education, 2021

International Journal of Intelligent Networks, 2020

Advances in Economics, Business and Management Research, 2022

Injury Extra, 2004

Sensors and Actuators B: Chemical, 2018

Angewandte Chemie, 2017

Nanoscale, 2019

Related topics

•   We're Hiring!
•   Help Center
• Find new research papers in:
• Health Sciences
• Earth Sciences
• Cognitive Science
• Mathematics
• Computer Science
• Academia ©2024

Introduction to Creative Writing

To write, one must read. To write well, one must read well. Which means: to read widely, to read with enthusiasm, to read for pleasure, to read with an eye for another’s craft. – Joyce Carol Oates The writer studies literature, not the world. He lives in the world; he cannot miss it. – Annie Dillard Here, I walk into class thinking, Really I have nothing to say to these people, the proper study of writing is reading, is well-managed awe, desire to make a thing, stamina for finishing, adoration of  language, and so on… — Lia Purpura

Week 1            Creating a Writing Practice / Researching Your Lives, Finding Subjects  /  What is Creative Nonfiction? 

• Jo Ann Beard: In the Current (handout)
• Joan Didion:  Why I Write
• Stephen Elliot:  Where I Slept
• [ Optional:  Virginia Woolf:  Moments of Being  ; Ann Lamott:  Shitty First Drafts  ; Donna Steiner:  Exit ; T Clutch Fleischmann:  House With Door ]
• Read Joan Didion’s essay, “Why I Write” and write a letter addressed to me in which you describe your relationship to writing. Here are some questions to guide you: What has been your experience as a writer? How have you come to writing? What writing experiences have shaped you, or what experiences in your life have influenced your writing (or your call to write)? What is important to you about writing? Even if you don’t consider yourself to be a “writer,” address the role of writing in your life to date. 1 page, single-spaced, typed (please email to me by Monday, 1/29)
• Bring 1 object & 1 photograph to class
• Bring a blank notebook to class, exclusively for this class. Within it, list 5 writing goals for the semester.

  __________________________________

Week 2            NONFICTION   —   Place, Home, & Family   /   Writing Landscape

• Eliot Sloan:  The Green Room
• Gabrielle Hamilton:  The Lamb Roast
• Jo Ann Beard:  Cousins
• Annie Dillard:  Total Eclipse
• Rebecca Solnit:  The Blue of Distance
• [ Optional: T Clutch Fleischmann:  excerpt   Time is the Thing a Body Moves Through ]
• Reading Response
• Write a letter to your childhood self.
• Travelogue: Write a flash essay about a moment of travel, assembling a collage of the experience with as much sensory detail as possible.

__________________________________

Week 3            NONFICTION —  Writing Culture (Food/Art/Politics)

• David Wong Louie:  Eat, Memory
• Jo-Ann Beard:  The Fourth State of Matter
• Kiese Laymon: How to Slowly Kill Yourself and Others in America 
• Write a flash essay on 1 topic of interest (art, food, politics, etc.) or a review (of artwork, film, meal, etc.)
• *ESSAY—Produce 1 essay that you will continue to revise during this unit. It must be a piece you care about and will remain invested in. It can be flash or long, memoir or journalistic, a meditation on a subject of interest, a story from memory — you have total freedom. You may revise writing exercises into longer pieces, or create something new. Use readings as models.

Week 4            NONFICTION   —   Experimental Prose

• Jen Boully: The Body  excerpt
• Hanif Abdurraquib:  They Can’t Kill Us Until They Kill Us  excerpt
• Anne Carson:  Short Talks
• [ Optional:  Carmen Machado:  In the Dream House excerpt  ; Ross Gay:   Joy Is Such a Human Madness  ; Maggie Nelson:  Bluets  excerpt  ; Ira Sukrungruang, Summer Days, 1983 ; Jenny Price:  13 Ways of Seeing Nature in L.A.  ; Donna Steiner:  Elements of the Wind  ; Lia Purpura:  Being of Two Minds ]
• Write your own series of “short talks” (à la Anne Carson)
• Take a piece of prose you’ve written this unit and scramble its style/structure into an alternative new form
• Reading Response—CANCELLED

WORKSHOPS & Peer Review Letter  

Week 5            NONFICTION

• podcast “Kiese Laymon on Revision as Love, and Love as Revision”
• Write down the most favorite line that  you  have written so far and bring to class
• 2-in-1 Exercise: Take 2 specific, disparate scenes from anything you’ve written this unit and link them within a single cohesive storyline.
• [ Optional:   Revision Exercises ]

Nonfiction Portfolio Due

Week 6            FICTION   —   the Real vs. the Fantastical / Microfictions

• Microfictions: Gordon Jackson:  Billy’s Girl ; Ron Carlson:  Reading the Paper ; David Ordan:  Any Minute Mom Should Come Blasting Through the Door ; Sandra Cisneros:  Bread ; Carmen Maria Machado:  Mary When You Follow Her ; George Saunders:  Sticks ; Aimee Bender:  The Rememberer ; Dino Buzzati: The Falling Girl ]
• Judy Budnitz:  Dog Days
• Story Openings (handout in class)
• [ Optional:  Aimee Bender:  On the Making of Orchards ; Lucy Corin:  Miracles ; Deb Olin Unferth:  Likeable ; Haruki Murakami: The Second Bakery Attack ]
• Conversion Exercises: 1) Take any brief clip you wrote for the NF unit and make it as fantastical as possible to convert it into a fictional story.; 2) Write a brief scene from memory (one already written in the NF unit or totally new) narrated in 3rd person POV

Week 7               FICTION   —   Characters / Voice / POV / Dialogue

• Flannery O’Connor:  Good Country People
• Toni Morrison:  Recitatif
• Kate Braverman:  Tall Tales From the Mekong Delta
• Amy Hempel:  In the Cemetery Where Al Jolson is Buried
• Raymond Carver:  What We Talk About When We Talk About Love
• [ Optional:  Jamaica Kincaid:  Girl ; James Joyce:  Eveline ; Michael Ondaatje:  7 or 8 Things I Know About Her (A Stolen Biography)  ; Ann Beattie:  The Burning House ]
• Interview : Write a list of 100 short fragments about 1 character you are working on in your story (or could imagine inventing); the sentences don’t need to connect or follow in a logical way; the idea is for you to outrun your own ideas of this character; don’t be monotonous; ask everything you can of this character, everything you must know…not just physical attributes, but also what they typically eat for breakfast, what they dream about, what they keep in their pockets or under their bed, who they love or have loved, the rituals, habits, and nuances of their personality and lifestyle, the events that have shaped their lives so far, the futures they imagine, etc. Remember, these 100 characteristics will not all make it into your story, but you as the author need to know what they are in order to write the character as realistically and consistently as possible.
• * STORY —Produce 1 story that you will continue to revise during this unit. It must be a piece you care about and will remain invested in. It can be of any style or form—you have total freedom. You may revise writing exercises into longer pieces, or create something new. Use readings as models. BRING HARDCOPIES
• [Optional : Dialogue Exercise : Write a dialogue in which each of the two characters has a secret. Do not reveal the secret but make the reader intuit it.; Accident Exercise : Write the accounts of an accident from the perspectives of 5 people who are witness to it, all 1st POV. Use as many varied characters as possible.  OR 1 Event 5 Ways : Take a simple event and describe it using the same characters and elements of setting in 5 radically different ways (change style, tone, sentence structure, voice, psychic distance, POV, form, etc.). ]

Week 8            FICTION   —   Experimental Forms

• Lydia Davis:  Five Stories
• Donald Barthelme:  The School  /  Rebecca
• Gabrielle Bell: excerpt Cecil and Jordan in New York (email)
• Charles Yu:  Fable
• Margaret Atwood:  Happy Endings
• Susan Minot:  Lust
• T Kira Mahealani Madden:  Judy in Her Good Robe
• Daniel Orozco:  Orientation
• Write a 1-sentence story (in. 250 words). Revisit Machado. (You may convert something you’ve written for an exercise in this unit into a 1-sentence story, if it makes sense for that story.)
• [ Optional : 1) Write a 10-minute story told backwards from the end to the beginning; 2) Write a brief passage on some stock subject (a journey, landscape, sexual encounter) in the rhythm of a long novel, then in the rhythm of a short story.]

Week 9            SPRING BREAK

Week 10          FICTION

• [ Optional:  Revision Exercises ]
• Following Hemingway’s 6-word story (which we’ll review in class), convert the major story you wrote for this unit into a 6-word story. Then explain why you need all those pages to tell your story.

Fiction Portfolio Due Thursday, April 4th by 8pm

Week 11          POETRY — Prose Poems / Narrative Poems / Lyric Poems

• Ezra Pound:  In a Station of the Metro
• Prose Poems—Robert Hass:  A Story about the Body  ; Nicole Sealey:  Even the Gods  ; Cameron Awkward-Rich:  Meditations in an Emergency  ; Shira Erlichman:  Ode to Lithium #600  ; Oliver Baez Bendorf:  Outing, Iowa  ; Harryette Mullen:  Black Nikes  ; Hala Alyan:  Oklahoma  ; Richard Jackson:  Ten Things I Need to Know
• Narrative Poems—Elizabeth Bishop:  The Fish
• Lyric Poems— open reading, find alternate links if these don’t open —Elizabeth Bishop:  Casabianca ; Natalie Diaz:  My Brother My Wound ; Max Ritvo:  Poem to My Litter ; Ocean Vuong:  Self-Portrait as Exit Wounds /  Someday I’ll Love Ocean Vuong ; Ada Limon:  How to Triumph Like a Girl ; Donika Kelly:  Fourth Grade Autobiography ; Mark Doty:  Charlie Howard’s Descent ;  A Display of Mackerel ; James Wright:  A Blessing  ;  Lying in a Hammock ; Franz Wright:  On Earth  ;  Promise ; Louise Gluck:  The Wild Iris ; Terrance Hayes:  The Blue Terrance ; Alex Dimitrov:  The Years  /  Together and by Ourselves  /  Dark Matter  /  My Secret  /  Darling  /  Sunset on 14th Street  /  Poem Written in a Cab ; Jenny George:  Rehearsal  / Death of a Child  /  Reprieve ; Robin Coste Lewis:  Summer ; Oliver Baez Bendorf:  Both/Both ; Taneum Bambrick:  Closeness ; Gabrielle Calvocoressi:  Hammond B3 Organ Cistern  /  Miss you. Would like to take a walk with you ; Carl Phillips:  Hymn  /  The Truth ; Hieu Minh Nguyen:  Staying Quiet ; Hanif Abdurraquib:  How Can Black People Write About Flowers at a Time Like This ; Jericho Brown:  Bullet Points ; Keetje Kuipers:  Spa Days ; Selfishness ; Diane Seuss: I Could Do It. I Could Walk Into the Sea ; Song in My Heart ; F. Scott ; Richard Siken:  Litany in Which Certain Things Are Crossed Out  /  Detail of the Woods ; Ross Gay:  Love, I’m Done With You ; Robert Hass:  Meditation at Lagunitas ; Kaveh Akbar:  What Use Is Knowing Anything If No One Is Around ; Tracy K. Smith:  Wade in the Water ; Richie Hoffman:  Bright Walls ; Li-Young Lee:  The Cleaving ; Sharon Olds:  San Francisco ; Sarah Ghazal Ali: Matrilineage [umbilicus]
• [ Optional: On Poetry—Robert Frost:  The Figure a Poem Makes ; Audre Lorde:  Poetry is Not a Luxury ; AR Ammons:  A Poem is a Walk ]
• Take 1 prose piece you’ve written and recast it with line-breaks two ways — as a 1) narrative poem (a poem that tells a story) AND 2) lyric poem (a poem that uses language to evoke). You are not required to adhere to any metrical or formal elements or structures — both poems should be free verse.
• Found Poem— Between-the-Lines Poem: Choose your favorite poem from the readings. Type out the poem, leaving triple-space between lines. Then, between the lines, fill in a new line of your own which is sparked by the original line. Eliminate all original poem lines at the end. The poem that remains is your own. Tinker with it and make it cohere.

 __________________________________

Week 12          POETRY —  Forms

• Sonnet —Edna St. Vincent Millay:  Sonnet XLIII ; Gwendolyn Brooks:  the rites for Cousin Vit ; Kim Addonizio:  First Poem For You (compare Shakespeare  sonnet 55 ); Claude McKay:  America ; Robert Hayden:  Those Winter Sundays ; Adrienne Rich:  excerpt  from Twenty-One Love Poems; Marilyn Hacker: Untitled ; Terrance Hayes: sel.  American Sonnet For My Past & Future Assassin  ( I lock you  /  Probably twilight  /  Inside me ) ; Danez Smith:  The 17 Year-Old & the Gay Bar  /  Crown  ; Dianne Seuss  selected
• Sestina —Elizabeth Bishop:  Sestina ; Kim Addonizio:  Sestina of the Alcoholic Daughter
• Villanelle —Elizabeth Bishop:  One Art ; Theodore Roethke:  The Waking
• Pantoum —Randall Mann:  Pantoum ; Laure-Anne Bosselaar:  Stillbirth ; Peter Meinke:  Atomic Pantoum
• Ghazal —Patricia Smith:  Hip-Hop Ghazal ; Jericho Brown:  Hustle
• Ode —Pablo Neruda:  Ode to a Large Tuna in the Market
• Elegy —Frank O’Hara:  The Day Lady Died ; Jericho Brown:  Another Elegy ; Danez Smith:  not an elegy for Mike Brown ; CJ Evans:  Elegy in Limestone ; Chen Chen:  Elegy to Be Exhaled at Dusk
• Epistle —Keetje Kiupers:  Spring Letter from the South ; Elana Bell:  Letter to Jerusalem ; Kim Addonizio:  Dear Reader ; Donika Kelly:  Dear — ; Danez Smith:  dear white america
• List —Richard Jackson:  Things I Forgot to Put on My Reminder List ; Morgan Parker:  If You Are Over Staying Woke ; Oliver Baez Bendorf:  River I Dream About
• Ekphrastic —Larry Levis:  Ocean Park #17, 1968: Homage to Diebenkorn ; Peter Balakian:  Warhol / Madison Ave / 9-11
• Haiku —Sonia Sanchez:  Haiku [i count the morning]
• Other —Maggie Millner:  excerpt  from  Couplets: A Love Story
• Form Poem: Write 1 form poem of your choice. Research the guidelines of that form if you aren’t familiar with it, and read other poems in that form.
• Write a series of 3-5 HAIKUS around a single theme.
• * POEM  (hardcopy)—Produce 1 poem that you will continue to revise during this unit. It must be a piece you care about and will remain invested in. It can be any style or form—you have total freedom. You may revise writing exercises, or create something new. Use readings as models.
• [ Optional: 1) Write an ode or list poem or persona poem or epistle or ekphrastic poem; 2) Conversion Poem: Transform your form poem into free verse. This may mean minimally or drastically changing the poem.]

Week 13          POETRY —  Experimental Lyrics & Soundscapes

• “A Poem That’s Like a Perfect Date” (NYT): https://www.nytimes.com/interactive/2024/04/11/books/frank-ohara-having-a-coke-poem.html
• Layli Long Soldier:  excerpts from  Whereas;  Danez Smith:  a note on the body  /  alternate names for black boys ; Monica Youn:  Drawing for Absolute Beginners ; Rae Armantrout:  Bees ; Ocean Vuong:  On Earth We’re Briefly Gorgeous ; Keith S. Wilson:  Batter Bread, Mulatto Style (1935)  / l ine dance for an american textbook  /  reportage on a theory  /  Who Is There To Eulogize The Tree ; Hanif Abdurraquib:  The Ghost of Marvin Gaye ; Harryette Mullen:  [up from slobbery]  /  [it’s rank it cranks you up] ; Sarah Sloat:  excerpts or this or this or this ; Sarah Ghazal Ali: Matrilineage [umbilicus]
• Reading Response — CANCELLED
• Conversion Poem (Free—>Experimental): Transform 1 free verse poem you’ve written this unit into an experimental structure of your choice. Here you have full range and freedom to play with the idea of the poem. Remember, this should not entail a copy & paste with a few spacing adjustments, but should involve a reinterpretation of your original poem into a new format.
• Translation Poem: Translate a poem from a language you neither speak nor read. Do not consult with any translation sources. Your translation should come from the visual and musical quality and form in all of its unfamiliarity. Include original poem with your translation, and be prepared to discuss the choices you made with language. (No Requirement to Post)
• [ Optional:  1) Write a serial or sequence poem. 2) Music Poem: Listen to various types of music (jazz, classical, blues, techno, etc.) and free-write to each. Consider how the rhythms of your writing respond to and mirror musical textures. 3) Pacing Exercise: Take one of your poems and rewrite it in two styles: as a fast poem, and as a slow poem.]

WORKSHOPS & Peer Review Letter

Week 14          POETRY

• Final Poem: Take 1 failed poem of yours from this unit and extract 1 line from it that you like. Use this line as the 1 st line of a new poem. (Include in Poetry Portfolio or bring hardcopy to class)
• Share a poem/poet you love, discovered outside of class this unit
• Bring a clean copy of your favorite poem — one that YOU have written this unit — to class (for an in-class exercise)
• Memorize 1 poem of your choice (to be presented orally)
• [ Optional: Revision Exercises ] // [ Marianne Moore’s “Poetry” ]

Poetry Portfolio Due Friday, MAY 3rd

Week 15          Final Project Presentations

WRIT 201 Introduction to Creative Writing

• Course Description

Students will learn the literary components, complexity, and craft of creative writing.

For information regarding prerequisites for this course, please refer to the  Academic Course Catalog .

Course Guide

View this course’s outcomes, policies, schedule, and more.*

*The information contained in our Course Guides is provided as a sample. Specific course curriculum and requirements for each course are provided by individual instructors each semester. Students should not use Course Guides to find and complete assignments, class prerequisites, or order books.

The student will study the literary components, complexity, and craft of creative writing, including how to successfully explicate selected poems, creative nonfiction essays, and short fiction. The student will also learn how to create original works of publishable quality. The course allows the student to develop creative writing skills to impact the world for Christ.

Course Assignment

Textbook readings and lecture presentations.

No details available.

Course Requirements Checklist

After reading the Course Syllabus and Student Expectations , the student will complete the related checklist found in the Course Overview.

Discussions are collaborative learning experiences. Therefore, the student is required to create a thread in response to the provided prompt for the discussion and will also respond to at least 2 peers to foster an engaging discourse relating to the topic.

Analysis of Reading Assignments (3)

The student will analyze various creative aspects of the readings assigned throughout the course in the three genres of fiction, nonfiction, and poetry. The student will analyze the craft used by the author, and in the analysis, the student should convey an understanding of the story’s or poem’s content and an evaluation of the effectiveness of the author’s message and skill. As a result of this exercise, the student will observe writing strategies and techniques that he/she may end up adopting and using in his/her own creative pieces.

Original Work of Short-Short Fiction: Outline Assignment

The student will create an outline of a short-short fiction story, including the elements of theme, characters, conflict, and plot development.

Writing Workshop: Original Work of Short-Short Fiction: Rough Draft and Peer Review Assignment

The student will write a 300–500-word short-short fiction piece based on the elements of fiction described in the reading. The student will write a rough draft based on the outline and submit it for professor and peer feedback. In the peer review, the student will provide substantive feedback to at least 2 classmates regarding their original compositions.

Original Work of Short-Short Fiction: Final Draft Assignment

The student will revise and edit his/her rough draft and submit a final draft which incorporates the feedback from his/her classmates and professor.

Original Work of Creative Nonfiction: Outline Assignment

The student will create an outline of a creative nonfiction story, including the elements of theme, characters, conflict, and plot development.

Writing Workshop: Original Work of Creative Nonfiction: Rough Draft and Peer Review Assignment

The student will write a 500–750-word creative nonfiction piece based on the elements of nonfiction described in the reading. The student will write a rough draft based on the outline and submit it for professor and peer feedback. In the peer review, the student will provide substantive feedback to at least 2 classmates regarding their original compositions.

Original Work of Creative Nonfiction: Final Draft Assignment

Writing workshop: original work of poetry: rough draft and peer review assignment.

After completing the assigned readings, the student will write 1 original work of poetry based on the elements of poetry described in the reading. The student will write an original poem. The student will also complete a set of questions detailing his/her reasoning for writing the poem. Then, the student will submit it for professor and peer feedback. In the peer review, the student will provide substantive feedback to at least 2 classmates regarding their original compositions.

Original Work of Poetry: Final Draft Assignment

The student will revise and edit his/her rough draft and submit a final draft which incorporates the feedback from his/her classmates and professor. The student will also respond to a set of questions detailing his/her process revising and improving the poem. 

Self-Evaluation and Writing Plans Assignment

The student will evaluate progress and growth in the course, reflecting on what he/she gained from the process of feedback and revision. The student will also forecast what he/she plans to do with the writing created throughout the course.

Have questions about this course or a program?

Speak to one of our admissions specialists.

Inner Navigation

• Assignments

Have questions?

Are you ready to change your future?

Apply FREE This Week*

Request Information

*Some restrictions may occur for this promotion to apply. This promotion also excludes active faculty and staff, military, non-degree-seeking, DGIA, Continuing Education, WSB, and certificate students.

Request Information About a Program

Request info about liberty university online, choose a program level.

Choose a program level

Bachelor’s

Master’s

Certificate

Select a Field of Study

Select a field of study

Select a Program

Select a program

Next: Contact Info

Legal first name.

Enter legal first name

Legal Last Name

Enter legal last name

Enter an email address

Enter a phone number

Full Address

Enter an address

Apt., P.O. Box, or can’t find your address? Enter it manually instead .

Select a Country

Street Address

Enter Street Address

Enter State

ZIP/Postal Code

Enter Zip Code

Back to automated address search

Start my application now for FREE

FIU Intro to Creative Writing

• Miscellaneous
• Poetry Assignments

No comments:

Post a comment.