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Creative Writing

Bring your story to life with the help of our courses in areas such as fiction, children’s writing, non-fiction, stage and screenwriting, poetry and memoir writing.

Create the stories you wish existed

Learn techniques designed to enhance, encourage and enrich your writing in one of our many creative writing courses. Beginner to advanced-level courses available ranging in topics including novel and non-fiction writing, poetry, character development, screenplay and playwriting, writing for children and young adults and memoir writing. Enroll online or call Student Services at (858) 534-3400. Questions about our classes or certificates? Contact our department at (858) 534-5760 or [email protected] .

Professional Certificate

Learn core creative writing skills and develop your writing in the genre of your choice by focusing on electives in the areas of Fiction, Creative Non-Fiction, Children’s Writing, Poetry, and/or The Business of Writing.

Related Certificates & Programs

Children’s book writing program, creative writing program, creative writing courses, building a business around writing (wcwp-40321), ernest hemingway: titan of american literature (lit-40064), finding our voices, telling our stories: part i (wcwp-40142), finding our voices, telling our stories: part ii (wcwp-40338), forms of poetry (wcwp-40308), glittering wit: three works by oscar wilde (lit-40099), history of children's literature (lit-40093), news and feature writing (wcwp-40276), novel writing iii (wcwp-40254), science writing i (wcwp-40105), the art and business of blogging (wcwp-40334), writers' workshop: read and critique (wcwp-40252), stay in touch.

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33 Best Fantasy Creative Writing Classes in 2024

Showing 33 courses that match your search.

Once Upon a Time: Fairy Tale Writing With Anca Szilágyi

Atlas Obscura

In this four-part seminar, delve into the genre of fairy tales—reading and dissecting modern retellings before sharing and workshopping a draft of your own.

Website: https://www.atlasobscura.com/experiences/fairy-tales-onli...

Categories: Fantasy

Start date:

April, 2024

Prerequisites: No prerequisites

Introduction to Writing YA Speculative Fiction with Diana Ma

Clarion West

Have you ever wondered what makes a YA novel…well, YA? How do you write teen characters who just happen to be fighting dystopian regimes or riding dragons? This workshop will answer these questions and provide tips, examples, and writing exercises to help you start your journey to writing speculative YA!

Website: https://clarionwest.app.neoncrm.com/np/clients/clarionwes...

How to Write a Novel

Reedsy's course, led by Tom Bromley, is a 101-day program aimed at helping writers finish their first novel draft. It includes daily video masterclasses, a structured approach for drafting, and access to a forum and live webinars for interaction and feedback. The course covers various aspects of novel writing, including preparation, character development, plot skills, and writing techniques.

Website: https://reedsy.com/learning

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Viable Paradise

This one-week residential workshop, running from October 8th to October 13th, 2023, focuses on writing and selling commercial science fiction and fantasy. It offers intensive interaction with best-selling authors and editors, emphasizing the creation of engaging fiction. The workshop combines manuscript critiques, new writing, lectures, and Q&As in an informal, supportive setting on Martha’s Vineyard, fostering a unique learning environment​​.

Website: https://viableparadise.com/

October, 2024

Prerequisites: Application with cover letter and 8,000 word manuscript.

Core Concepts in Worldbuilding

The focus of this class on worldbuilding is on core techniques of the milieu that help ground a vibrant setting that feels alive and established, that the characters in the story interact and engage with. The power is in the details, in the fundamentals that help frame and situate the narrative, creating a persuasive secondary reality.

Website: https://clarion-west-online.teachable.com/p/core-concepts...

Realistic Religions for Speculative Fiction

Crafting a believable religion requires more than just a list of gods and their spheres of influence. Come explore the subtler facets that make up a plausible, lived-in faith, and how those can enrich the world of your story.

Website: https://clarion-west-online.teachable.com/p/realistic-rel...

Making Meaningful Monsters

In this class, I'll explore some iconic monsters of the page and the screen, discuss what real-world fears they connect with, and share tips and tricks for bringing your own gnarly creatures to vivid life for readers, leaving ample time for Q&A and discussion of the scary citizens of your own stories.

Website: https://clarion-west-online.teachable.com/p/making-meanin...

The Rule of Three

Trilogies seem to dominate sci-fi and fantasy series, both on the screen and on the page. However, writing a trilogy isn’t quite as simple as extending the principle of the three act structure. Fonda Lee presents an in-depth examination of how to plan and write trilogies.

Website: https://clarion-west-online.teachable.com/p/the-rule-of-t...

Using the Folklorist's Toolkit

Folkloric expression is rich and varied in cultures around the world, both traditional and modern. Authors of fantastic fiction often draw on folkloric traditions to enrich their worldbuilding, but this needs to be approached carefully. In this class, we will explore some concepts from folkloristics, or the study of folklore, to examine the traditional structuring of narratives.

Website: https://clarion-west-online.teachable.com/p/using-the-fol...

Introduction to Writing Speculative Nonfiction Essays

As writers and readers we all bring something different to the page and have our own lens with which we view not only the world, but the media we consume. Learn how to leverage your unique perspective and expertise into a well crafted essay on your favorite media.

Website: https://clarion-west-online.teachable.com/p/gilmore-specu...

Intro to Art Briefs

Your book cover is a crucial marketing asset, and it can often make or break a sale to a curious reader. In this class, award-winning illustrator Grace P. Fong gives students the tools needed to find and communicate effectively with artists so they can bring your story to life.

Website: https://clarion-west-online.teachable.com/p/intro-to-art-...

Straddling Literary and Speculative Markets

Are you interested in writing and submitting fiction to both “literary” and “speculative” markets? This webinar will cover submission practices and expectations for both fields, and will discuss key differences and similarities.

Website: https://clarion-west-online.teachable.com/p/straddling-ma...

How to choose a fantasy creative writing class

Looking to build your writing skillset, learn more about your genre, or finally finish that fantasy book you’ve been working on? You’re in the right place. That’s why we built this directory of the best creative writing courses.

However, creative writing classes aren’t one size fit all. If you’re planning to join a fantasy creative writing class in particular, you’ll want to make sure that it matches what you’re seeking to learn about the fantasy genre.

So make sure to consider the following questions when you’re researching fantasy writing courses:

• Who is the instructor? How many years of experience do they have in writing fantasy?
• Is there something in particular you’d like to learn about writing fantasy? Does this course include it?
• How long is the course, and where is it taught?
• How much does the fantasy writing course cost? Does it fit into your budget?

More fantasy creative writing resources

Whether you’re a new or established author, there are always evergreen resources out there to how to get a headstart on writing fantasy. 

Free online materials

• Fantasy Creative Writing Prompts (resource)
• Fantasy Book Title Generator (resource)
• Character Name Generator (resource)
• Fantasy Plot Generator (resource)
• Fantasy Short Stories (resource)
• How to Write Fantasy (blog post)
• How to Write a Novel (blog post)
• How to Edit a Book (blog post)

Recommended books

• For writers in the UK:  Writers' & Artists' Yearbook  
• For writers in the US:  Writer’s Market 2020

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Creative writing courses

Short and part-time courses with Oxford University

Need an extra push to finish your novel, poem or play? Want to explore new genres? Whether you're a beginner wondering where to start, or an experienced writer looking to extend your craft, we have a course for you.

Short courses

Our  short courses in creative writing  include in person and online live-time weekly classes, day and weekend schools and flexible online courses.

Courses cover all genres: fiction, poetry, memoir, creative nonfiction, drama, writing for young adults and critical reading. There are courses for beginners and options for those with experience. Class sizes are kept small to maximise interaction between you, your classmates and your tutor.

Credit earned from some of our short courses is transferable towards our  Certificate of Higher Education  – a part-time undergraduate course in which you study a main subject discipline, but also undertake study in other academic subjects.

• View all short courses in creative writing
• Ways to study: how our short courses work

Summer schools

Join us for one of our Oxford  creative writing summer courses , and spend a week or longer immersed in your craft. Accredited and non-accredited options are available; courses take place at Rewley House and at Oxford's historic colleges.

• Creative writing summer courses

Part-time Oxford University qualifications

From undergraduate level to advanced postgraduate study.

• The  Undergraduate Diploma in Creative Writing  is a two-year part-time course that helps you to strengthen your ability in four major areas of literary activity — prose, poetry, drama and analytical reading — while letting you specialise in the genre of your choice. Choose from two study options: regular in-person meetings in Oxford or mostly online, with a summer school in Oxford.
• The  Certificate of Higher Education  is a flexible, part-time programme which lets you study a main subject discipline (such as creative writing) while also undertaking study in other academic subjects. Ideal for lifelong learners, you can study what you want, when you want, how you want. The credits you obtain from taking short online courses, weekly classes and attendance at the Oxford University Summer School for Adults all count towards your final award.
• Delve deeper into creative writing with our MSt in Creative Writing – a two-year, part-time master's programme offering a unique combination of high contact hours, genre specialization, and critical and creative breadth, delivered in a clustered learning format of five residences, two guided retreats and one placement over two years.

Student spotlights

Charles bush.

Charles Bush published his debut young-adult novel thanks to the skills and experience gained from completing the Undergraduate Certificate of Higher Education.

Tahmina Maula

Tahmina worked as a senior manager in education before taking a career break to undertake the Undergraduate Diploma in Creative Writing.

Daisy Johnson

While studying the MSt in Creative Writing Daisy worked on a collection of short stories which would later become her debut book.

Upcoming courses

Chaucer's canterbury tales: text and context.

• Tue 16 Apr 2024 – 25 Jun 2024
• 11 meetings
• 4:30 – 5:30pm

Critical Reading (Online)

• Wed 17 Apr 2024 – 28 Jun 2024

Trollope, Eliot, Dickens and Hardy: Reading Victorian Fiction (Online)

Writing lives (online), reading and writing poetry.

• Mon 22 Apr 2024 – Mon 08 Jul 2024
• 10 meetings
• 7:00 – 9:00pm

Part-time award programmes

Part-time creative writing award-bearing courses for those looking to gain an Oxford qualification.

Undergraduate Diploma in Creative Writing

Mst in creative writing, undergraduate certificate of higher education.

• Creative Writing Programs
• Opportunities
• Prospective Students
• MFA Program Options
• Optional Summer Residency
• How to Write a Novel
• Writing for Video Games
• Communications Support
• Equity, Diversity & Inclusion
• Indigenous Engagement
• Prize for Best New Fiction
• Job Opportunities

CREATIVE WRITING

Introduction to Creative Writing

CRWR 200 2023 S Credits: 3

Techniques of and practice in multiple genres of writing, including fiction, poetry, creative nonfiction, screenplay, stageplay, graphic forms, lyric forms, children's literature, and writing for new media. Manuscript submission is not required for admission.

BROWN-EVANS, TAYLOR

CRWR 200 2023 W Credits: 3

BROWN-EVANS, TAYLOR | HUSSAIN, TARIQ | TATER, MALLORY

This course is designed for students looking to develop their writing skills through an exploration of a variety of creative genres. Using a combination of lectures, active writing exercises, and in-depth assignments, students will be given the chance to explore a variety of topics and concepts designed to elevate their craft including constructing story arcs, handling structure, character development, image-building, point of view and creating effective dialogue. Genres to be explored include fiction, creative nonfiction (including memoir, personal essay, profile), poetry, songwriting, screenwriting, and playwriting. This course is an inspiring and fun introduction to the world of creative writing and is sure to get your creative juices flowing. This class is an in-person class, although classes are recorded and may be attended asynchronously.

This course is designed for students looking to develop their creative writing skills through an exploration of a variety of creative writing genres including fiction, poetry, creative non-fiction, songwriting, screenwriting and more. Students will have the chance to explore a variety of topics and concepts designed to elevate their craft such as constructing story arcs, character development, image building, managing dialogue. This course will consist of video lectures and online modules with weekly writing exercises. Students will also engage in readings and some longer length writing assignments (in genres of their choosing) all of which will contribute to a regular writing practice and an end-of-term portfolio of work they can be proud of. Students will be able to complete the requirements for this course asynchronously. There will also be some synchronous activities such as peer-to-peer sharing “draft days,” discussion groups, etc. and though attendance is encouraged for these sessions, students will not be graded on their participation in these events. Note that students are required to submit new work only for this course. CRWR 200 is an inspiring and fun introduction to the world of creative writing and is sure to get your creative juices flowing.

This course is designed for students looking to develop their creative writing skills through an exploration of a variety of creative writing genres including fiction, poetry, creative non-fiction, songwriting, screenwriting and more. Students will have the chance to explore a variety of topics and concepts designed to elevate their craft such as constructing story arcs, character development, image building, managing dialogue. Students will engage in readings, weekly writing exercises, and some longer length writing assignments (in genres of their choosing) in order to maintain a regular writing practice. By the end of the course, students will have amassed a solid body of creative work—a portfolio!—that they can be proud of with work they can continue to revise and draw inspiration from after the term ends. This course will take place in real time and consist of weekly face-to-face lectures, which students are required to attend. Note that students are also required to submit new work only for this course. CRWR 200 is an inspiring and fun introduction to the world of creative writing and is sure to get your creative juices flowing.

This course is designed for students looking to develop their creative writing skills through an exploration of a variety of creative writing genres including fiction, poetry, creative non-fiction, songwriting, screenwriting and more. Students will have the chance to explore a variety of topics and concepts designed to elevate their craft such as constructing story arcs, character development, image building, managing dialogue. This course will consist of video lectures and online modules with weekly writing exercises. Students will also engage in readings and some longer length writing assignments (in genres of their choosing) all of which will contribute to a regular writing practice and an end of term portfolio of work they can be proud of. Students will be able to complete the requirements for this course asynchronously. There will also be some synchronous activities such as peer-to-peer sharing “draft days,” discussion groups, etc. and though attendance is encouraged for these sessions, students will not be graded on their participation in these events. Note that students are required to submit new work only for this course. CRWR 200 is an inspiring and fun introduction to the world of creative writing and is sure to get your creative juices flowing.

This course is composed to help students hone in on a variety of techniques and practices as we explore multiple genres of writing, including fiction, poetry, creative nonfiction, screenplay, stageplay, graphic forms, lyric forms, children's literature, and writing for new media. Come and find your voice by playing with various craft elements and to experience instrumental published work in contemporary forms and genres through lectures, readings, writing assignments and guided discussions.

Introduction to Writing Poetry

CRWR 201 2023 W Credits: 3

An exploration of and practice in the writing of poetry, focusing on how a writer employs the technical elements of the craft of poetry. Manuscript submission not required for admission.

TATE, BRONWEN | WARRENER, SHERYDA

In poetry, the chaos and disorder of living are made meaningful by the shaping powers of language and the imagination. Drawing inspiration from a diverse array of contemporary poets including Ocean Vuong, Ada Limón, and Jericho Brown, you will write many poems and explore the capacity of language to name the world, sing us back to our senses, say what matters, and imagine other possibilities. Together, we’ll discover how to invite wildness and surprise onto the page. We’ll also investigate the radical possibilities of revision, give and receive written feedback on work-in-progress, and cultivate a shared craft vocabulary of diction, syntax, image, line, metaphor, echo, pivot, and rhythm to help you make more conscious choices in your writing. To support flexible learning, this is a blended course with asynchronous videos, readings, and exercises supported by weekly synchronous lectures and collaborations.

This course offers an accessible introduction to the process of poem-making. You will practice forms of poetic attention, experiment with craft skills and techniques foundational to the genre, and explore the sensory details of everyday life: memory, experience, feeling, and imagination. In order to write about the world, you will engage with it through intentional and focused exploration. This process will require both self-discovery and discovery of subject matter outside the self. This course blends synchronous and asynchronous content. Weekly modules of pre-recorded videos and readings allow you to move through key concepts at your own pace. In addition to reviewing online materials, you will be required to attend class, engage with assigned readings, and participate in discussions and workshops. You will utilize in-class writing exercises and prompts to spark ideas for content. For your final assignment, you will revise and assemble a collection of five poems demonstrating your technical skills and singular sensibility. Together, we will strive toward artistry, and come to a richer understanding of the possibilities of poetry.

Introduction to Writing for Children and Young Adults

CRWR 203 2023 W Credits: 3

Techniques of and practice in creating, developing and writing for children and young adults. Manuscript submission is not required for admission.

We’ll delve into the breadth of forms encompassed by children’s literature, as well as a diversity of genres and topics. We’ll examine the unique pace and structure of books for different age and reading levels. We’ll learn to build memorable characters, then send those characters on fast-paced quests and adventures. Coursework includes three major writing assignments, a mock Instagram novel review, and frequent short writing exercises. Regular attendance is required. Our goals in this class are to learn about the growth of contemporary children’s writing, to become better writers ourselves, and to embrace a spirit of childlike wonder, exploration, and fun.

Introduction to Writing Creative Nonfiction

CRWR 205 2023 W Credits: 3

An exploration of and practice in the writing of creative nonfiction, focusing on how a writer employs the technical elements of the craft of creative nonfiction. Manuscript submission not required for admission.

CATRON, MANDY

Welcome to Introduction to Creative Nonfiction!

This term we will focus on both the craft and the ethics of creative nonfiction writing and consider some of the big questions that continue to shape the genre:

• What exactly is creative nonfiction and what distinguishes it from other genres?
• How does an obligation to the truth shape the ways we tell stories and write sentences?
• Why might a reader care about an individual writer’s experiences and ideas?
• Where does the personal intersect with the political, the ideological, or the profound?
• How can we find authority and curiosity in our own knowledge and experiences?

We will spend our semester taking risks, trying out new skills, and sharing your work and ideas in a warm and welcoming environment. This is a hybrid course and students are expected to participate both online and in person.

Introduction to Writing for the Screen

CRWR 206 2023 W Credits: 3

Techniques of and practice in creating, developing, and writing a screenplay. Manuscript submission is not required for admission.

MCGOWAN, SHARON | GRAEFE, SARA

It all starts with the script. Every screenwriter has a unique creative process, but shares tools from a common toolbox.

In this course we will screen and discuss excerpts from a variety of films, analyzing the essentials that make a great screen story. You will explore these fundamentals in weekly writing exercises and script assignments, applying techniques of visual storytelling and screenplay formatting, as well as the key elements of dramatic film structure, character development and dialogue. You will also learn how to pitch a script idea, a skill that is essential to succeed in the highly collaborative practice of filmmaking.

The structure of this course is online and asynchronous, with modules and exercises posted on Canvas for completion each week.  There is also an optional one-hour Zoom drop-in session each week with bonus materials and a chance to ask questions and discuss the weekly assignments.

Your coursework will include completing weekly writing assignments (worth 15% of your final grade), writing a 4-page silent screenplay (25%), writing a 10-page screenplay with dialogue (35%), creating a written pitch for your dialogue screenplay (15%), and completing an open-book quiz on screenplay formatting (10%).

Please note that while we will discuss and screen a few feature-length films and excerpts of television series in this course, the majority of the coursework and course content will focus on short films. This is because short films are an excellent form in which to learn and apply fundamentals quickly. Short films are also one of the main starting points for building a career in screenwriting.

In this hyper-connected digital age, we consume stories at an unprecedented rate, on screens large and small.  A great film or TV show or Netflix series will make us laugh or cry and stay with us for forever. In this hands-on class, we’ll take a look behind the scenes to uncover where the magic of film begins – with the art and craft of narrative screenwriting. As the saying goes in Hollywood, “it all starts with the script.” We will screen and discuss excerpts from a variety of films, analyzing the essentials that make a great screen story. You’ll explore these fundamentals through class writing exercises and script assignments, applying techniques of visual storytelling and screenplay formatting, as well as the key elements of dramatic film structure, character development and dialogue. You will also learn and practice how to pitch a script idea, a vital skill for surviving and thriving in the collaborative film industry. You will write two original scripts – a 3-4 page silent screenplay and an 8-10 page screenplay with dialogue.

This is a blended course, meaning half your learning will take place face-to-face in the classroom, and the other half online in a text- and video-based, modular format on Canvas.

Introduction to Writing for Graphic Forms

CRWR 208 2023 W Credits: 3

Techniques of and practice in creating, developing, and writing the graphic novel, manga, and other forms of illustrated writing. The ability to draw is not required. Manuscript submission is not required for admission.

In this course, we will explore writing for comics and graphic novels through a combination of discussions, lectures, guest speakers, online content, low-stakes exercises and creative writing assignments. This course is a blended learning course, which means it is conducted partially through self-directed engagement with online content, and partially through lectures and discussion. You'll find a variety of readings and videos and exercises online each week to prepare for a weekly lecture and hands-on creation and discussion. By the end of the course, you will hopefully have gained a broad understanding of the form as well as the skills to create your own well-crafted comics, from inception to publication.

Introduction to Writing Fiction

CRWR 209 2023 W Credits: 3

An exploration of the writing of fiction, focusing on how a writer employs the technical elements of the craft of fiction. Manuscript submission not required for admission.

This introductory undergraduate course is held 100% online and is designed for those interested in the art and craft of fiction writing. We’ll focus on the creative impulse and generative process while exploring and practicing the foundational elements of fiction writing, including, character development, scene design, dialogue and subtext, prose style, the fundamentals of story structure, and the importance of emotional and psychological authenticity. We’ll experiment, take risks, and expand our creative practice each week through a variety of online activities, including pre-recorded video lectures, writing exercises, assigned readings, and discussion. Through an examination of craft, writing practice, creative inquiry, and close reading, we will bridge the gap between creative intention and execution on the page and do our best to create something meaningful and beautiful. We’ll be rigorous in our study and analysis of our efforts and invest ourselves in the efforts of our peers. The course is offered online asynchronously with a weekly synchronous Zoom session focused on generative exercises, advanced craft exploration, and discussion of course concepts with the Instructor, Teaching Assistants and fellow students.

Introduction to Writing for the New Media

CRWR 213 2023 S Credits: 3

An exploration of and practice in writing for new media, including podcasting, blogging, and writing for websites, games, and online environments. Manuscript submission is not required for admission.

CHAN, CRYSTAL

CRWR 213 2023 W Credits: 3

OSWORTH, AUSTEN | MOSS, JENNIFER

What makes media “new?” How have older media come to influence the bleeding edge? This course focuses on memes, pitching publications (and making your own), Twine games, artificial intelligence and, most importantly, how to explore and learn with confidence and conscientiousness when the media landscape is constantly evolving.

This section will be taught by A.E. Osworth .

Introduction to Creative Writing with an Indigenous Focus

CRWR 220 2023 W Credits: 3

Covers three genres from fiction, poetry, creative nonfiction, radio drama, radio feature, or stageplay.

BELCOURT, BILLY-RAY

In this course, students will engage with a range of literary works by contemporary Indigenous writers as well as with supplementary critical/theoretical texts. The goal is to introduce students to the aesthetic, political, and social concerns operative in the Indigenous literary landscape. We will acquire the language to ethically and rigorously engage with the material and the larger context of colonialism in which we in North America live and study. To be clear, the aim is not to produce “Indigenous writing” (unless, of course, a student is Indigenous), but rather to write from the social locations in which students exist about topics such as race, history, identity, geography, power, and structural oppression.

Introduction to Writing for Comedic Forms

CRWR 230 2023 W Credits: 3

An examination of and practice in creative writing in comedic forms, including stand-up, sketch, film, new media, and text. Manuscript submission not required for admission.

DEL BUCCHIA, DINA

This course will be taught both synchronously and asynchronously. Video lectures and slides (with relevant questions and writing prompts) will be recorded and posted to Canvas in the Modules. Students will not be penalized for their inability to attend synchronous sessions. The course materials in Canvas will need to be completed by the due dates indicated and before the start of the weekly synchronous session.

Comedy has the ability to bring levity to the difficult things in life. In this course we will study humour writing across various forms, styles and genres, including: joke-writing; stand-up and sketch comedy; comic prose and verse; television; film; stage; and new media. Lectures and discussions will be complemented by writing prompts, group work, readings, and engaging with media relevant to all areas of comedic forms covered. A major learning objective for this course is to develop a greater understanding of comic structures and style, as well as exploring issues of comedy and free speech, and comedy as social commentary. Students will have the opportunity to not only write their own comedic pieces, but to consider the power of jokes and how humour can affect an audience.

Intermediate Writing Poetry

CRWR 301 2023 W Credits: 3

The writing of poetry in various forms using a combination of workshopping and online modules. Manuscript submission not required for admission.

WARRENER, SHERYDA

This course is part workshop, part exploration of writing in established, evolving, and invented poetic forms. You will direct language through the apertures and frames of the sonnet, prose poems, ghazal, haibun, ode, elegy, villanelle, zuihitsu, and more. You’ll explore the variations and innovations formal constraints make possible, and then return to free verse with newly-acquired technical chops and a dynamic, renewed energy. This course blends synchronous and asynchronous content. A weekly compilation of videos and craft essays feature insights from contemporary poets as they take you through advanced modes and techniques. You’ll be required to attend in-person classes, engage with assigned readings, and participate in discussions, presentations, and workshops. For your final assignment, you will revise and assemble poems into a collection that demonstrates your technical skill and formal imagination. We will strive toward artistry, and come to a richer understanding of what poetic form makes possible.

Writing for Podcast

CRWR 302 2023 W Credits: 3

Exploration of and practice in writing for podcast.

SAMMARCO, PIETRO

Intermediate Writing for Children and Young Adults

CRWR 303 2023 W Credits: 3

The writing of work for children and young adults in various forms using a combination of workshopping and online modules. Manuscript submission not required for admission.

In this class, students briefly explore a variety of forms in children’s literature before delving more deeply into the creativity and adventure of middle-grade and young-adult novels. By refining an idea, developing that idea into an outline, and writing several major scenes, students will experience some of the thought processes involved in creating a novel. Along the way, they’ll practice two major components of the writing life: individual creative work and collaborative critique. This is a hybrid class, involving weekly online lectures as well as in-person seminars. Attendance at the seminars is required. Throughout the course, students will explore the ways children’s literature can spark young readers’ imaginations and change the ways they see the world.

Intermediate Writing of Creative Nonfiction

CRWR 305 2023 W Credits: 3

An exploration of and practice in the writing of creative non-fiction, covering four of the more basic forms of this genre: memoir, profile, commentary, and exposition. Manuscript submission is not required for admission.

In its pursuit of truth, Creative Nonfiction has the capacity to help us connect with our wisest, most honest, most humane selves. In trying to say what is true, we are forced to become curious and attentive, to question our own assumptions and biases, and to create space to locate our own beliefs and sense of wonder.

Welcome to Intermediate Writing of Creative Nonfiction! This course builds on the concepts covered in Introduction to Creative Nonfiction (CRWR 205) with more emphasis on writing as a practice and process. We’ll talk about how to create a sustainable writing practice and how to think about ourselves as writers. We’ll confront some of the myths around the writing life and we’ll consider how, when approached with sincerity and rigor, one might discover something fundamentally redemptive in writing creative nonfiction. My hope is that you’ll come to think of writing as a practice, as a way of thinking, and as a powerful tool for making meaning of your experiences and the world around you.

Intermediate Writing for the Screen

CRWR 306 2023 W Credits: 3

An exploration of and practice in writing for the screen, focusing on how a writer employs the technical elements of the craft of screenwriting. Manuscript submission is not required for admission.

KINCH, MARTIN

CRWR 306 (Intermediate Writing for the Screen) is a blended course combining online teaching and in-class workshop/seminars. Each week consists of online instruction, screenings and assignments, and seminar/workshops led by our Teaching Assistants. Our primary objective is to explore the processes, craft, and techniques of screenwriting and create original work for the screen. Online, students will find a variety of videos addressing specific writing challenges, (What makes a great film idea? …How do you create memorable characters?”) short lectures on aspects of technique, illustrative and inspiring film clips from the history of the movies, and other resources addressing theoretical and practical aspects of screenwriting

The workshop/seminar sessions are focused on the wider discussion of weekly online material, writing exercises, and the creation of original work. Film being a collaborative art, attention will also be given to ways in which we analyze and critique our peers’ work and creatively participate in workshop script development.

Intermediate Writing for the Stage

CRWR 307 2023 W Credits: 3

An exploration of practice in the writing of the one-act stage play, focusing on how a writer employs the technical elements of the craft of this genre. Manuscript submission is not required for admission.

IRANI, ANOSH

This intermediate course focuses on the techniques of crafting stage plays and fiction podcasts.

You will engage in dramatic writing assignments focusing on, but not limited to, character, scene development, dialogue, and theatricality. You will also look specifically at techniques that will help you create a dramatic fiction podcast.

Instruction will be provided in person.  We will combine interactive lectures with in-class writing exercises and readings/viewings.

You will write a one-act play for the stage and a short dramatic fiction podcast.

Intermediate Writing for Graphic Forms

CRWR 308 2023 W Credits: 3

The writing of graphica (comics, manga and graphic novels), using a combination of workshopping and online modules. Manuscript submission not required for admission.

Picking up where 208 leaves off, students will be guided through the production process of creating comics, with the goal of creating a finished self-published graphic work by the end of the term. Through a combination of workshop, discussion, lecture and online content, we look at graphic storytelling, character design, world-building, panel composition, page layout, thumbnails, pencils, inking and digital design with a focus on refining student work and creating polished and professional finished products. The class meets weekly for in-person sessions with a focus on creating and building student work.

Intermediate Writing Fiction

CRWR 309 2023 W Credits: 3

TATER, MALLORY | OSWORTH, AUSTEN

In CRWR 309, students will work to sharpen their already unique writing voices and further develop a sustainable writing practice. This course will help students more consciously understand their creative choices and narrative approaches through engaging in fiction readings, writing exercises, collaborative learning and discussion.

Students in this class will focus on scaffolded assignments to deepen understanding of craft fundamentals such as characters, scenes, settings and voice. A variety of feedback modalities will be covered with an emphasis on giving and receiving feedback gracefully, and choosing what to focus on in revision.

This course will be taught by A.E. Osworth .

Video Game Writing and Narrative

CRWR 310 2023 W Credits: 3

Narrative design and writing for video games.

CLARK, RAYMOND

An exploration of narrative design and writing for video games. Manuscript submission not required for admission.

Intermediate Writing for Lyric Forms

CRWR 311 2023 W Credits: 3

Techniques of and practice in writing for lyric forms, including song lyrics, lyrical narratives, and libretti. Manuscript submission is not required for admission.

HUSSAIN, TARIQ

In this course, students will examine aspects of lyrical craft such as the use of rhyme, repetition, point of view, structure, balance and other elements. We will explore personal songwriting, writing in a non-autobiographical style, protest songs, the comic lyric and more. Students will engage in readings and listenings (song samples, podcasts, etc.) and will have ample opportunities to flex their creative muscles through weekly writing exercises and longer songwriting assignments. Students should be prepared to submit audio recordings with their assignments which can be created using phones and/or recording programs like Audacity or GarageBand. Further guidance on recording software will be offered in class and proficiency on an instrument is not a prerequisite. This course will take place in real time and will consist of weekly face-to-face lectures which students are required to attend. Note that students are expected to submit new work only for this class. Once completed, students of all levels will have participated in a rigorous and regular writing practice and will have amassed a solid body of creative work—a portfolio!—that they can be proud of with work they can continue to revise and draw inspiration from well after the term ends.

Interactive Storytelling

CRWR 312 2023 W Credits: 3

Origin, theory and practice of interactive story forms. Exploring structural links between interactive theatre, gaming, and extended (virtual, mixed, and augmented) reality.

OSWORTH, AUSTEN

Colloquially called “Infinite Fiction,” this course engages with fiction as a verb rather than a noun or adjective. We will explore controversial or commonly held beliefs using radical collaborative storytelling to examine massive concepts from varying vantage points in worlds where the consequences are imaginary: by using tabletop role-playing games “read” against academic theory. Students will also create one piece of interactive fiction using Twine over the course of the semester.

Intermediate Writing for Television

CRWR 316 2023 W Credits: 3

Elements of episodic and serialized comedic and dramatic television writing with writing practice applied to primary formats and genres.

MCMAHON, MICHELE

This course is designed for students who are interested in exploring the art and craft of screenwriting for television.  Over the course of the term you will learn how to transform your half-hour television idea (comedy or drama) into a series pitch document, then a pilot script outline, and finally the first act of a pilot script.

We are experiencing a new Golden Age of television with hundreds of shows to watch across multiple platforms.  There are more diverse stories being created than ever before and it’s an exciting time to tell your story.  A television show is the culmination of a writer’s unique vision and it all begins with their script.  While we will cover a variety of formats and genres showcased in today’s exciting television landscape we will focus on the fundamentals of television writing: structure, plot, character development, dialogue and narrative arcs for an episode and an entire season.

We will explore comedic and dramatic television in a variety of ways.  We will screen and discuss television shows, read television scripts, and analyse the essentials in what makes a script great.  We will also read current online articles, specific readings from texts, listen to podcasts and experiment with in-class writing assignments.  As television is a collaborative business, students will engage with the instructor, teaching assistants and other students as much as possible.

Please note that while we will discuss and screen the first act of a few hour-long dramatic television series, the majority of the coursework and course content will focus on half-hour television. Half-hours are an excellent form in which to learn and apply fundamentals quickly and are a growing trend on cable and streaming platforms.

Writing Genre Fiction

CRWR 319 2023 W Credits: 3

Exploration and practice in writing major genres of genre fiction, including fantasy, science fiction, romance, crime, horror, and historical fiction.

HOPKINSON, NALO

The vast majority of fiction written and read in North America falls into the broad categories of popular or commercial fiction. This course will focus on introducing students to four major genres: fantasy; science fiction; historical fiction; and young adult (that last being more of an age category than a genre). To write successfully in any of these genres requires an understanding of the development and conventions of each of them, as well as an understanding of the implicit agreement between writer and reader that exists in genre fiction writing. Genre conventions serve, like the many forms of poetry, as both limitations to and spurs to creativity, as well as wayposts to the reader that signify (usually) what to expect. Students will read texts and related materials in each genre, and practice writing in at least two of the four.

Intermediate Comedic Forms

CRWR 330 2023 W Credits: 3

Contemporary and historical comedic writing in a variety of forms. Emphasis on critical analysis and creative writing of comedic works, and changes in the comedic landscape. Recommended: CRWR 200

In this course, we take the craft of comedy seriously through experimentation, discussion and the analysis of comedic media. We play with comedic writing to develop comedic voice, and explore storytelling through a variety of forms, from comedic fiction to non-fiction, to sketches and stand up. Students will work to use comedic tools, like escalation, repetition and tone, and play with comedic elements, like irony, incongruity and surprise, to create new works that spark laughter while they tell a story. As well, through comedic collaboration, and workshops that focus on constructive and informed feedback and discussion, students will be able to work on a variety of projects that will challenge their concept of comedic writing as an art form.

This course will be taught by Dina Del Bucchia .

Intermediate Poetry Workshop - INTRMD POETRY

CRWR 351P 2023 W Credits: 3

An intermediate level workshop class in writing poetry. Manuscript submission is not required for admission.

In this class, I invite you to explore content that is meaningful to you in the form of a poetic cycle, series, suite, or sequence. Designed to foreground practices of attention and inquiry-based research, this class provides the time, encouragement, compassion, rigour, and flexibility necessary in order for you to feel both well supported and challenged in the process of poem-making. You’ll be required to attend class, engage with assigned readings, and participate in discussions, presentations, field trips, and workshops. Pre-writing and generative writing activities, as well as a self-directed research assignment, will lead to the composition of a unified collection of poems. My hope is that you will leave this class with a renewed sense of your own creative process, and a community of writerly support.

Intermediate Children and Young Adult Writing Workshop - INTRMD CHLDRN

CRWR 353Q 2023 W Credits: 3

An intermediate level workshop class in writing for children and young adults. Manuscript submission is not required for admission.

POHL-WEARY, EMILY

This section of 353 focuses on middle-grade (MG) and young adult (YA) fiction, age categories that tend to be adventurous, playful, unpretentious, and reflect the critical issues of our time. We’ll explore the weird and wonderful world of writing for young readers, the changing industry, how the age of your readers impacts your writing style, and developing our writerly voices. We will put into practice the tools learned in CRWR 203 and 303, but focus more on workshopping and incorporating feedback. Major assignments include weekly feedback on other people’s writing, two pieces of new fiction (10 pages each, double-spaced, 12pt font), a short piece of experimental writing (5 pages, double-spaced, 12pt font), and a brief presentation on a contemporary MG or YA novel.

Intermediate Screenplay Workshop - INTRMD SCRNPLAY

CRWR 356Q 2023 W Credits: 3

An intermediate level workshop class in writing for the screen. Manuscript submission is not required for admission.

Screenwriting is a craft. Creative Writing 356A (Intermediate Screenwriting) is a workshop on mastering the techniques of the craft and writing original short film scripts that you can produce. Our emphasis will be on the creation of character-driven stories that can be imaginatively told with an economy of production demands. We will also focus on visual storytelling, flexible structure, and effective dialogue. Over the course of the term, you will develop a short film screenplay, proceeding through the logline/pitch, to the outline, the first and revised drafts. At each stage, you will read and provide feedback to your fellow students’ work and participate in an in-class and online workshop discussion.

There will also be writing exercises accompanied by short talks exploring various aspects of craft.

Intermediate Fiction Workshop - INTRMD FICTION

CRWR 359P 2023 W Credits: 3

An intermediate level workshop class in writing of fiction. Manuscript submission is not required for admission.

TATER, MALLORY

The goal of CRWR 359 is to put into practice, through considered creative choices, the craft-based skills students learned in CRWR 209 and CRWR 309 (prerequisites). The discussions, exercises, collaborative learning activities and individual writing assignments in this course will help you bring greater intention to your writing process and to artfully engage in the act of revision.

CRWR 359Q 2023 W Credits: 3

Writing Poetry I - WRITING POETRY I

CRWR 401P 2023 W Credits: 3

A workshop class in the writing of poetry.

NICHOLSON, CECILY

Intimations of Place

This course will provide a hands-on approach to the study and practice of poetry as we explore ways to engage the individual poem as well as the collection of poetry in book form. Intervals of the course will be devoted to experiencing and discussing selected works related to intimations of place. Through works by Jordan Abel, Gwendolyn Brooks, Renee Gladman, Lee Maracle, Fred Wah, Rita Wong and more, we will consider site specificity, scenic narrative and setting, interrelations in ecology, geological time, and the construct of landscape, as well as the poem itself as a place that can enact geography, nation, refuge, and belonging. Students will develop a shared vocabulary as we deepen our understanding of poetic technique and expression and expand our awareness of imagery, figurative language, perspective, and positionality in poetry. Through regular prompt and exercise our reading practice will align with written assignments as we learn to experiment within a range of formal strategies.

CRWR 401Q 2023 W Credits: 3

Words Sound

This course will provide a hands-on approach to the study and practice of poetry as we explore ways to engage the individual poem as well as the collection of poetry in book form. In a discussion on the “poetics of renewal” Lillian Allen notes that “the poetic line glides, skips, is stubborn sometimes, it shouts, dances, whispers, and asserts itself as beings do in the world. We know that words are not just words as our voice is not just lines on paper.” Taking up the active and variable presence of words, we will consider elements of voice, cadence, metre, and a range of sound devices in poetry. Our readings will include works from Lillian Allen, Christie Lee Charles, e.e. cummings, Cathy Park Hong, Kaie Kellough and more. Students will develop a shared vocabulary as we deepen our understanding of poetic technique and expression and expand our awareness of diction, structure, and tone as it relates to poetry. Through regular prompt and exercise our reading practice will align with written assignments as we learn to experiment within a range of formal strategies.

Writing for New Media I - WRT NEW MEDIA 1

CRWR 402Q 2023 W Credits: 3

An advanced workshop class in writing for new media. Restricted to Majors in Creative Writing.

MOSS, JENNIFER

Take your podcasting dreams to the next level with this hands-on and applied course focussing on the finer points of audio storytelling. Encompassing aspects of scripted, and non-scripted podcasting, narrative, fiction, documentary, and more, this course will help you lean into the audio medium to deliver work that is compelling and engaging. At the same time, you’ll get practical ideas for how to identify and grow your audience and promote your show.

Writing for Children and Young Adults I - CHILD & YOUNG I

CRWR 403P 2023 W Credits: 3

A workshop class in writing for Children and Young Adults.

During this course, we’ll explore picture books, middle-grade novels, young-adult novels, and more. Students will participate in lively discussions about the craft and techniques of writing for children and young adults, with a particular emphasis on character and voice — elements necessary to catch the attention of the world’s most fickle reading audience. Workshop participants will give thoughtful feedback on work by fellow students, and will submit two original stories or novel excerpts as well as a final revision. Throughout, we’ll examine ways we can imbue our writing with fun, humour, and hope.

Writing Creative Nonfiction I - CREATIV NONFIC I

CRWR 405P 2023 W Credits: 3

A workshop class in writing creative nonfiction, focused on some of the more popular forms of creative nonfiction: autobiography, rhetoric (commentary), literary journalism, and the personal essay.

This semester we’ll immerse ourselves in the many techniques of Creative Nonfiction: everything from research and reporting to structure and style. In the first half of the term we will develop our craft through reading, discussion and frequent writing exercises. Then we’ll spend the second half of term sharing and polishing work in writer-centered workshops.

You can expect to finish the semester with a deeper understanding of the craft of creative nonfiction, a body of new work, a sharper skill set for revising your own writing, and a polished piece of short-form creative nonfiction.

CRWR 405Q 2023 W Credits: 3

MARZANO-LESNEVICH, ALEX

To Essay is to Try

This course provides an overview of one of the most elastic and exciting literary forms, the essay, often colloquially thought of as the working-through or trying out of an idea. We will read a wide range of both traditional and experimental essays, including those that are narrative, lyric, personal, fractured, and persuasive, and that use an array of subjects as their starting point. Together we will arrive at understandings of voice, tone, characterization, structure, and pacing. Students will have weekly ungraded writing assignments that will build to the workshopping of one short essay and one long.

Writing for the Screen I - WRT FOR SCREEN I

CRWR 406P 2023 W Credits: 3

A workshop class in writing for the screen.

This advanced screenwriting workshop will support students as they transform their initial story idea into a pitch, then an outline and finally 25-30 pages of a feature-length screenplay (with the option of submitting two short films with the equivalent number of pages).

While this course will focus on workshopping your writing assignments, your creative process will be supported by in-class presentations on the craft of screenwriting including: structure, plot, character development, dialogue, scenes and visual language.  There will also be substantial resources online including: current industry articles, specific readings from texts, podcasts, video clips, as well as sample screenplays from many genres.

Grades will primarily be based on your written work (70%) comprised of your revised screenplay which will be submitted in a final student portfolio at the end of the term.  You will be expected to have made substantial rewrites to the creative submitted in earlier workshops. You will also be graded on your attendance and participation (30%). Your participation includes your verbal contribution in-class and written feedback after each workshop.  As you write your screenplay your thoughtful reflections on the scripts of other students will build your own screenwriting and story editing skills.  The goal of this workshop is to creatively engage with others and to ask questions with a compassionate inquiry that supports each writer’s vision.

CRWR 406Q 2023 W Credits: 3

MEDVED, MAUREEN | MCGOWAN, SHARON

Students in this advanced screenwriting workshop will write one or two short screenplays (depending on length and number of rewrites) or an outline for a feature-length film and a draft of the first act of that film. The goal is to help each student reach their full potential in their work.

We loosely follow an industry model, so all projects, whatever length, begin with a short pitch.  The class then workshops an outline for all scripts before moving to a draft, or more detailed outline in the case of a feature length screenplay.

In class we will review and discuss aspects of story, plot, dialogue, character, theme and many more elements of the screenplay form.  We will also discuss the process of connecting with the film industry and getting a screenplay produced.

We will workshop two pieces a week, sometimes three, if they are short.  There is a minimum page count of 30 pages for workshopping in the course that must be submitted by set deadlines. Rewrites will be counted as 1 page for 2 pages of re-written material but rewrites must be substantial to be counted (at least 50% of the material on the page must be reworked).

Students will be required to review and submit written notes by set deadlines on all pieces being workshopped as well as participate in discussions of the work during class time.

Grading will be based 70% on the screenwriting work students submit and 30% on their written notes and participation in discussions of other students’ work.

Writing of Drama for the Stage I - STAGE DRAMA I

CRWR 407P 2023 W Credits: 3

A workshop class in writing of drama for the stage. Studio work is required, and some plays may be given a live stage production in Brave New Play Rites (adjudication process involved).

KONCAN, FRANCES

CRWR 407Q 2023 W Credits: 3

Writing for Graphic Forms I - GRAPHIC FORMS 1

CRWR 408P 2023 W Credits: 3

A workshop class in the writing of graphic novel, manga, and other forms of illustrated writing. The ability to draw is not required.

LEAVITT, SARAH

What are comics and how do they work? How do you make a good comic? In this class we’ll examine the building blocks of comics (text and image combinations, panel and page composition, and more) and practice the skills needed to create clear, compelling, memorable comics. By the end of the term, you’ll be a more insightful comics reader and a more skillful comics maker. No drawing skills or experience required, but we will be drawing in this class, for both exercises and assignments. Please note: this course emphasizes readings, assignments and in-class exercises; there are only a few workshops.

Students at all levels of skill and experience have produced excellent comics in this class, and many have continued to make comics after completing the course. Others find that the skills learned in comics class help them with their work in other forms. Students who plan to write comics scripts for others to draw will gain insights into the writing process from the experience of drawing.

Writing Fiction I - WRITING FIC I

CRWR 409P 2023 W Credits: 3

A workshop class in the writing of fiction.

MAILLARD, KEITH | OSWORTH, AUSTEN | IRANI, ANOSH

The purpose of this workshop is to help students write excellent fiction. Many workshops move toward final draft too quickly and encourage feedback that is largely editorial. We, however, will explore the writing of fiction anywhere on a spectrum from the earliest exploratory stages to polished final drafts. Editorial feedback is not appropriate for story ideas in their earliest stages when they are often incoherent, vague, and fragile; students will be encouraged to resubmit these early drafts until they begin to cohere. As stories move closer to completion, higher degrees of editorial feedback become appropriate. Students should expect to submit written material at least three times during the term, and they will be required to bring one of their stories to polished final draft or close to it. The social environment in this workshop should be warm, friendly, supportive, and cooperative. Students who like courses with fixed and unvarying syllabi so that they will know exactly what they will be doing in any class throughout the term should seriously consider not taking this course. The syllabus is variable and will change in response to student needs and interests.

This class, colloquially called “The Airing of Grievances,” explores writing from a place of righteous anger and using fiction to explore, expand and resist everything from the minor inconvenience to the systemic injustice. Students will depart from standard ways of discussing craft to create their own craft rubric for the semester. Workshop components will all use a Radical Praise method.

This is a workshop in the writing of short fiction designed to help students develop as both writers and critical thinkers. Each week we will discuss students’ written work as well as the craft and techniques of literary fiction. In addition, assigned readings will be posted on Canvas.  This is required reading for class discussion. During the term, students will be expected to turn in a short story for workshop, plus a rewrite of the story.  Over the duration of the course, we will examine a wide range of story elements, including—but not limited to— character, dialogue, structure, plotting and so on.  The course will also guide students through the process of rewriting their work.  Overall, this workshop aims to give students the opportunity to express themselves creatively, hone their voice, and gain a deeper understanding of their own work.

CRWR 409Q 2023 W Credits: 3

MAILLARD, KEITH

Video Game Writing - VDEO GM WRT

CRWR 410Q 2023 W Credits: 3

A workshop class on writing for video games. Restricted to Creative Writing majors.

A workshop class in writing for video games and interactive fiction. Students will create short games using Twine or similar software; the ability to program is not required. In addition to the workshop, this course includes a reading list of indie games and a small in-class presentation.

Writing for Lyric Forms I - LYRIC FORMS 1

CRWR 411P 2023 W Credits: 3

A workshop class exploring the words that accompany music in varied forms including pop, art, musical theatre, and opera.

In this class students will explore the craft of songwriting through a variety of methods from participating in creative exercises to personal practice. Students will be challenged to look deeply at the work of professionals through readings, close listenings, podcasts, and to go deep within their own work as well. Students will create, share and discuss their songs with the goal of helping each other create more effective writing through the workshopping process and will be encouraged to take risks while still holding true to their artistic vision. Audio recordings are expected for submissions along with lyric sheets however technical knowledge of recording software or proficiency on an instrument—though an asset—are not required. This course will take place in real time, face-to-face in a weekly two-hour session which students are required to attend. Participation and discussion as well as maintaining an environment of support and mutual respect is key to the success of this course as students will be participating in a genre that is more performative in nature than some others, and perhaps extra challenging if students haven’t tried it before. This should not be seen as a deterrent for anyone who’s new to songwriting, however, but rather as an invitation to try something fun, exciting, and challenging.

Workshop in Literary Translation I - WK LIT TRANS I

CRWR 415Q 2023 W Credits: 3

A workshop class in literary translation. Restricted to Majors in Creative Writing.

TATE, BRONWEN

In this workshop course, we’ll explore the many artistic choices involved in literary translation—involving sound, syntax, temporality, idiom, metaphor, literary context, social register, and so on—and consider what’s at stake in each. Guided by student interest and experience, we’ll explore translation challenges presented by particular linguistic and cultural contexts and specific genres. We’ll also discuss ethical questions raised by English as a language of empire that has become a global language, examine literary forms and movements that have traveled through translation, investigate the capacity and limits of machine translation, and consider our relationships to languages we use, languages we’ve learned, and heritage languages we may have lost. Students will translate and co-translate, experiment and play, research translation networks, and identify their principles and values as translators.

Prerequisite: Proficiency in a language other than English. (Proficiency here is understood as the ability to engage with the specific texture and structure of a language, not “mastery” or “fluency.”)

Note for MFA Students: While this course is taught at the undergraduate level, graduate students are reminded that they may enroll in six credits of undergraduate coursework with permission from the instructor and the graduate chair.

Writing for Television I - WRT TELEVISION 1

CRWR 416P 2023 W Credits: 3

A workshop class in writing for television.

SVENDSEN, LINDA

The purpose of the workshop is to create your own original half-hour TV series concept and pilot script, via three modules with peer and instructor reviewed assignments: TV series concept, pilot beat sheet (brief outline), and draft pilot script.  Concurrently, your peer review reflections and contributions in the writers’ room group/s build your TV writing and editing prowess. Essentially, while you create and write a brand-new TV series, you also act and serve as story editor on other series. While the class is not prescriptive, per se, the mission of a writer’s room is to creatively and speculatively engage, to bring your years of TV-series chops to the table, to brainstorm, to ask “what if?” while always supporting the creator/writer’s vision.

The course is front-loaded with dramaturgical grids and rubrics for each assignment, readings on structure and the industry, as well as sample pilot scripts as available. The course concludes with excerpted pilot table reads with a peer cast.

Participation:  critically thoughtful and constructive written feedback prior to the workshop discussion, collaboration with an in-class TV partner or group, as well as attendance contribute considerably to the grading component.

CRWR 416Q 2023 W Credits: 3

The course is front-loaded with dramaturgical grids and rubrics for each assignment, readings on structure and the industry, as well as sample pilot scripts as available. The course concludes with excerpted pilot table reads by a peer cast.

Participation:  thoughtful written feedback prior to the workshop discussion, collaboration with an in-class TV partner or group, as well as attendance contribute considerably to the grading component.

Writing Speculative Fiction - WRT SPEC FIC

CRWR 419Q 2023 W Credits: 3

Workshop-based class focused on writing speculative fiction, including fantasy, science fiction, and horror; emphasis on reading various genres and peer feedback. Restricted to Creative Writing majors.

Indigenous Writing - INDIGENOUS WRTNG

CRWR 420P 2023 W Credits: 3

Advanced study of contemporary Indigenous writing in North America across genres focusing on the production of critical and creative writing about coloniality, race, history, and identity.

This course is an investigation of trends and debates in contemporary Indigenous writing in Canada and the United States. We will study the ways Indigenous writers approach subjects such as history, colonialism, trauma, politics, identity, ethics, representation, and power; students will explore these subjects and reflect on how they relate to their own writing practices through a range of critical and creative modes and across genres.

Climate Writing - CLIMATE WRITING

CRWR 425Q 2023 W Credits: 3

Workshop-based class focused on writing related to climate change and environmental issues; emphasis on reading various genres and peer feedback. Restricted to Creative Writing majors. A maximum of 6 credits is permitted between CRWR 425 and 525.

OHLIN, ALIX

Stories about climate surround us, personal and global, near and far. From wildfires and mudslides in BC to climate-based migration and displacement, the reality of anthropogenic climate change is everywhere. This is a workshop class focused on creative writing about this encompassing reality. As we engage in our creative practice, we will ask: what stories do people tell about climate, and what are the stakes of those stories? What does it mean to write about, from, and of the places we live? How can artistic expression, narrative, and language itself render the complex realities of climate change—and explore the possibilities for justice, resilience, and alternative futures?

Throughout the course, we will develop our understanding of climate through reading, discussion and writing exercises. We’ll also spend a significant amount of class time sharing, discussing, and revising our own creative work. Students will be expected to read, respond, and engage in examples of writing in a range of genres (poetry, nonfiction, fiction), culminating in a final portfolio and reflective essay, and to provide thoughtful, constructive responses to the work of their peers in the class.

Preparation for a Career in Writing

CRWR 430 2023 W Credits: 3

Credit will be granted for only one of CRWR 430 or CRWR 530.

Writing is a career as well as a calling, and this course bridges the gap between the two. We’ll delve into traditional and self-publishing models, pitches and queries, collaboration with editors and agents, contracts, grants, marketing, interview techniques, and more. Throughout, we’ll hear from guests who are working in the industry, we’ll prepare our own professional materials, and we’ll build a supportive community of collaborators and mentors. This course offers practical know-how for entrepreneurship, and you’ll leave understanding more about how to sustain your own unique creative practice… while still paying your rent.

Advanced Comedic Forms

CRWR 431 2023 W Credits: 3

A workshop class exploring comedic writing in varied forms including film and television, prose and poetry, non-fiction, and new media. This course is restricted to students in the CRWR BFA program.

In this course students will learn the fundamentals of comedic forms as well as comedic tools that can be used by writers to make their work, regardless of genre, engaging, clear and hilarious. Through lectures on craft, discussions and close readings and viewings of comedic works students will be able to experiment and explore what comedy is, and the serious mechanics of humour writing at work. By the end of this course students will be able to analyze, using the language of comedy, why a work is funny, and identify the tools successfully used to create compelling comedy. The focus will be on generating comedic work, thinking deeply about comedy as an art form and practice, and creative inquiry through analysis and discussion. There will be an emphasis on asking questions about our own work, why comedy is the right choice for a piece of writing, and how to delve deep into a project designed to produce laughter.

Interdisciplinary Projects - INTRDIS PROJECTS

CRWR 440O 2023 S Credits: 3

Group projects and workshops with students majoring in other creative arts.

Writing Poetry II - WRITING POETRY 2

CRWR 451P 2023 W Credits: 3

An advanced workshop class in writing poetry. Restricted to Majors in Creative Writing.

This course focuses on modes of poetic inquiry: ways of sustaining poetic work across projects and a life in the context of a broader socio-political world. We will study how poets (1) carry out process-based, situational, and durational works and (2) account for their poetic labor through both poems and other forms of writing. By the term’s end, students will have produced a substantial amount of poems toward a larger project.

Writing for Children and Young Adults II - CHILD & YOUNG 2

CRWR 453P 2023 W Credits: 3

An advanced workshop class in writing for children and young adults. Restricted to Majors in Creative Writing.

Writing the Young Adult (YA) Novel is a new course that builds on skills learned in 403 (Writing for Children and YA) and 409 (Fiction). We will develop the tools essential for completing longer manuscripts while foregrounding the teen audience’s reading levels and life experiences. The class will involve workshops, reading discussions, and hands-on exercises aimed at outlining, plotting, pacing, character development, setting realization, deeper themes, and dramatic tension. Major assignments include preparing regular feedback on other people’s writing, discussing readings and craft topics, a midterm portfolio and a final portfolio.

CRWR 453Q 2023 W Credits: 3

SCOTT, JORDAN

A workshop class that discusses theoretical underpinnings of picture books and early chapter books and incorporates generative exercises based on elements of craft. Emphasis is placed on editing, critical reading, manuscript development, and tons of fun. Students will workshop two picture book and / or early chapter book manuscripts and are expected to provide rigorous and supportive feedback.

Writing of Drama for the Stage II - DRAM FOR STAGE 2

CRWR 457P 2023 W Credits: 3

An advanced workshop class in writing drama for the stage. Studio work is required. Assumes a greater level of experience in writing drama for the stage than CRWR 407.

CRWR 457Q 2023 W Credits: 3

Writing for Graphic Forms II - WRIT GRAPHIC 2

CRWR 458Q 2023 W Credits: 3

An advanced workshop class in writing for graphic forms. The ability to draw is not required. Restricted to Majors in Creative Writing.

Students in CRWR 458 will use their strong foundational skills in comics as a launch pad for a glorious flight into experimentation. Exercises and assignments will offer opportunities to explore a wide range of approaches to comics-making, including poetic, abstract and wordless comics. Students will also dive deep into their creative process, discovering and developing their own taste and style, as well as a way of working that’s productive and sustainable. This course will require consistent independent work in between classes, with weekly homework including readings and exercises. Please note: the emphasis is on readings, assignments and in-class exercises; there are only a few workshops.

Writing Fiction II - WRIT FICTION 2

CRWR 459Q 2023 W Credits: 3

An advanced workshop class in writing fiction. Restricted to Majors in Creative Writing.

ARMSTRONG, THEODORA

This advanced 3-credit fiction class will meet in person once a week to explore the novel/novella form. Expanding on the fundamental story-telling skills developed in 409, this class will give students the opportunity to work for an entire term on their own large-scale fiction project. Students will learn how to create solid groundwork for a book-length work by developing their skills in outlining, research, and worldbuilding. Through craft discussions and exercises, we will examine key elements of the novel, such as writing a captivating first chapter, establishing and escalating conflict, and layering image patterns and motifs, as well as deepening skills in crafting a narrative voice and creating compelling characters. Students will share several chapters from their book-in-progress with the opportunity to workshop in full class or small group sessions, as well as one-on-one with the instructor. Students taking this course should be motivated, self-directed writers with some vision of their project in mind before they begin the term. Bring your big story ideas and come to this class ready to explore, create, and collaborate with generosity.

Advanced Writing of Poetry I - ADV POETRY I

CRWR 501O 2023 S Credits: 3

MUSGRAVE, SUSAN | TATER, MALLORY

CRWR 501P 2023 W Credits: 3

TATE, BRONWEN | MUSGRAVE, SUSAN | WARRENER, SHERYDA

Don’t Write Alone: Crafting Poetry in Conversation

This course offers a deep exploration of what it means to approach writing as always after, in conversation, in relation. We’ll begin by reflecting on the many sources of influence and inspiration—chosen and imposed, joyful and fraught—that we bring to the shared space of the class. Each student will then choose a poet and a poetic element for a sustained apprenticeship experience. Over the weeks of the term, students will invite others into their process by designing an introduction, writing prompt, and questions for conversation emerging out of their apprenticeship. We will write a lot, read new work out loud, discuss process and practice, and occasionally pause for group critique. Throughout the course, we’ll explore the possibilities of new technologies (like the wiki) and old technologies (like the commonplace book) for organizing information, distilling insight, and sparking inspiration as we read and write together.

My aim is to help those who have grown up in fear and/or love of poetry attain a new perspective: "What they say "there are no words for" — that's what poetry is for.” Through a combination of workshopping, online craft lectures, writing exercises, and essays for discussion we will examine techniques and approaches to some central elements of the poet’s craft—the music of the line; rhyme and repetition; abstractions (for and against); voice or presence; imagery, metaphor and simile, the stanza, the title, revision, and, of course, getting published.

“Poetry is all that is worth remembering in life.” - William Hazlitt

In this course, you will experiment with assembling longer poems from a series or sequence of smaller parts. Together, we’ll ask: How do individual poems speak to one another across a collection? Where might longer poems come from, and what capacities and resources make them possible? This inquiry will begin as an exploration of your own collections (facts, objects, memories), accompanied by close readings of contemporary poets working in sequential modes. We will re-imagine the workshop as an atelier, where writing emerges from rigorous experimentation and through the process of artistic inquiry. You’ll be required to attend class, engage with assigned readings, and participate in discussions, self-directed field trips, presentations, and workshops. The pre-writing and generative writing activities, as well as your individual creative research, will lead naturally to a cycle, series, suite, or sequence of poems unified by subject, mode, and form.

CRWR 501Q 2023 W Credits: 3

NICHOLSON, CECILY | MUSGRAVE, SUSAN

This course centres on revision as an integral aspect of the writing process. Students engaged in a poetry practice are invited to advance current work in the company of other poets, coalescing existing poems and opening the work to further contemplation. What constitutes a body of work? What elements or methods generate cohesion in your poems? What do you look for when editing poetry? And, how do you know a work-in-progress is complete? Students can expect to collaborate and dialogue as we explore multiple writing and revision techniques, drawing on new possibilities and forming fresh iterations of previous work. Alongside our written practice we will read and compare successive poetry projects from writers such as Larissa Lai, Tanya Lukin Linklater, Chris Nealon, and M. NourbeSe Philip. Following a process of revision, research, and rewriting, our final project will be a chapbook-length collection formed from a suite, series, or lengthening of previously written poems.

POETIC FORMS for the innocent, the eager, and the reluctant.

There is so much more to form than the traditional rhyming couplet, which seems to be heavily featured by budding poets who haven’t read contemporary poetry. In this course, we will look at diverse poetic forms from around the world, from the Abecedarian and ae freislighe (Irish form) to the Zejel, a form invented by a ninth century Hispano-Muslim poet, as well as the more established poetic forms (like sestinas and ghazals) and newer invented forms such as the Duplex, Golden Shovels and Blitz and Fibs.

A confession: poetic forms have long intimidated me. But learning about them, as I have allowed myself to do over the years, has, I admit, opened my   mind to the infinite possibilities. By the end of this course I hope you will feel more confident of your craft, more flexible and alert to formal choices and (among other things) to the powers of repetition and variation, to the frictions and complicities of sentence and line.

Advanced Writing for Children I - ADV WRIT CHILD I

CRWR 503P 2023 W Credits: 3

Advanced writing for Children and Young Adults, with an emphasis on picture books and early chapter books. The course focuses on genre-specific and critical readings as well as weekly writing exercises. Students are expected to complete two picture book manuscripts and one early chapter book. Peer feedback and revision are core principles of this course. Emphasis on narrative, poetry, sound, visual language, and the thrill of being a kid again.  

Advanced Writing for Children and Young Adults, with an emphasis on picture books and early chapter books. The course focuses on genre-specific and critical readings as well as weekly writing exercises. Students are expected to complete two picture book manuscripts and one early chapter book. Peer feedback and revision are core principles of this course. Emphasis on narrative, poetry, sound, visual language, and the thrill of being a kid again.  

CRWR 503Q 2023 W Credits: 3

KYI, TANYA | SCOTT, JORDAN

Prepare to embrace curiosity and wonder. This course is an interactive journey through the world of children’s literature, from picture books to young adult novels. We’ll explore narrative devices, character development, and wordplay through weekly activities and in-depth assignments. Workshop participants will give thoughtful feedback on writing by fellow students, and will submit a work or excerpt for young children as well as one for tweens or teens, along with a final revision. Students will leave the class with a broad understanding of the purpose and possibilities of contemporary writing for children.

An advanced workshop class in writing for children. This course relies on multiple manuscript submissions with a focus on editing and revision. As our schedule will focus on group critique, this course will be most useful for students who already have a general understanding of the genre conventions and craft vocabulary of picture books and early chapter books. Students are permitted to bring in material they have already started.

Advanced Writing of Creative Non-Fiction I - ADV CRTV N-FIC I

CRWR 505O 2023 S Credits: 3

TAYLOR, TIMOTHY

CRWR 505P 2023 W Credits: 3

MARZANO-LESNEVICH, ALEX | CATRON, MANDY

The Fractured, the Lyric, the Imaginary

This course examines the relationship between form and content in contemporary creative nonfiction. What possibilities might transcending genre conventions via formal experimentation, rupture, or imagined scenes offer for creating work that is, counterintuitively, more deeply true or nonfictional? We’ll consider a wide range of essays and excerpts from longer work and together derive principles of productive rupture. Students will have weekly ungraded writing assignments that will build to the workshopping of one short work and one long. These may be stand-alone pieces or excerpts from an ongoing larger project.

In this course, we will focus on Creative Nonfiction as a practice for looking more deeply at ourselves and more widely at the world around us. In our pursuit of the truth, we get to ask big questions. And, in attempting to answer them, we are forced to become more curious and attentive, to examine our own assumptions and biases, and to create space to imagine new ways of being in the world.

This semester, we'll spend the first half of the term on a series of CNF writing experiments--in memory, research, immersion, and reflection--imagining each as a mode of inquiry into self and the world. In the second half of the term, we'll turn our experiments into essays, sharing our work in structured peer workshops.

This course will be offered on Canvas in a fully asynchronous format. It welcomes those who are new to creative nonfiction as well as experienced CNF writers.

CRWR 505Q 2023 W Credits: 3

CATRON, MANDY | MARZANO-LESNEVICH, ALEX

Memoir Beyond the ‘Me’

This course considers the contemporary memoir and personal essay as sites of storytelling. How is the story of a person always also the story of a place, a time, and sociopolitical forces beyond the individual? We will read a wide variety of published work, with an eye to examining how writers evoked effects simultaneously intimate and large. Students should expect to turn in ungraded assignments weekly and to write one shorter work and one long. These may be stand-alone pieces or excerpts from an ongoing larger project.

Advanced Writing of Drama for Screen I - ADV DRAM SCRN I

CRWR 506O 2023 S Credits: 3

GRAEFE, SARA

CRWR 506P 2023 W Credits: 3

HOPKINS, ALLAN

Instructor: Zac Hug

Every movie you have ever loved started as a feeling inside someone’s heart, and the expression of that feeling involves a good deal of emotional work. Movies also involve a good deal of what’s called “story math.” In this online graduate workshop, we blend the former with the latter. With a focus on beginning, middle, and end, we’ll take a look at finding an idea that can sustain a feature length story, and break down the mechanics of three act, five act, and nine act structure ( psst , they’re all similar). We’ll talk about how early humans used story to create fire, we’ll watch a few movies, and we’ll write an entire film treatment. We’ll then move on to the key scenes of a feature-length film project (90-120 minutes) and prepare each other to finish the script. More importantly, we’ll ask some questions about your voice as a writer and use it to how to create a visual story on the page. We’ll figure out how to do all of that without relying on flashbacks. Original stories, please. (No adaptations, as that goes beyond the scope of the course.)

CRWR 506Q 2023 W Credits: 3

MEDVED, MAUREEN | GRAEFE, SARA

In this advanced, online screenwriting workshop, we focus specifically on writing for film. We will explore techniques for creating, developing and writing a long-form screenplay (a.k.a. feature film, 90-120 minutes), from initial pitch to treatment to early pages of script. Original stories only please; no adaptations, as this goes beyond the scope of the course. We will also screen movies and examine screenwriting structure, formatting, craft and business skills.

Filmmaking is a collaborative art involving other creatives, where the script serves as the blueprint for the finished film. In this course, you will be exploring and uncovering your own unique voice and sensibility as a screenwriter while also learning about North American film industry rules and conventions. You will complete this course with a sense of where your work fits in the marketplace, and with a set of professional skills to help you survive and thrive as a writer in this collaborative industry.

Advanced Writing of Drama for the Stage I - ADV DRMA STG I

CRWR 507P 2023 W Credits: 3

CRWR 507Q 2023 W Credits: 3

KONCAN, FRANCES | ROY, ANUSREE

Advanced Writing for Graphic Forms I - ADV GRAPHC FRM I

CRWR 508P 2023 W Credits: 3

Note : This is an Opt Res course, but it is open to on-campus students as well, as it is the only offering of 508. All Opt Res courses run online asynchronously over a 27-hour period.

Advanced Writing of Fiction I - ADV WRT FICTN I

CRWR 509N 2023 S Credits: 3

LYON, ANNABEL

CRWR 509O 2023 S Credits: 3

CRWR 509P 2023 W Credits: 3

MAILLARD, KEITH | RAMADAN, AHMAD | MEDVED, MAUREEN | OHLIN, ALIX

For each class I will send students a Zoom link.

The purpose of this workshop is to help students write excellent fiction. Many workshops move toward final draft too quickly and encourage feedback that is largely editorial. We, however, will explore the writing of fiction anywhere on a spectrum from the earliest exploratory stages to polished final drafts. Editorial feedback is not appropriate for story ideas in their earliest stages when they are often incoherent, vague, and fragile; students will be encouraged to resubmit these early drafts until they begin to cohere. As stories move closer to completion, higher degrees of editorial feedback become appropriate. Students should expect to submit written material at least three times during the term, and they will be required to bring one of their stories to polished final draft or close to it. The social environment in this workshop should be warm, friendly, supportive, and cooperative. Students who like courses with fixed and unvarying syllabi so that they will know exactly what they will be doing in any class throughout the term should seriously consider not taking this course. The syllabus is variable and will change in response to students needs and interests.

Times Before / Times to Come

This course will examine fiction set in times other than our own. For the first half of the semester, we’ll focus on historical fiction; for the second half of the semester, we’ll focus on writing the future. This will not be a traditional workshop. Instead, we’ll focus on close reading, craft analysis, generative prompts, and in-class assignments. By the end of term, you will have written first drafts of two short stories, one in each of these two modes (past and future), and you’ll also provide a substantive revision of one of these two drafts.

Some of the craft topics we’ll address include approaches to incorporating research, ethical considerations, voice, and how fictions from both times before and times to come essentially speak to our present.

Readings will include short stories by Andrea Barrett, P. Djèlí Clark, Ted Chiang, and jaye simpson.

Dream, make, destroy, discuss, and learn the magic of fiction writing.

This is a workshop for graduate writers of any combination of short and long fiction - short stories, micro or flash fiction, poetry/fiction/other hybrid, or chapters from a novel or novella.

The course will be mainly asynchronous with a weekly 27-hour workshop on Canvas. The rest of the week, you will produce your own fiction, read the scheduled writing of your cohort, and actively work through the weekly craft threads. We will explore fiction techniques as well as approaches to narrative and the process of writing (including revision) and examine subjects such as appropriation and literary citizenship. Excellent works of fiction and craft essays will be our texts, and we will discuss these in the context of our work in class. You will be asked to write your own tiny craft essay during this course and share it with your cohort. Students may be invited to attend Zoom sessions both in a group and one-on-one.

You are welcome to explore any form of fiction with the exception of formula or genre writing – romance, science fiction, crime, mystery – unless you spin the genre and make it new. The goal is to understand how to identify the strengths and challenges of your own work, so that you can return to your writing again and again with skill and confidence.

Repeat customers are welcome.

In this class, we’ll come together as a community to read, write, explore, dream, and play with short stories. The class will include substantial conversations about craft and assigned readings—both fiction and essays about writing. Among the many things we’re likely to discuss are: structure, point of view, techniques to develop and deepen characterization; the establishment and maintenance of narrative and stylistic urgency; the engines of form and language; and how meaning can be made from images and other tools. The first half of the semester will be focused on generating new work, experimenting, establishing a shared craft vocabulary, and building trust. The second half of the semester will move into workshop discussions of a complete short story draft. The semester’s work will culminate in a final portfolio and reflective essay. Overall, this workshop aims to push students to take risks with their work, to hone their ambitions, and to develop a sophisticated understanding of the myriad possibilities of fiction.

CRWR 509Q 2023 W Credits: 3

OSWORTH, AUSTEN | MAILLARD, KEITH | OHLIN, ALIX

This graduate-level class will focus on weekly writing that adds up to a larger work and is perfect for those writing in longer forms (novellas or novels). This process-oriented course emphasizes self-analysis, experiments in both form and generation techniques, and integration of feedback into revision. All workshop components will use a Radical Praise model.

Note: this course will be taught ONLINE by Keith Maillard.

Advanced Writing for Lyric Forms I - ADV LYRIC FORM I

CRWR 511Q 2023 W Credits: 3

Advanced Writing for Television I - ADV WRIT TV I

CRWR 514P 2023 W Credits: 3

The purpose of the workshop is to create your own original one-hour TV series concept and pilot script, via three modules with peer and instructor reviewed assignments: series concept, pilot beat sheet (brief outline), and draft pilot script. Concurrently, your peer review reflections and contributions in the writers’ room group/s will build your TV writing and story editing skills. Essentially, while you create and write a brand-new TV series, you also act and serve as story editor on other series. While the class is not prescriptive, per se, the mission of a writer’s room is to creatively and speculatively engage, to bring your years of TV-series chops to the table, to brainstorm, to ask “what if?” while always supporting the creator/writer’s vision.

The course is front-loaded with dramaturgical grids, rubrics for each assignment, readings on structure and the industry, as well as sample pilot scripts. The course concludes with excerpted pilot table reads by a peer cast.

Participation: critically thoughtful and constructive written feedback prior to the workshop discussion, collaboration with an in-class TV partner and/or small group, as well as your attendance contribute considerably to the grading component.

This advanced workshop takes a strong look at creating serialized television: from idea to development to outline to draft. Using a combination of lecture, workshop, television writer’s room methodology, and quite a bit of writing time - students will create the world of their TV shows on three levels: series, season, and finally, a pilot that students will generate over the fall and winter terms. Term One will focus on the development and outline stage of television writing, while Term Two will focus on a first draft of a pilot episode and a hybrid pitch/bible document. Students will also screen various television shows and scenes that illustrate character development, projecting future story, tying theme to a plot, and the ins and outs of a solid act out.   Please note that this course will be taught in Canvas.

This course will be taught by Zac Hug .

CRWR 514Q 2023 W Credits: 3

The purpose of the workshop is to create your own original half-hour TV series concept and pilot script, via three modules with peer and instructor reviewed assignments: series concept, pilot beat sheet (brief outline), and draft pilot script. Concurrently, your peer review reflections and contributions in the writers’ room group/s will build your TV writing and story editing skills. Essentially, while you create and write a brand-new TV series, you also act and serve as story editor on other series. While the class is not prescriptive, per se, the mission of a writer’s room is to creatively and speculatively engage, to bring your years of TV-series chops to the table, to brainstorm, to ask “what if?” while always supporting the creator/writer’s vision.

The course is front-loaded with dramaturgical grids, rubrics for each assignment, readings on structure and the industry, as well as sample half-hour pilot scripts. The course concludes with excerpted pilot table reads by a peer cast.

CRWR 519Q 2023 W Credits: 3

Advanced writing of speculative fiction, including fantasy, science fiction, magical realism, horror, folk tales, and weird stories. Emphasis on reading examples from the subgenres and peer feedback.

CRWR 521P 2023 W Credits: 3

Advanced study of contemporary Indigenous writing in North America across genres focusing on the production of critical and creative writing about coloniality, race, history, and identity. A maximum of 6 credits is permitted from CRWR 420, CRWR 521.

This course is an investigation of trends and debates in contemporary Indigenous writing in Canada and the United States. We will study the ways Indigenous writers approach subjects such as history, colonialism, trauma, politics, identity, ethics, representation, and power; students will explore these subjects and reflect on how they relate to their own writing practices through a range of critical and creative modes and across genres.

CRWR 525P 2023 W Credits: 3

Advanced workshop-based class focused on writing related to climate change and environmental issues; emphasis on reading various genres and peer feedback. Restricted to graduate students in the MFA Program in Creative Writing. A maximum of 6 credits is permitted between CRWR 425 and 525.

We’ll consider these questions through reading, discussion, and creative work. Students will produce climate-focused writing in several genres (poetry, nonfiction, fiction), culminating in a final portfolio and reflective essay. Students will be expected to read and write widely; to conduct research into climate issues and create artistic work related to that research; and to provide thoughtful, constructive responses to the work of their peers in the class.

CRWR 530 2023 W Credits: 3

KYI, TANYA | TATER, MALLORY

As writers, our creativity isn’t limited to the page. It takes that same creativity and resilience to grow a sustainable writing career. CRWR 530 will teach students the basics of book publishing, marketing, and promotion and prepare students. Students will learn how to pitch their work to literary publications as well as to develop a professional writing practice outside of class deadlines. The course will contain lectures and support on grant applications, publications and will feature online discussions through Canvas with an emphasis on the importance of community and self-care. As students complete each assignment, they will hone the skills necessary to handle the business side of their writing career.

Teaching Creative Writing - TEACH CR WRIT

CRWR 550Q 2023 W Credits: 3

In this hands-on course, students will design, try out, and reflect on assignments and lesson plans for a prospective creative writing class. Drawing on perspectives from writers, teachers, and education scholars including Mathew Salesses, Liz Lerman, Paisley Rekdal, Carol Dweck, Felicia Rose Chavez, and James Lang, we’ll think together about how to teach each part of the writing process. We will explore strategies for inclusive teaching and weigh the benefits of various workshop structures, and as well digging into thorny issues like how to handle challenging classroom dynamics and how to grade creative work.

Throughout the course, we’ll keep the student experience at the heart of our inquiry, and consider how our teaching goals and methods might vary depending on different formats (small workshop or large lecture, in-person or online) and contexts (university, public library, private workshop, prison, or community center). Students will support one another in developing a teaching persona and practice informed by scholarship on teaching and learning and enriched by individual experiences, strengths, and commitments. The course will be held asynchronously via Canvas with a few optional synchronous small-group sessions and will be assessed on a Credit/No Credit basis.

This course is open to on-campus and optional-residency students; 6 spaces have been reserved for each program for the initial enrolment window, after which slots can be allocated to students in either stream upon request. This course is not open to first-year MFA students in order to prioritize those closer to the end of their degree.

Advanced Writing for Graphic Forms II - ADV GRAPHC FRMII

CRWR 558Q 2023 W Credits: 3

Over the course of the term, students will develop a solid foundation for a book-length project, including a proposal, outline, script, thumbnail sketches and finished chapters. In addition to creating these items, students will develop collaborative and supportive working relationships within the class, meet and interview professional cartoonists, and closely study and analyze book-length comics. Students will also build skills for sustaining, developing and refining their creative practice in the long term. Please note: While this course offers many opportunities to connect and engage with fellow students, the emphasis is on readings, exercises, and assignments that support your independent progress on your project. There are only a few workshops.

Notes : This is an on-campus course, but is open to opt-res students as well, as it is the only offering of 558. The class will be delivered synchronously online for two hours each week.

Prerequisite: CRWR 508 or permission of instructor

Advanced Special Projects in Creative Writing - ADV PROJCTS CRWR

CRWR 570N 2023 S Credits: 3

CRWR 570Q 2023 W Credits: 3

This is a grad level CNF workshop with a twist: it’s for CRWR MFA’s as well as physics students from UBC’s Quantum Matter Institute. We’re going to be working on the skills to produce popular, persuasive science writing, such as might appear in Scientific American, National Geographic, Discovery, Nature, or any one of many similar publications. There is a big market for this kind of writing. And as with students in my regular 505 CNF course, I would anticipate publication opportunities for many of you.

What will these articles be about?

Quantum stuff! It’s a wild and crazy field, let me tell you. And one of the most exciting aspects of this course is that YOU will have access to researchers at QMI. I’ve been working with QMI for about a year on another project. And I’ve spoken with researchers doing a range of mind boggling things, like developing quantum computers that use photons as bits, manufacturing super-strong materials only a single atom thick, and working with some of the most out-of-this-world equipment you can imagine, like microscopes that map the surface of individual atoms, and refrigerators that can cool things down to less than 10 microKelvin. That’s a few hundredths of a degree above Absolute Zero folks. And that is, well, VERY COOL. Pick an area of research that fascinates you. Interview some people and think about why this research might just possibly change the entire WORLD. There’s your article.

Why should I consider this course?

 In addition to the cool factor, consider that we’ve never needed persuasive and truthful writing about science more than we do today. There’s a lot of skepticism out there, much of it the product of ignorance, prejudice, and political manipulation. Writers can contribute to positive change by writing persuasively about science. Researchers can contribute similarly by being able to talk persuasively about their work.

Directed Reading - DIRECTED READING

CRWR 590A 2023 W Credits: 3

CRWR 599 2023 W Credits: 6