requirements of creative writing

Creative Writing

Stanford’s Creative Writing Program--one of the best-known in the country--cultivates the power of individual expression within a vibrant community of writers. Many of our English majors pursue a concentration in creative writing, and the minor in Creative Writing is among the most popular minors on campus. These majors and minors participate in workshop-based courses or independent tutorials with Stegner Fellows, Stanford’s distinguished writers-in-residence.

English Major with a Creative Writing Emphasis

The English major with a Creative Writing emphasis is a fourteen-course major. These fourteen courses comprise eight English courses and six Creative Writing courses.

English majors with a Creative Writing emphasis should note the following:

All courses must be taken for a letter grade.

Courses taken abroad or at other institutions may not be counted towards the workshop requirements.

Any 190 series course (190F, 190G, etc.), 191 series course (191T, etc.), or 192 series course (192V, etc.) counts toward the 190, 191, or 192 requirement.

PWR 1 is a prerequisite for all creative writing courses.

Minor in Creative Writing

The Minor in Creative Writing offers a structured environment in which students interested in writing fiction or poetry develop their skills while receiving an introduction to literary forms. Students may choose a concentration in fiction, poetry.

In order to graduate with a minor in Creative Writing, students must complete the following three courses plus three courses in either the prose or poetry tracks. Courses counted towards the requirements for the minor may not be applied to student's major requirements. 30 units are required. All courses must be taken for a letter grade.

Prose Track

Suggested order of requirements:

English 90. Fiction Writing or English 91. Creative Nonfiction

English 146S Secret Lives of the Short Story

One 5-unit English literature elective course

English 190. Intermediate Fiction Writing or English 191. Intermediate Creative Nonfiction Writing

English 92. Reading and Writing Poetry

Another English 190, 191, 290. Advanced Fiction, 291. Advanced Nonfiction, or 198L. Levinthal Tutorial

Poetry Track

English 92.Reading and Writing Poetry

English 160. Poetry and Poetics

English 192. Intermediate Poetry Writing

Another English 192, or 292.Advanced Poetry or 198L.Levinthal Tutorial

Creative Writing minors should note the following:

To declare a Creative Writing minor, visit the Student page in Axess. To expedite your declaration, make sure to list all 6 courses you have taken or plan to take for your minor.

Any 190 series course (190F, 190G, etc.), 191series course (191T, etc.), or 192 series course (192V, etc.) counts toward the 190, 191, or 192 requirement.

For more information, visit the Stanford Creative Writing Program.

Creative Writing and Literature Degree Requirements

The Master of Liberal Arts, Creative Writing and Literature degree field is offered online with one 3-week course required on campus at Harvard University.

Getting Started

Explore Degree Requirements

• Review the course curriculum .
• Learn about the on-campus experience .
• Determine your initial admissions eligibility .
• Learn about the 2 degree courses required for admission .

Upcoming Term: Summer 2024

Course registration is open March 4 – June 20. Learn how to register →

Fall 2024 courses and registration details will be live in June.

Required Course Curriculum

Online core and elective courses

On-campus summer writers’ residency

Capstone or thesis

12 Graduate Courses (48 credits)

The program is designed for creative writers interested in fiction, nonfiction, and dramatic writing.

The degree is highly customizable. As part of the program curriculum, you choose either a capstone or thesis track as well as the creative writing and literature courses that meet your learning goals.

The synchronous online format and small class size ensure you’ll receive personal feedback on your writing and experience full engagement with instructors and peers.

Required Core & Elective Courses View More

• HUMA 101 Proseminar: Elements of the Writer’s Craft
• 1 advanced fiction writing course
• 3 creative writing courses
• 1 creative writing and literature elective or creative writing independent study
• EXPO 42a Writing in the Humanities is a literature option
• On-campus summer writers’ residency

Browse Courses →

Thesis Track View More

The thesis is a 9-month independent research project where you work one-on-one in a tutorial setting with a thesis director.

The track includes:

• Thesis proposal tutorial course
• Master’s Thesis (8 credits)

Capstone Track View More

The capstone track includes the following additional courses:

• 1 literature course
• Precapstone: Building the World of the Book (fiction and nonfiction options)
• Capstone: Developing a Manuscript (fiction and nonfiction options)

In the precapstone , with support from your instructor and peers, you’ll engage in a series of structured writing exercises that make it possible to delve deeply into your characters—what they look like, what they want and need, and how they interact with the world in which they live—as you structure the world of your fiction or nonfiction.

In the capstone , with ongoing community support, you continue your work of in the precapstone and write two additional chapters or stories, or approximately 30 pages of new work. The capstone project in total should be about 50-60 pages — the equivalent of a thesis.

You enroll in the precapstone and capstone courses in back-to-back semesters (fall/spring) and in your final academic year. The capstone must be taken alone as your sole remaining degree requirement.

On-Campus Experience: One-Week Writers’ Residency

Participate in an weeklong writers’ workshop on campus.

Learn and network in person with your classmates, agents, and editors.

Nearly all courses can be taken online, but the degree requires an in-person experience at Harvard University where you enroll in a summer residency.

After completing 7 or more courses, you come to Harvard Summer School for a weeklong master class taught by a notable instructor. An agents-and-editors weekend follows. HSS offers, for an additional fee, housing, meal plans, and a prolonged on-campus experience here at Harvard University.

Choose between two on-campus experience options:

• One-week Writers’ Residency with extended online sessions: During the two weeks that follow the intensive week of on-campus instruction, you attend additional writing classes online and submit a final piece of writing.
• One-week Writers’ Residency with extended on-campus sessions: During the two weeks that follow the intensive week of on-campus instruction, you attend additional writing classes on campus and submit a final piece of writing. Three-week housing is available for this extended on-campus option. Learn more about campus life at Harvard .

International Students Who Need a Visa View More

To meet the on-campus requirement, you choose the One-Week Writers’ Residency with extended on-campus sessions and study with us in the summer. You can easily request an I-20 for the F-1 student visa through Harvard Summer School. For more details, see International Student Study Options for important visa information.

In-Person Co-Curricular Events View More

Come to Cambridge for Convocation (fall) to celebrate your hard-earned admission, Harvard career fairs offered throughout the year, HES alumni networking events (here at Harvard and around the world), and, of course, Harvard University Commencement (May).

Confirm your initial eligibility with a 4-year bachelor’s degree or its foreign equivalent.

Take two courses in our unique “earn your way in” admissions process that count toward your degree.

In the semester of your second course, submit the official application for admission to the program.

Below are our initial eligibility requirements and an overview of our unique admissions process to help get you started. Be sure to visit Degree Program Admissions for full details.

Initial Eligibility View More

• Prior to enrolling in any degree-applicable courses, you must possess a 4-year regionally accredited US bachelor’s degree or its foreign equivalent. Foreign bachelor’s degrees must be evaluated for equivalency.
• You cannot already have or be in the process of earning a master’s degree in creative writing or a related field. Check your eligibility .
• If English is your second language, you’ll need to prove English proficiency before registering for a course. We have multiple proficiency options .

Earn Your Way In — Courses Required for Admission View More

To begin the admission process, you simply register — no application required — for the following two, four-credit, graduate-level degree courses (available online).

These prerequisite courses count toward your degree once you’re admitted ; they are not additional courses. They are investments in your studies and help ensure success in the program.

• Before registering, you’ll need to pass our online test of critical reading and writing skills or earn a B or higher in EXPO 42a Writing in the Humanities.
• You have two attempts to earn the minimum grade of B in the proseminar (a withdrawal grade counts as an attempt). The proseminar cannot be more than two years old at the time of application.
• Advanced Fiction Writing

While the two courses don’t need to be taken in a particular order or in the same semester, we recommend that you start with the proseminar. The 2 courses must be completed with a grade of B or higher, without letting your overall Harvard cumulative GPA dip below 3.0.

Applying to the Degree Program View More

During the semester of your second degree course, submit the official application to the program.

Don’t delay! You must prioritize the two degree courses for admission and apply before completing subsequent courses. By doing so, you’ll:

• Avoid the loss of credit due to expired course work or changes to admission and degree requirements.
• Ensure your enrollment in critical and timely degree-candidate-only courses.
• Avoid the delayed application fee.
• Gain access to exclusive benefits.

Eligible students who submit a complete and timely application will have 10 more courses after admission to earn the degree. Applicants can register for courses in the upcoming semester before they receive their grades and while they await their admission decision.

The Office of Predegree Advising & Admissions makes all final determinations about program eligibility.

Search and Register for Courses

The Division of Continuing Education (DCE) offers degree courses all year round to accelerate degree completion.

• You can study in fall, January, and spring terms through Harvard Extension School (HES) and during the summer through Harvard Summer School (HSS).
• You can enroll full or part time. After qualifying for admission, many of our degree candidates study part time, taking 2 courses per semester (fall/spring) and 1 in the January and summer sessions.
• Most fall and spring courses meet once a week for two hours, while January and summer courses meet more frequently in a condensed format.

To Complete Your Degree

Maintain a cumulative GPA of 3.0 or higher.

Complete your courses in five years.

Earn your Harvard degree and enjoy Harvard Alumni Association benefits upon graduation.

Required GPA, Withdrawal Grades, and Repeat Courses View More

GPA. You need to earn a B or higher in each of the two degree courses required for admission and a B– or higher in each of the subsequent courses. In addition, your cumulative GPA cannot dip below 3.0.

Withdrawal Grades. You are allowed to receive 2 withdrawal (WD) grades without them affecting your GPA. Any additional WD grades count as zero in your cumulative GPA. Please note that a WD grade from a two-credit course will count as 1 of your 2 allowed WD grades. See Academic Standing .

Repeat Courses. We advise you to review the ALM program’s strict policies about repeating courses . Generally speaking, you may not repeat a course to improve your GPA or to fulfill a degree requirement (if the minimum grade was not initially achieved). Nor can you repeat a course for graduate credit that you’ve previously completed at Harvard Extension School or Harvard Summer School at the undergraduate level.

Courses Expire: Finish Your Coursework in Under Five Years View More

Courses over five years old at the point of admission will not count toward the degree. As stated above, the proseminar cannot be more than two years old at the time of application.

Further, you have five years to complete your degree requirements. The five-year timeline begins at the end of the term in which you complete any two degree-applicable courses, regardless of whether or not you have been admitted to a degree program.

Potential degree candidates must plan accordingly and submit their applications to comply with the five-year course expiration policy or they risk losing degree credit for completed course work. Additionally, admission eligibility will be jeopardized if, at the point of application to the program, the five-year degree completion policy cannot be satisfied (i.e., too many courses to complete in the time remaining).

Graduate with Your Harvard Degree View More

When you have fulfilled all degree requirements, you will earn your Harvard University degree: Master of Liberal Arts (ALM) in Extension Studies, Field: Creative Writing and Literature. Degrees are awarded in November, March, and May, with the annual Harvard Commencement ceremony in May.

Degree Candidate Exclusive Benefits View More

When you become an officially admitted degree candidate, you have access to a rich variety of exclusive benefits to support your academic journey. To learn more, visit degree candidate academic opportunities and privileges .

Harvard Division of Continuing Education

The Division of Continuing Education (DCE) at Harvard University is dedicated to bringing rigorous academics and innovative teaching capabilities to those seeking to improve their lives through education. We make Harvard education accessible to lifelong learners from high school to retirement.

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2023 Creative Writing Degree Guide

Rapid growth in creative writing degrees awarded.

Creative Writing was the 120th most popular major in the 2020-2021 school year. Colleges in the United States reported awarding 6,817 degrees in this year alone. This is a difference of 231 over the prior year, a growth of 3.4%.

This year's Best Creative Writing Schools ranking compares 214 of them to identify the best overall programs in the country. Explore this or one of our many other custom creative writing rankings further below.

Best Creative Writing Schools by Degree

Requirements for getting a degree in creative writing.

A major in creative writing prepares you for careers in which understanding written sentences and paragraphs in work related documents is crucial. Communicating effectively in writing as appropriate for the needs of the audience and giving full attention to what other people are saying, taking time to understand the points being made, asking questions as appropriate, and not interrupting at inappropriate times are all required skills for careers related to this major.

Creative Writing Degree Program Entry Requirements

New students will need to have completed high school or a GED program and each school will have their own minimum GPA and SAT/ACT test requirements. In addition to these basic creative writing program qualifications, to serve in some creative writing careers, special certification may be required outside of your degree.

Types of Creative Writing Degrees

There are various different levels of creative writing degrees. You can get anything from a in creative writing to the highest creative writing degree, a . Different creative writing degrees vary in how long they take.

A bachelor's degree is the most common level of education achieved by those in careers related to creative writing, with approximately 42.2% of workers getting one. Find out other typical degree levels for creative writing workers below.

82.7% of creative writing workers have at least a associate. The chart below shows what degree level those who work in creative writing have obtained.

This of course varies depending on which creative writing career you choose.

Creative Writing Careers

Growth projected for creative writing careers.

Want a job when you graduate with your creative writing degree? Creative Writing careers are expected to grow 6.7% between 2016 and 2026.

The following options are some of the most in-demand careers related to creative writing.

How Much Money Do People With a Creative Writing Degree Make?

As you might expect, salaries for creative writing graduates vary depending on the level of education that was acquired.

Highest Paid Creative Writing Careers

Salaries for creative writing graduates can vary widely by the occupation you choose as well. The following table shows the top highest paying careers creative writing grads often go into.

Getting Your Creative Writing Degree

With over 704 different creative writing degree programs to choose from, finding the best fit for you can be a challenge. Fortunately you have come to the right place. We have analyzed all of these schools to come up with hundreds of unbiased creative writing school rankings to help you with this.

Top Ranking Lists for Creative Writing

Best schools creative writing, best value colleges creative writing, creative writing related majors.

One of 4 majors within the Writing Studies area of study, Creative Writing has other similar majors worth exploring.

Majors Similar to Creative Writing

View All Creative Writing Related Majors >

National Center for Education Statistics

O*NET Online

Image Credit: By KOKUYO under License More about our data sources and methodologies .

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Major in Creative Writing

Creative Writing Major at a Glance

Students who graduate with the Bachelor of Arts in Creative Writing will be skilled writers in a major literary genre and have a theoretically informed understanding of the aesthetic, historical, social, and political context of a range of contemporary writing. Students in the major will focus their studies on a primary genre: fiction, poetry, or nonfiction.

The organization of the major incorporates the writing workshop model into a broader education that furthers students’ knowledge of historical and contemporary literary practice, sharpens their critical attention, and fosters their creative enthusiasm.

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• Poetry & Poetics

Summary of Major Requirements (2023-24 and beyond)

• 1 Fundamentals in Creative Writing Seminar
• 1 Beginning Workshop (in primary genre)
• 2 Technical Seminars (in primary genre)
• 1 literary genre course (in primary genre)
• 1 literary theory course
• 1 pre-20th-century literature course
• 1 general literature course
• 2 Advanced Workshops (at least 1 in primary genre)
• 2 Background Electives

= 12 Courses

Note: This set of requirements applies to students who declare a major in Creative Writing during the 2023-24 school year or in subsequent years.  

Fundamentals in Creative Writing Seminar

The Fundamentals in Creative Writing course is an introductory multi-genre seminar to be taken by all students in the major and minor. Each section of the course focuses on a theme that is relevant to all forms of literary practice and introduces students to a group of core texts from the genres of fiction, nonfiction, and poetry.

Beginning Workshop

Beginning Workshops are intended for students who may or may not have previous writing experience, but are interested in gaining experience in a particular genre. These workshops focus on the fundamentals of craft and feature workshops of student writing. Beginning workshops are a pre-requisite for advanced workshops in the same genre.

Technical Seminars (in Poetry, Fiction, or Nonfiction)

Technical Seminars are designed to give students a deep grounding in core technical elements of their primary genre. Coursework may involve creative exercises, but papers will focus on analysis of assigned readings.

Advanced Workshops

Critique is the core value and activity of the workshop environment. Students in Advanced Workshops will practice critique under the guidance of the workshop instructor. Advanced Workshops typically focus on original student work. Students must complete the fundamentals course as well as a beginning workshop in the relevant genre prior to enrolling in an advanced workshop.

Literary Genre Courses

This requirement can be met using a cross-listed English course or an eligible literature course offered by another department. For a list of eligible courses, please visit  this page .

Literature Courses

A substantial proportion of one of these courses must involve the study of literature written before the twentieth century, and one must fulfill a theory requirement. For a list of eligible courses, please visit  this page .

Research Background Electives

Students take two courses outside of the Creative Writing program to support the student’s individual interests and creative projects. Students may indicate the selected courses on their Major Worksheet and no formal petition is required.

Optional BA Thesis & Optional Thesis Workshop

Students have the option to complete a BA thesis/project in their fourth year and should declare intent by the end of Winter Quarter of their third year. Majors who complete a BA thesis/project and meet GPA requirements are eligible for consideration for honors. Students work on their BA project over four quarters. In Winter Quarter of their fourth year, students who wish to complete a thesis should enroll in one of the optional Thesis/Major Projects Workshops in their genre.

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Summary of Original Major Requirements

Note: This set of requirements applies to students who declared a major in Creative Writing prior to the AY24 update. This includes students who declared during the 2020-21, 2021-22 or 2022-23 academic years.

Newer majors, students who declare in AY24, and students who have formally redeclared under the new requirements due to extenuating circumstances should refer to the updated 2023-24 guidelines above.

• 3 Advanced Workshops (at least 2 in primary genre)
• 2 Research Background Electives
• 1 Thesis/Major Projects Workshop (Winter Quarter of fourth year)
• BA Thesis (due in Spring Quarter; requires work with Writing and Research Advisor over fourth year)

= 13 Courses and a Thesis  

Critique is the core value and activity of the workshop environment. Students in Advanced Workshops will practice critique under the guidance of the workshop instructor. Advanced Workshops typically focus on original student work. All students are strongly discouraged from taking an Advanced Workshop as their first course from the Program.

Students take two courses outside of the Creative Writing program, selected in consultation with the DUS, to support the student’s individual interests and thesis project.

BA Thesis & Workshop

Students work on their BA project over four quarters. In Winter Quarter of their fourth year, students enroll in one of the Thesis/Major Projects Workshops in their genre.

Declaring the Major

Creative Writing courses give priority to students who have declared the major with Rachel Galvin, the Director of Undergraduate Studies (DUS). In instances where a class has many more applications than it has spots, priority is determined first by degree program and then by class year.

Students in the major receive priority in Advanced Workshops, Technical Seminars, and Fundamentals Seminars.

There are two steps to declaring a major in Creative Writing:

• Meet with the DUS, Rachel Galvin , to start a major worksheet.
• Confirm program approval with your College Advisor, so the major can be added to your my.uchicago account.

Students who have completed both steps are considered officially declared at the department level and therefore eligible for priority in major courses.

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Contacts | Major in Creative Writing | Program Requirements | Optional BA Thesis | Program Honors | Summary of Requirements | Advising | Courses Outside the Department Taken for Program Credit | Double Majors in English Language and Literature and Creative Writing | Grading | Sample Plan of Study for the Major | Minor in English and Creative Writing | Summary of Requirements for the Minor Program in English and Creative Writing | Minor to Major | Sample Plan of Study for the Minor | Enrolling in Creative Writing Courses | Faculty and Visiting Lecturers | Creative Writing Courses

Department Website: http://creativewriting.uchicago.edu

The Program in Creative Writing takes a comprehensive approach to the study of contemporary literature, criticism, and theory from a writer’s perspective. In our courses, students work with established poets and prose writers to explore the fundamental practices of creative writing. The program is committed to interdisciplinary inquiry, academic rigor, and study of the elements of creative writing that underlie all genres.

The Program in Creative Writing offers workshops and seminars in poetry, fiction, and nonfiction, as well as a number of translation workshops. The major seminars—including technical seminars and fundamentals in creative writing—are designed to build a critical and aesthetic foundation for students working in each genre. Students can pursue their creative writing interests within the formal requirements of the major or through a minor in English and Creative Writing. (The minor is open to undergraduate students not majoring in English language and literature.) Students who do not wish to pursue a formal degree plan in creative writing will have access to courses that satisfy the general education requirement in the arts and open-entry "beginning" workshops. Our workshops and technical seminars are cross-listed with graduate numbers and are open to students in the graduate and professional schools.

Major in Creative Writing

Students who graduate with a bachelor of arts in creative writing will be skilled writers in a major literary genre and have a theoretically informed understanding of the aesthetic, historical, social, and political context of a range of contemporary writing. Students in the major will focus their studies in fiction, poetry, or nonfiction.

The organization of the major recognizes the value of workshop courses but incorporates that model into a comprehensive educational architecture. The creative writing major furthers students’ knowledge of historical and contemporary literary practice, introduces them to aesthetic and literary theory, sharpens their critical attention, and fosters their creative enthusiasm. Students are prepared to succeed in a range of fields within the public and private sectors through a multi-faceted, forward-thinking pedagogy centered on peer critique and craft.

Program Requirements

The Program in Creative Writing requires a total of 12 courses (1200 units) as described below. Students planning to complete the major must meet with the director of undergraduate studies or the student affairs administrator to file a major worksheet by the end of Autumn Quarter of their third year.

Students contemplating a major or minor in creative writing may choose to take one or two creative writing courses toward the general education requirement in the arts. These courses will not count toward major requirements, but they offer an opportunity for students to consider the program while satisfying a general education requirement. See  Enrolling in Creative Writing Courses  for additional details.

Primary Genre

Students are asked to declare a primary genre track either when they first declare the major or immediately following completion of the Fundamentals course. The primary genre track options include Fiction, Nonfiction, and Poetry. Students should complete a beginning workshop, two technical seminars, an advanced workshop, and one literary genre course. Students may also complete an optional thesis workshop within the primary genre. Students may change the genre track at any time by notifying the Director of Undergraduate Studies.

One (1) Fundamentals in Creative Writing Course  CRWR 17000 to CRWR 17999

Fundamentals in Creative Writing is a cross-genre, one-quarter seminar taken by all students in the major and minor. Every section of the course focuses on a current debate relevant to all forms of literary practice, such as mimesis, empathy, and testimony. This course introduces students to a group of core texts from each major literary genre. Fundamentals courses are restricted to students who have declared the major or minor, as they aim to develop cohort solidarity, promote a culture of articulate exchange, and induct students into a reflection on practice that will serve their artistic and professional development. Majors should take Fundamentals in Creative Writing and Beginning Workshop before enrolling in an Advanced Workshop. 

One (1) Beginning Workshop Fiction: CRWR 10206; Poetry: CRWR 10306; Nonfiction: CRWR 10406

Students in the major must complete one beginning workshop in the student’s primary genre. Successful completion of a beginning workshop is a prerequisite for enrollment in an advanced workshop in the same genre. Students may enroll in more than one beginning workshop. However, students who complete a beginning workshop in one genre and then complete a beginning workshop in another genre may count only the beginning workshop in their primary genre towards the major. Beginning workshops are intended for students who may or may not have previous writing experience, but are interested in gaining experience in a particular genre. These workshops focus on the fundamentals of craft and feature workshops of student writing.

Two (2) Technical Seminars Fiction: CRWR 20200 to CRWR 20299; Poetry: CRWR 20301 to CRWR 20399; Nonfiction: CRWR 20400 to CRWR 20499; Hybrid: CRWR 20701 to CRWR 20799

Students in the major must take two technical seminars in their primary genre (fiction, poetry, or nonfiction); during some quarters, the program may also offer hybrid technical seminars. Majors may petition to substitute one technical seminar in their primary genre with a technical seminar in a different genre, or with a hybrid technical seminar. Students should reach out to the director of undergraduate studies or student affairs administrator with questions on this petition process or hybrid technical seminars. 

The aim of technical seminars is to expand students’ technical resources through analysis of contemporary literature and practice-based training in elements of craft. Students submit papers that address technical questions, chiefly with reference to contemporary texts. For example, poetry students may write on “the line,” where fiction students write on “point of view.” Technical seminars may also count as electives in the minor.

Two (2) Advanced Workshops Fiction: CRWR 22100 to CRWR 22299; Poetry: CRWR 23100 to CRWR 23299; Nonfiction: CRWR 24001 to CRWR 24199; Hybrid: CRWR 27300 to 27499

Students in the major must complete two advanced workshops, at least one of which must be in the student’s primary genre. Majors may petition to substitute one advanced workshop in their primary genre with a hybrid advanced workshop when applicable. Students should reach out to the director of undergraduate studies or student affairs administrator with questions on this petition process or hybrid advanced workshops.

The advanced workshop is a critical pedagogical instrument of creative writing as an academic discipline. Workshop practice relies on a mutual exchange and understanding dedicated to improving students’ writing, rather than unconditional approval. Critique is the core value and activity of the workshop, and students will practice it under the guidance of the workshop instructor. Although advanced workshops begin with attention to exemplary texts, they typically focus on original student work. 

Four (4) Literature Requirements

Creative writing majors are required to take four literature courses offered by other departments. These courses can be focused on the literature of any language, but one must focus on the student’s primary genre; one must center on literary theory; one must involve the study of literature written before the twentieth century; and the final one can be any general literature course. 

The literary genre course should serve as an introduction to key texts and debates in the history of the student’s chosen genre. This requirement can be met by an English language and literature course or a comparable course in another department. Courses such as  ENGL 10403  Genre Fundamentals: Poetry: Rhythm and Myth,  CMST 27207 Film Criticism , or  ENGL 11004  History of the Novel may be eligible. 

The director of undergraduate studies will offer guidance and approve all qualifying courses. Specific courses that satisfy the distribution element of this requirement will be listed at  creativewriting.uchicago.edu . A literature course can potentially satisfy more than one requirement, e.g., both theory and literary genre, but a student can only use the course to fulfill one of the requirements.

Two (2) Background Electives

Students should take two courses outside of the Program in Creative Writing to support their creative projects or theses. Depending on a student's interests, elective courses can be offered by programs ranging from cinema and media studies to biological sciences. One creative writing translation workshop may also be approved as a background elective. Students may not use the same course to fulfill a background elective and a literature requirement. 

Optional BA Thesis

Students have the option to complete a BA thesis/project in their fourth year and should declare intent by the end of Winter Quarter of their third year. Majors who complete a BA thesis/project and meet GPA requirements are eligible for consideration for honors. In Spring Quarter of the third year, students who opt into the BA thesis/project will be assigned a writing and research advisor who will mentor student reading and research throughout the completion of the creative writing thesis. Students, in conversation with the writing and research advisors, will complete a preliminary project proposal during the Spring Quarter of their third year. The preliminary proposal will then be submitted to the student affairs administrator.

Over the Summer Quarter students will craft a reading journal centered on a field list of readings; chosen texts will be based upon work, conversations, etc., students will have begun with their writing and research advisors. In Autumn Quarter, students and writing and research advisors will work together to adapt the reading journal into an annotated bibliography, a focus reading list, and a précis/project plan (summary of student writing plan and goals for the BA thesis/project).

In Winter Quarter, students will continue meeting with their writing and research advisor and must also enroll in the appropriate thesis/major projects workshop in their primary genre ( CRWR 29200 Thesis/Major Projects: Fiction ,  CRWR 29300 Thesis/Major Projects: Poetry , CRWR 29400 Thesis/Major Projects: Nonfiction , or CRWR 29500 Thesis/Major Projects: Fiction/Nonfiction ). The thesis/major projects workshop is only offered during Winter Quarter. Students must complete the thesis/major projects workshop to submit a thesis project for consideration for honors.

The instructor for the thesis/major projects workshop will also serve as the faculty advisor for the BA thesis.

Students writing a BA thesis/project will work closely with their faculty advisor and peers in their thesis/major projects workshop and will receive course credit as well as a final grade for the course. In consultation with their faculty advisor and writing and research advisor, students will revise and submit a near-final draft of the BA thesis by the end of the second week of Spring Quarter. Students will submit the final version of their BA thesis to their writing and research advisor, faculty advisor, student affairs administrator, and the director of undergraduate studies by the beginning of the fifth week of Spring Quarter. 

Students graduating in other quarters must consult with the director of undergraduate studies about an appropriate timeline before the end of Autumn Quarter of their third year. 

Program Honors

The faculty in the program will award program honors based on their assessment of BA theses and the assessment of writing and research advisors. Students must complete all assignments set by writing and research advisors to be considered for honors. To be eligible, students must have a major GPA of at least 3.6 and overall GPA of 3.25. Honors will be awarded only to exceptional projects from a given cohort.

Summary of Requirements

Students considering the major should email the director of undergraduate studies or student affairs administrator as early as possible to discuss program requirements and individual plans of study. To declare the major and receive priority in application-based CRWR courses, students must confer with the director of undergraduate studies or student affairs administrator to file a major worksheet with the Program in Creative Writing. Declaration of the major will then be formalized through  my.uchicago.edu . To join the major, students must officially declare via a worksheet on file with the program before the end of Autumn Quarter of the third year of study. Students will need to regularly provide documentation of any approvals for the major to their academic advisors.

Courses Outside the Department Taken for Program Credit

Students double majoring in creative writing and another major (with the exception of English language and literature) can count a maximum of three courses towards both majors (pending approval from both departments). Ordinarily, two of these courses will be background electives. Substitutions for a further course will be subject to approval, but students may not substitute non-literature courses to meet a literature requirement. 

Double Majors in English Language and Literature and Creative Writing

Students who pursue a double major in creative writing and English language and literature, may count up to four courses towards both majors. These four courses typically include the four literature requirements, but in some cases one of the slots might be filled by a creative writing course (with director of undergraduate studies approval). However, the two required background electives should be taken outside of the Department of English Language and Literature. 

English language and literature majors may count up to four creative writing courses towards the major in English as electives without a petition. However, when students are pursuing a double major in English language and literature and creative writing, they must observe the shared four-course maximum. Double majors must then count any eligible creative writing courses beyond the four-course cap towards their English language and literature major.

Students in the program must receive quality grades (not pass/fail) in all courses counting toward the major or minor. Non-majors and non-minors may take creative writing courses for pass/fail grading with consent of the instructor. Students must request this consent by the end of week three of the quarter; otherwise pass/fail must be approved by the program director. 

Sample Plan of Study for the Major

Minor in english and creative writing.

Students who are not English language and literature or creative writing majors may complete a minor in English and Creative Writing. The minor requires six courses (600 units). At least three of the required courses must be creative writing courses, with at least one being a beginning workshop, at least one being an advanced workshop, and at least one being a fundamentals course. Three of the remaining required courses may be taken in either the Department of English Language and Literature or the Program in Creative Writing; these courses may include technical seminars or arts general education courses. General education courses cannot be used for the minor if they are already counted toward the general education requirement in the arts. In some cases, literature courses outside of English language and literature and creative writing may count towards the minor, subject to the director of undergraduate studies’ approval. 

Students who elect the minor program in English and Creative Writing must meet with the student affairs administrator for creative writing before the end of Spring Quarter of their third year to declare their intention to complete the minor. Students choose courses in consultation with the administrator. The administrator's approval for the minor program should be submitted to a student's academic advisor on the Consent to Complete a Minor Program form, available from the College adviser or online, by the deadline above.

Students completing the minor will be given enrollment preference for advanced workshops and some priority for technical seminars. They must follow all relevant admission procedures described at the  Creative Writing  website. For details, see  Enrolling in Creative Writing Courses .

Courses in the minor (1) may not be double counted with the student's major(s) or with other minors and (2) may not be counted toward general education requirements. Courses in the minor must be taken for quality grades (not pass/fail) and bear University of Chicago course numbers.

Summary of Requirements for the Minor Program in English and Creative Writing

Minor to major.

Student circumstances change, and a transfer between the major and minor programs may be desirable to students who begin a course of study in either program. Workshop courses and a fundamentals course may count toward the minor. Students should consult with their academic advisor if considering such a transfer and must update their planned program of study with the student affairs administrator or director of undergraduate studies in creative writing.

Sample Plan of Study for the Minor

Enrolling in creative writing courses.

General education courses and beginning workshops are open to all students via the standard pre-registration process. Our consent-based courses prioritize students in the major, the minor, and the Creative Writing Option of the Master of Arts Program in the Humanities (MAPH). Note: Students who have not yet met with the director of undergraduate studies or student affairs administrator to begin a worksheet are not considered formally declared and therefore are not guaranteed priority in course enrollment.

For more information on creative writing courses and opportunities, visit the  Creative Writing  website.

Creative Writing Courses for the General Education Requirement in the Arts

These multi-genre courses are introductions to topics in creative writing and satisfy the general education requirement in the arts in the College. General education courses are generally taught under two headings—"Reading as a Writer" and "Intro to Genres"—and will feature class critiques of students’ creative work. They are open to all undergraduate students during pre-registration. These courses do not count towards the major in creative writing, but students may use these courses to satisfy the creative writing minor’s elective requirements if they are not already counted toward the students' general education requirement in the arts.

Fundamentals in Creative Writing Courses

These courses focus on a current debate relevant to all forms of literary practice and aim to develop cohort solidarity, promote a culture of exchange, and induct students into a reflection on practice that will service their artistic and professional development. They are open to declared majors only, except in circumstances approved by the director of undergraduate studies. Majors should take a Fundamentals course and a Beginning Workshop before enrolling in Advanced Workshops. 

Beginning Workshops

These courses are intended for students who may or may not have writing experience, but are interested in gaining experience in a particular genre. Courses will focus on the fundamentals of craft and feature workshops of student writing. Open to all undergraduate students during pre-registration.

Technical Seminars

The aim of the technical seminars is to expand students’ technical resources through analysis of contemporary literature and practice-based training in elements of craft. 

Advanced Workshops

These workshops are intended for students with experience in a particular genre. Advanced workshops will focus on class critiques of student writing with accompanying readings from exemplary literary texts. Priority is given to students in the major, minor, or the MAPH Creative Writing Option . 

Optional Thesis/Major Projects

The thesis/major projects course is optional for minors. While it is not required to complete the minor, students are welcome to opt in to the course. This course will revolve around workshops of student writing and concentrate on the larger form students have chosen for their creative thesis. Priority is given to students in the major, minor, or the MAPH Creative Writing Option .

Faculty and Visiting Lecturers

For a current listing of Creative Writing faculty, visit the  Creative Writing  website.

Creative Writing Courses

CRWR 10206. Beginning Fiction Workshop. 100 Units.

Beginning Workshops are intended for students who may or may not have previous writing experience, but are interested in gaining experience in a particular genre. These workshops focus on the fundamentals of craft and feature workshops of student writing. See the course description for this particular workshop section in the notes below.

Instructor(s): Staff     Terms Offered: Autumn Spring Winter Prerequisite(s): During pre-registration, this course is open only to declared Creative Writing Majors and declared Minors in English and Creative Writing, as well as graduate students. During add/drop the course will be instructor consent and open to all students in the College. Please contact the instructor to be added to the waitlist for the option to enroll during add/drop. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 30206

CRWR 10306. Beginning Poetry Workshop. 100 Units.

Instructor(s): Staff     Terms Offered: Autumn Spring Winter Prerequisite(s): During pre-registration, this course is open only to declared Creative Writing Majors and declared Minors in English and Creative Writing, as well as graduate students. During add/drop the course will be instructor consent and open to all students in the College. Please contact the instructor to be added to the waitlist for the option to enroll during add/drop. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 30306

CRWR 10406. Beginning Nonfiction Workshop. 100 Units.

Instructor(s): Staff     Terms Offered: Autumn Spring Winter Prerequisite(s): During pre-registration, this course is open only to declared Creative Writing Majors and declared Minors in English and Creative Writing, as well as graduate students. During add/drop the course will be instructor consent and open to all students in the College. Please contact the instructor to be added to the waitlist for the option to enroll during add/drop. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 30406

CRWR 10606. Beginning Translation Workshop. 100 Units.

Beginning Workshops are intended for students who may or may not have previous experience, but are interested in gaining experience in translation. See the course description for this particular workshop section in the notes below.

Instructor(s): Jason Grunebaum     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. To participate in this class, students should have intermediate proficiency in a foreign language. Note(s): Beginning Translation Workshop: It’s been said that in an ideal world, all writers would be translators, and all translators would be writers. In addition to the joy of enlarging the conversation of literature by bringing new voices into another language, the practice of literary translation forces us as writers to examine the materials and tools of our craft. In this workshop, we will critique each other’s translations of prose, poetry, or drama into English, as well as explore various creative strategies and approaches to translation by a variety of practitioners that touch on various aspects of the "radical recontextualization" that constitute the decision-making work of literary translation. Through these processes, you will formulate your own strategies to both literary translation and creative writing. We will also have the opportunity to have conversations via Zoom with some of the translators we’ll be reading. Students should have at least an intermediate proficiency in a foreign language to take this workshop. Equivalent Course(s): GRMN 10606, CRWR 30606, GRMN 30606, SALC 10606, SALC 30706

CRWR 12124. Reading as a Writer: Beauty is Truth, Truth Beauty. 100 Units.

In this core course, students will investigate the complicated relationship between truth and art by reading and writing works "based on a true story." In poetry and prose, we will explore the lines between fiction and nonfiction, beauty and horror, as well as utterance and silence. Writers will develop critical responses to course readings, then explore those perspectives through creative work of their own. Readings include work by Jeffery Renard Allen, Ari Banias, Scott Blackwood, Brenda Hillman, Harold Pinter, and Claudia Rankine.

Instructor(s): Garin Cycholl     Terms Offered: Winter Prerequisite(s): Open bid through classes.uchicago.edu. Attendance on the first day is mandatory. Note(s): This course meets the general education requirement in the arts.

CRWR 12133. Intro to Genres: Writing and Social Change. 100 Units.

In this course, we will explore the embattled, yet perpetually alive relationship between writing and activism by reading canonical and emergent works of fiction, narrative prose, and poetry that not only represent social ills, but seek to address and even spur social justice in some way. Students will be encouraged to choose an issue that they feel passionate about on which to research and respond for the entire quarter-and will be asked to produce short works in a range of genres in relation to that issue. Works studied will include the poetry of Percy Shelley, the short stories of John Keene, the essays of Anne Boyer, the graphic novels of Nick Drnaso, and the document-based poetry of Layli Long Soldier.

Instructor(s): Jennifer Scappettone     Terms Offered: Spring Prerequisite(s): Open bid through my.UChicago.edu. Attendance on the first day is mandatory. Satisfies the College Arts Core requirement.

CRWR 12138. Intro to Genres: Evil Incarnate. 100 Units.

Some of the most compelling pieces of writing across all genre deal with, and often feature, deeply problematic central adversarial characters without which the poem, story, or essay would have no forward motion, and no cause to exist. From Capote's In Cold Blood to Milton's Paradise Lost, from Bulgakov's Master and Margarita to Arendt's Eichmann in Jerusalem and Sabato's The Tunnel, literature returns again and again to the question of evil and the concept of opposition. This course is designed to explore this question alongside authors who have devoted their lives to understanding the role of evil in literature, its necessity, its appeal, its frivolity and its betrayal. The course will be divided into three section, each section devoted to a specific genre during which two to three texts will be explored, discussed and analyzed in class, and at the end of which one brief analysis paper will be due. One creative piece, in any of the three major genres, exploring the said topic will be due at the end of the course.

Instructor(s): Lina Ferreira Cabeza-Vanegas     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins; contact the instructor for a spot in the class or on the waiting list. Note(s): Satisfies the College Arts/Music/Drama Core requirement.

CRWR 12141. Intro to Genres: Drawing on Graphic Novels. 100 Units.

Like film, comics are a language, and there's much to be learned from studying them, even if we have no intention of 'writing' them. Comics tell two or more stories simultaneously, one via image, the other via text, and these parallel stories can not only complement but also contradict one another, creating subtexts and effects that words alone can't. Or can they? Our goal will be to draw, both literally and metaphorically, on the structures and techniques of the form. While it's aimed at the aspiring graphic novelist (or graphic essayist, or poet), it's equally appropriate for those of us who work strictly with words (or images). What comics techniques can any artist emulate, approximate, or otherwise aspire to, and how can these lead us to a deeper understanding of the possibilities of point of view, tone, structure and style? We'll learn the basics of the medium via Ivan Brunetti's book Cartooning: Philosophy and Practice, as well as Syllabus, by Lynda Barry. Readings include the scholar David Kunzle on the origins of the form, the first avant-garde of George Herriman, Frank King, and Lyonel Feininger, finishing with contemporaries like Chris Ware, Emil Ferris and Alison Bechdel. Assignments include weekly creative and critical assignments, culminating in a final portfolio and paper.

Instructor(s): Dan Raeburn     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): MAAD 22141

CRWR 12143. Reading as a Writer: Embodied Language. 100 Units.

Embodied Language. This course studies how writers engage the senses to shape language into something actually felt and not just comprehended. We'll track the sensual life of words-what they do to the mouth, to the ear, their musical kinships with one another-and learn how these qualities combine to generate mood and atmosphere. Alongside writing that renders embodiment and the physical world, we'll read writing that makes abstraction feel concrete. Our weekly readings will guide our ongoing inquiry into questions such as: what constitutes an image? How does writing enact feeling? How do the sensory elements of a piece intensify or erode or expand its subject, and to what end? Texts will include poetry and prose by Sei Shōnagon, Francis Ponge, Carlos Drummond de Andrade, Gwendolyn Brooks, Gerard Manley Hopkins, Wanda Coleman, Vasko Popa, Lorine Niedecker, Ai, Durga Chew-Bose, Shane McCrae, Jenny Zhang, Justin Torres, James Baldwin, Deborah Eisenberg, and many others. Each member of the class will be asked to write weekly critical and creative responses, to give one presentation, and to produce a final project at the end of the quarter.

Instructor(s): Margaret Ross      Terms Offered: Winter Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins; contact the instructor for a spot in the class or on the waiting list. Note(s): This course meets the general education requirement in the arts.

CRWR 12145. Reading as a Writer: Re-Vision. 100 Units.

To revise a piece of writing isn't merely to polish it. Revision is transformation and yields an alternate reality. A new view, a re-vision. This course will start by tracking compositional process, looking at brilliant and disastrous drafts to compare the aesthetic and political consequences of different choices on the page. We'll then study poems, essays, and stories that refute themselves and self-revise as they unfold, dramatizing mixed feelings and changing minds. We'll end by considering erasure poetry as a form of critical revision. Our conversations will inspire weekly writing exercises and invite you to experiment with various creative revision strategies. Students will be asked to lead one presentation and to share their writing for group discussion.

Instructor(s): Margaret Ross      Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory.

CRWR 12146. London vs. Nature: Writing Utopia and Dystopia in the Urban Landscape [Creative Writing Arts Core: R. 100 Units.

In this Arts Core course, students will be introduced to a range of the utopian and dystopian fantasies that writers have produced in response to the metropolis of London as the imperial epicenter of manufactured ecologies, from the late nineteenth century through the present day. They will study early responses to modernism and modernization in the city by figures like William Blake, Frederick Engels, Henry James, Ezra Pound, and Virginia Woolf before moving on to contemporary writers such as R. Murray Schafer, who apprehends the city through "earwitnessing" of noise pollution, and Bhanu Kapil, who recalls the race riots of the 1970s against the backdrop of the Nestle factory on the site of King Henry VIII's hunting grounds. Students will be exposed first-hand to how London is read by writers confronting planetary and political crisis through meetings with living publishers, authors, and art collectives like the Museum of Walking, grappling with the continual metamorphosis of the landscape-and through a sequence of on-site visits and psychogeographical experiments, they will have the opportunity to respond to the city in their own writing across a range of genres. (Arts Core)

Instructor(s): Jennifer Scappettone     Terms Offered: Autumn Prerequisite(s): Acceptance to the London Study Abroad Program. Equivalent Course(s): ARCH 14146

CRWR 12147. Intro to Genres: The River's Running Course. 100 Units.

Rivers move--over land, through history, among peoples--and they make: landscapes and civilizations. They are the boundaries on our maps, the dividers of nations, of families, of the living and the dead, but they are also the arteries that connect us. They are meditative, meandering journeys and implacable, surging power. They are metaphors but also so plainly, corporeally themselves. In this course, we will encounter creative work about rivers, real and imaginary, from the Styx to the Amazon. Through poetry, fiction, nonfiction, and drama, we will consider what rivers are, what they mean to us, and how they are represented in art and literature. Rivers will be the topic and inspiration for our own creative writing, too. The goal for this course is to further your understanding of creative writing genres and the techniques that creative writers employ to produce meaningful work in each of those genres. You will also practice those techniques yourselves as write your own creative work in each genre. Our weekly sessions will involve a mixture of discussions, brief lectures, student presentations, mini-workshops and in-class exercises. Most weeks, you will be responsible for a creative and/or critical response (300-500 words) to the reading, and the quarter will culminate in a final project (7-10 pages) in the genre of your choice, inspired by the Chicago River.

Instructor(s): Stephanie Soileau     Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CHST 12147, ENST 22147

CRWR 12148. Intro to Genres: Speculative Women. 100 Units.

Intro to Genres: Speculative Women Despite common misconceptions, women have been at the forefront of the speculative genre from its earliest inceptions. They have not merely defied the limitations and restraints of literature as defined by their contemporary society, but invented whole worlds and genres which continue to influence writers and writing as a whole today-from Mary Shelley's 1818 publication of "Frankenstein" to Virginia Woolf's 1928 publication of "Orlando," and even Margaret Cavendish's 1666 novel, "The Description of a New World, Called The Blazing-World." This course will be a brief foray into the strange and yet familiar worlds of various women across the history of speculative writing, ranging from Mary Shelley to Ursula K. Leguin, from Lady Cavendish to Margaret Atwood, from Alice Walker to Octavia E. Butler.

Instructor(s): Lina Ferreira Cabeza-Vanegas     Terms Offered: Winter Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins; contact the instructor for a spot in the class or on the waiting list. Note(s): Satisfies the College Arts/Music/Drama Core requirement. Equivalent Course(s): GNSE 22148

CRWR 12150. Intro to Genres: Writing for TV: The Writers' Room. 100 Units.

In this course, you'll learn the craft of writing for television by collaboratively developing a pilot script for an original television series set in the South Side of Chicago. Modeled on the "writers' room," we'll research and develop the concept, characters, the outline, and create a plan for the series. In addition to being introduced to the fundamentals of storytelling through lectures, discussions, screenings, and script analysis, you'll also learn to work collaboratively with a team, constructing a daily agenda, brainstorming, researching, pitching, discussing ideas, and composing in screenwriting format. By the end of this hands-on course, you will be armed with a set of techniques and skills that will support your professional development as a writer.

Instructor(s): Julie Iromuanya     Terms Offered: Summer TBD. September Term 2022

CRWR 12151. Intro to Genres: The Gothic Lens. 100 Units.

The Gothic is arguably the most evocative of all storytelling genres. As haunting as it is seductive in its ambiguities and luridly symbolic tropes, no form more powerfully captures our encounters with the irrational and the inexplicable, whether in nature, in others, or in ourselves. In this Arts Core course, we will approach the genre through all its forbidding yet intimate qualities. As we read Gothic fiction from different eras and cultures, from both a reader's perspective and a writer's perspective (the why/how/who of the author's decisions), we'll cover concepts like the sublime, the uncanny, and abjection, examining the work's sociopolitical layers but aiming our brightest light on its psychological underpinnings. We'll ask ourselves: in what ways does the Gothic mirror the most vulnerable and obscure aspects of the self? What might these extraordinary stories of transgression, violence, or supernatural conflict reveal about the horrors of ordinary life, the vagaries of our hidden desires, anxieties, and pathologies? Our focus on the psychological and evocative nature of the genre, especially from a writer's point of view, will also help us write our Gothic Scenes, where everyone will apply their own intimate "gothic lens" to memorable encounters from their recent past. (Arts Core)

Instructor(s): Vu Tran     Terms Offered: Winter Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Note(s): This course meets the general education requirement in the arts.

CRWR 12153. Reading as a Writer: The Walker in the City. 100 Units.

Flâneur: from French, "to stroll, loaf, saunter"; probably from Old Norse flana, "to wander aimlessly"; Norwegian flana, "to gad about. The image of the poet as flâneur -- a metropolitan artist in motion -- emerged as an archetype of romantic and modernist literature. We will consider the walking poet in interaction with race, mobility and disability, gender and queerness, class, migration, ecology, and other embodied experiences. Texts will include work by Kathy Ferguson, Alexis Pauline Gumbs, Walter Benjamin, William Blake, Judith Butler, Sunaura Taylor, June Jordan, Walt Whitman, and others. Students will lead one presentation during the quarter and keep a notebook/sketchbook.

Instructor(s): Anna Torres     Terms Offered: Autumn Prerequisite(s): Acceptance to the London Study Abroad Program

CRWR 12154. Reading as a Writer: Brevity. 100 Units.

This course will consider brevity as an artistic mode curiously capable of articulating the unspeakable, the abyssal, the endless. Reading very brief works from a long list of writers, we will ask: when is less more? When is less less? What is minimalism? What is the impact of the fragment? Can a sentence be a narrative? Can a word comprise a poem? Our readings will include short poems, short essays, and short short stories by Yannis Ritsos, francine j. harris, Aram Saroyan, Richard Wright, Cecilia Vicuña, Kobayashi Issa, Renee Gladman, Robert Creeley, Alejandra Pizarnik, Lucille Clifton, Lydia Davis, Jamaica Kincaid, Yi Sang, Anne Carson, Franz Kafka, Prageeta Sharma, Venita Blackburn, Jorge Luis Borges, Samuel Beckett, and others. Students will be asked to lead one presentation and to write critical and creative responses for group discussion.

Instructor(s): Margaret Ross     Terms Offered: Autumn Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory.

CRWR 12156. Fundamentals: A Gathering of Flowers: The Anthology. 100 Units.

In 1925, The New Negro: An Interpretation, a collection of poems, short stories, and essays was published-it ushered a new era, what was then called the New Negro Renaissance. An artistic and literary movement with the objective to subvert what Alain Locke called the "Old Negro," by providing a corrective and aspirational image of contemporary Negro life, was borne. Around forty years later, Black Arts: An Anthology galvanized the Black Arts Movement, what Larry Neal called the "aesthetic and spiritual sister" of the Black Power Movement. The Best American Short Stories and the Norton Anthology of Literature by Women are two more examples of anthologies, one to cultivate the genre and the other to recover the literature of marginalized women writers. In this course, we'll examine anthologies, a word derived from the Greek for "a gathering of flowers." As we study these "flowers," we'll discern the objectives that shape their construction, as well as what was put in and what was left out. In short essays and exercises, we'll also investigate the social, cultural, and political contexts that influenced these objectives, as well as the resultant literary and cultural implications. For your final, you'll design your own literary anthology.

Instructor(s): Julie Iromuanya     Terms Offered: Spring Prerequisite(s): Open bid through classes.uchicago.edu. Attendance on the first day is mandatory.

CRWR 12159. Reading as a Writer: The Bad Girls Club. 100 Units.

Jezebels, witches, femme fatales, nasty women, sirens, madwomen, and murderesses: the world over, these women of many names-whom we'll collectively refer to as the Bad Girls Club-have alternately inspired the disdain and delight of multitudes. Whether jailed, expelled, excommunicated, or burned at the stake, their (anti)heroic antics have challenged, critiqued, or, some might say, corrupted the laws, mores, and sensibilities of societies. If it is true that polite, well-behaved women rarely make history, then what do impolite, badly-behaved women teach us about the construction of (his) story? In this course, we'll examine literature from around the world featuring members of the Bad Girls Club, who in opposing complimentary constructions of femininity, femaleness, and power invite introspection on the gendered nature of story and storytelling. In short critical papers, we'll analyze the tropes, features, and conventions of literature featuring these bad characters, and in short exercises, you'll write stories, poems, and essays inspired by them.

Instructor(s): Julie Iromuanya     Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): GNSE 12159

CRWR 12160. Reading as a Writer: Exploring the Weird. 100 Units.

In 1917 the Russian critic Viktor Shklovsky coined the word 'ostranenie,'-translating roughly as 'defamiliarization'-to illustrate a concept that asks the writer or artist to see the everyday in new and unfamiliar ways. In fiction writing this means avoiding cliché while cultivating elements of surprise, the unexpected, the strange. It means the author offering a new perspective on something familiar, something surprising and, often, yes, a little weird. So what does it mean to follow the weird as a fiction or creative non-fiction writer? As a poet? How can we indulge that strange, uncanny, often suppressed side of ourselves in a way that not only serves a work of literary art but opens it up to new possibilities? This class will look at ways writers use defamiliarization and other techniques to create unexpected and sometimes jarring effects and will encourage students to take similar risks in their own writing. Students will view read various works of fiction, poetry, creative non-fiction, view films, and read critical and craft- oriented texts. They will write short weekly reading responses and some creative exercises as well. Each student will also be expected to make a brief presentation and turn in a final paper for the class.

Instructor(s): Augustus Rose     Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list.

CRWR 12163. Reading as a Writer: Obscenities. 100 Units.

Obscenity" is a term for what is repulsive, abhorrent, excessive, or taboo in a society; and yet many artworks once considered to be obscene are now celebrated as landmarks of world literature, from the ancient poetry of Sappho to modern novels like Ulysses. In this course, we will study literary works that have been banned or censored as "obscene" to examine our own perspectives, attitudes, and assumptions as literary artists. How does obscenity shape our understanding of gender and sexuality, race and ethnicity, or public and private speech? What are the uses of obscenity in constructing new possibilities for literary expression? Authors studied will include Toni Morrison, Tanizaki Jun'ichirō, Vladimir Nabokov, Hilda Hilst, and Allen Ginsburg; and we will supplement these readings with works of literary theory, psychoanalysis, and case law. Students will produce their own original poetry, fiction, and nonfiction to reimagine what is permissible-and possible-in language and society for contemporary literary artists.

Instructor(s): Chicu Reddy     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): PARR 33000

CRWR 12164. Reading as a Writer: Good Translation. 100 Units.

The past few years have seen a proliferation of major awards for works of contemporary world literature that have been translated into English (among them the International Booker Prize, the National Book Award for Translated Literature, and the National Book Critics Circle Book in Translation Prize). While such awards certainly elevate translation as a mode of writing comparable to that of other literary arts, they also raise important questions about the production, circulation, and reception of translated literature in the Anglosphere. In this course, we will read a number of recent award-winning books in English translation (both poetry and prose), considering how these books traveled from origin to translation, and how we as readers engage with them - as translations and as literary texts. How are translations made? How do we evaluate books that have two writers: author and translator? What larger forces (social, aesthetic, commercial, political) are at work when deciding which translated books will hold value for Anglophone readers? We'll explore these questions through weekly readings and discussions, student presentations, critical analyses and creative responses. As a final project, students will develop their own evaluative rubrics from which to award a prize to one of the translations we've read.

Instructor(s): Annie Janusch     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins.

CRWR 12165. Intro to Genres: Short Form Screenwriting. 100 Units.

This course explores short form screenwriting, as distinct from feature-length or episodic screenwriting. In addition to studying the essential elements of a screenplay, we will read, view, and discuss approaches to scripting brief documentary, poetic, and fictional time-based works. This work will prepare us for in- and out-of-class writing exercises in these modes, which students will often discuss in a workshop environment. Students will respond in creative and critical ways to the screenings and readings; present on a specific time-based work or creator; and write in the short screenwriting formats under study, culminating in a final creative project.

Instructor(s): Nick Twemlow     Terms Offered: Winter Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Note(s): This course meets the general education requirement in the arts.

CRWR 17003. Fundamentals in Creative Writing: Truth. 100 Units.

In this class we'll study how writers define and make use of truth--whatever that is. In some cases it's the truth, singular; in others a truth, only one among many. Some writers tell it straight, others slant. Some, like Tim O'Brien, advocate story-truth, the idea that fiction tells deeper truths than facts. To get at the heart of these and other unanswerable questions we'll read writers who've written about one event in two or more modes. Nick Flynn's poems about his father, for example, which he's also set down as comic strips as well as in prose. Jeanette Winterson's first novel as well as her memoir, sixteen years later, about what she'd been too afraid to say in it. Karl Marlantes' novel about the Vietnam war, then his essays about the events he'd fictionalized. Through weekly responses, creative exercises, and longer analytic essays you'll begin to figure out your own writerly truths, as well as the differences-and intersections-between them.

Instructor(s): Dan Raeburn     Terms Offered: Autumn Prerequisite(s): This is class is restricted to students who have declared a major in Creative Writing or a minor in English and Creative Writing. Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins.

CRWR 17007. Fundamentals in Creative Writing: The Grammar of Narrative. 100 Units.

Storytelling goes nearly as far back as human consciousness, while the ways in which we tell stories has been expanding ever since. This class will look at several different forms of narrative-fiction, creative non-fiction, narrative poetry, and film-and explore the "grammar" of these different genres, what they share and where they differ and how their particular strengths influence the ways in which they most effectively communicate. How does film (a visual medium) tell a story differently than does fiction (which asks us to project our own imagined version of the story), differently than creative non-fiction, (which must always rely on facts), differently than poetry (which condenses the story to its essences)? How do these different genres and mediums influence the stories they tell and the effects they achieve? Readings will include primary texts as well as critical and fundamentals texts in each genre. Students will complete weekly reading responses, as well as creative exercises. A paper focusing on a specific element derived from the class will be due at the end of the course.

Instructor(s): Augustus Rose     Terms Offered: Spring Prerequisite(s): Students must be a declared Creative Writing major or Minor in English and Creative Writing to enroll. Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins.

CRWR 17012. Fundamentals in Creative Writing: Creative Research/The Numinous Particulars. 100 Units.

According to Philip Gerard, "Creative research is both a process and a habit of mind, an alertness to the human story as it lurks in unlikely places." Creative writers may lean on research to sharpen the authenticity of their work; to liberate themselves from the confines of their personal experience; to mine existing stories and histories for details, plot, settings, characters; to generate new ideas and approaches to language, theme and story. The creative writer/researcher is on the hunt for the numinous particulars, the mysteries and human stories lurking in the finest grains of detail. In this course, we will explore the research methods used by creative writers and consider questions that range from the logistical (eg. How do I find what I need in an archive?) to the ethical (eg. How do I conscientiously write from a point of view outside my own experience?) to the aesthetic (eg. How do I incorporate all these researched details without waterlogging the poem/story/essay?). We will read poetry, fiction, and creative nonfiction that relies heavily on research and hear from established writers about the challenges of conducting and writing from research. Assignments will include reading responses, creative writing and research exercises, short essays and presentations.

Instructor(s): Stephanie Soileau     Terms Offered: Winter Prerequisite(s): Students must be a declared Creative Writing major or Minor in English and Creative Writing to enroll. Open bid through my.uchicago.edu. Attendance on the first day is mandatory.

CRWR 17013. Fundamentals in Creative Writing: Touchstones. 100 Units.

Most passionate readers and writers have literary touchstones --those texts we return to again and again for personal or aesthetic influence and inspiration. When we are asked what book we would want with us if we were stranded on a desert isle, our touchstones are the ones that leap immediately to mind. Some texts are fairly ubiquitous touchstones: The Great Gatsby, Harry Potter and the [take your pick], The Bell Jar, Little Women, Letters to a Young Poet, Leaves of Grass. Others are quirkier, more idiosyncratic. What -- if any -- qualities do these touchstones share, within and across genres? What lessons about writing craft can be drawn from them? In this course, we'll read texts that are commonly cited as touchstones, along with fiction, poetry, and creative nonfiction that students bring to the table -- their own literary touchstones. In that sense, our reading list will be collaborative, and students will be expected to contribute content as well as an analytical presentation on the craft issues raised by their selections. Our assignments will include reading responses, creative writing exercises, short essays and presentations.

Instructor(s): Stephanie Soileau     Terms Offered: Autumn Prerequisite(s): Students must be a declared Creative Writing major to enroll during preregistration. Contact instructor to be added to the waitlist. Attendance on the first day is mandatory.

CRWR 17014. Fundamentals in Creative Writing: A Gathering of Flowers. 100 Units.

Instructor(s): Julie Iromuanya     Terms Offered: Spring Prerequisite(s): Students must be a declared Creative Writing major to enroll during preregistration. Contact instructor to be added to the waitlist. Attendance on the first day is mandatory.

CRWR 17015. Fundamentals in Creative Writing: Sincerity (and Irony) 100 Units.

What does it mean for a piece of writing to be "sincere"? How do we know a (character, poem, "I," essay) is "sincere"? What does it mean to make that judgment, and what does it commit us to? How does that judgment change a reader's orientation to the object? We will approach these questions obliquely first, by thinking about how irony works. Are irony and sincerity opposites? We'll look at a range of contemporary and historical objects in fiction, nonfiction, and poetry. This will include essays by Kierkegaard, Oscar Wilde, Wayne Booth, Jonathan Swift, and R. Magill Jr., fiction by Vladimir Nabokov, Joanna Ruocco, and Kathy Acker, and poetry by Chelsey Minnis, Jenny Zhang, Amiri Baraka, and others. We'll also consider certain internet objects and think about their relationship to sincerity (and irony). This course will give students a more nuanced and historically grounded handle on these questions, and will help them develop a style of writing that's able to more intentionally (and interestingly) choose its tonal legibilities.

Instructor(s): Kirsten Ihns     Terms Offered: Autumn Prerequisite(s): This is class is restricted to students who have declared a major in Creative Writing or a minor in English and Creative Writing. Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins.

CRWR 17016. Fundamentals in Creative Writing: The Frame Narrative. 100 Units.

In this course, students will engage in a close examination of the various permutations of the frame narrative device across time and genre. From A Thousand and One Nights, to Hamlet, to the "Call of Cthulhu" and Watchmen, the "story within a story" construction is one of the oldest and most employed literary devices-one which can either elevate or imperil the work wherein it is utilized. Students will respond to the material in both critical and creative manners, culminating in a final analytical and creative piece that employs the craft elements discussed and unpacked in class.

Instructor(s): Lina Ferreira Cabeza-Vanegas     Terms Offered: Spring Note(s): During pre-registration, this course is open only to declared Creative Writing Majors and declared Minors in English and Creative Writing

CRWR 17017. Fundamentals in Creative Writing: Haunted Craft, the Art of the Spectral Metaphor. 100 Units.

This course will be a close examination of the use of spectral imagery as a craft element in narratives across genre and time. From Charlotte Perkins Gilman's "The Yellow Wallpaper" to Emily Carrol's A Guest in the House, to Shirley Jackson's The Haunting of Hill House and Octavia Butler's Fledgling, the supernatural metaphor presents a unique stage upon which to play out questions of gender autonomy, mental health, repressed sexuality, racism and more. Students in this course will be expected to put the fantastical metaphor under a microscope and explore its potential through both creative and critical work of their own.

CRWR 20203. Technical Seminar in Fiction: Research and World-Building. 100 Units.

Writing fiction is in large part a matter of convincing worldbuilding, no matter what genre you write in. And convincing worldbuilding is about creating a seamless reality within the elements of that world: from setting, to social systems, to character dynamics, to the story or novel's conceptual conceit. And whether it be within a genre of science fiction, fantasy, historical fiction, or even contemporary realism, building a convincing world takes a good deal of research. So while we look closely at the tools and methods of successful worldbuilding, we will also dig into the process of research. From how and where to mine the right details, to what to look for. We will also focus on how research can make a fertile ground for harvesting ideas and even story. Students will read various works of long and short fiction with an eye to its worldbuilding, as well as critical and craft texts. They will write short weekly reading responses and some creative exercises as well. Each student will also be expected to make a brief presentation and turn in a final paper for the class.

Instructor(s): Augustus Rose     Terms Offered: Winter Prerequisite(s): During pre-registration, this course is open only to declared Creative Writing Majors and declared Minors in English and Creative Writing, as well as graduate students. During add/drop the course will be instructor consent and open to all students in the College. Please contact the instructor to be added to the waitlist for the option to enroll during add/drop. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 40203

CRWR 20209. Technical Seminar in Fiction: Scenes & Seeing. 100 Units.

At the core of literary storytelling is dramatization, which enables a reader to "see" the world, characters, and incidents at play and to vicariously experience their emotional and psychological consequences in the story. The primary vehicle for dramatization in a story is the scene, which consists of many crucial parts: characterization, setting and imagery, dialogue and action, tone and atmosphere, subtext and thematic development. In this course we'll break down all these parts and examine how they can function on their own as well as interact to bring a moment or event to life. Where and how should a particular scene begin and end? How should information be organized? How might we determine a scene's goals in isolation and in support of the larger narrative of a short story, novella, or novel? And ultimately, beyond characters talking, acting, and reacting, how might we expand our traditional notions of what a scene is and what it can do? We'll consider such questions as we discuss exceptionally crafted scenes from short stories, novels, plays, and even film, TV, and podcasts, with an eye also on the differences in scene craft from genre to genre and what that can teach us specifically as fiction writers. Course assignments will include reading responses, writing exercises, short essays, and student presentations.

Instructor(s): Vu Tran     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 40209

CRWR 20217. Technical Seminar in Fiction: Elements of Style. 100 Units.

What we call style is more than literary flourish. Control of a story begins with a writer's characteristic approach to the line. Style dictates and shapes immersive and impactful worlds of our creation. It's also indicative of a work's larger themes, philosophies, and aesthetic sensibility. In this class, we'll examine fiction by wordsmiths such as James Baldwin, Gabriel García Márquez, Toni Morrison, and Marguerite Duras in order to contemplate the influence that elements such as diction, syntax, rhythm, and punctuation have on a writer's style.

Instructor(s): Julie Iromuanya     Terms Offered: Winter Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 40217

CRWR 20221. Technical Seminar in Fiction: Detail. 100 Units.

John Gardner said that the writer's task is to create "a vivid and continuous fictional dream." This technical seminar will focus on the role of detail in maintaining this dream. In this course we will deconstruct and rebuild our understanding of concepts like simile, showing vs. telling, and symbolism, asking what these tools do and what purpose they serve. Drawing from fiction and essays from Ottessa Moshfegh, Barbara Comyns, Zadie Smith, and others, students will practice noticing, seeing anew, and finding fresh and unexpected ways of describing. We will also examine what is worthy of detail in the first place, how detail functions outside of traditional scene, and the merits and limits of specificity, mimesis, and verisimilitude. Finally we will consider what it means to travel across a landscape of vagueness and euphemism as we search for the quality of "thisness" that James Wood claims all great details possess. In addition to assigned readings, students will be responsible for reading responses, short craft analyses, vigorous class participation, and several creative exercises and peer critiques applying these lessons.

Instructor(s): Benjamin Hoffman     Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 40221

CRWR 20224. Technical Seminar in Fiction: Narrative Tempo. 100 Units.

At certain moments," writes Italo Calvino of his early literary efforts, "I felt that the entire world was turning into stone." Slowness and speed govern not just the experience of writing but also the texture of our fictional worlds. And this is something we can control. Sublimely slow writers like Sebald or Duras can make time melt; spritely magicians like Aira and Rushdie seem to shuffle planes of reality with a snap of their fingers. This seminar gathers fictions that pulse on eclectic wavelengths, asking in each case how narrative tempo embodies a fiction's character. Our exercises will play with the dial of compositional speed, testing writing quick and slow; alternately, we'll try to recreate the effects of signature texts. Weekly creative and critical responses will culminate in a final project.

Instructor(s): Benjamin Lytal     Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 40224

CRWR 20232. Technical Seminar in Fiction: Narrative Influence. 100 Units.

T. S. Eliot once said that "good writers borrow, great writers steal." In this class we will look at modeling as a springboard for original creativity. What makes a piece of writing original? Is it possible to borrow a famous writer's story structure, theme, or even attempt their voice, yet produce something wholly original? How specifically are writers influenced and then inspired? Readings will pair writers with the influences they've talked or written about, such as Yiyun Li and Anton Chekhov; Edward P. Jones and Alice Walker; Sigrid Nunez and Elizabeth Hardwick, and George Saunders and Nikolai Gogol. Writing exercises will experiment with aspects of voice, narrative structure, point of view, tone, and use of dialog. While this is not a workshop course, come prepared to write and share work in class. Students will pursue both creative work and critical papers.

Instructor(s): Sharon Pomerantz     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 40232

CRWR 20233. Technical Seminar in Fiction: Who Sees and Who Speaks? 100 Units.

Who Sees and Who Speaks? What is the nature of the encounter between a narrator and a character, and how do elements of character and plot play out in narrative points of view? Drawing on the narratological work of theorists such as Gérard Genette and Monika Fludernik and of critics such as James Wood, this technical seminar considers what point of view, perspective, and focalization can do or make possible. Readings may include stories by Jorge Luis Borges, Jamaica Kincaid, Haruki Murakami, Jenny Zhang, William Faulkner, Lorrie Moore, Jamil Jan Kochai, Italo Calvino, Ursula K. Le Guin, Gabriel García Márquez, Edith Wharton, Sidonie-Gabrielle Colette, Edwidge Danticat, Jhumpa Lahiri, Lesley Nneka Arimah, and Virginia Woolf, among others, and will introduce instances of first-person-plural and second-person narrative, as well as modes of representing speech and thought such as free indirect discourse. Over the course of the quarter, students will write short analyses and creative exercises, culminating in a final project.

Instructor(s): Sophia Veltfort     Terms Offered: Winter Prerequisite(s): During pre-registration, this course is open only to declared Creative Writing Majors and declared Minors in English and Creative Writing, as well as graduate students. During add/drop the course will be instructor consent and open to all students in the College. Please contact the instructor to be added to the waitlist for the option to enroll during add/drop. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 40233

CRWR 20236. Technical Seminar in Fiction: Alternative Points of View. 100 Units.

Point of view is one of our most powerful narrative tools, controlling voice, perspective, and level of access to every bit of information a reader receives. When writers are first finding their way into new fiction projects, however, it is easy to default to the two points of view we are most commonly exposed to: a traditional first person or third person that behaves predictably. In this Technical Seminar, we will mine the work of Julie Otsuka, Carmen Maria Machado, Robert Coover, Ryunosuke Akutagawa, Sigizmund Krzhizhanovsky, and other writers for strategic usage of alternative points of view, including second person, first person plural, free indirect discourse, and deliberate shifts from one point of view into another. Assignments will include short critical and creative responses, a final fiction assignment, and a final presentation.

Instructor(s): Meghan Lamb     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 40236

CRWR 20309. Technical Seminar in Poetry: Generative Genres. 100 Units.

From ancient Sumerian temple hymns to 7th-century Japanese death poems to avant-garde ekphrasis in the 21st century, the history of poetry is as rich in genres as it is in forms. Why does it feel so good to write a curse? What is an ode and how is it different from an aubade? In this technical seminar we will study the origins, transcultural functions, and evolving conventions of some of the oldest-living genres of lyric poetry - the ode, the elegy, the love poem, the curse, to name a few. We will read living writers such as Alice Oswald, Danez Smith, Kim Hyesoon, and Natalie Diaz alongside historical forerunners including Aesop, Sei Shonagon, John Keats. Federico Garcia Lorca, Sylvia Plath, and Paul Celan. Students will write weekly experiments of their own in response to our readings, and for a final project they will edit a mini-anthology of a genre of their choice, including a short critical introduction.

Instructor(s): Suzanne Buffam     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 40309

CRWR 20312. Technical Seminar in Poetry: Prosody. 100 Units.

PROSODY This course will be a deep dive into prosody. What is prosody? Merriam-Webster describes it as "the rhythmic and intonational aspect of language" - we might also describe it as the way poems move, and how they move their reader. Arguably one of the most important (and least visible) aspects of poetic composition, prosody can teach you to see and write differently. We'll begin with an introduction to historical metrics (the boring but necessary part), and then move on to studying more contemporary models. Readings will include a bit of scholarly work on prosody by Rosemary Gates and Boris Maslov, but mostly we'll read poems, from the 12th century to the 21st, that foreground prosody and rhythmic structure. This will be a practice-intensive class-you will be asked to produce several exercises a week, in addition to a final paper or project.

Instructor(s): Kirsten Ihns     Terms Offered: Winter Prerequisite(s): During pre-registration, this course is open only to declared Creative Writing Majors and declared Minors in English and Creative Writing, as well as graduate students. During add/drop the course will be instructor consent and open to all students in the College. Please contact the instructor to be added to the waitlist for the option to enroll during add/drop. Equivalent Course(s): CRWR 40312

CRWR 20404. Technical Seminar in Nonfiction: Forms of the Essay. 100 Units.

The essay, derived from the French term essayer meaning "to try" or "to attempt," is not only a beloved sub-genre of creative nonfiction, but a form that yields many kinds of stories, thus many kinds of structures. Araceli Arroyo writes that the essay can "reach its height in the form of a lyric, expand in digression, coil into a list, delve into memoir, or spring into the spire of the question itself all with grace and unexhausted energy." In this course, we will analyze the essay's continuum, marked by traditional, linear narratives on one end, and at the other, everything else. In our class, we will investigate the relationship between content and form. What does it mean to be scene-driven? What happens when a narrative abandons chronology and event, propelled instead by language and image? What is gained through gaps and white space? You will leave this class with a strong grasp of content's relationship to form, prepared to participate effectively in creative writing workshops. You will also create a portfolio of short writings that can be expanded into longer pieces. Readings will include: Nox by Anne Carson; A Bestiary by Lily Hoang; Tell Me How It Ends: An Essay in Forty Questions by Valeria Luiselli; Citizen: An American Lyric by Claudia Rankine; Essayists on the Essay edited by Ned Stuckey-French

Instructor(s): Kathleen Blackburn     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 40404

CRWR 20410. Technical Seminar in Nonfiction: Epistolary Form. 100 Units.

When does a body of writing become "literary"? What stories might be found inside the hastily scrawled lines of a postcard buried in the attic or an incomplete to-do list drifting down the sidewalk? Beginning with the modern epistle and epistolary novel, this cross-genre seminar orbits the space where non-literary documents give way to artistic compositions that a given set of experts would otherwise neatly categorize and deposit somewhere literature is supposed to belong. As we practice the interplay of research and imagination toward the realization of a final project, we'll examine how writers of nonfiction and documentary poetics have used everything from blueprints of a prison cell to vaudeville ephemera to frame, develop, and heighten true stories. We'll consider ethics of authority such as information access, authentication, and journalistic objectivity alongside rhetorical matters of credibility, emotional truth, and the serviceability of facts. Come play in the archives and observe the power of repurposed material.

Instructor(s): Dina Peone     Terms Offered: Winter Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 40410

CRWR 20412. Technical Seminar in Nonfiction: The writer as researcher. 100 Units.

Research is an essential and imaginative process for the nonfiction story, but in what ways are the writer's methods unique to literary practice? This course will explore the role of research in writing creative nonfiction. Students will develop methods that play a role in writing essays, memoir, and literary journalism. The seminar will be conducted in four sequential parts: immersion research; interview techniques; library research; translating technical jargon for a public readership. Assignments will equip students with the practical steps for completing each style of research. We will also discuss how to integrate research into the descriptions, narrative, and subtext of the writing. Students will experiment with: dramatizing research through scene-building; using reflection to respond to their findings; and inviting research to become part of the plot. Research, we will find, generates some of the most dramatic and surprising moments in the writing process. We will read texts that correspond to the areas of focus, including works by Eula Biss, Daisy Hernandez, and Sarah Viren. Students will leave the course equipped to include research into their writing process for advanced writing workshops and thesis projects.

Instructor(s): Kathleen Blackburn     Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 40412

CRWR 21502. Advanced Translation Workshop. 100 Units.

All writing is revision, and this holds true for the practice of literary translation as well. We will critique each other's longer manuscripts-in-progress of prose, poetry, or drama, and examine various revision techniques-from the line-by-line approach of Lydia Davis, to the "driving-in-the-dark" model of Peter Constantine, and several approaches in between. We will consider questions of different reading audiences while preparing manuscripts for submission for publication, along with the contextualization of the work with a translator's preface or afterword. Our efforts will culminate in not only an advanced-stage manuscript, but also with various strategies in hand to use for future projects. We will also have the opportunity to have conversations via Zoom with some of the translators we'll be reading. Students who wish to take this workshop should have at least an intermediate proficiency in a foreign language and already be working on a longer translation project.

Instructor(s): Jason Grunebaum     Terms Offered: Spring Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu (include writing sample). Attendance on the first day is mandatory. Students who wish to take this workshop should have at least an intermediate proficiency in a foreign language and already be working on a longer translation project. Equivalent Course(s): CRWR 41502

CRWR 21504. Advanced Translation Workshop: Scales of Reading. 100 Units.

Peer review of translations-in-progress can often take the form of line edits: we discuss word choices that call attention to themselves rather than talking through the larger compositional units in which those choices are made. While a fine-grained reading is vital to revision, it can also run the risk of minimizing our critical engagement with translated texts merely on the basis of "awkward" or " stilted" language. This workshop will explore the different scales of reading employed in reviewing drafts: Yes, those instances that make us pause or take us out of the text are worth marking for the translator, but ultimately, they're only useful to the translator if we can synthesize them into a larger, coherent reading of the work as a whole. By treating translations-in-progress as literary works deserving of close readings (rather than merely manuscript pages to be edited), we'll seek to provide our peers with a critical account of our experience as the primary readers of their translations. Specifically, we'll practice grounding our accounts in aspects of craft and structure, form and content, in order to move beyond our subjectivities as readers and our idiolects as writers - and better understand how a translated work's larger concerns are enacted in the language itself. Students with translations-in-progress, as well as students who will be starting new projects, are welcome to participate in this workshop.

Instructor(s): Annie Janusch Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu (include writing sample). Attendance on the first day is mandatory. Students who wish to take this workshop should have at least an intermediate proficiency in a foreign language and already be working on a longer translation project. Equivalent Course(s): CRWR 41504

CRWR 21505. Advanced Translation Workshop: Prose Style. 100 Units.

Purple, lean, evocative, muscular, literary, exuberant, lucid, stilted, elliptical. These are all labels that critics and reviewers have used to characterize prose styles that call attention to themselves in distinct ways. Of course, what constitutes style not only changes over time, but also means different things in different literary traditions. How, then, do translators carry style over from one language and cultural milieu to another? And to what extent does style structure storytelling? We will explore these questions by reading a variety of modern and contemporary stylists who either write in English or translate into English, paying special attention to what stylistic devices are at work and what their implications are for narration, characterization, and world building. Further, we'll examine the range of choices that each writer and translator makes when constituting and reconstituting style, on a lexical, tonal, and syntactic scale. By pairing readings with generative exercises in stylistics and constrained writing, we will build toward the translation of a short work of contemporary fiction into English. To participate in this workshop, students should be able to comfortably read a literary text in a foreign language.

Instructor(s): Annie Janusch     Terms Offered: Winter Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 41505

CRWR 22117. Advanced Fiction Workshop: Beginning a Novel. 100 Units.

This workshop is for any student with a novel in progress or an interest in starting one. Our focus will be the opening chapter, arguably the most consequential one-for the reader naturally, but most importantly for us the writer. How might it introduce the people and world of the story, its premise or central conflict, its narrative tone and style? How might it intrigue, orient, or even challenge the reader and begin teaching them how to read the book? And if the first chapter is our actual starting point as the writer, how might it help us figure out the dramatic shape of our novel, its thematic concerns, its conceptual design? We'll apply such questions to the opening chapters of an exemplary mix of novels-The Great Gatsby, The Age of Innocence, Invisible Man, Beloved, The Wind-Up Bird Chronicle, The Vegetarian, Normal People, etc.- and examine what they are expected to do as well as what they can unexpectedly do. And as everyone workshops the first chapter (or prologue) of their own novel, we'll consider ways of adjusting or rethinking them so that the author can better understand their project overall and build on all the promise of the material they have.

Instructor(s): Vu Tran     Terms Offered: Autumn Note(s): Students must have taken Fundamentals + a Beginning Workshop in the same genre as the Advanced Workshop you want to register for. Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 42117

CRWR 22128. Advanced Fiction Workshop: Novel Writing, The First Chapters. 100 Units.

In this workshop-focused class we will focus on the early stages of both developing and writing a novel: choosing the POV, establishing the setting, developing the main characters and the dynamics between them, setting up the conflicts and seeding the themes of book, etc. As a class we will read, break down and discuss the architecture of the openings of several published novels as you work on your own opening chapters, which will be workshopped during the course.

Instructor(s): Augustus Rose     Terms Offered: Autumn Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu (include writing sample). Attendance on the first day is mandatory. Equivalent Course(s): CRWR 42128

CRWR 22130. Advanced Fiction Workshop: Inner Logic. 100 Units.

In this advanced workshop, we will explore the range of strategies and techniques that fiction writers employ to make readers suspend their disbelief. We will consider how imagined worlds are made to feel real and how invented characters can seem so human. We will contemplate how themes, motifs, and symbols are deployed in such a way that a story can feel curated without seeming inorganic. We will consider how hints are dropped with subtlety, how the 'rules' for what is possible in a story are developed, and how writers can sometimes defy their own established expectations in ways that delight rather than frustrate. From character consistency to twist endings, we'll investigate how published authors lend a sense of realism and plausibility to even the most far-fetched concepts. Through regular workshops, we will also interrogate all students' fiction through this lens, discussing the ways in which your narratives-in-progress create their own inner logic. Students will submit two stories to workshop and will be asked to write critiques of all peer work.

Instructor(s): Baird Harper     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 42130

CRWR 22132. Advanced Fiction Workshop: Strange Magic in Short Fiction. 100 Units.

In this workshop based course we'll investigate how strangeness and magic function in short fiction. We'll read stories by authors like Kelly Link, Carmen Maria Machado, and Alice Sola Kim, examining how these writers portray the fantastical and impossible. We'll explore concepts like defamiliarization, versimilitude, and the uncanny. We will contemplate how magical realism and surrealism differ from sci-fi and fantasy genre writing, and ask how we, as writers, can make the quotidian seem extraordinary and the improbable seem inevitable, and to what end? Students will complete several short creative exercises and workshop one story that utilizes magic or strange effects. Students will also be expected to write thoughtful, constructive critiques of peer work. Throughout the course, we'll consider how the expectations of literary fiction might constrain such narratives, and we can engage with and transcend these archetypes.

Instructor(s): Benjamin Hoffman     Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 42132

CRWR 22133. Advanced Fiction Workshop: Writing the Uncanny. 100 Units.

Sigmund Freud defines "the uncanny" ("unheimlich") as something that unnerves us because it is both familiar and alien at the same time, the result of hidden anxieties and desires coming to the surface. In this advanced fiction workshop, we will explore how fiction writers use the uncanny to create suspense, lend their characters psychological depth, thrill and terrify their readers, and lay bare the darkest and most difficult human impulses. We will read and discuss fiction by writers like Shirley Jackson, Jamaica Kincaid, Octavia Butler, Kelly Link, Ben Okri, Haruki Murakami, and Victor Lavalle, drawing craft lessons from these writers to guide our own attempts at writing the uncanny. Much of our class time will be dedicated to evaluating student work and honing our skills of composition and critique. In addition to shorter writing exercises and "mini-workshops" throughout the quarter, every student will complete a full-length "uncanny" short story for workshop and compose critique letters for each of their peers. Students will be required to significantly revise their full-length short story by the end of the quarter.

Instructor(s): Stephanie Soileau     Terms Offered: Autumn Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 42133

CRWR 22134. Advanced Fiction Workshop: Cultivating Trouble and Conflict. 100 Units.

If you want a compelling story, put your protagonist among the damned." --Charles Baxter While crisis is to be avoided in life, when it comes to narrative, trouble is your friend. In this advanced workshop we'll explore the complex ways writers create conflict in their stories, be it internal or external, spiritual or physical, romantic, financial or familial. We'll read masters of the form like Edward P. Jones, George Saunders, ZZ Packer, Jhumpa Lahiri, and Yiyun Li, and discuss how they generate conflict that feels organic, character-driven, and inevitable. Weekly writing exercises will encourage you to take creative risks and hone new skills. Each student will workshop two stories, with strong emphasis on focused and productive peer critique and in-class commentary.

Instructor(s): Sharon Pomerantz     Terms Offered: Spring Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 42134

CRWR 22135. Advanced Fiction Workshop: Narrative Time. 100 Units.

The Long and the Short of it: Narrative Time A story's end point determines its meaning. The history of a life can be covered in a sentence, a few pages or seven volumes. How do writers decide? In this advanced workshop, we'll look at different ways to handle narrative time, paying special attention to building blocks like direct and summary scene, flashback, compression, slowed time and fabulist time. We'll examine work by writers whose long stories feel like novels, like Alice Munro and Edward P. Jones, alongside those who say everything in a short single scene of a page or two, like Grace Paley and Kate Chopin. Students will be encouraged to experiment with time in both writing exercises and story revisions.By the end of the course, you will have generated significant raw material and workshopped one story. Two stories, one polished and one in draft, will be prepared for the final.

Instructor(s): Sharon Pomerantz     Terms Offered: Winter Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 42135

CRWR 22137. Advanced Fiction Workshop: The College Novel (& Story) 100 Units.

In this advanced fiction workshop, we will examine and write narratives set at college, the so-called campus and varsity novels (and, in our case, short stories). We will try to capture the attendant promise and uncertainty of life on the cusp of adulthood, asking what it means to come of age, to age, to experiment, and possibly, to regress. We'll attempt to veer away from cultural cliché and caricature to portray the truth of life on campus and come to grips with the way you live right now, as we consider what it means-to borrow the title of one novel-to make our home among strangers. Students will read published works and submit two stories or novel excerpts for workshops. Please expect a rigorous but constructive workshop environment where being a critic and an editor is essential.

Instructor(s): Ben Hoffman     Terms Offered: Winter Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 42137

CRWR 22140. Advanced Fiction Workshop: Killing Cliché 100 Units.

It's long been said that there are no new stories, only new ways of telling old ones, but how do writers reengage familiar genres, plots, and themes without being redundant? This course will confront the literary cliché at all levels, from the trappings of genre to predictable turns of plot to the subtly undermining forces of mundane language. We will consider not only how stories can fall victim to cliché but also how they may benefit from calling on recognizable content for the sake of efficiency, familiarity, or homage. Through an array of readings that represent unique concepts and styles as well as more conventional narratives we will examine how published writers embrace or subvert cliché through story craft. Meanwhile, student fiction will be discussed throughout the term in a supportive workshop atmosphere that will aim not to expose clichés in peer work, but to consider how an author can find balance-between the familiar and the unfamiliar, between the predictable and the unpredictable-in order to maximize a story's effect. Students will submit two stories to workshop and will be asked to write critiques of all peer work.

Instructor(s): Baird Harper     Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 42140

CRWR 22146. Advanced Fiction Workshop: Disruption and Disorder. 100 Units.

This workshop-based course proceeds from the premise that disorder and disruption are fruitful aesthetics that might be applied to numerous elements of fiction to unlock new possibilities in our work. Students will seek to identify typical narrative conventions and lyrical patterns and then write away from them-or write over them, toward subversion, surprise, and perhaps even a productive anarchy. Students will search for hidden structures in work by Taeko Kono, Nafissa Thompson-Spires, Diane Williams, Garielle Lutz, and others, examining the methods these writers use to lead readers to unexpected, original, and transgressive places. Students will complete several short creative exercises in which they practice disruption and disorder in plot, pace, dialogue, and syntax. In the second half of the course, students will workshop one story or excerpt and write thoughtful, constructive critiques of peer work. Revision is also a crucial component of this class, as it is an opportunity to radically warp and deviate from our prior visions. Throughout the quarter, we will attempt to interrupt and shake up our own inclinations as artists.

Instructor(s): Benjamin Hoffman     Terms Offered: Winter Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 42146

CRWR 22149. Advanced Fiction Workshop: Long Stories. 100 Units.

The advantage, the luxury, as well as the torment and responsibility of the novelist," writes Henry James, "is that there is no limit to what he may attempt." Writers interested in these torments and luxuries can begin to experiment with long form in this workshop. Each student will compose a single long story of about forty pages. We'll attend to the freshness of beginnings, the satisfactions (and compromises) of endings and, most acutely, to the crises of middles. A scaffolding of workshops, outlines, and conferences will support and structure your efforts. Along the way we'll explore the opportunities of long-form structure with examples from the likes of David Foster Wallace, Alice Munro, Ted Chiang, and Toni Morrison. Most of our class time will be devoted to workshopping long stories by students.

Instructor(s): Benjamin Lytal     Terms Offered: Winter Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 42149

CRWR 22152. Advanced Fiction Workshop: Finding and Refining Voice. 100 Units.

As writers, your "voice" is you imposing who you are on the truthfulness of your sentences. Finding your voice, then, is the process-whether you're describing a character, an image, or an idea-of constantly asking yourself, Do I absolutely believe this?, of rewriting and rewriting your sentences until you absolutely do believe it, and finally of refining all the technical aspects you brought to bear to assure that level of individual truth. Out of that, naturally and inevitably, comes your voice-at least for the time being. In this workshop, we'll examine this crucial stage in the development of your own aesthetic, which is not merely a writing style, but more importantly a personal perspective on the world that informs and is informed by that style. We will read a selection of writers with distinctive worldviews and thus distinctive literary voices (Paul Bowles, Toni Morrison, Gabriel Garcia Marquez, Lorrie Moore, Ottessa Moshfegh, Ocean Vuong, Garth Greenwell, etc.), and we'll complement those readings with writing exercises and workshops of your own fiction, where you will actively interrogate, cultivate, and refine your emerging voice.

Instructor(s): Vu Tran     Terms Offered: Spring Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 42152

CRWR 22153. Advanced Fiction Workshop: Rants and Rambles. 100 Units.

The unshackled narrators that dominate many of our most exciting novels-from Dostoevsky's underground man to the uber-relatable mother of 2019's Ducks, Newburyport-take their bearings not from the scenic method of theater or the omniscient narration of history but from the essay form and from oral storytelling. This workshop plumbs those resources to better understand this alternative tradition, studying the craft that can make unruly narrative both highly entertaining and intellectually satisfying, exploring rhetoric, repetition, leitwortstil, logical nesting, suspense, digression, irony, and humor. While executing creative exercises in voice, we'll read books of furious energy by Thomas Bernhard and Jamaica Kincaid alongside cooler, essayistic meanders by W. G. Sebald and Claire-Louise Bennett. Students will compose and workshop a substantial work that takes its cues from these examples.

Instructor(s): Benjamin Lytal     Terms Offered: Spring Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 42153

CRWR 22154. Advanced Fiction Workshop: Unlikeable Characters. 100 Units.

From "unreliable" to "unlikeable," certain characters--and character qualities--are often measured against popular understandings of who is "good," who is "relatable," and who gets to decide. As Ottessa Moshfegh quips in a Guardian interview, "We live in a world in which mass murderers are re-elected, yet it's an unlikeable female character that is found to be offensive." In this technical seminar, we will critically investigate cultural dialogues around "unlikeability," and discuss the shared qualities and compelling narrative capabilities of "unlikeable" characters. Assignments will include reading responses, short craft analyses, and a presentation.

Instructor(s): Meghan Lamb     Terms Offered: Spring Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 42154

CRWR 22155. Advanced Fiction Workshop: Writing About Work. 100 Units.

Writing about work, jobs, and vocational experiences may seem contradictory- or even antithetical-to our goals in fiction. After all, if we aim to inspire, to invigorate, to otherwise wield a narrative "axe for the frozen sea within us" (as Kafka wrote), why write about the very day-to-day tasks so often charged with numbing and blurring our sensation of life? In this workshop, we will explore and answer this question with our own work-focused fictions, developing strategies for defamiliarizing the mundane, and using routines to build dramatic tension. Utilizing a combination of creative workshops and exercises-and drawing upon models from the job-focused fiction of Eugene Martin, Dorothy Allison, Lucia Berlin, Nana Kwame Adjei-Brenyah, Edwidge Danticat, and other writers-we will also deepen and develop our characters through precise depictions of their work environments.

Instructor(s): Meghan Lamb     Terms Offered: Winter Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 42155

CRWR 22156. Advanced Fiction Workshop: Narrator as Personality. 100 Units.

While aspiring writers usually grasp quickly how to write direct dialog-we hear it all around us, in public and private spaces-narration is a trickier enterprise. In this writing workshop, we will look at the narrator as personality, a voice that exists to tell the story, but not always to enter it. The narrator can be a constant, like an elbow in the side, or effaced, touching down to only give us the basics of time and place. They can be all knowing, summarizing scenes, people and events from a distant, God-like vantage, or reportorial, speaking in present tense as events unfurl. Some narrators make us laugh but are conning us with their charm; others explain the psychology of events like a great therapist or moralize like a member of the clergy. We will read a wide range of examples from writers like Edward P. Jones, Anton Chekhov, Salman Rushdie, Amy Hempel, Yiyun Li, and Louise Erdrich. Students will be encouraged to experiment in both writing exercises and story revisions. By the end of the course, you will have generated significant raw material and workshopped one story, which you will revise for the final.

Instructor(s): Sharon Pomerantz     Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 42156

CRWR 22157. Advanced Fiction Workshop: Tiny Chapters. 100 Units.

In this advanced fiction workshop, students will have the opportunity to assemble a long narrative out of short fragments. Composing with small units reframes the art of narrative. We'll study the diverse affordances of working with fragments-collage, aporia, essayistic interpolation-always keeping an eye on the totality of our narratives. We'll discuss the art of brevity-including related forms like the aphorism, the note, and the joke. We'll begin in experiment and end with substantial compositions. Our readings will be drawn from the numerous contemporary novelists who use this method (Jenny Offill, Olga Ravn, Dorthe Nors) as well as the older generation of authors who, in their different ways, may be said to have pioneered the form (Marguerite Duras, Gwendolyn Brooks, William Gass, Renata Adler). But most of our class time will be devoted to workshopping original student work.

Instructor(s): Benjamin Lytal     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 42157

CRWR 22158. Advanced Fiction Workshop: From the Ground Up. 100 Units.

In a craft talk, writer Stephen Dobyns once described an exercise he used for generating stories inspired by Raymond Carver, who said about his process, "I write the first sentence, and then I write the next sentence and then the next." Apparently, Dobyns was frustrated by that answer, but later challenged himself to write 50 first sentences of potential stories. Then, he picked half of them and wrote 25 first paragraphs. From those, he eventually completed about a half dozen stories. (I learned this from an article by the great short story writer Kelly Link.) In this generative workshop, we will proceed in this fashion. During the first week, we'll study the first sentences of stories and each write our own 50 first sentences. During the second week, we'll study the first paragraphs of stories and each write 25 first paragraphs, and so on until all students have a few complete drafts of stories, one of which will be submitted to our in-class workshop. Along the way, we'll read and discuss well-made stories by writers such as Kelly Link, Denis Johnson, Joy Williams, Edward P. Jones, Justin Torres, Mary Gaitskill, and many others. To be successful, students will read and write actively and share their well-informed opinions with enthusiasm, especially in our workshop discussions.

Instructor(s): Ryan Van Meter     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 42158

CRWR 22159. Advanced Fiction Workshop: Family Life, Family Strife. 100 Units.

If, as the opening lines of Anna Karenina suggests, it is true that "every unhappy family is unhappy in its own way," then the unique character of family is largely determined by its distinct manner and type of conflict. In this advanced fiction workshop, we'll examine fiction about family friction with an eye for observing the strategies that authors have used to construct dramas that revolve around how families love, cope, or crumple in the midst of crisis. As we identify tropes of family dysfunction, we'll also consider the ways authors use narrative devices like point-of-view, setting, plot, and scene to investigate how we define family (and how those definitions have evolved); its bonds and intergenerational inheritances; how families-like institutions- are bonded by their distinctive habits, manners, mores, and laws; and how kinship might magnify, subvert, or critique larger society. Above all, we'll debate what family life and family strife teach us about storytelling. Over the course of the term, we will write and workshop your own fiction inspired by model texts.

Instructor(s): Julie Iromuanya     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 42159

CRWR 23113. Advanced Poetry Workshop: Waste, Surplus, Reuse. 100 Units.

What do writers and artists do with surplus, with extras, leftovers, and other excesses of production? Is there a creative use to put them to? When viewed in the context of ecology and economy, what are the ethical dimensions of working with surplus? Are there also ethics and aesthetics of the "useless"? With these guiding questions, this course will explore creative approaches to waste, and develop revision practices that draw on the reuse of material surplus. We will consider forms of excess, and we'll examine diverse types of waste and things that "waste", including literal trash, ruins, the body, time, the dream, and everyday texts (such as emails, text messages, rough drafts, conversations, and ephemeral media). Readings and media may include work by Georges Perec, Harryette Mullen, Nikki Wallschlaeger, T. S. Eliot, Kurt Schwitters, and Agnes Varda. Students should plan to complete various prompts, lead discussion on readings, and complete a final project.

Instructor(s): Nate Hoks     Terms Offered: Winter Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 43113

CRWR 23123. Advanced Poetry Workshop: Form & Formlessness. 100 Units.

Wallace Stevens suggests that "The essential thing in form is to be free in whatever form is used." How does form provide a kind of freedom for a poet? How does it manifest itself in a poem? Does it mean we have to follow prescribed rules, or is there a more intuitive approach? This course will give students a chance to try out a range of traditional and experimental forms, both as an attempt to improve as writers and in order to interrogate form and its other, what Bataille called the formless, or "unformed" (l'informe). We'll explore traditional and contemporary takes on a variety of forms, such as sonnets, odes, aphorisms, serial poems, and poetic collage. Students should expect to write exercises, submit new poems, contribute feedback on peer work, write short response papers, and submit a final portfolio.

Instructor(s): Nathan Hoks     Terms Offered: Spring Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu (include writing sample). Attendance on the first day is mandatory. Equivalent Course(s): CRWR 43123

CRWR 23126. Advanced Poetry Workshop: Poetry and the Present Moment. 100 Units.

In this workshop we will tackle the problem of writing poetry in the present moment at a range of scales, thinking critically about our world's obsession with the "contemporary." At the grandest scale, we will ask what it means to write into the contemporary moment, one in which we seem to feel time fading with every status update and tweet, and one that demands embodied engagement-reading works that have been written recently, in dialogue with living authors. At the most intimate scale, we will consider how poetry can cultivate critical awareness of the present moment amidst forces that pull us with dopamine-induced promises and regrets into the future and past. How does poetry, with its odd ability to punctuate, syncopate, fragment, and suspend time, intervene in daily life and in the historical record? Authors for consideration will include Issa, Basho, Gertrude Stein, F.T. Marinetti, David Harvey, Cecilia Vicuna, Bernadette Mayer, Etel Adnan, Leslie Scalapino, Lyn Hejinian, Julie Patton, CA Conrad, Julian T. Brolaski, and Bhanu Kapil. Students will have the chance to experiment with different forms of attunement to the present, and will produce a daybook in tandem with a final "book" project that may take a range of forms.

Instructor(s): Jennifer Scappettone     Terms Offered: Winter Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 43126

CRWR 23132. Advanced Poetry Workshop: Poets' Prose. 100 Units.

Which one of us, in his moments of ambition, has not dreamed of the miracle of a poetic prose," wrote Charles Baudelaire in Paris Spleen,"... supple enough and rugged enough to adapt itself to the lyrical impulses of the soul, the undulations of reverie, the jibes of conscience?" This genre-blurring workshop will explore elements of the history and practice of the prose poem, and other poems and texts that combine strategies, forms and gestures of prose (fiction, nonfiction, etc.) with those of poetry. We will also read texts that are difficult to classify in terms of genre. "Flash Fiction," "Short Shorts," the fable, the letter, the mini-essay, and the lyric essay will be examined, among others. We will discuss the literary usefulness (or lack of it) of genre and form labels. The class will be taught as a workshop: students will try their hand at writing in their choices of hybrid forms, and will be encouraged to experiment. Writers from all genres are welcome, as what we will be studying, discussing, and writing will involve the fruitful collision of literary genres.

Instructor(s): Suzanne Buffam     Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 43132

CRWR 23133. Advanced Poetry Workshop: Poets in Archives. 100 Units.

This course will examine how the historical archive can be a source for poetry writing, seeking to develop frameworks for interpreting the experiences that poets enact through archives. Deeper questions to be examined involve the relation between poetic form and historical knowledge; the relation between imagination and memory; between material histories and their inscription; between poets and their historical and biographical pasts; and between the critical and creative, the historical and biographical, and the exteriors and interiors of literature, history, myth, and politics. Because this is an advanced workshop, we will rely on mutual exchange dedicated to improving writing. Critique will therefore be our core activity, guided by our readings and professor instruction, but driven primarily by original student work and discussion.

Instructor(s): Edgar Garcia     Terms Offered: Spring Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 43133

CRWR 23134. Advanced Poetry Workshop: The Book as Form. 100 Units.

What is a book? This supposedly obsolete medium has undergone vital metamorphosis over the course of the past century, migrating from text into the visual and performing arts, as well as online. As contemporary writers we will consider what it means to contribute to its evolution, thinking about new forms that the "poetry collection" can take, as well as more emergent forms of the book as project-or process. Authors to be studied include Sappho, Basho, Mina Loy, Bruno Munari, Bread and Puppet Theater, Susan Howe, Anne Carson, Ann Hamilton, Buzz Spector, Bhanu Kapil, Don Mee Choi, Jen Bervin, Mei-Mei Burssenbrugge, Stephanie Strickland, Tan Lin, Edwin Torres, Nanni Balestrini, Douglas Kearney, and Amaranth Borsuk. Be prepared to think about poetry from the scale of the syllable to the scale of the entire bound (or unbound) work.

Instructor(s): Jennifer Scappettone     Terms Offered: Autumn Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 43134

CRWR 23135. Advanced Poetry Workshop: Weird Science. 100 Units.

This class invites students to explore various relationships between science and poetry, two domains that, perhaps counter-intuitively, often draw from each other to revitalize themselves. As poets, we'll use, misuse, and borrow from science in our poems. We'll approach poems like science experiments and aim to enter an "experimental attitude." From a practical point of view, we'll try to write poems that incorporate the language of science to freshen their own language or to expand the realm of poetic diction. Furthermore, we'll work with tropes and procedural experiments that may result in revelation, discovery, and surprise. Readings may include work by Aimé Césaire, Kimiko Hahn, Ed Roberson, Dean Young, Joyelle Mcsweeney, and Will Alexander. Students can expect to write several poems, participate in discussion forums with both initial response papers and follow-up comments, critique peers' work, and submit a final portfolio. A substantial amount of class time will be spent workshopping student work.

Instructor(s): Nathan Hoks     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 43135

CRWR 23136. Advanced Poetry Workshop: Poetry as Parasite. 100 Units.

Might there be a kind of poem that acts like a parasite latched on to a host body? A poem whose very life is the fusion of various sources, voices, discourses? This poetry workshop invites students to read and write poetry that, either overtly or subtly, engages with other texts. We'll examine ways that poems create intertextual relationships (e.g. quoting, voicing, alluding, echoing, stealing, sampling, imitating, translating…) and test out these methods in our own writing. Students should expect to engage with the basic question of how their work relates to other poets and poems. Expect to read a substantial amount of work by modern and contemporary poets, submit new original poems for workshop, complete intertextual writing exercises, participate in discussion forums with both initial response papers and follow-up comments, critique peers' work, and submit a final portfolio. A substantial amount of class time will be spent workshopping student work.

Instructor(s): Nathan Hoks     Terms Offered: Winter Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 43136

CRWR 23137. Advanced Poetry Workshop: Poetry, Archives, and History. 100 Units.

This course introduces fundamental ideas about poetic form and approaches to poetic writing through close reading and discussion of poetry (modern and contemporary but not exclusively). We will consider poetic elements from the ground-up-reading closely for sound, image, syntax, and meaning-in order to enliven those elements in student writing. Likewise, we will consider how poems appear at a crossroads between history and experience (the past and present) in order to inspire students to write not only about themselves but about real and imagined social, cultural, historical, and intellectual locations and horizons (considering such aspects of poetry writing as geography, history, mythology, anthropology, kinship, science, visual media, audio media, etc). We will do so in conversation with our peers by way of regular presentations and workshops, in which students will give feedback to one another's works, learning thus how to read critically while generously, and how to respond collegially while also constructively. At the end of the quarter students will revise drafts based on class writing exercises and workshop conversations, to produce a portfolio prefaced by a critical reflection. The arc of the class also involves the making of a collaborative syllabus (with a wide range of texts offered and guided by the instructor but available to the creative configuration of the students themselves), to strengthen our grasp of archival and curatorial aspects of poetry writing.

Instructor(s): Edgar Garcia     Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 43137

CRWR 23138. Advanced Poetry Workshop: Poetics of Procedure and Restraint. 100 Units.

Rats who build the labyrinth from which they will try to escape" is how Raymond Queneau famously described the members of Oulipo, a group of international writers and mathematicians founded in France in 1960, and which still thrives today. The group's aim is to use constraints and procedures to create new literary forms. ("Oulipo" is an acronym that stands for Workshop or Sewing Circle of Potential Literature.) In a similar spirit of playful experiment, we will take a hands-on approach, with students composing new drafts each week. We will experiment with a variety of methods, ranging from traditional verse forms to concrete poetry; creative translations; re-writing; erasures; collages; documentary and research-based poetics; site-specific and ritual poetry; incorporating film, sound, image; and a selection of stimulating Oulipian constraints (e.g. only using certain letters or writing three versions of the same poem, etc.). As we workshop students' drafts, we will discuss topics including inspiration, authorship, form, copying and plagiarism; poetry, activism, and social justice; and the idea of "fact" in poetry. At the end of the quarter, you'll revise your drafts and collect them in a portfolio.

Instructor(s): Rachel Galvin     Terms Offered: Winter Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 43138

CRWR 23139. Advanced Poetry Workshop: Ekphrastic Poetry. 100 Units.

In this generative advanced poetry workshop we will find inspiration for our own poetry by engaging with the visual arts. We will read poems that respond to, reflect, and refract the arts, and exercises will be based on our own encounters in museums, at the movies, in the realms of fashion, architecture, landscape, and elsewhere. We will ask ourselves about artifice and making, the materiality of the written word, the relationship between observation and expression, the emotive qualities of the image, and the sonic qualities of words. Most of our course reading will be contemporary poetry, but we will also explore a range of exciting earlier examples. Each class meeting will include workshops of student poems, discussions of assigned literature, and conversations about art practice and art community. In addition to reading deeply, looking closely, and writing wildly, students are expected to be lively participants in the arts community on campus, and will attend exhibitions, concerts, readings, screenings, and other events and experiences that bring us into contact with various modes of expression. Texts may include poems by, Harryette Mullen, James Schuyler, Brenda Shaughnessy, David Trinidad, and Virgil.

Instructor(s): Robyn Schiff     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CHST 23139, CRWR 43139

CRWR 23140. Advanced Poetry Workshop: Poetry and Crisis. 100 Units.

Since Homer's narratives of war and exile, and Hesiod's accounts of cyclical degeneration and the uncertain future of humankind, poetry has dealt with crisis and liminality. Our own present moment is defined by a convergence of climate and ecological crises, refugee crisis, food crisis, war, and epidemic. In this workshop, we will examine poetic writing arising out of crises, whether political, artistic, or existential, and craft poems that attempt to deal with crisis - both in the form of a concrete Event, and as a literary trope - through critical creative engagement, experimentation, and intertextual dialogue. Readings may include work by Peter Balakian, Jericho Brown, Don Mee Choi, Jorie Graham, Ilya Kaminsky, Valzhyna Mort, Claudia Rankine, Ocean Vuong, as well as classical sources. Students can expect to workshop their poems in class; to engage, critically and supportively, with peers' work; and to develop a final portfolio.

Instructor(s): Oksana Maksymchuk     Terms Offered: Winter Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 43140

CRWR 24002. Advanced Nonfiction Workshop: Writing About the Arts. 100 Units.

Thinking about practices is a way of focusing a conversation between creative writers, art historians, curators, and working visual artists, all of whom are encouraged to join this workshop. We ourselves will be practicing and studying a wide variety of approaches to visual art. We'll read critics like John Yau and Lori Waxman, memoirists like Aisha Sabbatini Sloan, inventive historians like Zbigniew Herbert, and poets like Gwendolyn Brooks and Lyrae Van Clief-Stefanon, as well as curatorial and museum writings, catalogue essays, artists' statements, and other experimental and practical forms. The course hopes to support students both in developing useful practices and experimenting boldly. Classes will be shaped around current exhibitions and installations. Sessions will generally begin with student-led observation at the Smart Museum, and we will spend one session on close looking in the study room at the Smart. Students will also visit five collections, exhibitions and/or galleries and, importantly, keep a looking notebook. Students will write a number of exercises in different forms (immersive meditation, researched portrait, mosaic fragment), and will also write and revise a longer essay (on any subject and in any mode) to be workshopped in class.

Instructor(s): Rachel Cohen     Terms Offered: Spring Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu (writing sample required). Attendance on the first day is mandatory. Equivalent Course(s): ARTH 24002, CRWR 44002, ARTH 34002

CRWR 24012. Advanced Nonfiction Workshop: Writing the Narrative Nonfiction Feature. 100 Units.

In this writing workshop, students will go through all the stages of composing a narrative nonfiction feature story. After generating a few ideas that seem original, surprising in their approach, and appropriate in scope, we will write and re-write pitches, learning how to highlight the potential story in these ideas. After the class agrees to "assign" one of these features, each student will report, research and write a draft. The features will be workshopped in class, and students will go through an editorial process, polishing their stories through drafts and experimenting with style and form for a final assignment. Along the way, we will consider the mechanics, ethics and craft of this work as we read published nonfiction and talk to writers/reporters about their process. In the end, we should be able to put together a publication that contains all of these feature stories.

Instructor(s): Ben Austen     Terms Offered: Spring Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 44012

CRWR 24019. Advanced Nonfiction Workshop: Experimental Essay. 100 Units.

Most introductions to creative nonfiction include one sections devoted to the strange and unwieldy-Ander Monson's "I've Been Thinking About Snow" or a page or two of Anne Carson's Nox. A brief foray into the metaphysical essay, the interactive essay, the performance essay and then back into the mainstream of creative nonfiction. This course, however, will be ignoring the mainstream entirely and, rather, will be devoted to the fringe, the strange and almost undefinable. From the performance essay to the video game essay, from the illustrated essay to the found essay and everything in between. This course will consist of experimental readings with accompanying writing prompts and in-class discussions, as well as dedicated workshops to each student's own experimental creative nonfiction project.

Instructor(s): Lina Ferreira Cabeza-Vanegas     Terms Offered: Winter Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 44019

CRWR 24020. Advanced Nonfiction Workshop: Writing the Eco-memoir. 100 Units.

We live in an era marked by human-driven environmental change, an epoch distinguished not only by the reality of anthropogenic impacts, but of human witness. Never before, writes Elizabeth Rush, have humans been here to tell the story of collapse, extinction, adaptation, and memory. In this workshop, we will read and write eco-memoir, a hybrid form of literary nonfiction that blends the work of ecology, history, and personal narrative to understand more fully how memory is bound to ecosystems. Some might simply call this memoir, following J. Drew Lanham's view that the writing of memoir is also the writing of environment. This course will ask how the memoirist looks at place, taking up W.G. Sebald's thinking that places seem to "have some kind of memory, in that they activate memory in those who look at them." Students will practice using the tenets of literary memoir-writing to engage with the theoretical frameworks of such environmental thinkers as Donna Haraway and Jedidiah Purdy. We will ask: to what extent is remembering a collective act? How might the eco-memoir represent the uneven consequences of ecological disruption? What narrative structures does the story of an ecosystem take? Students will write two-full length essays or memoir chapters. Readings will include texts by Kendra Atleework, Elizabeth Bush, Linda Hogan, J. Drew Lanham, W.G. Sebald, and visiting writers.

Instructor(s): Kathleen Blackburn     Terms Offered: Spring Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 44020

CRWR 24021. Advanced Nonfiction Workshop: The Trouble with Trauma. 100 Units.

In "The Body Keeps the Score" Bessel van der Kolk writes, "The greatest sources of our suffering are the lies we tell ourselves." Many trauma survivors begin writing reluctantly, even repulsed by the impulse to query their woundedness. The process is inhibited by stigma surrounding the notion of victimhood, entities that would prefer a survivor's silence, plus our tendency to dismiss and devalue ones suffering in relation to others. Students in this class will shed some of these constricting patterns of thinking about trauma so they may freely explore their stories with confidence, compassion, curiosity, and intention. We'll read authors who have found surprise, nuance, and yes, healing through art, honoring the heart-work that happens behind the scenes. Half of class-time will include student-led workshops of original works in progress. Paramount to our success will be an atmosphere of safety, supportiveness, respect, and confidentiality. By the quarters end each student will leave with a piece of writing that feels both true to their experience and imbued with possibility.

Instructor(s): Dina Peone     Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 44021

CRWR 24022. Advanced Nonfiction Workshop: Writing Beyond the Event. 100 Units.

Much of the tradition of Western storytelling relies on scene-driven narratives propelled by rising action toward an inevitable apex. Often natural disasters are illustrated the same way: hurricanes, invasion of new species, infectious disease, and oil spills are cast as singular events with a beginning, middle and end. This advanced workshop will explore how to push beyond the event. We will examine how forms of nonfiction, from investigative journalism to lyric essays, push against the hegemony of the "event" to tell a longer, slower story of disruption across the nexus of time and space. Following Rob Nixon's concept of slow violence, readings will focus on places and communities whose narratives do not fit tidily into beginning-middle-end story structures. Workshop will ask students to consider how their work might recognize the contexts of extraction, commodity flow, climate change, and borders surrounding the "events" driving our stories.

Instructor(s): Kathleen Blackburn     Terms Offered: Autumn Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 44022

CRWR 24023. Advanced Nonfiction Workshop: Coming of Age Memoir. 100 Units.

Where does childhood end and adulthood begin? For Wordsworth growth happens in reverse. "The Child is the father of the Man," he wrote in 1802, yearning to recall the fundamental joy of a rainbow. Proust was eager to forget his schooldays: "We are not provided with wisdom, we must discover it for ourselves, after a journey through the wilderness which no one else can take for us." In this class, students will search their lives for events and lessons which they may consider formative, together evaluating the standards they use to qualify rites of passage, in order to isolate unique patterns of growth that students can call their own. Half the quarter will be dedicated to discussing original student work. A multitude of possibilities will be offered by readings of contemporary memoirists from all walks of life. By quarters end, each student will have laid down the groundwork for a dexterous memoir about surviving the challenges of their youth, and in doing so perhaps even imagine a future that is less prescribed and more personally fulfilling.

Instructor(s): Dina Peone     Terms Offered: Spring Prerequisite(s): Instructor consent required. Submit writing sample via www.creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 44023

CRWR 24024. Advanced Nonfiction Workshop: Writing Reading. 100 Units.

There are many creative ways to write of, about, from, and because of reading. In this class, serious readers will have the chance to practice forms they love and may not often get chances to write: the incisive review, the long-form reading memoir, the biographical sketch of a writer in history, the interview, the essay about translation, diaristic fragments. In this course, we'll develop individual approaches, styles and regular practices. We'll make use of both creative (and traditional) research, analysis, and criticism, and explore the wide terrain available to creative writers. We'll go back to foundational essayists including Toni Morrison and Virginia Woolf, study contemporary writers of reading such as Jazmina Berrera, Claire Messud, Niela Orr, Ruth Franklin, Emily Bernard, Hanif Abdurraqib, and Parul Sehgal. Students will keep a reading/writing notebook, conduct an interview, and write and revise a longer essay for workshop.

Instructor(s): Rachel Cohen     Terms Offered: Spring Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 44024

CRWR 24025. Advanced Nonfiction Workshop: Queering the Essay. 100 Units.

In Advanced Nonfiction Workshop: Queering the Essay, we'll approach the essay as a vehicle for queer narratives, as a marker of both individual and collective memory, and as a necessary compliment to the journalism and scholarship that have shaped queer writing. Through readings and in-class exercises, we'll explore tenets of the personal essay, like narrative structure and pacing, alongside considerations of voice and vulnerability. After a brief historical survey, we'll look to contemporary essayists as our guides--writers like Billy-Ray Belcourt, Melissa Faliveno, Saeed Jones, Richard Rodriguez, and T. Fleischmann-- alongside more familiar writers like Alison Bechdel and Maggie Nelson. And through student-led workshops, we'll wrestle with concerns that often trouble narratives of otherness: What does it mean to write a personal narrative that has a potential social impact? How can we write trauma without playing into harmful stereotypes? How can our writing work as--or make demands toward--advocacy, rather than voyeurism?

Instructor(s): Victoria Flanagan     Terms Offered: Winter Note(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 44025, GNSE 44205, GNSE 24205

CRWR 24026. Advanced Nonfiction Workshop: Feminist Biography. 100 Units.

The personal is political - that slogan of Women's Liberation - has long been understood, among other things, as a call for new forms of storytelling. One of those forms, feminist biography, has flourished in publishing since the 1970s, and it continues to evolve today, even as the terms of feminism and of biography are continually re-negotiated by writers and critics. In this workshop, we read some of those writers and critics. And we read illustrative examples of contemporary feminist biography (and anti-biography) in various nonfiction genres, including magazine profile, trade book, Wiki article, audio performance, personal essay, cult pamphlet, avant-garde art piece. Mostly, we try out the form for ourselves, in our own writing. Each workshop writer will choose a biographical subject (single, collective, or otherwise), and work up a series of sketches around that subject. By the end of the quarter, workshop writers will build these sketches into a single piece of longform life-writing. The workshop will focus equally on story-craft and method (e.g. interview and research techniques, cultivating sources); indeed we consider the ways that method and story are inevitably connected. This workshop might also include a week with an invited guest, a practicing critic or biographer.

Instructor(s): Avi Steinberg     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): GNSE 24026, CRWR 44026, GNSE 44026

CRWR 24027. Advanced Nonfiction Workshop: Environmental Writing, Editing, and Publication. 100 Units.

Environmental writing is a quickly-expanding field in the literary and publishing community. It encompasses nonfiction sub-genres of traditional journalism, personal essay, and hybrid forms. This course is designed for students in creative writing with an interest in environmental reportage; it is also intended for students in environmental sciences (broadly speaking) with some writing experience who wish to practice presenting complex information to a non-expert audience. Reading contemporary environmental and science writing, students will develop nonfiction techniques relevant to writing environmental stories, like how to find and contact field experts, how to engage readers in complex topics, how to integrate research into narrative, how to use dialogue from interviews, how to weave the personal together with research material, and how to pitch environmental stories. The course will also cover the practical aspects* of the field by including a workshop with the Careers in Creative Writing Journalism program, guest lectures from editors and journalists in the field, and assignments that familiarize students with current environmental literary magazines. Readings will include Kerri Arsenault's Mill Town and selections from The Best American Science and Nature Writing.

Instructor(s): Kathleen Blackburn     Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 44027

CRWR 24028. Advanced Nonfiction Workshop: World-building in Long-form Nonfiction. 100 Units.

A writer setting out to write a long piece of nonfiction prose may assume that the world of the piece is given, but in fact the nonfiction writer has significant work to do to create a space where a reader can live. In writing creative biography, history, memoir, literary criticism, art writing, and narrative journalism, there are wonderful possibilities for archival research, visiting places and spaces, making first hand observations, interviewing, finding settings and characters, and atmospheric research, whether reading old magazines, listening to radio shows, or studying weather patterns. In this course, advanced writers will immerse themselves in one longer project, developing it in notebooks and weekly postings and exercises. The first half of the course will focus more on practicing and reading (writers including Elizabeth Rush, Zbigniew Herbert, Valeria Luiselli, and James Baldwin), the second half will focus on workshopping as the longer pieces develop. Students will finish the course with a sustained piece of prose.

Instructor(s): Rachel Cohen     Terms Offered: Winter Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 44028

CRWR 24029. Advanced Nonfiction Workshop: Writing Sports. 100 Units.

As live performance, public ritual, and sheer melodrama, sports give lavish expression to some of our most deeply held cultural attitudes. As sports-related industries have grown exponentially in the past decades, and as the material and political fortunes at stake in these games has also grown, so too has the need for serious writing about sports. The world's stadiums and arenas have become theaters of very real battles over race and gender, class and religion, colonialism and social justice. At the same time, the games themselves have also changed in fascinating and telling ways. This workshop invites writers who are curious about sports as a subject for literary exploration. We examine the subject through various genres of nonfiction, from longform journalism to personal essay to audio storytelling. Our readings will include both canonical and contemporary voices in sports writing. Workshop writers can choose to build a portfolio of three pieces of original nonfiction, or one long piece in three parts. No previous knowledge of sports is required.

Instructor(s): Avi Steinberg     Terms Offered: Winter Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 44029

CRWR 24030. Advanced Nonfiction Workshop: Writing the Narrative Nonfiction Feature. 100 Units.

Apart from it being nonfiction, a nonfiction feature is like a short story-in terms of length and scenes and characters and all the potential innovations of storytelling. In this writing workshop, students will go through each stage of composing a narrative nonfiction feature story. After generating a few ideas that seem original, surprising in their approach, and appropriate in scope, we will write pitches. After the class agrees to "assign" one of these features, each student will report, research and write a draft. The features will be workshopped in class, and students will go through an editorial process, polishing their stories and experimenting with style and form for a final assignment. Along the way, we will consider the mechanics, ethics and craft of this work as we read published nonfiction and talk to writers and reporters about their process. There will be an emphasis in the class on Chicago writers and their beats; in weekly writing assignments, students will also report on local stories.

Instructor(s): Ben Austen     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop. Equivalent Course(s): CHST 24030, CRWR 44030

CRWR 29200. Thesis/Major Projects: Fiction. 100 Units.

This thesis workshop is for students writing a creative BA or MA thesis in fiction, as well as creative writing minors completing the portfolio. It is primarily a workshop, so please come to our first class with your project in progress (a story collection, a novel, or a novella), ready for you to discuss and to submit some part of for critique. As in any writing workshop, we will stress the fundamentals of craft like language, voice, and plot and character development, with an eye also on how to shape your work for the longer form you have chosen. And as a supplement to our workshops, we will have brief student presentations on the writing life: our literary influences, potential avenues towards publication, etc.

Terms Offered: Winter Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Note(s): Required for CW majors and MAPH CW Option students completing creative BA and MA theses in fiction and CW minors completing minor portfolios in fiction. Equivalent Course(s): CRWR 49200

CRWR 29300. Thesis/Major Projects: Poetry. 100 Units.

This thesis workshop is for students writing a creative BA or MA thesis in poetry, as well as creative writing minors completing the portfolio. Because it is a thesis seminar, the course will focus on various ways of organizing larger poetic "projects." We will consider the poetic sequence, the chapbook, and the poetry collection as ways of extending the practice of poetry beyond the individual lyric text. We will also problematize the notion of broad poetic "projects," considering the consequences of imposing a predetermined conceptual framework on the elusive, spontaneous, and subversive act of lyric writing. Because this class is designed as a poetry workshop, your fellow students' work will be the primary text over the course of the quarter.

Terms Offered: Winter Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Note(s): Required for CW majors and MAPH CW Option students completing creative BA and MA theses in poetry and CW minors completing minor portfolios in poetry. Equivalent Course(s): CRWR 49300

CRWR 29400. Thesis/Major Projects: Nonfiction. 100 Units.

This thesis workshop is for students writing a creative BA or MA thesis in nonfiction, as well as creative writing minors completing the portfolio. Student work can be an extended essay, memoir, travelogue, literary journalism, or an interrelated collection thereof. It's a workshop, so come to the first day of class with your work underway and ready to submit. You'll edit your classmates' writing as diligently as you edit your own. I focus on editing because writing is, in essence, rewriting. Only by learning to edit other people's work will you gradually acquire the objectivity you need to skillfully edit your own. You'll profit not only from the advice you receive, but from the advice you learn to give. I will teach you to teach each other and thus yourselves, preparing you for the real life of the writer outside the academy.

Instructor(s): Dan Raeburn; Lina Ferreira Cabeza-Vanegas     Terms Offered: Winter Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Note(s): Required for CW majors and MAPH CW Option students completing creative BA and MA theses in nonfiction and CW minors completing minor portfolios in nonfiction. Equivalent Course(s): CRWR 49400

CRWR 29500. Thesis/Major Projects: Fiction/Nonfiction. 100 Units.

This thesis workshop is for students writing a creative BA or MA thesis or minor portfolio in either fiction or nonfiction--or both. In other words, your project may take a number of forms: fiction only, nonfiction only, a short story and an essay, a novel chapter and a piece of narrative journalism, and so on. This course might be of special interest to those working on highly autobiographical pieces or incorporating substantial research into their creative process--fiction that hews close to fact, say, or nonfiction that leans heavily into storytelling. And/or it might be useful for those who want to pursue hybrid or between-genres projects or simply want to continue working in more than one form. We'll be open to many possibilities. It's not a prerequisite that you've taken both a fiction and creative nonfiction course previously, but it will nonetheless be quite helpful to have done so. Note, too, that this is the cumulative course in Creative Writing. There will still be room to explore and rethink (sometimes radically) the pieces you've drafted in previous classes, but please do come to our first session with a clear sense of what you want to work on over the quarter. Required for CW majors and MAPH CW Option students completing creative BA and MA theses in fiction or nonfiction and CW minors completing minor portfolios in fiction or nonfiction.

Instructor(s): Staff     Terms Offered: Winter Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu (in application please indicate experience in fiction & nonfiction and how this thesis workshop informs your own writing practice). Attendance on the first day is mandatory. Equivalent Course(s): CRWR 49500

Faculty Director

Director of the Program in Creative Writing Robyn Schiff Email

Undergraduate Primary Contact

Director of Undergraduate Studies Rachel Galvin Walker 511 Email

Administrative Contacts

Program Manager Michael Fischer Taft House 103 773.834.8524 Email

Student Affairs Administrator Denise Dooley Taft House 104 773.702.0355 Email

[email protected]

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Department of Creative Writing

Undergraduate

The program.

The Department of Creative Writing offers a Bachelor of Arts degree in Creative Writing - the only major of its kind in the University of California - with fields of specialization in fiction, nonfiction and poetry. Our faculty is comprised of poets, fiction writers and playwrights who develop and present writing courses as workshops to provide students with new and unique subject material. With intimate class sizes for focused student attention, the Creative Writing major is a demanding and rewarding program for all aspiring writers. For students who are interested in minoring in Creative Writing, the Department also offers a Creative Writing minor. 

University Requirements

Students must complete the general University requirements for admission to the Undergraduate Division. Applicants should access the Undergraduate Studies section for a complete listing, and www.futurestudents.ucr.edu for more information.

College Requirements

Students must complete the breadth requirements of the College of Humanities, Arts, and Social Sciences. For a detailed list of requirements, see Breadth Requirements .

Major Requirements

The major requirements for the B.A. degree in Creative Writing are as follows: Prerequisite courses: CRWT 056 or equivalent, and ENGL 001A or equivalent.

• Lower-division requirements (20 units; five courses) Two Creative Writing survey courses from CRWT 046A, CRWT 046B, or CRWT 046C and Two Creative Writing introductory courses from CRWT 057A, CRWT 057B, or CRWT 057C and One literature survey course from CRWT 012/CPLT 012, CRWT 040/FVC 039, CRWT 041, CRWT 042, CRWT 043, CRWT 044, CRWT 045,   ENGL 014, ENGL 015, ENGL 017
• Upper-division requirements (36 units) a) Three workshop courses in primary genre: Creative Nonfiction CRWT 130, CRWT 132, CRWT 134 or Poetry CRWT 150, CRWT 160, CRWT 170 or Fiction CRWT 152, CRWT 162, CRWT 172 b) One workshop in second genre: CRWT 130, CRWT 132, CRWT 134, CRWT 150, CRWT 152, CRWT 160, CRWT 162*, CRWT 164A/THEA 164A, CRWT 164B/THEA 164B, the CRWT 166A/FVC 166A/THEA 166A, CRWT 166B/FVC 166B/THEA 166B, CRWT 166C/FVC 166C/THEA 166C series, CRWT 170*, CRWT 172* *These workshops may be repeated; however, only 4 units total can be applied to the major. c) One workshop in third genre: CRWT 130, CRWT 132, CRWT 134, CRWT 150, CRWT 152, CRWT 160, CRWT 162*, CRWT 164A/THEA 164A, CRWT 164B/THEA 164B, the CRWT 166A/FVC 166A/THEA 166A, CRWT 166B/FVC 166B/THEA 166B, CRWT 166C/FVC 166C/THEA 166C series, CRWT 170*, CRWT 172* *These workshops may be repeated; however, only 4 units total can be applied to the major. d) Three upper-division courses in Creative Writing: CRWT 143, CRWT 146 (E-Z), CRWT 155, CRWT 165, CRWT 171, CRWT 173, CRWT 174, CRWT 175, CRWT 176 (E-Z), CRWT 185 (E-Z), CRWT 187/CPLT 187, CRWT 191 (may be taken twice but used only once for major credit), CRWT 198I (may be taken only once, for 4 units) e) Four (4) units of CRWT 195 or CRWT 195H (Senior Honors Thesis) or approved course from the list available in the department

Minor Requirements

Lower-division requirements (12 Units)

• CRWT 56 Introduction to Creative Writing (4.00)
• One introductory reading course: (4.00) CRWT 040 Fiction and Film CRWT 043 Creative Writing and Ancestry CRWT 046A Craft of Writing: Survey in Contemporary Fiction CRWT 046B Craft of Writing: Survey in Contemporary Poetry CRWT 046C Craft of Writing: Survey in Contemporary Nonfiction
• One introductory workshop course: (4.00) CRWT 57A Introduction to Fiction CRWT 57B Introduction to Poetry CRWT 57C Introduction to Nonfiction

Upper Division Requirements (20 Units)

• One 4-unit course from: CRWT 176 (E-Z) (or) Any upper division course in English, Literatures, Language or Theatre EXCEPT the ones listed below*
• Sixteen (16) units in ONE of the following emphases:

Poetry emphasis: CRWT 150 –Beginning Poetry Workshop CRWT 160 –Intermediate Poetry Workshop CRWT 170 –Advanced Poetry Workshop & One 4-unit course from: CRWT 130, 152, 164A, 165, 166A, 171, or 187

Fiction emphasis: CRWT 152 – Beginning Fiction Workshop CRWT 162 – Intermediate Fiction Workshop CRWT 172 – Advanced Fiction Workshop & One 4-unit course from: CRWT 130, 150, 164A, 165, 166A, or 187

Nonfiction emphasis: CRWT 130 –Beginning Nonfiction Workshop CRWT 132 –Intermediate Nonfiction Workshop CRWT 134 – Advanced Nonfiction Workshop & One 4-unit course from: CRWT 150, 152, 164A, 165, 166A, 171, or 187

Drama emphasis: CRWT 164A – Beginning Playwriting CRWT 164B –Intermediate Playwriting CRWT 164C – Advanced Playwriting & One 4-unit course from: CRWT 130, 150, 152, 165, 166A, 166B, 166C, 187, Or THEA 121 (E–Z)

*English 101 and 103; French 100, 101A, B, C, 104; German 101, 103A, B; Russian 103; Spanish 101A, B, C, 105, 106A, B

Financial Aid

The Financial Aid Office assists students with meeting educational expenses that cannot be met from personal resources. To obtain financial aid students must file the Free Application for Federal Student Aid (FAFSA) with the Financial Aid Office yearly. FAFSAs are available beginning December 1 for the upcoming academic year at the Financial Aid Office or at www.fafsa.ed.gov . Students applying for other grants, loans, and work-study should apply as early as possible. Applications are accepted year-round, with awards to late applicants based on fund availability.

Forms & Petitions

For more information, contact:

Elaine Chacon Office Location: INTN 3033A Email:  [email protected] Advisor for students with names: A – Hi

Anthony Gonzalez Office Location: INTN 3033B Email: [email protected] Advisor for students with names: Ho – M

Jennifer Paramo Email: [email protected] Advisor for students with names: N – Z

Advising Hours 9—11:00 A.M. AND 1—3:30 P.M. Monday through Friday First two weeks of any given quarter—walk-ins ONLY Third week and on—appointments in the mornings and walk-ins in the afternoons

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The Creative Writing Major

The undergraduate Creative Writing major at the University of Illinois, formerly known as the Rhetoric major, is one of the oldest of its kind in the country. Now in its seventh decade, the major combines small workshops (poetry, fiction, nonfiction) and a variety of literature courses.

Note: We also offer a Creative Writing minor. For an overview of our minor requirements, click here .

The undergraduate Creative Writing major at the University of Illinois, formerly known as the Rhetoric major, is one of the oldest of its kind in the country. Now in its seventh decade, the major combines small workshops (poetry, fiction, nonfiction) and a variety of literature courses. The result is a strong but flexible program of study that develops students' analytical and creative skills and prepares them for work or graduate study in any number of fields.

Students in the undergraduate program edit and publish an annual journal, Montage Arts Journal , which features poetry, fiction, nonfiction, and visual art by University of Illinois undergraduate student writers and artists. For more information about Montage , visit montagejournal.wordpress.com .

Through our program, writers shape their literary voices, develop distinctive styles, and intensify their written, critical, and editorial skills. Students write about what matters most to them and learn about contemporary literary publishing through developing their imaginative, expressive, and dynamic writing.

Creative Writing Major Requirements

Literature for creative writers (6 credit hours).

• CW 100: Introduction to Creative Writing
• CW 200: Reading for Writers

Craft (3 credit hours)

• CW 243: The Craft Essay:  Creative Reading, Reflection, and Revision  

Creative Writing Workshops (12 credit hours)

Creative Writing majors must complete at least one of the following 3-course (9-hour) sequences:

• CW 106: Poetry Workshop I
• CW 206: Poetry Workshop II
• CW 406: Poetry Workshop III
• CW 104: Fiction Workshop I
• CW 204: Fiction Workshop II
• CW 404: Fiction Workshop III

The remaining 3 hours in this category can be satisfied by a fourth CW Workshop outside of the chosen sequence.  CW 404 and CW 406 may be repeated once for credit, but may not be repeated to fulfill this requirement.

Writing and Literature (3 credit hours)

3 hours of Writing and Literature coursework, either:

• 3 hours of non-Workshop CW coursework (CW 460, or another approved non-Workshop CW course)
• 3 hours of ENGL coursework

Additional Literature Coursework (12 credit hours)

12 additional hours of approved ENGL coursework, including:

• 9 hours of approved ENGL Literature coursework
• 3 hours of an ENGL Difference & Diaspora course

For more information on the Creative Writing major and minor, please visit our listings in the Academic Catalog:

• Creative Writing Major - full, detailed requirements
• Creative Writing Minor - full , detailed requirements
• Creative Writing Courses

The faculty of the Creative Writing Program represent a diverse range of writing and teaching styles and interests and are actively working in various genres and media, including poetry, fiction, creative nonfiction, theater, and film. Faculty members have received numerous awards and fellowships. A small selection of these includes the Yale Series of Younger Poets, the Native Writers' Circle Award of the Americas Lifetime Achievement Award, the American Book Award from the Before Columbus Foundation, the Los Angeles Times Book Prize in Fiction, the FC2 National Fiction Competition, a Whiting Award, the A. Poulin Jr. Poetry Prize, the Kate Tufts Discovery Prize, the William Peden Prize, the Academy of American Poets Award, the Bakeless Prize, Wallace Stegner fellowships, and fellowships from the NEA, Guggenheim Foundation, Yaddo, MacDowell, Bread Loaf, Sewanee, and many others.

Follow the links below to learn more about our undergraduate Creative Writing program's core faculty members:

Ángel García

Janice N. Harrington

Amy Hassinger

Christopher Kempf

Julie Price

John Rubins

Ted Sanders

Alex Shakar

Corey Van Landingham

David Wright

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• Our MFA in Creative Writing

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Creative Writing Program

The University of Washington English Department's Creative Writing Program offers a BA in English with a concentration in Creative Writing and a two-year Master of Fine Arts  degrees in Poetry and Prose. 

Founded in 1947 by Theodore Roethke, the Creative Writing Program's tradition of transformative workshops continues with our current faculty:  David Bosworth , Nikki David Crouse ,  Rae Paris ,  David Shields,  and  Maya Sonenberg  (Prose), and  Linda Bierds (part-time) ,  Andrew Feld ,  Richard Kenney,  and  Pimone Triplett  (Poetry).  They include among their many honors fellowships from the MacArthur Foundation, the Guggenheim Foundation, and the National Endowment for the Arts, as well as prizes such as the Flannery O’Connor Award in Short Fiction and the McCarthy Prize. The list of our alumni publications represents a significant chapter in the history of American literature. 

The MFA Program remains purposely small, admitting only ten students per year. The relatively small size of our program (20 students at most at any given time) allows for close associations to develop among students and faculty. The first year is devoted to participation in workshops and literary seminars, and the second year allows for concentrated work on a creative manuscript and critical essay under the supervision of two creative writing faculty members. 

The BA in English with a Creative Writing Concentration prepares students not only to be more effective communicators and artists, but also creative problem solvers and more nuanced critical thinkers. By situating small, student-oriented writing workshops alongside literary models, Creative Writing classes enhance the broader study of literature and critical theory, helping students gain a greater understanding of the social and cultural forces informing their work. A student completing the program is more able to situate themselves in a larger aesthetic and social context and make more meaningful, informed decisions about their own artistic practice. In addition, through the intense practice of creative writing, students are able to see the world more clearly, in a more nuanced and meaningful manner, and apply these skills to a wide variety of work and life situations.

Director:  Nikki David Crouse

Program Coordinator: Shannon Mitchell 

Graduate Program Advisor: Tim Cosgrove

Undergraduate Program Advising: Humanities Academic Services

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Creative Writing Degree Online Bachelor of Arts (BA)

Write Your Own Story 

• $330/credit (120 credits)
• Transfer up to 90 credits
• Receive credit for prior learning
• 4 genre options for concentrations
• Advanced writing workshops
• No application fee or SAT/ACT scores required

Creative Writing Degree Program Overview

If you have a passion for storytelling and want to pursue a career using your writing talents, the Bachelor of Arts (BA) in Creative Writing and English program can help you get on the right path.

You'll develop your writing skills alongside students from across the country, who represent an incredible range of voices and experiences. Together, you'll participate in workshops, producing work and presenting it to your peers for commentary and discussion.

"Everything I learned during my degree journey added to my understanding of how to write and boosted my creativity," said Aubrie Arnold '20 , a graduate of the creative writing program. "I now feel like I can and will write novels – I’m working on that now – and I feel like I have the correct tools to make those novels successful.”

This degree is also an attractive option for transfer students, as it offers a number of free electives.

What You'll Learn

• Essential writing and critical-thinking skill sets
• Literary analysis to inform the application of storytelling elements
• Literary form, genre, structure and style
• Conventions and techniques used by varying genres

How You'll Learn

At SNHU, you'll get support from day 1 to graduation and beyond. And with no set class times, 24/7 access to the online classroom, and helpful learning resources along the way, you'll have everything you need to reach your goals.

An Online Creative Writing Degree Can Help You Reach Your Goals

Whether you are looking to advance your career or simply want to pursue your passion for writing, the online creative writing bachelor's program at SNHU offers a supportive community, comprehensive curriculum, and flexible format that can help you achieve your goals.

Concentration Options

When you choose to study creative writing at SNHU, you have the option to stay with the general track – which gives you the flexibility to study a variety of genres – or you can opt to add one of our 4 concentrations to your degree : fiction, nonfiction, poetry or screenwriting.

Fiction Aspiring authors and storytellers who are looking for a way to gain inspiration and foster their imaginations will find the online Bachelor of Arts (BA) in Creative Writing and English with a concentration in Fiction Writing to be the perfect balance of craft and critical analysis. This BA program emphasizes the craft of fiction writing and helps you develop an appreciation for all forms of fiction while honing your writing skills and philosophy of composition. You'll gain insights into publishing technologies and the industry as you enhance your fundamental knowledge of fiction writing's most crucial elements. This comprehensive program gives you a powerful understanding of plot, character development, narrative voice and other mechanics of creative writing. Studying fiction writing at Southern New Hampshire University doesn't just focus on developing your skill and technique. This program also gives you the opportunity to explore your creative boundaries, perfect your craft and dive deeper into your preferred genre. From fantasy to sci-fi and mystery to young adult, you can embrace the style of writing that you're drawn to and bring your original stories to life. The format of this BA program encourages collaboration and direct interaction with faculty and peers. You'll also have the chance to get published and learn from experienced authors through The Penmen Review, our own online journal for writers. Nicholas Patterson '22 found peer interaction through writing workshops to be a favorite part of his program. "I have learned tons of new skills," he said, "but most importantly learned how to grow from constructive criticism." Career outlook: According to the U.S. Bureau of Labor Statistics, the median annual salary for writers and authors was $73,150 in 2022. 1 The BLS notes that a degree and publication is typically required for a full-time writing position. Writers who concentrate in fiction have career opportunities in a range of professions, including content writing, editing, copywriting, publishing, communications and more. Courses may include: New Media: Writing and Publishing Fiction Writing Workshop Intermediate Fiction Writing Workshop Advanced Fiction Writing Workshop Request Info Apply Now Nonfiction Discover your niche with a nonfiction writing degree online at Southern New Hampshire University. Our online Bachelor of Arts (BA) in Creative Writing and English with a concentration in Nonfiction delves into a wide variety of styles and subjects – everything from the personal essay to autobiography, memoir, travel writing and magazine features. Our creative writing online program can help you combine research and reflection with compelling storytelling. You'll also gain insights into publishing technologies and the industry, explore your creative boundaries and develop a unique voice. A solid foundation in the broader scope of creative writing is critical to the craft of nonfiction writing. In our comprehensive nonfiction writing program, you'll acquire a powerful understanding of research, narrative voice and other mechanics of creative writing. The online nonfiction writing degree program's format encourages collaboration and ongoing interaction with faculty and peers. You'll also have the chance to get published and learn from experienced authors through The Penmen Review, our own online journal for writers. Career outlook: The median annual salary for writers and authors was $73,150 in 2022, according to the U.S. Bureau of Labor Statistics. 1 Nonfiction writers can publish in magazines, newspapers, and literary journals, as well as find career opportunities in digital content writing, social media/communications, copywriting and editing. Courses may include: New Media: Writing and Publishing Nonfiction Writing Workshop Intermediate Nonfiction Writing Workshop Advanced Nonfiction Writing Workshop Request Info Apply Now Poetry The online Bachelor of Arts (BA) in Creative Writing with a concentration in Poetry degree program is an opportunity for aspiring poets to find inspiration, engagement and creative collaboration with peers and faculty alike. Our specialized program enables you to hone your craft and unleash your imagination, helping you create imagery in verse. While a poetry degree is valuable in and of itself, it can also prepare you for many professional paths. You can explore careers in creative writing, advertising, journalism, publishing and advertising copywriting. Southern New Hampshire University also offers an online Master of Arts in English and Creative Writing with a concentration in Poetry. As a student in our poetry degree online program, you'll begin taking writing courses during your first year. You'll also have the chance to get published and learn from experienced authors through The Penmen Review, our own online journal for writers. Career outlook: Career paths with a BA in creative writing include work as a creative writer, advertising copywriter, journalist, publisher or poet. Writers have also found careers in communications, digital content writing and editing. Courses may include: New Media: Writing and Publishing Poetry Writing Workshop Intermediate Poetry Writing Workshop Advanced Poetry Writing Workshop Request Info Apply Now Screenwriting Whether you have dreams of writing blockbusters, developing documentaries or working with other writers on sitcoms, the online Bachelor of Arts (BA) in Creative Writing and English with a concentration in Screenwriting is an excellent way to hone your writing skills and put your passion to work. The classes in this specialized online screenwriting degree are based on a comprehensive study of creative writing, with a special focus on story structure, character development and the visual medium of film. You'll have the opportunity to explore all of the forms that screenwriting takes – feature-length and short films, television episodes and miniseries, commercial and internet-based video. While creative writing is at the core of this program, your screenwriting classes will place a special emphasis on visual storytelling. Designed by experienced and distinguished faculty, this creative writing program will give you a powerful understanding of how story, character, theme, action, visuals and dialogue intertwine to create a compelling moment in time. The format for the screenwriting degree online program encourages collaboration and direct interaction with faculty and peers. You'll also have the chance to get published and learn from experienced authors through The Penmen Review, our own online journal for writers. Career outlook: Blockbuster movies, independent films and shorts, commercials, television dramas and sitcoms all rest their success on the backbone of their scripts. Screenwriters have lots of options when it comes to navigating their careers. You could pursue independent work and make your stories come to life – or you could develop scripts for specific projects that need a writer's touch. According to the U.S. Bureau of Labor Statistics, writers and authors earned a median annual salary of $73,150 in 2022. 1 Courses may include: New Media: Writing and Publishing Introduction to Screenwriting Workshop Intermediate Screenwriting Workshop Advanced Screenwriting Workshop Request Info Apply Now if (typeof accordionGroup === "undefined") { window.accordionGroup = new accordion(); } accordionGroup.init(document.getElementById('a7db942c2ff94e9783a92e9b328572c0')); Career Outlook

Use storytelling skills to write everything from children’s books and novels to biographies, essays and memoirs.

Apply your understanding of the written word to plan, review and revise content for publication in books, periodicals or online platforms.

Promote a product, service or organization with content for advertisements, marketing campaigns or websites.

Research topics, investigate story ideas and interview sources to write compelling nonfiction articles for newspapers, magazines, blogs and television news programs.

Screenwriter

Use the power of writing to create visual and auditory experiences for everything from major blockbuster films to television episodes and commercials.

Speechwriter

Write speeches for business leaders, politicians and others, using words to engage with and move an audience.

And with today's technology, it's easy for writers and authors to work from just about anywhere as long as they have internet access – meaning jobs aren't limited to major cities anymore.

In addition to the writing skills you'll develop in a creative writing degree program, you could also pick up a handful of other career skills 1 the workforce desperately needs, like:

• Adaptability: Adapt to updates in software platforms and programs, including various content management systems (CMS).
• Creativity: Develop interesting plots, characters or ideas for new stories.
• Critical-thinking skills: Understand concepts that must be conveyed through writing.
• Determination: Gain the focus to meet deadlines.
• Persuasion: Convince others to feel a certain way about a good or service – especially if you choose a career in advertising.
• Social perceptiveness: Develop an understanding of how readers respond to and connect with your work.

"This [program] not only allowed me to explore my creativity through writing," said Nicholas Patterson '22 . "It taught me the fundamentals of the industry and how to pursue a career in it."

Job Growth and Salary

Prospects for writer and author occupations appear promising in the coming years. According to the U.S. Bureau of Labor Statistics, the industry shift from print to online media should result in employment growth. 1

According to the U.S. Bureau of Labor Statistics, career opportunities for writers and authors are projected to grow 4% through 2032 — that's as fast as average for all occupations. 1

In 2022, the median annual wage for writers and authors was $73,150 . 1

Understanding the Numbers When reviewing job growth and salary information, it’s important to remember that actual numbers can vary due to many different factors — like years of experience in the role, industry of employment, geographic location, worker skill and economic conditions. Cited projections do not guarantee actual salary or job growth.

Start Your Journey Toward an Online Creative Writing Degree

Why snhu for your creative writing degree flexible with no set class meeting times, you can learn on your schedule and access online course materials 24/7. affordable as part of our mission to make higher education more accessible, we’re committed to keeping our tuition rates low. in fact, we offer some of the lowest online tuition rates in the nation. prior coursework could also help you save time and money. snhu’s transfer policy  allows you to transfer up to 90 credits toward your bachelor's degree and 45 credits for an associate degree from your previous institutions—that means you could save up to 75% off the cost of tuition. you could also save time and money by getting college credit for previous work experience , or by taking advantage of military discounts and employer tuition assistance if available to you. respected founded in 1932 , southern new hampshire university is a private, nonprofit institution with over 160,000 graduates across the country. snhu is accredited by the new england commission of higher education (neche), a regional accreditor, which advocates for institutional improvement and public assurance of quality.  recently, snhu has been nationally recognized for leading the way toward more innovative, affordable and achievable education: u.s. news & world report named snhu the 2021 most innovative university in the north and one of the nation's "best regional universities" awarded the 21st century distance learning award for excellence in online technology by the united states distance learning association (usdla) a $1 million grant from google.org to explore soft skills assessments for high-need youth network at southern new hampshire university, you'll have access to a powerful network of more than 300,000 students, alumni and staff that can help support you long after graduation. our instructors offer relevant, real-world expertise to help you understand and navigate the field. plus, with our growing, nationwide alumni network, you'll have the potential to tap into a number of internship and career opportunities. opportunities you'll have the chance to share your work with the vibrant creative writing community at snhu: the penmen review , our online journal that accepts submissions 12 times a year word for word, a bimonthly livestream event featuring published writers reading from their work fall fiction contest, a short-story competition that offers snhu scholarships among its prizes student writers spotlight, a livestream reading showcasing the best of snhu's creative writing students 93.6% of online students would recommend snhu (according to a 2022 survey with 17,000+ respondents). discover why snhu may be right for you . admission requirements expanding access to quality higher education means removing the barriers that may stand between you and your degree. that’s why you can apply at any time and get a decision within days of submitting all required materials: completed free undergraduate application prior transcripts, which we can retrieve at no cost to you test scores are not required as part of your application acceptance decisions are made on a rolling basis throughout the year for our 6 (8-week) undergraduate terms . how to apply if you’re ready to apply, follow these simple steps to get the process going: complete a free undergraduate application submit any additional documents required work with an admission counselor  to explore financial options  and walk through the application process if you have questions or need help filling out your application, call 1.888.387.0861 or email [email protected] . if (typeof accordiongroup === "undefined") { window.accordiongroup = new accordion(); } accordiongroup.init(document.getelementbyid('06235c05b74e467bb258c6a2eee81259')); what snhu students are saying.

"I came [to SNHU] originally to have more freedoms and explore my creativity in a new environment. This program has given me that and more – this program has enabled me to improve myself in every facet of writing, from brainstorming a new idea to learning about genres and even how to market myself and my writing."

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120 Credits

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8-Week Terms

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100% Online

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No Set Class Times

Southern New Hampshire University is home to one of the largest creative writing programs in the country.

Our unique online creative writing degree allows you to take writing courses from the start. The program features 4 writing workshops, including an advanced workshop in which you'll complete a polished piece in the genre of your choice.

The courses in our BA in Creative Writing can help develop your talent for creating stories, novels and characters and turning them into finished, professional pieces. Whether you choose the general track or a specific genre, you'll learn from published writers with valuable industry insights.

In addition to the courses and electives within the major, SNHU's online writing degree program includes 30 credits of free electives. This leaves you with room to choose courses or a minor in an area of study that you'd like to write about – like history or psychology – or the opportunity to complement your studies with career skills, such as graphic design or marketing. The amount of free electives also makes our creative writing degree an attractive option for transfer students.

Throughout your program, you'll learn from published writers, professional editors, publishers and established literary critics – subject-matter experts who can help guide you to improving your craft.

As a bonus at SNHU, you can choose to further your study of creative writing with one of our popular graduate programs:

• Online MA in English and Creative Writing: Building on the learnings from your bachelor's degree, you can choose from the same 4 concentrations – fiction, nonfiction, screenwriting or poetry – in this 36-credit online master's in writing  program,  which allows you to develop creative works that can contribute to your professional advancement.
• Online MFA in Creative Writing: Gain both the writing skills and the professional skills to succeed in areas like marketing, publishing, content writing, teaching and freelancing in this fully online, 48-credit online MFA in creative writing  program. You can also focus on a wide range of fiction genres – such as contemporary, romance, young adult or speculative – plus you'll add one of two embedded certificates to your program: professional writing or the online teaching of writing.
• Low-Residency MFA in Fiction or Nonfiction: This highly focused 2-year program consists of 4 workshops and 4 in-person, weeklong residencies in New Hampshire. Within the 60-credit low-residency MFA  program, you'll complete both a manuscript suitable for submission to editors and a critical essay that's ideal for literary journals.

Curriculum Requirements & Resources

General education.

All undergraduate students are required to take general education courses , which are part of SNHU's newly redesigned program, The Commons. The goal of The Commons' curriculum is to empower you with some of the most in-demand skills, so you can succeed not only in your academic career, but in your personal and professional life too.

Technology Resources

We provide cloud-based virtual environments in some courses to give you access to the technology you need for your degree – and your career. Learn more about our virtual environments .

Earn Math Credits

Save time and tuition with our Pathways to Math Success assessments. Depending on your scores, you could earn up to 12 math credits – the equivalent of 4 courses – toward your degree for less than $50 per assessment. For additional information, or to register for a Pathways to Math Success assessment, contact your admission counselor or academic advisor today.

Minimum Hardware Requirements Component Type   PC (Windows OS)   Apple (Mac OS)   Operating System  Currently supported operating system from Microsoft.   Currently supported operating system from Apple.  Memory (RAM)  8GB or higher  8GB or higher  Hard Drive  100GB or higher  100GB or higher  Antivirus Software  Required for campus students. Strongly recommended for online students.  Required for campus students. Strongly recommended for online students.  SNHU Purchase Programs  Visit Dell   Visit Apple   Internet/ Bandwidth  5 Mbps Download, 1 Mbps Upload and less than 100 ms Latency  5 Mbps Download, 1 Mbps Upload and less than 100 ms Latency  Notes:   Laptop or desktop?   Whichever you choose depends on your personal preference and work style, though laptops tend to offer more flexibility.  Note:   Chromebooks (Chrome OS) and iPads (iOS) do not meet the minimum requirements for coursework at SNHU. These offer limited functionality and do not work with some course technologies. They are not acceptable as the only device you use for coursework. While these devices are convenient and may be used for some course functions, they cannot be your primary device. SNHU does, however, have an affordable laptop option that it recommends: Dell Latitude 3301 with Windows 10.  Office 365 Pro Plus  is available free of charge to all SNHU students and faculty. The Office suite will remain free while you are a student at SNHU. Upon graduation you may convert to a paid subscription if you wish. Terms subject to change at Microsoft's discretion. Review system requirements for  Microsoft 365 plans  for business, education and government.  Antivirus software:  Check with your ISP as they may offer antivirus software free of charge to subscribers.  if (typeof accordionGroup === "undefined") { window.accordionGroup = new accordion(); } accordionGroup.init(document.getElementById('f756dce5bd874c61855f6f6e92d88470')); What to Expect as an Online Student No set class times: Asynchronous classes let you do your coursework when and where you want Pick your pace: Choose between full time (2 courses) or part time (1 course) each term Student support: 24/7 access to online student services like the library, tech and academic support if (typeof carouselContainer === "undefined") { window.carouselContainer = new carousel(); } let vc_0a2c09e41977426b8f3008e18ed9a68a = document.getElementById('carousel-0a2c09e41977426b8f3008e18ed9a68a') if (vc_0a2c09e41977426b8f3008e18ed9a68a !== null) { carouselContainer.init(vc_0a2c09e41977426b8f3008e18ed9a68a); } University Accreditation

Tuition & Fees

As a private, nonprofit university, we’re committed to making college more accessible by making it more affordable. That’s why we offer some of the lowest online tuition rates in the nation.

We also offer financial aid packages to those who qualify, plus a 30% tuition discount for U.S. service members, both full and part time, and the spouses of those on active duty.

Tuition Rates are subject to change and are reviewed annually. *Note: students receiving this rate are not eligible for additional discounts.

Additional Costs No Application Fee, Course Materials ($ varies by course)

Frequently Asked Questions

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DEPARTMENT OF ENGLISH

• Undergraduate
• Creative Writing

Requirements for Applying to the Creative Writing Major

The application for the creative writing major is open the application is available here ..

Admission to the creative writing major can be competitive. Students must fulfill the following prerequisites before applying:

• You must be a sophomore, junior, or senior to apply . Freshmen are not eligible to apply. Seniors may apply, provided they plan to continue taking classes the following academic year.
• Take at least one 200-level genre-based creative writing course and either have taken or be enrolled in another 200-level genre-based creative writing course. 
• Prepare a writing sample. You will need to submit a sample of your writing in your chosen genre with your creative writing application. Students often submit work from their 200-level creative writing classes, and are in fact encouraged to do so. This sample should be 7-15 pages for fiction or creative nonfiction, 4-5 poems for poetry.
• Fill out and submit your application here. Applications close on April 29th, 2024 at 11:59pm. See application site for specific instructions. Students applying in multiple genres must submit an application in each genre in which they're applying.

Requirements for Completing the Creative Writing Major

15 courses, as follows:, three introductory courses.

Although only one genre-based introductory course (and enrollment in a second) is required to apply, all three are required to complete the major.

• ENG 206 - Reading & Writing Poetry
• ENG 207 - Reading & Writing Fiction
• ENG 208 - Reading & Writing Creative Nonfiction

Year-long Writing Sequence

One of the following three-course sequences:

• ENG 393-1, 2, 3 - Theory & Practice of Poetry 
• ENG 394-1, 2, 3 - Theory & Practice of Fiction 
• ENG 395-1, 2, 3 - Theory & Practice of Creative Nonfiction

The application is available here . Applications close on April 29th, 2024 at 11:59pm.

ENG 392 - The Situation of Writing

“The Situation of Writing,” which is typically offered once per year, investigates the writer’s relation to the culture, both currently and historically. The course addresses such questions as the relation of criticism to imaginative literature, the rise and fall of specific literary genres, the effect of the university on the production and consumption of literary works, the state of the publishing industry, and international literary contexts.

Six 300-level Literature Classes

• Two on material written prior to 1830 
• Two on material written after 1830
• Two from either period

Note: Students who have completed two parts of either British Literary Traditions (210-1 and 210-2) or American Literary Traditions (270-1 and 270-2) can use these two courses to count as ONE of these six literature courses.

Note : Creative Writing students are encouraged to enroll in ENG 300 as one of these six courses, ideally earlier rather than later in their undergraduate career.

Two Non-Literature Related Courses

These courses, in areas such as history, art, classics, and gender studies, broaden the student’s background for the study of literature. These must be approved by a creative writing advisor. Students with a second major or a minor will be considered to have completed this requirement.

[1] The School of Professional Studies also offers courses under the listings ENG 206, 207, and 208. These courses do not count toward the Weinberg Creative Writing Major.

[2] First-year students may not apply to the creative writing sequence, even if they complete both pre-requisite classes in the first year.

Creative Writing, MFA

On this page:, at a glance: program details.

• Location: Tempe campus
• Second Language Requirement: No

Program Description

Degree Awarded: MFA Creative Writing

The MFA in creative writing at ASU has always been an unswervingly student-first program. Through small classes, intimate workshops and one-to-one mentoring, the centuries-old apprenticeship model thrives within the New American University. Poets and fiction writers work with outstanding faculty who have published more than 80 books and garnered national and international attention through awards and honors that include:

• Guggenheim, Howard Foundation, Lannan Foundation, MacArthur Foundation, National Endowment for the Arts, and United Artists fellowships
• international Griffin Poetry Prize and Whiting Award
• multiple Pulitzer Prizes
• two medals of achievement from the National Society of Arts and Letters
• two Chancellors of the Academy of American Poets
• Walt Whitman Award from the Academy of American Poets

Additionally, in concert with the Master of Fine Arts program, several campus entities contribute to the MFA experience: the Virginia G. Piper Center for Creative Writing offers students a wide range of fellowships, support for professional development, and other teaching and leadership opportunities including a Community Outreach Graduate Assistantship. The Center for Imagination in the Borderlands brings writers and other artists for intensive workshops, classes and public events, and offers an artistic development and teaching assistant fellowship and two research assistantships. The Master of Fine Arts program also hosts a newly inaugurated series of craft lectures and an alumni reading series.

Furthermore, students have access to a variety of additional professional development opportunities, including serving on the editorial board of an international literary journal Hayden's Ferry Review, translation experience through the Thousand Languages Project and internships with award-winning independent literary press Four Way Books.

Sally Ball , Director of Creative Writing, Professor

Justin Petropoulos , Program Manager

Faculty in Creative Writing

The ASU MFA in Creative Writing is and has always been an unswervingly student-first program. Through small classes, intimate workshops, and one-to-one mentoring, the centuries-old apprenticeship model thrives within the New American University. Creative writing has been a part of the department of English since the 1930s. With the inception of the MFA degree in 1985, creative writing became an ascendant unit; the program was ranked within the top 20 MFA programs in the nation by U.S. News and World Report.

ASU Creative Writing is distinguished by an outstanding faculty that has garnered national and international attention: Guggenheim and NEA fellowships, a Pulitzer Prize and several Pulitzer nominations, two Flannery O’Connor Awards, the Western States Book Award, PEN/Faulkner finalist recognition, the Walt Whitman Award from the Academy of American Poets, a Lannan Literary Fellowship, the International Griffin Poetry Prize, the Western Literature Association Distinguished Achievement Award, and two Medals of Achievement from the National Society of Arts and Letters.

The program's alumni are equally impressive, having won the Iowa Short Fiction Award, the Pen Southwest Book Award, the Prairie Schooner Book Prize, the May Swenson Poetry Award, the Hurston/Wright Foundation Legacy Award, and numerous Pushcart Prizes. They are the recipients of grants from the NEA and Fulbright and Stegner Fellowships.

Currently, all students admitted to the MFA program who submit a complete and approved teaching assistantship application are awarded a TA by the Department of English. Each assistantship carries a three course per year load and includes a tuition waiver and health insurance in addition to the TA stipend ($24,586 per year) . Graduate students with assistantships must enroll in a minimum of six credit hours each semester.

In addition, students have diverse opportunities for additional financial and professional support via The Virginia G. Piper Center for Creative Writing, including:

• Graduate Assistantships in arts education and community programming (providing stipends and tuition remission)
• Creative Research Fellowships and other funding and scholarship opportunities
• Travel Funding to support tabling and presenting during the annual AWP Conference
• A robust visiting writer event series , with exclusive opportunities to learn from and engage with highly acclaimed authors
• Free admission to the annual Desert Nights, Rising Stars Writers Conference
• Opportunities to moderate author panels and read creative work during the Desert Nights, Rising Stars Writers Conference and other events
• A professional development program series for creative writing students, with a focus on creative lives, careers, and opportunities during and after graduation

The program requirements include 48 hours of study evenly divided between writing courses and literature courses designed to inform that writing. While students are expected to satisfy these requirements in the genre in which they were accepted, the program encourages cross-genre study, and electives can include courses taken outside of the creative writing program, even outside the English department. Courses such as “Creative Writing and the Professions” and “Internship for Community Outreach” encourage students to envision life beyond graduation. The Creative Writing Program at ASU has been able consistently to offer MFA students among the best funding packages in the nation through teaching and research assistantships, which are renewable for each of the program's three years. Additionally, in concert with the CWP, the Virginia G. Piper Center for Creative Writing offers a variety of graduate assistantships, international writing and teaching scholarships, and thesis fellowships to continuing students. Students who accept the TA offer are required to take the TA seminar, a pedagogy and training course designed to assist graduate students during their first year. TA seminar is credited as a literature elective. Successful TAs have the opportunity to teach introductory creative writing to undergraduates, under the supervision of one of the program faculty. In the second year students assemble their thesis committees and identify a committee chair. The second year is also when one-on-one mentorship begins. In the spring of the third year, students typically focus on completing the thesis manuscript with their committee chair.

Degree Requirements

48 credit hours including a written comprehensive exam and the required applied project course (ENG 593)

Coursework (39 credit hours)

Other Requirement (6 credit hours) ENG 592 Research (6)

Culminating Experience (3 credit hours) ENG 593 Applied Project (3)

Additional Curriculum Information The creative writing program requires 48 credit hours of study evenly divided between writing courses and literature courses designed to inform that writing.

While students are expected to satisfy these requirements in the genre in which they were accepted, the program encourages cross-genre study, and electives can include courses taken outside of the creative writing program or even outside of the English department.

A written comprehensive exam and an applied project are required.

Admission Requirements

Applicants must fulfill the requirements of both the Graduate College and The College of Liberal Arts and Sciences.

Applicants are eligible to apply to the program if they have earned a bachelor's or master's degree from a regionally accredited institution. Applicants should have an undergraduate major in English or creative writing; however, exceptional students who do not have either of these undergraduate majors may be admitted on the basis of writing excellence.

Applicants must have a minimum cumulative GPA of 3.00 (scale is 4.00 = "A") in the last 60 hours of their first bachelor's degree program, or a minimum cumulative GPA of 3.00 (scale is 4.00 = "A") in an applicable master's degree program.

All applicants must submit:

• graduate admission application and application fee
• official transcripts
• statement of purpose
• resume or curriculum vitae
• three letters of recommendation
• creative manuscript
• proof of English proficiency

Additional Application Information An applicant whose native language is not English (regardless of current residency) and has not graduated from an institution of higher learning in the United States must provide proof of English proficiency . Applications will not be processed without valid proof of English proficiency. Please note that official scores must be sent to ASU in order for the application to be processed.

The personal statement should include the applicant's writing background, intended area of specialization and a brief self-evaluation of recent work (double-spaced, up to three pages or 750 words). The creative manuscript should be up to 20 pages of poetry or up to 30 pages of prose (prose should be double-spaced). Students applying for a teaching assistantship must submit a statement of teaching philosophy and an academic writing sample.

Courses and Electives

Mfa course requirements - fiction.

A 48-hour Program of Study

For additional information please contact Justin Petropoulos , Program Manager of Creative Writing

WRITING COURSES (24 hours)

Students are expected to satisfy the degree requirements in the genre in which they are accepted. Exceptions must be approved by the director of creative writing, the chair of the student’s supervisory committee, the dean of the Graduate College, and the instructor. Electives may be taken out of genre, with the permission of the instructor.

Required (15 hours)

• ENG 592 Research (Fiction) (6 hours)*
• ENG 593 Applied Project (Fiction) (3 hours)
• ENG 594 Conference and Workshop (Fiction) (3 hours)
• ENG 563 Forms of Fiction (3 hours)

*Research Hours are dedicated the development of a student's creative thesis with the support of their committee.

Electives (choose 9 hours)

• ENG 505 Writing Workshops (Special Topics)(3 hours)
• ENG 591 Seminar, Selected Topics* (3 hours)
• ENG 594 Conference and Workshop (Fiction) (3-6 hours)
• ENG 663 Fiction Genres* (3 hours)
• ENG 680 First Book Seminar (3 hours)

LITERATURE COURSES (24 hours)

Required (9 hours).

• ENG 538 Studies in Modern and Contemporary American Literature (3 hours)
• ENG 539 Studies in Modernist and Postmodern Literature and Theory (fiction topics, 3 hours)
• ENG 665 Creative Methods, Fiction (3 hours)

Electives (choose 15 hours)

Any 400, 500, or 600 level English course relevant to the student’s program of study, and up to six hours of credit in class work outside the department of English (for example, courses at the 400, 500, or 600 level in theater, music, dance, photography, fine printing and bookbinding, papermaking, or editing and publishing), subject to the approval of the director of creative writing, the chair of the student’s supervisory committee (if designated), and the dean of the Graduate College.   Possible English courses include:

• ENG 537 Studies in Modern and Contemporary British Literature (3 hours)
• ENG 543 Studies in Anglophone Literatures (3 hours)
• ENG 545 Studies in Women’s Literature (3 hours)
• ENG 550 Translation (3 hours)
• ENG 584 Internship* (3-6 hours)
• ENG 591 Seminar (Selected Topics, 3 hours)
• ENG 593 Pedagogy (3 hours)
• ENG 594 Conference and Workshop (TA Seminar) (4 hours)
• ENG 598 Special Topics* (3 hours)
• ENG 667 Writing for the Professions (3 hours)

 *May be repeated for credit if topics are distinct.

MFA COURSE REQUIREMENTS - POETRY

For information about the program please contact Justin Petropoulos , Program Manager of Creative Writing

• ENG 592 Research Hours (6hours)*
• ENG 593 Applied Project (3 hours)
• ENG 594 Graduate Poetry Workshop (3 hours)
• ENG 562 Forms of Poetry (3 hours)

 *Research Hours are dedicated the development of a student's creative thesis with the support of their committee.

• ENG 505 Writing Workshop (3 hours)
• ENG 594 Conference and Workshop (Poetry) (3-6 hours)
• ENG 662 Poetic Genres* (3 hours)
• ENG 539 Studies in Modernist and Postmodern Literature and Theory (poetry topics, 3 hours)
• ENG 665 Creative Methods, Poetry (3 hours)

Any 400, 500, or 600 level English course relevant to the student’s program of study, and up to six hours of credit in class work outside the department of English (for example, courses at the 400, 500, or 600 level in theater, music, dance, photography, fine printing and bookbinding, papermaking, or editing and publishing), subject to the approval of the director of creative writing, the chair of the student’s supervisory committee (if designated), and the dean of the Graduate College.   Possible English courses might include:

Next Steps to attend ASU

Learn about our programs, apply to a program, visit our campus, application deadlines, learning outcomes.

• Analyze and critique the writing of other creative writers.
• Explicate their creative works articulately.
• Create original fiction or poetry that incorporates theoretical and foundational literary knowledge.

Career Opportunities

A Master of Fine Arts in creative writing graduate is prepared primarily for the professional creation of new art, including fiction, poetry and other written forms. In addition to working as novelists, poets and short story writers, graduates go on to careers in education, arts administration, media and entertainment, and in political and community organizations. Career examples include:

• book designer or marketer
• book or magazine editor
• creative writing professor
• essayist or journalist
• grant writer and developer
• literary or events coordinator
• nonprofit administrator
• public relations and communications manager
• screenwriter
• secondary education teacher

Global Opportunities

Global experience.

With over 250 programs in more than 65 countries (ranging from one week to one year), study abroad is possible for all ASU students wishing to gain global skills and knowledge in preparation for a 21st-century career. Students earn ASU credit for completed courses, while staying on track for graduation, and may apply financial aid and scholarships toward program costs. https://mystudyabroad.asu.edu

Program Contact Information

If you have questions related to admission, please click here to request information and an admission specialist will reach out to you directly. For questions regarding faculty or courses, please use the contact information below.

• [email protected]
• 480/727-9130

Emory College of Arts and Sciences Creative Writing Program

Home » The Creative Writing Program » Major in English and Creative Writing

Major in English and Creative Writing

Creative writing workshops.

Creative Writing majors must complete five writing workshops (15-20 credits). Either Honors or one Independent Study can count as one workshop. At least two workshops must be taken in the same genre (poetry, fiction, creative nonfiction, dramatic writing); students are encouraged to continue study in the same genre as the Intro but this is not a requirement.

NOTE: All majors must take one 200-level introductory workshop in poetry (ENGCW 271W) or fiction (ENGCW 272W). Students at Oxford College may also take ENGCW_OX 270W, the two-genre workshop, or ENGCW_OX 271W or ENGCW_OX 272W. Only one 200-level Creative Writing workshop (270W, 271W, 272W) will be counted towards the major. The other four workshops must be 300-level or above. Majors are welcome to take a second 200-level introductory workshop in another genre, but it is not required and it will not count towards the major.

Literature Requirement (ENG 300-level or above)

Six 300-level English courses (18-24 credits); all six courses must be focused on literary studies :

• At least two courses concentrating mainly on poetry.
• At least two courses concentrating mainly on prose.
• At least two courses in writing of the 19th century or earlier.

Some English literature classes may fulfill a dual requirement (for instance, a class might fulfill both poetry and 19th century or earlier requirements) but even if you complete the prose/poetry/19th century or earlier requirements in four or five classes, you still must take six English literature classes minimum.

Drama that is written in the form of poetry can count toward the poetry requirement. Drama that is written in the form of prose can count for the prose requirement.

Each major's advisor will exercise discretion in allowing credit for these categories since many courses mix poetry, prose, and drama. Students may also substitute one 200-level English course for one 300-level course.

List of previous English courses that meet these requirements can be found HERE .  The Spring 2024 list is  HERE . Subject to change.

  The English Department is still compiling the Fall 2024 list. It will be posted here as soon as it's available.

Additional Information:

Online Declaration of Major

All classes for the Creative Writing major must be taken for a letter grade -- S/U is not allowed for classes taken in fulfillment of the major. The grade of C is the minimum required for a class to count towards the major. Classes with a grade below C will not appear in Degree Tracker towards fulfilling the major.

Two workshops in the same semester:

Majors are typically not allowed to take more than one workshop per semester; non-majors may take only one. Exceptions will be made for Oxford students who plan to study abroad for a semester. Majors who wish to take a second workshop must obtain permission from the Program by emailing  [email protected] . Explain in your email why you need to take two workshops, list the two workshops you intend to take, and include a list of workshops already taken (for each, include the semester, instructor name, and the grade you received).

ENGRD (Writing Program) courses:

ENGRD (Writing Program) courses do NOT count as English literature classes towards the major, with one exception: Professor Daniel Bosch's ENGRD 380 Topics class, Literary Editing and Publishing, offered in Spring 2021. This class counts towards both the prose and poetry requirements for the English literature component of the Creative Writing major.

Post-Freshman Writing Requirement:

Most Creative Writing classes (except freshman seminars) will fulfill the post-freshman writing requirement. If the course number includes the letter "W," then it will fulfill the writing requirement.

Oxford Students:

ENGCW_OX 270W Introduction to Creative Writing or ENGCW_OX 271W Introduction to Poetry Writing or ENGCW_OX 272W Introduction to Fiction Writing taken at Oxford will count towards the Creative Writing major. You may take both but only one will count towards the major. You will still need to take four 300-level Creative Writing workshops at Emory and should plan ahead to take one workshop each semester. The FILM 378 Screenwriting course offered at Oxford does NOT count towards the Creative Writing major. Oxford students should participate in Emory pre-registration and the Creative Writing Program's application process the Spring before they arrive at Emory in order to assure a place in a Fall class. Email [email protected]  BEFORE SPRING BREAK to obtain an application and schedule of Fall classes.

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Creative Writing & Literature Major

• LSA Degrees
• LSA Requirements
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• What Will You Do with an LSA Degree?

Effective Winter 2025

Not open to those electing the minor in Writing or the minor in Creative Writing.

1813 East Quadrangle

(734) 763-0032

https://myadvising.lsa.umich.edu/appointments/offices/RC

Students meet with the creative writing major advisor when declaring, making course substitutions, discussing transfer/study abroad credit evaluations, preparing for internships, completing major release forms, and discussing information on graduate school study and career paths.  

Although students may pursue study in multiple genres, most specialize in one of the following genres:

• Fiction / Creative Nonfiction
• Digital Storytelling

Advising appointments can be made here ; or by calling RC Academic Services at 763-0032.

Grade Policies

Creative writing majors must earn a grade of at least C- in all courses taken to satisfy the requirements of the major.

Prerequisites

Students intending to declare the major should have completed or be enrolled in a Residential College introductory creative writing course (RCCWLIT 220, RCCWLIT 221, RCCWLIT 325, or an approved equivalent). The prerequisite taken should align with the student's chosen track, although this is not required. 

Requirements

The major is structured into three genre tracks. Students may elect a multi-genre track in consultation with their principal writing instructors and the major advisor. Information regarding each track is detailed below.         

1) Fiction / Creative Nonfiction Track

Students complete a minimum of four creative writing courses, at least three of which must be at the 300-level or above and at least three of which must be taken in the Residential College (RC). A usual track is an introductory course (Narration) and three upper-level courses. Students may count one non-RC creative writing course towards the four course writing requirement.

Creative Writing Course Requirement

Students may elect any combination of the seminars and tutorials from the following list:

• RCCWLIT 220: Narration (Intro to Fiction Writing)
• RCCWLIT 325, 326, 425, 426: Creative Writing Tutorial ( permission of instructor is required )
• RCCWLIT 320: Advanced Narration (Advanced Fiction Writing)
• Other departmental offerings listed under RCCWLIT 334

Literature Requirement

Students complete five literature courses at the 300-level or above. One literature course must focus on literature written prior to 1600. The pre-1600 requirement may focus on non-Western or Western literature; if a Western literature course is elected, the content must pre-date the Shakespearean era. 

Students are encouraged to take literature courses in the RC Arts and Ideas Program, the Department of English, or the Department of Comparative Literature. Students majoring in a second language may count one upper-level literature course in that language, either taken at UM-Ann Arbor or through study abroad (with advisor approval). All literature courses counted toward the Creative Writing and Literature Major must be at least three (3) credits.

 Courses that have been used to meet the literature requirement include:

• RCHUMS courses listed in the Arts and Ideas in the Humanities major
• ENGLISH 328: Writing and the Environment
• ENGLISH 379: Literature in Afro-American Culture
• Other English Department courses with a literature focus
• ENGLISH 350: Literature in English to 1660 (for pre-1600 requirement)
• CLCIV 385: Greek Mythology (for pre-1600 requirement)  
• MEMS 386: Medieval Literature, History and Culture (for pre-1600 requirement)

2) Poetry Track

Students complete a minimum of four creative writing courses, at least three of which must be at the 300-level or above and at least three of which must be taken in the Residential College (RC). A usual track is an introductory course (Writing Poetry) and three upper-level courses. Students may count one non-RC creative writing course towards the writing requirement.

Students may elect any combination of seminars and tutorials from the following:

• RCCWLIT 221: Writing Poetry
• RCCWLIT 321: Advanced Poetry Writing

Students complete five literature courses at the 300-level or above. One literature course must focus on literature written prior to 1600. The pre-1600 requirement may focus on non-Western or Western literature; if a Western literature course is elected, the content must pre-date the Shakespearean era. 

Students are encouraged to take literature courses in the RC Arts and Ideas Program, the Department of English or the Department of Comparative Literature. Students majoring in a second language may count one upper-level literature course in that language, either taken at UM-Ann Arbor or through study abroad (with advisor approval). All literature courses counted toward the Creative Writing and Literature Major must be at least three (3) credits.

Courses that have been used to meet the literature requirement include:

• ENGLISH 340: Studies in Poetry
• ENGLISH 440: Modern Poetry
• ENGLISH 442: Studies in Poetry
• Literature courses listed above within the Fiction/Creative Nonfiction track

3) Digital Storytelling Track

The digital storytelling track studies the way stories interact with technology and the effect of digital media on writing and the creative process. Students electing this track pair writing practice with the study of the theory, ethics, and history of digital media.

Creative Writing Course Requirement 

Students completing this requirement must elect two courses in Creative Writing Practice and two courses in Digital Writing Skills. The two Creative Writing Practice courses can only include one 200-level course. Students must elect a minimum of two Residential College (RC) creative writing courses that focus on writing fiction, creative nonfiction, or poetry.   

Introductory Courses (may elect one to count towards major):

Upper-level Courses:

• RCCWLIT 320: Advanced Narration
• RCCWLIT 334: Special Topics in Creative Writing

Digital Writing / Skills Course Requirement

Students must choose a minimum of two digital storytelling / writing courses at the 300-level or above that focus on digital media and/or electronic literature writing and practice.

Courses that have been used to meet the requirement in the past include:

• ENGLISH 420: Tech and the Humanities/Electronic Literature
• RCCWLIT 334: Digital Storytelling
• RCCWLIT 325, 326, 425, 426: Creative Writing Tutorial with a focus on writing for, and/or creating electronic literature or digital media content ( permission of instructor is required )

Digital Studies Theory Requirement

Students must elect a minimum of two digital studies theory courses at the 300-level or above that focus on the theory of digital culture and/or the digital humanities.

• AMCULT 358: Topics in Digital Studies
• AMCULT 360: Radical Digital Media
• FTVM 368: Topics in Digital Media Studies
• ENGLISH 405: Theories of Writing

Students must elect three literature courses at the 300-level or above. Literature courses should not focus on digital studies but should offer complementary skills and additional context in the art and craft of literature. One literature course must focus on literature written prior to 1600. The pre-1600 requirement may focus on non-Western or Western literature; if a Western literature course is elected, the content must pre-date the Shakespearean era. 

Constraints

Coursework noted as independent study (IND) may not be used to meet requirements, including RCCORE 209, RCCORE 309, and RCCORE 409. Although students are encouraged to complete internships in a publishing or writing related field, any credit earned may not be used to meet requirements of the major. 

Distribution Policy

No course used to fulfill a major requirement may be used toward the LSA Distribution Requirement. In addition, courses in the RC Creative Writing (RCCWLIT) subject area may not be used toward the Distribution Requirement.

A student whose overall academic record meets the eligibility criteria for honors and whose creative work models originality and the promise of mastery in their chosen genre may apply to complete an honors thesis. Honors theses are typically 75-100 pages of polished fiction or creative nonfiction, or a collection of 25 or more poems. The student and their faculty advisor will determine the exact length and content of the final thesis. The successful honors student will be committed to a comprehensive composition and revision process to produce a polished final manuscript.

To be eligible to apply for honors, a student must demonstrate exceptional skill in the art and craft of prose, poetry, or creative nonfiction. The student must have completed a minimum of two Residential College creative writing classes, although honors students typically complete three or more by the start of their thesis sequence. The student also must hold a GPA of at least 3.4 overall.

Students who meet the above criteria are eligible to apply for the honors thesis project in the Winter term of their junior year, typically by late March. To apply, students should submit:

• A writing sample (10 pages of prose or 5 poems) that represents the student’s best, most polished work. This sample does not have to be from the proposed project.
• A brief statement (1-2 pages) describing the honors project. This statement should answer the following questions:

            -  What is your project? For example, will your final manuscript be a short story collection, a collection of poetry, or another form?             -  Which courses have you completed in the Creative Writing and Literature major? How many tutorials have you taken?             -  Have you worked on this proposed honors project in previous tutorials or courses?             -  Can you describe for the committee a specific instance when you made substantial changes based on your instructor's feedback?             -  What authors and/or creative works have you read that inform or inspire this project?

• Students should also name a faculty member they wish to request as their thesis advisor. Students may also name more than one faculty member, listed in order of preference.

The Honors Committee, consisting of faculty in the Creative Writing program, will judge the student’s work on its quality, originality, and promise of mastery in their chosen genre. The Committee reviews all honors applications after the submission deadline. Students are notified of the Committee’s decision by early April. If the planned project is accepted for honors, the Committee will assign a faculty thesis advisor to the student.

Honors theses require a two-semester commitment. Students enroll in RCCORE 490 for the Fall term and RCCWLIT 426 for the Winter term. Satisfactory progress in RCCORE 490 earns a Y grade, indicating that the thesis work will continue into the next semester. At the end of the second term, the Y grade converts to the grade earned in RCCWLIT 426. Exceptions to the two-semester requirement are rare but may be discussed with the thesis advisor.

When the honors thesis project is complete (typically the last week of March or the first week of April of the senior year), the student’s honors thesis advisor and one other member of the Residential College’s Creative Writing faculty will determine if the project qualifies for honors and (if so) what level of honors the student receives. Honors thesis students also participate in a public reading with fellow honors students at the end of the Winter term.

Creative Writing and Literature (Major) (Fall 2023 - Fall 2024)

Effective Fall 2023

Students intending to declare the major should have completed or be enrolled in a Residential College introductory creative writing course (RCHUMS 220, RCHUMS 221, RCHUMS 325, or an approved equivalent). The prerequisite taken should align with the student's chosen track, although this is not required. 

• RCHUMS 220: Narration (Intro to Fiction Writing)
• RCHUMS 325, 326, 425, 426: Creative Writing Tutorial ( permission of instructor is required )
• RCHUMS 320: Advanced Narration (Advanced Fiction Writing)
• Other departmental offerings listed under RCHUMS 334 or RCCORE 334
• ENGLISH 350: Literature in English to 1660
• MEMS 386: Medieval Literature, History and Culture 
• RCHUMS 221: Writing Poetry
• RCHUMS 321: Advanced Poetry Writing
• RCHUMS 334: Special Topics in the Humanities (Workshop with Incarcerated Poets and Artists)
• RCHUMS 320: Advanced Narration
• RCHUMS 334: Special Topics in the Humanities (Memoir: Writing from Within)
• RCCORE 334: Digital Storytelling
• RCHUMS 325, 326, 425, 426: Creative Writing Tutorial with a focus on writing for, and/or creating electronic literature or digital media content ( permission of instructor is required )

No course used to fulfill a major requirement may be used toward the LSA Distribution Requirement. In addition, courses in the RC Creative Writing subject area may not be used toward the Distribution Requirement.

A student whose overall academic record meets the eligibility criteria for honors and whose creative work models originality and the promise of mastery in their chosen genre may apply to complete an honors thesis. Honors theses are typically 75-100 pages of polished fiction or creative nonfiction, or a collection of 25 or more poems. The student and their faculty advisor will determine the exact length and content of the final thesis.

•  A writing sample (10 pages of prose or 5 poems) that represents the student’s best, most polished work;
•  A brief statement (1-2 pages) describing the honors project;
• The name of a faculty member they wish to request as their thesis advisor.

Honors theses require a two-semester commitment. Students enroll in RCCORE 490 for the Fall term and RCHUMS 426 for the Winter term. Satisfactory progress in RCCORE 490 earns a Y grade, indicating that the thesis work will continue into the next semester. At the end of the second term, the Y grade converts to the grade earned in RCHUMS 426. Exceptions to the two-semester requirement are rare but may be discussed with the thesis advisor.

Creative Writing and Literature (Major) (Winter 2020 - Summer 2023)

Effective Winter 2020

(734) 647-2745

www.lsa.umich.edu/rc

The Residential College (RC) is a four-year undergraduate liberal arts program with about 900 students and 60 faculty, situated within LSA. All RC advisors are RC faculty members and are available to meet with students to discuss RC and LSA requirements, possible majors, graduation requirements, etc. The RC Board on Academic Standing considers petitions submitted by RC students relating to requirements, deadlines, and academic circumstances. Appointments with academic advisors can be scheduled by calling the RC Academic Services Office at (734) 647-2745 or by stopping by the offices at 1813 East Quadrangle.

Students wishing to pursue a sustained practice in creative writing take a combination of writing courses in a selected genre and literature courses, distributed as follows:

• A minimum of four creative writing classes, three at the upper level (300 and above), mixing seminars (RCHUMS 220, 221, 222, 242, 320, 321, 322) and tutorials (RCHUMS 325, 326, 425, 426)
• A minimum of five upper level (300 and above) literature courses at least one of which must be ancient (RCHUMS 309, CLCIV 390, ENGLISH 401) or medieval (RCHUMS 310, ENGLISH 370) literature.

No course used to fulfill a major requirement may be used toward the LSA Distribution Requirement.

Creative Writing and Literature (Major) (Winter 2013 - Fall 2019)

Effective Winter 2013

134 Tyler (East Quadrangle)

The Residential College (RC) is a four-year undergraduate liberal arts program with about 900 students and 60 faculty, situated within LSA. All RC advisors are RC faculty members and are available to meet with students to discuss RC and LSA requirements, possible majors, graduation requirements, etc. The RC Board on Academic Standing considers petitions submitted by RC students relating to requirements, deadlines, and academic circumstances. Appointments with academic advisors can be scheduled by calling the RC Academic Services Office at (734) 763-0032, or by stopping by the offices at 134 Tyler.

Creative Writing and Literature Major (through Fall 2012)

May be elected as a departmental major 

effective through Fall 2012

Not open to those electing the minor in Writing or the minor in Creative Writing (effective Fall 2011)

The Residential College's Creative Writing and Literature Major combines the sustained, disciplined practice of writing with the serious study of literature. The main goal of the program is to help students develop their creative abilities through a continuous, interrelated cycle of writing, rewriting, and literary analysis. Creative writing courses are taught as workshops and tutorials in which students work individually with faculty members. Students are required to take courses in literature in order to understand better the art of writing.

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English (BA) – Creative Writing

Program at a glance.

• In State Tuition
• Out of State Tuition

Learn more about the cost to attend UCF.

English (B.A.) - Creative Writing may be completed fully online, although not all elective options or program prerequisites may be offered online. Newly admitted students choosing to complete this program exclusively via UCF online classes may enroll with a reduction in campus-based fees.

Admission Requirements

Degree requirements.

• Students who change degree programs and select this major must adopt the most current catalog
• Students must earn at least a "C" (2.0) in each required course
• Co-op or internship credit cannot be used in the major without prior approval from the department
• Students should consult with a departmental advisor
• Departmental Residency Requirement consists of at least 15 semester hours of regularly scheduled 3000-4000 level courses taken from the UCF English Department
• Courses designated in General Education Program and Common Program Prerequisites are usually completed in the first 60 hours.

Online English - Creative Writing, BA

Undergraduate Application Deadlines

• International

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University of Central Florida Colleges

Core Requirements: Basic Level

• CRW3013 - Creative Writing for English Majors (3)
• ENG3014 - Theories and Techniques of Literature Study (3)
• CRW3053 - Theory & Practice of Creative Writing (3)
• *ENG 3014 - This is a prerequisite for all 4000 level AML, ENG, ENL, or LIT courses

Core Requirements: Advanced Level

• Literary History Requirement
• Choose four courses total from these two groupings
• Select at least one of these pre-1865 literature courses
• Note: Each semester, additional courses may satisfy these requirements. Check with an advisor for details.
• AML3031 - American Literature I (3)
• AML3613 - Narratives of Slavery (3)
• ENL2012 - English Literature I (3)
• ENL3220 - English Renaissance Poetry and Prose (3)
• ENL4230 - Eighteenth-Century Studies (3)
• ENL4240 - English Romantic Writers (3)
• ENL4311 - Chaucer (3)
• ENL4333 - Shakespeare Studies (3)
• ENL4341 - Milton and His Age (3)
• AML3286 - Early American Women's Words (3)
• AML3640 - Native American Literature (3)
• LIT4374 - The Literature of the Hebrew and Christian Bibles (3)
• ENL3296 - Gothic Literature (3)
• Select at least one of these post-1865 literature courses
• Each semester, additional courses may satisfy this requirement. Check with an advisor for details.
• AML3041 - American Literature II (3)
• AML3261 - Literature of the South (3)
• AML3614 - Topics in African-American Literature (3)
• AML3615 - Harlem, Haiti, and Havana (3)
• AML3643 - Contemporary Native American Prose and Poetry (3)
• AML4101 - American Novel (3)
• AML4155 - Modern American Poetry (3)
• AML4265 - Florida Writers (3)
• AML4321 - Modern American Literature (3)
• AML3630 - Latinx Literature (3)
• ENL2022 - English Literature II (3)
• ENL4101 - English Novel (3)
• ENL4253 - The Victorian Age (3)
• ENL4262 - Nineteenth Century British Prose (3)
• ENL4273 - Modern British Literature (3)
• LIT3082 - Continental European Fiction Since 1900 (3)
• LIT3192 - Caribbean Literature (3)
• LIT4043 - Modern Drama As Literature (3)
• LIT4184 - Irish Literature (3)
• LIT4303 - Post-World War II Fiction (3)
• LIT3823 - Hispanic Women Writers (3)
• Earn at least 6 credits from the following types of courses: Pre-1865 Literature courses or Post-1865 Literature courses

Restricted Electives

• Please note that students must take 4 but no more than 6 of the courses listed in a. and b. below.
• A list of approved restricted elective courses is found in the myKnight audit.
• CRW3120 - Fiction Writing Workshop (3)
• CRW3211 - Creative Nonfiction Writing (3)
• CRW3310 - Poetry Writing Workshop (3)
• CRW3610 - Writing Scripts (3)
• CRW4122 - Advanced Fiction Writing Workshop (3)
• CRW4224 - Advanced Nonfiction Workshop (3)
• CRW4320 - Advanced Poetry Writing Workshop (3)
• CRW4616 - Advanced Scriptwriting Workshop (3)
• *May take ENC 4360 - Nature Writing instead of CRW 4224 but not both.
• CRW3311 - Readings in Poetry for Creative Writing (3)
• CRW3540 - Literary Magazines (3)
• CRW4114 - History of Prose Style (3)
• CRW4724 - The Florida Review (3)
• CRW4722 - Editing for Creative Writers (3)
• any other CRW elective or Special Topics course Credit Hours: 3

Grand Total Credits: 36

Capstone requirements.

• Select primarily from upper level courses, with departmental advisor's approval. May be outside of the department.

Foreign Language Requirements

• Met by graduation requirement
• Proficiency equivalent to three semesters of college instruction in a foreign language taught by the Department of Modern Languages and Literatures or the Department of History (Hebrew). Standardized examinations for foreign languages may be used to meet the requirement. With departmental approval, a cultural/multicultural or related course offered by the Department of English may be used to satisfy one semester of the Graduation requirement.

Additional Requirements

• The English Department offers multiple opportunities to complete the signature experience requirement. Please consult the Undergraduate Advisor for a full listing.

Required Minors

Departmental exit requirements.

• Maintain and achieve a minimum GPA of 2.0 in all courses used towards the major.

University Minimum Exit Requirements

• A 2.0 UCF GPA
• 42 semester hours of upper division credit completed
• 60 semester hours earned after CLEP awarded
• 30 of the last 39 hours of course work must be completed in residency at UCF.
• A maximum of 45 hours of extension, correspondence, CLEP, Credit by Exam, and Armed Forces credits permitted.
• Complete the General Education Program, the Gordon Rule, and nine hours of Summer credit.

Total Undergraduate Credit Hours Required: 120

Additional information, honors in major (9 credit hours).

• Application and admission through the English Honors Committee and the Honors College.
• Fulfill University requirements for Honors in the Major.
• Grade of "B" (3.0) or better in an English graduate or undergraduate course or in a graduate or undergraduate course outside the major that relates to thesis with approval (3 hrs), Directed Readings (3 hrs), and Thesis hours (3 hrs).
• Successful completion and oral defense of Honors thesis.

Related Programs

• English, Technical Communication (B.A.)
• English, Literature (B.A.)

Certificates

• Editing and Publishing Certificate

Related Minors

• English, Linguistics Minor
• English, Technical Communication Minor
• Writing and Rhetoric Minor
• English, Literature Minor

Advising Notes

Transfer notes.

• Lower division courses do not substitute for upper division courses.
• Courses transferred from private and out-of-state schools must be evaluated for equivalency credit. The student must provide all supporting information.

Acceptable Substitutes for Transfer Courses

Program academic learning compacts.

• Program Academic Learning Compacts (student learning outcomes) for undergraduate programs are located at: https://oeas.ucf.edu/about/academiclearningcompacts/

Plan of Study

Freshman Year - Fall (15 Credit Hours)

• ENC 1101 - Composition I Credit Hours: 3
• GEP Credit Hours: 3

Freshman Year - Spring (16 Credit Hours)

• ENC 1102 - Composition II Credit Hours: 3
• Foreign Language Elementary I Credit Hours: 4

Sophomore Year - Fall (16 Credit Hours)

• LIT 2110 or LIT 2120 Credit Hours: 3
• Foreign Language Elementary II Credit Hours: 4
• Elective Credit Hours: 3

Sophomore Year - Spring (15 Credit Hours)

• CRW 3013 - Creative Writing for English Majors Credit Hours: 3
• CRW 3053 - Theory & Practice of Creative Writing Credit Hours: 3
• Pre-1865 Literary History Elective Credit Hours: 3
• Pre- or Post-1865 Literary History Elective Credit Hours: 3
• Foreign Language Intermediate I or English Diversity or Elective Credit Hours: 3

Junior Year - Fall (15 Credit Hours)

• ENG 3014 - Theories and Techniques of Literature Study Credit Hours: 3
• Post-1865 Literary History Elective Credit Hours: 3
• Writing Workshop Credit Hours: 3

Junior Year - Spring (15 Credit Hours)

• Advanced Writing Workshop Credit Hours: 3

Senior Year - Fall (15 Credit Hours)

• Creative Writing Elective Credit Hours: 3
• Upper Level Elective Credit Hours: 3

Senior Year - Spring (13 Credit Hours)

• Elective Credit Hours: 1

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Berkeley Berkeley Academic Guide: Academic Guide 2023-24

Creative writing.

About the Program

The Creative Writing Program is an interdisciplinary minor program offered by the Office of Undergraduate and Interdisciplinary Studies in the Division of Undergraduate Studies in the College of Letters & Science. The approved courses students take to satisfy the minor course requirements are offered by over forty departments and programs on campus. Interested undergraduate students in any major may earn an interdepartmental minor in creative writing by completing the requirements listed in the Minor Requirements tab. For further information, please also see the Creative Writing Minor website  and the program's Frequently Asked Questions pages .

There is no major program in Creative Writing.

Declaring and Completing the Minor

Information regarding declaring the minor and completing the minor, including deadlines, is available on the Creative Writing Minor website . See Declaring and Completing . 

Students who are interested in the Creative Writing minor are encouraged to subscribe to the Creative Writing minor email list serve to receive important news about the minor, including special approval courses for the minor that are not published on the website. To subscribe, email [email protected] .

Visit Program Website

Minor Requirements

Students who have a strong interest in an area of study outside their major often decide to complete a minor program. These programs have set requirements and are noted officially on the transcript, but are not noted on diplomas.

General Guidelines

All minors must be declared before the first day of classes in your Expected Graduation Term (EGT). For summer graduates, minors must be declared prior to the first day of Summer Session A. 

All upper-division courses must be taken for a letter grade. 

A minimum of three of the upper-division courses taken to fulfill the minor requirements must be completed at UC Berkeley.

A minimum grade point average (GPA) of 2.0 is required in the upper-division courses to fulfill the minor requirements.

Courses used to fulfill the minor requirements may be applied toward the Seven-Course Breadth requirement, for Letters & Science students.

No more than one upper division course may be used to simultaneously fulfill requirements for a student's major and minor programs.

All minor requirements must be completed prior to the last day of finals during the semester in which the student plans to graduate. If students cannot finish all courses required for the minor by that time, they should see a College of Letters & Science adviser.

All minor requirements must be completed within the unit ceiling. (For further information regarding the unit ceiling, please see the College Requirements tab.)

Course Requirements

 At least two of the three writing courses must be taken at UC Berkeley.

Students may be allowed to include courses that are not on the following lists with the approval of the creative writing minor faculty advisor. It is the responsibility of the student to provide the faculty advisor with documentary evidence to support the claim of course eligibility. Contact the creative writing minor student academic advisor at  [email protected]  for more information.

Contact Information

Creative writing minor.

Undergraduate and Interdisciplinary Studies

235 Evans Hall

Program Director and Faculty Advisor

Fiona McFarlane, PhD (Department of English)

413 Wheeler Hall

[email protected]

Student Academic Advisor

Laura Demir

[email protected]

Print Options

When you print this page, you are actually printing everything within the tabs on the page you are on: this may include all the Related Courses and Faculty, in addition to the Requirements or Overview. If you just want to print information on specific tabs, you're better off downloading a PDF of the page, opening it, and then selecting the pages you really want to print.

The PDF will include all information unique to this page.

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School of Arts & Sciences

Department of English

Undergraduate program, creative writing.

The Department of English offers a track in creative writing for students who want to explore the art of writing and refine their skills in critical reading.

Students work intensively on their own imaginative writing (fiction, poetry, and playwriting) in conjunction with the study of literature. Students wishing to pursue a concentration in creative writing must apply to the  creative writing advisor  in the department and receive written approval.

Major Requirements

• A minimum of ten, 4-credit courses are required for the major (for a minimum total of 40 credit hours).

• The upper-level writing requirement is fulfilled by completion of the major.

Four courses as follows:

• ENGL 121: Creative Writing: Fiction
• ENGL 122: Creative Writing: Poetry
• ENGL 123: Playwriting
• ENGL 125: Speculative Fiction
• ENGL 275: Advanced Creative Writing: Fiction
• ENGL 276: Advanced Creative Writing: Poetry
• ENGL 277: Screenwriting
• ENGL 375: Seminar in Fiction Writing
• ENGL 376: Seminar in Poetry Writing

Two of the following courses:

• ENGL 112: Classical and Scriptural Backgrounds
• ENGL 113: British Literature I
• ENGL 114: British Literature II
• ENGL 115: American Literature

Four English courses at the 200 or 300 level:

• Two in British or American literature before 1800
• Two in British or American literature after 1800

See the pre- and post-1800 page for a list of courses.

Students accepted into the honors program in English can write original fiction (a collection of stories or a novella), poetry, or a play to fulfill the requirements for the honors essay. Students choosing this option must have the approval of the creative writing advisor .

Program Code: 233*/233B CIP Code: 23.0101

General Education Requirements (44 Hours)

• General Education Requirements  

Some general education requirements may be double-counted in the major with departmental approval. Please see your advisor for information.

Language Requirements (3 Hours)

Students are required to demonstrate intermediate-level proficiency in a language other than English. Intermediate-level proficiency is demonstrated by successful completion of a 4th-semester language course in one of the following:

• Intermediate Language Course II   * or
• Combined Intermediate Language Course   * or
• Higher level language courses     (A higher-level language course that requires one of the above listed courses as a prerequisite may also be used to fulfill the language requirement.)

Note: Beginning language course I & II or beginning combination language course and intermediate language course I are prerequisites for *intermediate level II course. Placement tests are designed for placement purposes only and a score on this test alone is not sufficient to demonstrate intermediate-level proficiency.

Language courses 1050 or 1060 may be used in General Education Liberal Studies Experience.

Major Requirements (39 Hours)

2.0 major GPA is required for graduation. Major GPA calculation will include all courses taken in the major discipline, plus any other courses under Major Requirements.

36 semester hours above the 2001 level; 24 semester hours must be at the 3000 level or above.  RC 1000     a prerequisite for all ENG & RC courses level 2001 and above.

Writing Courses (9 Hours)

At least three (but no more than five) of following : (+ course may be repeated for credit when content varies)

• ENG 3651 - Creative Writing: Poetry (3)
• ENG 3652 - Creative Writing: Prose (Fiction) (3)
• ENG 3661 - Advanced Poetry (3) +
• ENG 3662 - Advanced Fiction (3) +
• ENG 3663 - Advanced Creative Non-Fiction (3) +
• ENG 3670 - Playwriting (3) +
• THR 3670 - Playwriting (3) +
• ENG 3679 - Screenwriting (3)
• THR 3679 - Screenwriting (3)
• ENG 3680 - Literary Journalism (3)
• COM 3680 - Literary Journalism (3)
• ENG 4550 - Senior Seminar in Creative Writing (3) [CAP] +
• ENG 4815 - Distinguished Guest Seminar in Creative Writing (3) [CAP] +

Literature Courses (3 Hours)

Choose at least one of the following genre courses:

• ENG 3720 - Studies in the Short Story (3)
• ENG 3740 - Studies in Poetry (3)
• ENG 3750 - Studies in Drama (3)

Grammar (3 Hours)

• ENG 3300 - Applied Grammar (3)

Writing in the Discipline (3 Hours)

• ENG 3000 - Approaches to Literary Studies (3) [WID]

Senior Capstone (3 Hours)

Choose 3 hours. 

• ENG 4510 - Senior Honors Thesis (3) [CAP]
• ENG 4550 - Senior Seminar in Creative Writing (3) [CAP]
• ENG 4571 - Capstone in American Indian Literature (3) [CAP]
• ENG 4581 - Capstone in African-American Literature (3) [CAP]
• ENG 4586 - Capstone in Ethnic American Literature (3) [CAP]
• ENG 4592 - Capstone in Topics in World Literature (3) [CAP]
• ENG 4711 - Capstone in Women and Literature (3) [CAP]
• ENG 4721 - Capstone in Appalachian Literature (3) [CAP]
• ENG 4726 - Capstone in Southern Literature (3) [CAP]
• ENG 4731 - Capstone in the Novel (3) [CAP]
• ENG 4761 - Capstone in Literary Criticism (3) [CAP]
• ENG 4771 - Capstone in Early American Literature (3) [CAP]
• ENG 4781 - Capstone in American Literature: 1783-1865 (3) [CAP]
• ENG 4786 - Capstone in American Literature: 1865-1914 (3) [CAP]
• ENG 4791 - Capstone in Modern American Literature: 1914-1960 (3) [CAP]
• ENG 4796 - Capstone in Contemporary American Literature: 1960-present (3) [CAP]
• ENG 4811 - Capstone in Folklore (3) [CAP]
• ENG 4815 - Distinguished Guest Seminar in Creative Writing (3) [CAP]
• ENG 4821 - Capstone in Medieval British Literature (3) [CAP]
• ENG 4826 - Capstone in Literature of the Middle Ages (3) [CAP]
• ENG 4841 - Capstone in Shakespeare: Later Works (3) [CAP]
• ENG 4851 - Capstone in Renaissance Literature (3) [CAP]
• ENG 4861 - Capstone in Restoration and Eighteenth Century Literature (3) [CAP]
• ENG 4871 - Capstone in British Romantic Literature (3) [CAP]
• ENG 4881 - Capstone in Victorian Literature (3) [CAP]
• ENG 4891 - Capstone in Twentieth Century British Literature: 1900-1945 (3) [CAP]
• ENG 4896 - Capstone in Twentieth Century British Literature: 1945-present (3) [CAP]
• ENG 4899 - Capstone in Topics in Irish Literature (3) [CAP]

Foundation in Literacy History (18 Hours)

Honors courses are indicated by section number - 410 on the Schedule of Courses .

British Literature - Choose one (3 Hours)

• ENG 2010 - British Literature to 1789 (3)
• ENG 2020 - British Literature since 1789 (3)

World Literature - Choose one (3 Hours)

• ENG 2030 - World Literature to 1650 (3) [GenEd: LS]
• ENG 2040 - World Literature since 1650 (3) [GenEd: LS]

American Literature - Choose one (3 Hours)

• ENG 2310 - American Literature to 1865 (3)
• ENG 2320 - American Literature since 1865 (3)

4000 Level Literature Courses - Choose Two (6 Hours)

4000 level english elective - (3 hours).

If ENG 4550    taken to meet Writing Course above (not just Capstone) , then one 3000 level or higher course can be taken to meet this requirement

Minor Required (12-21 Hours)

• Minimum of 9 semester hours of courses taken to fulfill minor requirements must be courses offered by Appalachian

Electives (13-22 Hours)

Taken to total 120 hours for the degree

Total Required (120 Hours)

Steven D. Schloff Creative Writing Scholarship

About the scholarship.

The Steven D. Schloff Creative Writing Scholarship is open to students in the College of Arts and Sciences within the Department of English Creating Writing Program at Florida State University. Undergraduates participating in the Department of English creative writing program competition are encouraged to apply.

• Essay Required : No
• Need-Based : No
• Merit-Based : No
• Resident of the U.S.
• Attending Florida State University College of Arts and Sciences
• Undergraduate student
• Seeking a bachelor's degree
• Studying creative writing
• Participate in creative writing competition
• Country : US