creative writing course syllabus

ENG 231. Intro to Creative Writing

Spring 2014.

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Prof. Jessica Penner | OL05 | Fall 2020

• Course Profile
• Contact Info & Communications
• Announcements
• Assignments
• Discussions
• Assignment Posts
• Short Stories
• Reflections
• Final Portfolio
• Course Resources
• College Resources

OpenLab Help

I have separated the one big document everyone gets at the beginning of the semester into two: the syllabus and the schedule .

This is the syllabus , which shares a lot of detail about the class. Questions about how the class is run, how you will be graded, etc., can be found here. The other document is the schedule , which shares assignments and due dates. Questions about what we will be doing each week can be found there.

Table of Contents

How This Class Operates

Aspects of a Writing Class

Required Material

Learning Outcomes

• Breakdown of the Final Grade & Grading Scale

Communication

Participation in an Online Course

Office Hours

Late Writing Assignment Policy

Extra Credit

• A Few “Oddities”
• NYCCT Policy on Academic Integrity

Student Accessibility

A Note on Course Workload

I. Nuts & Bolts

Some of you may have taken online courses before, for others, this may be a new experience. Like a face-to-face class, every teacher runs their class differently. Read on for a guide on how this class will be run:

• This is an asynchronous course, which means there is no specific time that this class will meet.
• You’ll notice I have two emails listed. The first address is my general NYCCT email. The second is just for your class. Please use the second email! Because all my classes are online, I get a lot of email every day, so your message can quickly get lost. If you use the second email, my response time will be much quicker!
• All activities/information will take place on OpenLab .
• Each Friday , I will post an Announcement (located under Activities ) message in our OpenLab website. It will summarize what we’ll be working on for the following week.
• I will also publish a weekly Assignment post (also located under Activities ) each Friday , which will provide a detailed guide on what is due throughout the following week, titled “Week 1,” “Week 2,” etc. There will usually be two sections: Read and Write , with links to the week’s reading assignments and instructions on what you need to write in response to the assignment.
• There are deadlines noted in the schedule (the other document) throughout each week, marked in red . Most of the deadlines are on Mondays and Wednesdays , with a few exceptions. Some assignment deadlines are small (posts on the Student Work section), some are large (major writing assignments). All of them count toward your final grade!
• Be advised that if you do not log onto OpenLab and participate in the writing assignments, this will be noted by me. If you have not shown participation in this class within two weeks of the start of the semester, I will notify the administration and you will be dropped from the class. (Please note: If you wait until right before the end of the two weeks, you’ll discover that you’ve lost participation points!)
• The responsibility to keep up with assignments rests on you . All the assignments in this class have specific due dates, which means once a date has passed, you cannot turn in the work and receive the points. I do not accept late work. If you have questions about assignments, please contact me and we can either work things out over Zoom or an email conversation—but this works better when you ask right away rather than wait until right before a due date arrives!

As you’ve probably guessed from ENG1101 or ENG1121, a writing class isn’t like a mathematics or computer programming class. Here’s some details about what this class will be like. Throughout this semester, we will:

Discuss – Suzan-Lori Parks once told The New Yorker : “I love my lecture tours. I get up onstage. I have my stack of books and a glass of water and a microphone. No podium, no distance between me and the audience, and I just talk to people and get all excited and tell a lot of jokes, and sing some songs, and read from my work and remind people how powerful they are and how beautiful they are.”

Although this class is asynchronous, I may at times post short video discussions or link you to PowerPoints. I refer to my lectures as discussions, because that’s how I look at them. I’ll passionately “talk” at length at times, especially when I’m introducing a topic, but I’ll also prod you for your reactions to the information via Discussion Boards, because each of you have a point of view that is unique and needs to be heard.

Read/Analyze – William Faulkner once wrote: “Read, read, read. Read everything—trash, classics, good and bad, and see how they do it. Just like a carpenter who works as an apprentice and studies the master. Read! You’ll absorb it. Then write.”

You will be asked to read material, analyze the work, and think about how you can use the example to benefit your own writing. I recommend you read the assignment at least twice—once for basic comprehension , the second time for details . If English is not your first language, you may need to read the assignment three or four times.

Write/Revise – Octavia Butler once wrote: “You don’t start out writing good stuff. You start out writing crap and thinking it’s good stuff, and then gradually you get better at it. That’s why I say one of the most valuable traits is persistence.”

You will use what we have read as a jumping-off point for your writing. On a specific date, we will have a “peer review” (see below). After the peer review, you will be given time to revise, edit, and type a second draft. I will evaluate this draft. Be sure to keep the second draft once it’s evaluated! Don’t just delete it, because you’ll have an opportunity to revise that draft for your Writing Portfolio at the end of the semester!

Peer Review – Isaac Bashevis Singer once wrote: “The waste basket is the writer’s best friend.” I add: “The peer reviewer is the writer’s next best friend.”

The class will be divided into a Cohort of four peers each. They will be given another student’s work and have time to read, fill out a peer reviewer’s worksheet, and discuss the work over email or text. You may be tempted to be “nice” and write nothing but glowing reviews during this process—please ignore this temptation. This is a time for you to work together for your common goal for this class: to become better writers.

Course Overview

All writing is creative, including the writing you do for school, internet posts to social media, and text/email messages. Where there was a blank page–virtual or otherwise–and you fill it with your words, you have, in fact, drawn on your intellectual resources to create patterns of meaning with those words.

“Creative writing,” however, generally refers to poetry, fiction, drama, and some forms of non-fiction–memoirs and narratives that use the techniques of story-telling.

We will focus on understanding how form and meaning work together and on understanding the types and complexities of each genre–notably, fiction, non-fiction, poetry, drama, and cross-genres–so each student can begin to develop their unique, individual voice .

We will be writing a lot—every day, in fact. You will be keeping a writing journal the entire semester to log your creative material and reflect on the process itself. I will be checking these journals occasionally throughout the semester—not to evaluate, but to ensure you are keeping up with assignments and know a little bit about what you are thinking as a writer.

We will be reading [1] a lot, immersing ourselves in the world of words–and analyzing forms of written expression, both student-produced and published work. Together, we will read, discuss and write memoir essays, short stories or flash fiction, and, time permitting, poetry and very short dramas (dialogues). In addition, we will give attention to the process of writing and the writing life and learn how to become adept critics by providing sensitive, useful feedback on each other’s work.

• First, make sure your email is one you check on a daily basis, because all announcements and email related to this class will go to the  email address you have set in Blackboard . See  this video  for how to check/change your email address in Blackboard. Please be sure to check that email inbox frequently during the semester.
• Make sure you have access to OpenLab .
• Log in to your OpenLab account and follow  these instructions  to join this course . If you’re new to OpenLab, follow  these instructions to create an account  and then join the course .
• You’ll be posting assignments on OpenLab, so you need to have member status.
• We may be using Google Docs for some assignments. Here’s where you can get started if you’ve never used Google Docs before.
• Have a notebook and a folder reserved specifically for this class, pens/pencils, and a laptop or tablet that has access to the Internet (since all reading material and other documents will be shared online) .

Students will be able to:

• employ characterization, specifically the representation of characters through their actions, words, descriptions of them, and the responses of others to them;
• create stories and poems with convincing points of view, specifically as it functions through the narrators of stories, speakers of poems, and characters of plays, and their perspectives on the subject matter of the works in which they exist;
• create plots, specifically the selection and ordering of events as situations or scenes, to achieve suspense through exposition and action;
• employ style, specifically its identifiable components: patterned sentence structure, word-order, manipulation of the qualitative and quantitative features of sound, and the choice of appropriate diction and tone;
• utilize structure, as a planned framework for writing, selecting from several options to achieve most effective arrangement of parts, and the desired effect and impact of the work;
• understand and demonstrate the use of symbolism and allusion in different cultural contexts;
• conduct online, archival and primary research, to mine raw material for creative works.

Breakdown of Final Grade & Grading Scale

20% Participation

Completion of weekly homework assignments that will include participation in the Discussion Board and other reading/writing activities by assigned due dates will earn these points. There will be 20 points possible for each week.

10% Critical Responses

Guidelines for critical responses to your peers’ work will be explained before our first major writing assignment. Learning to assess your own and others’ work and to offer constructive, specific feedback is a key part of our course. There will be 10 points possible for each Critical Response.

20% Journal

You will be keeping an online writing journal the entire semester to log your creative material and reflect on the process itself. I will be reading these entries—not to evaluate—but to ensure you are keeping up with assignments and know a little bit about what you are thinking as a writer. There will be 20 points possible for each Journal.

20% Writing

Throughout the semester, we will be writing memoir essays, short stories, poetry, and dialogues. You must complete each project on the due dates in order to receive points. There will be 100 points possible for each assignment.

30% Writing Portfolio

This will be a significant revision of three major writing projects and a final reflection essay highlighting how you’ve evolved as a writer. There will be 400 points possible for the Portfolio.

Grading Scale

A- 90-92.9%

B+ 87-89.9%

B- 80-82.9%

C+ 77-79.9%

F 59.9% and below

II. Details

I will be communicating via your City Tech email . Please check your City Tech email at least once a day. I check mine at least twice a day during the week. If you send me an email during the week, you can expect a response within 24 hours. If you write me on the weekend, I will respond within 48 hours.

Just because you’re logging on to OpenLab doesn’t mean you are “participating.” Just logging on every once in a while doesn’t guarantee you will pass this class or get the grade you desire. In order to pass or get the highest grade possible, you need to do the following:

Complete homework before the due date. As I mentioned above, I do not accept late work. On a positive note, homework is graded upon completion. That means if you’ve obviously shown effort (answered the question, written the paragraph, etc.) you’ll get the credit.

How does a person show effort? For example, if I ask students to answer an open-ended question in a paragraph (How do you feel about your cultural identity? Why do people love or hate the Kardashians?), and one student writes a single sentence, they have not shown effort, while another student writes five to eight sentences, they have shown effort.

It’s been my experience (and I’ve been teaching for fifteen years) that those who do the homework fare better on the larger writing assignments than those who didn’t. If I’ve assigned something, I think it’s going to help you become a better writer, it’s not just “busywork.”

Finally, when we have first drafts due for Peer Review for your Cohort, be ready to present whatever you have on that date. Even if it’s incomplete, share what you have. If you don’t share what you have, your peer reviewers won’t be able to give you feedback on what’s good about your writing and what needs work before I evaluate it (this is invaluable information).

Even though this is an online class and we won’t be physically together, it’s important to behave in a professional manner. As you’ve undoubtedly seen on social media, things can very quickly veer from joking to antagonistic if participants aren’t careful, or perhaps a way someone words a post may offend a reader (when there wasn’t an intent to offend). So, when you’re responding to another student’s post on the Discussion Board, a peer’s essay, or in email conversations, please remember the following:

Respect – Students are required to show respect to the professor and other students at all times. This includes carefully reading content the professor assigns or a post made by another student, asking questions about the topic at hand, and refraining from name-calling or using inappropriate language (ableist, racial, misogynist, and anti-LGBTQ slurs, to name a few).

Participation – Students are required to participate actively in the class. This means doing all the homework assignments, connecting with your peers and instructor in a timely manner, and being prepared for each week’s assignments.

Many of you are taking this course to fulfill a Pathways requirement. However, once you commit to the course , you will be considered as a writer who cares about your work . Therefore, all of you are writers in this class and your work will be given the respect your efforts deserve

My office hours will be 1 to 2 PM on Tuesdays, Wednesdays, and Fridays. I’ll be available through Zoom and will send an invitation through email each week. Try to join my meeting at the start of the hour, not at the end—since I may be talking to other students or have another appointment after the hour is up. If those times don’t work with your schedule, we can schedule a different time. This means you’ll have to schedule an appointment in advance via email . In order to ensure we can meet, it’s important you contact me at least 24 hours in advance. For example, if you want to meet at 11 AM on Wednesday, be sure to email me on Tuesday morning; do NOT wait until 10:30 AM on Wednesday. I may have an appointment with another student or other responsibilities scheduled during that time. Please take advantage of this. It’s a time for me to help you with reading and/or writing issues or discuss any concerns you have. I really enjoy talking with students!

ALL writing assignments not received by the due date listed on the syllabus will be recorded as an F. I do not accept ANY assignments after the due date (this includes the Writing Portfolio at the end of the semester) .

I do not offer extra credit. If you complete the assigned readings, and turn in ALL writing assignments that have been thoughtfully written and proofread, you will pass this class.

A Few “Oddities” (and Other Notes)

A Cohort is a fancy word for a small group that works toward a common goal. In this class, you’ll be divided into Cohorts for to critique writing assignments. You will be with your Cohort all semester .

Assignments and Readings

Read with gusto and discernment. Learning to read well will enhance your ability to write well. Complete all assignments and write as much as you can. Of necessity, there will be overlap between drafts, with a new sketch or draft begun and another final draft due.

Writing Dos and Don’ts

Hate speech (racist, ableist, misogynist, anti-LGBT+, anti-Semitic, Islamophobic, etc.) won’t be tolerated. Curse words are allowed, but only when there is a true need for the word (perhaps a character would use the f-word, etc.). Don’t get too stressed about grammar, but be sure your sentences are clear to the reader. More on this below…

Language Awareness and Precision

Not all of you self-identify as writers. Some of you do. All of you, though, come to this course with an interest in developing your writing and communication skills. A key goal is for students to pay attention to word choice and phrasing–and to work on exploring ways to communicate complex ideas, observations, and feelings to yourself and to others. Take risks in your thinking and writing. Use our readings as guides to genres and use of figurative language.

Peer and Self-review

Methods for responding to your own and others’ work will be explained later. Always try to understand what the author is trying to say. Suggest, rather than command, focusing on ways to bring out and shape the author’s meaning. All writers are sensitive to criticism. NEVER be rude or dismissive. All writers need to learn to accept constructive criticism. Therefore, provide honest, but gentle feedback, within the guidelines I provide.

As noted in the final grade breakdown, you will be keeping a journal on the class website. I have specific “journal assignments” that are meant to prompt you either to write creatively or reflect on the writing process. If you’re uninspired or unable to follow the prompt, go to the site: https://www.writersdigest.com/prompts or check the web for other writing prompts—just note on your post where you found your alternative prompt (make a hyperlink or write the URL).

Some of our assignments will have specialized formatting, but most typed work should be double-spaced, in 12-point, Times New Roman font, with 1” margins. The first page header (this is on the first page, NOT all pages) should look like this:

Your First and Last Name

Word Count: XXX

Page numbering: Last name and page number in upper right corner on all pages.

III. College Policies & Student Accessibility

New York City College of Technology Policy on Academic Integrity

Students and all others who work with information, ideas, texts, images, music, inventions, and other intellectual property owe their audience and sources accuracy and honesty in using, crediting, and citing sources. As a community of intellectual and professional workers, the college recognizes its responsibility for providing instruction in information literacy and academic integrity, offering models of good practice, and responding vigilantly and appropriately to infractions of academic integrity. Accordingly, academic dishonesty is prohibited in The City University of New York and at New York City College of Technology and is punishable by penalties, including failing grades , suspension , and expulsion . For further information about plagiarism, cheating and academic integrity see page 57 of the City Tech catalog .

You will earn a zero on a plagiarized assignment in my class. You will NOT be able to “make up” the assignment.

City Tech is committed to supporting the educational goals of enrolled students with disabilities in the areas of enrollment, academic advisement, tutoring, assistive technologies and testing accommodations. If you have or think you may have a disability, you may be eligible for reasonable accommodations or academic adjustments as provided under applicable federal, state and city laws. You may also request services for temporary conditions or medical issues under certain circumstances. If you have questions about your eligibility or would like to seek accommodation services or academic adjustments, please contact the Center for Student Accessibility at 718-260-5143.

Per CUNY guidelines, please calculate two hours of work per credit hour per week, exclusive of class time. This means that for a 3-credit course, you will need to budget 6 hours each week for independent study/class preparation.  Taking into consideration other professional, educational, and personal obligations, please make sure that you have the time to do the work for this course and successfully complete it.

• There are reading assignments that cover abusive relationships and death. If these topics are triggers for you, talk to me privately ; we can discuss alternative readings or I can provide a summary that will let you know if these readings will be an issue. You must approach me before the reading is due. ↑

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About the Program

While pursuing a BA in Creative Writing, students study literary texts and then produce their own poetry or fiction. The creative writing student is an artist. This major is perfect for those who love to write poems or stories, and who plan to do so no matter what. In addition to the required five courses in poetry or fiction writing, students must take five courses in English Literature or English Language. While some creative writing students attend graduate school to hone their skills and develop their art, others practice their craft in commercial industries like marketing or publishing. Ultimately, creative writers learn many skills that employers find desirable.

The Bell Tower , an undergraduate-run magazine for the arts affiliated with Purdue University’s Department of English, was founded in 1995 and is published yearly.

Books and Coffee talks (hosted by the Department of English) are held several times throughout the school year. Coffee and tea are available, followed by a half-hour talk about a selected work. The series is popular with faculty, staff, and students.

College of Liberal Arts

Degree Requirements

120 credits required, liberal arts curriculum.

Each liberal arts major is designed as a four-year plan of study and includes three types of courses: Major, Core, and Elective. Most students take five courses per semester, with some of each type.

Professional academic advisors meet individually with each of our students on a regular basis to help with course selection, academic planning, and career development, as well as to help students find additional resources on campus.

Departmental/Program Major Course Requirements (30 credits)

Required course (3 credits).

A grade of “B-” or better is required before attempting courses in Area A.

• ENGL 20500 - Introduction To Creative Writing Credits: 3.00 ♦

A. Creative Writing Courses - Choose Four (12 credits)

All Creative Writing courses except 20500, 31600, and 31700 may be repeated once by Creative Writing majors for credit. (The 40000 and 50000 level courses should be taken in order in any given genre; exceptions are granted by the permission of instructor.)

• ENGL 31600 - Craft Of Fiction From A Writer’s Perspective Credits: 3.00
• ENGL 31700 - Craft Of Poetry From A Writer’s Perspective Credits: 3.00
• ENGL 40700 - Intermediate Poetry Writing Credits: 3.00
• ENGL 40800 - Creative Writing Capstone Credits: 3.00
• ENGL 40900 - Intermediate Fiction Writing Credits: 3.00
• ENGL 50700 - Advanced Poetry Writing Credits: 3.00
• ENGL 50900 - Advanced Fiction Writing Credits: 3.00

B. Engaging English (3 credits)

May be taken concurrently with ENGL 20500.

• ENGL 20200 - Engaging English Credits: 3.00 ♦

C. Literature/Linguistics/English Education (12 credits)

• Any ENGL course not taken above; at least 9 credit hours must be at the 30000 level or above.

Other Departmental (31-55 credits)

The College of Liberal Arts Other Departmental area is designed to be experiential, informative, and relevant to life in a rapidly changing universe. It combines courses that fulfill University Core foundational outcomes, discipline diversity, social diversity, and other languages to produce a well-rounded background for students. Coursework is integrative and collaborative and fosters insight, understanding, independence, initiative, and the desire to reach across divides and redefine our relationship to the peoples and the worlds that surround us.

Core I: Disciplinary Diversity (6-18 credits)

Choose 1 course in 6 different disciplines within the College of Liberal Arts.

Note: Disciplines are differentiated by course prefix. Undistributed credit does not count to satisfy this requirement.

Core II: Social Diversity (1-3 credits)

Culture, religion, disability, gender, sexual orientation, race and ethnicity all play a role in how others perceive us and how we experience the world, and as such, are meaningful categories for analyzing social change and social problems past and present. The purpose of this category is to acquaint students with the pluralistic nature of the world and foster an appreciation and awareness of the diverse range of lived human experience. Courses in this list will expose students to important aspects of human diversity and foster understanding about different world views.

Choose one course from this list: CLA Core II - Social Diversity Selective List   .

Core III: Linguistic Diversity (3-4 credits)

Proficiency through Level IV in one world language. Courses may be required to reach Level IV proficiency; these courses will be counted toward electives.

Foundational Requirements (21-30 credits)

Students must complete approved coursework that meet the following foundational outcomes. Many of these can also be used to fulfill Core I, Core II, or Core III.

• Humanities - all approved courses accepted.
• Behavioral/Social Science - all approved courses accepted.
• Information Literacy - all approved courses accepted.
• Science #1 - all approved courses accepted.
• Science #2 - all approved courses accepted.
• Science, Technology, and Society - all approved courses accepted.
• Written Communication - all approved courses accepted.
• Oral Communication - all approved courses accepted.
• Quantitative Reasoning - all approved courses accepted.
• Double counting of courses is allowed across the various categories.
• All accredited programs whose accreditation is threatened by CLA Core requirement, both professional BAs and BFAs, are exempt from Liberal Arts Core I & II in order to meet accreditation standards and requirements. Liberal Arts Core III: Linguistic Diversity is still required for such programs.
• “Degree +” students (students with a second major outside of Liberal Arts) are exempt from the CLA Core.

Electives (35-59 credits)

Grade requirements.

• A grade of “B-” or better in ENGL 20500 is required before attempting courses in Area A.

Course Requirements and Notes

• All Creative Writing courses (Area A) except 20500, 31600, and 31700 may be repeated once by Creative Writing majors for credit. (The 40000 and 50000 level courses should be taken in order in any given genre; exceptions are granted by the permission of instructor.)

College of Liberal Arts Pass/No Pass Option Policy

• P/NP cannot be used to satisfy Liberal Arts Core, Liberal Arts major, minor, or certificate requirements.

University Requirements

University core requirements, for a complete listing of university core course selectives, visit the provost’s website ..

• Human Cultures: Behavioral/Social Science (BSS)
• Human Cultures: Humanities (HUM)
• Information Literacy (IL)
• Oral Communication (OC)
• Quantitative Reasoning (QR)
• Science #1 (SCI)
• Science #2 (SCI)
• Science, Technology, and Society (STS)
• Written Communication (WC) 

Civics Literacy Proficiency Requirement

The civics literacy proficiency activities are designed to develop civic knowledge of purdue students in an effort to graduate a more informed citizenry. for more information visit the civics literacy proficiency  website..

Students will complete the Proficiency by passing a test of civic knowledge, and completing one of three paths:

• Attending six approved civics-related events and completing an assessment for each; or
• Completing 12 podcasts created by the Purdue Center for C-SPAN Scholarship and Engagement that use C-SPAN material and completing an assessment for each; or
• Earning a passing grade for one of  these approved courses (or transferring in approved AP or departmental credit in lieu of taking a course).

Upper Level Requirement

• Resident study at Purdue University for at least two semesters and the enrollment in and completion of at least 32 semester hours of coursework required and approved for the completion of the degree. These courses are expected to be at least junior-level (30000+) courses.
• Students should be able to fulfill most , if not all , of these credits within their major requirements; there should be a clear pathway for students to complete any credits not completed within their major.

Additional Information

• Liberal Arts offers a streamlined plan of study for students pursuing a second degree outside CLA. Contact the CLA Advising Office for more information.

Sample 4-Year Plan

Fall 1st year.

• Written Communication - Credit Hours: 3.00-4.00
• World Language Level I  - Credit Hours: 3.00
• Quantitative Reasoning - Credit Hours: 3.00
• Behavioral/Social Sciences (CLA Core I: 1 of 6) - Credit Hours: 3.00

15-16 Credits

Spring 1st year.

• Oral Communication - Credit Hours: 3.00
• World Language Level II - Credit Hours: 3.00
• Humanities (CLA Core I: 2 of 6) - Credit Hours 3.00
• Science - Credit Hours: 3.00

Fall 2nd Year

• Area A Creative Writing Selective - Credit Hours: 3.00
• Area C Selective - Credit Hours: 3.00
• World Language Level III - Credit Hours: 3.00
• CLA Core I: 3 of 6 - Credit Hours: 3.00

Spring 2nd Year

• Area C Selective - Credit Hours: 3.0
• World Language Level IV (CLA Core III) - Credit Hours: 3.00
• Science, Technology, and Society - Credit Hours: 3.00
• CLA Core I: 4 of 6 - Credit Hours: 3.00

Fall 3rd Year

• CLA Core I: 5 of 6 - Credit Hours: 3.00
• CLA Core II: Diversity Selective - Credit Hours: 3.00
• Elective - Credit Hours 3.00

Spring 3rd Year

• Area A Creative Writing Selective - Credit Hours 3.00
• CLA Core I: 6 of 6 - Credit Hours: 3.00
• Elective - Credit Hours: 3.00

Fall 4th Year

• Area C Selective - Credit Hours 3.00
• Elective - Credit Hours: 3.00

Spring 4th Year

Pre-requisite information.

For pre-requisite information, click here .

World Language Courses

World Language proficiency requirements vary by program. The following list is inclusive of all world languages PWL offers for credit; for acceptable languages and proficiency levels, see your advisor. (ASL-American Sign Language; ARAB-Arabic; CHNS-Chinese; FR-French; GER-German; GREK-Greek(Ancient); HEBR-Hebrew(Biblical); HEBR-Hebrew(Modern); ITAL-Italian; JPNS-Japanese; KOR-Korean; LATN-Latin; PTGS=Portuguese; RUSS-Russian; SPAN-Spanish)

Critical Course

The ♦ course is considered critical.

In alignment with the Degree Map Guidance for Indiana’s Public Colleges and Universities, published by the Commission for Higher Education (pursuant to HEA 1348-2013), a Critical Course is identified as “one that a student must be able to pass to persist and succeed in a particular major. Students who want to be nurses, for example, should know that they are expected to be proficient in courses like biology in order to be successful. These would be identified by the institutions for each degree program.”

The student is ultimately responsible for knowing and completing all degree requirements. Consultation with an advisor may result in an altered plan customized for an individual student. The myPurduePlan powered by DegreeWorks is the knowledge source for specific requirements and completion.

Course Syllabus

Foundations of Creative Nonfiction

Creative nonfiction has become one of the fastest-growing genres in the literary and publishing community. It encompasses forms from memoir and personal essay to literary journalism, travel writing, and hybrid forms like the lyric essay, as well as many others. In this course, participants will get to experience working in a few of these subgenres by writing three essays of approximately 2,500 words. Each of the weekly lectures and readings will focus on a particular issue relevant to writing creative nonfiction, like how to go about conducting research, how to find and select subjects to write about, and how to use the scene building elements of craft to create memorable essays. There will also be optional writing assignments leading up to these larger assignments.

How it works:

Each week provides:

• written lectures and a selection of readings
• discussions of assigned readings and other general writing topics with peers and the instructor

Some weeks also include:

• writing exercises and prompts
• opportunities to submit a full-length essay for instructor and/or peer review (up to 2,500 words and typically in weeks 3, 6, and 9)
• optional video conferences that are open to all students in Week 2 (and which will be available afterward as a recording for those who cannot participate)

Aside from the live conference, there is no need to be online at any particular time of day. To create a better classroom experience for all, you are expected to participate weekly in class discussions to receive instructor feedback on your work.

Week 1: An Overview of Creative Nonfiction

During this introductory week, the lecture and readings will take a broad look at the various genres and subgenres in creative nonfiction. We’ll discuss the tactics writers use to pull us in as readers and we’ll look at what distinctively marks them as creative nonfiction. Because sometimes we know what to write about but other times we may need a jumpstart, the optional writing exercise will focus on techniques for launching a topic and for further developing our ideas in depth.

Week 2: Voice and Authenticity

Having the right voice (or voices) for your subject can harness commitment and understanding from your reader. This week we’ll explore the role voice plays in creative nonfiction. Can we ever really write in an authentic voice? Through a writing exercise, we’ll learn how to draw on our own experiences to individualize our voice. We’ll also discuss how to find the “right” narrative voice for our subjects.

Week 3: Particulars of Scene 

How do we weave together storytelling strategies like description, dialogue, anecdote, character development, and a strong authorial presence to engage the reader in a new world? This week will focus on the building blocks of creative nonfiction. Participants will learn how to create effective scenes that make characters come alive on the page, when to use dialogue and description to dramatize crucial moments, and how to gracefully include backstory without overwhelming the narrative. Participants will submit their first full-length essay (up to 2,500 words) by the end of the week.

Week 4: The Role of Research

This week we’ll talk about the importance of incorporating outside voices in our work, mainly those from research, and how these voices can affirm, support, challenge, and judge our own. The lecture will focus in depth on the ways to gather research—from mining our own memories and utilizing discussions from our friends and family to gathering information online or from public resources. We’ll learn how to use this research seamlessly in our work without sounding pedantic and while still maintaining the authorial voice. With the optional writing exercise, participants will learn how they can broaden the scope of their stories, shifting their work from the personal to the universal.

Week 5: Participatory Journalism

Immersing oneself, firsthand, in a life experience is one of the best research tools for creative nonfiction writers to use. This genre of writing, known as “immersion writing” or participatory journalism, was pioneered by writers like George Plimpton and Hunter S. Thompson. Recent practitioners of the form include Barbara Ehrenreich and A.J. Jacobs. This week we’ll follow in their footsteps and discover ways in which we can immerse ourselves in new experiences and opportunities for our writing—from taking up a new class or hobby to going “undercover” to following a particular subculture.

Week 6: Writing About Other People

This week’s focus will be on the ways we can accurately and honestly portray the subjects we write about. We’ll go over strategies for interviewing people that will let us into familiar worlds through new avenues, and we’ll discuss the legalities of writing about real people. Through this week’s lecture and the readings, we’ll see how writers use description and dialogue, as well as making sure to work in a pertinent backstory, to create individualized portraits.

Week 7: Writing About Place

Sometimes the “main character” in an essay can be a landscape—whether it is a new place we’ve visited, a place like our own hometown that we know very well, or a place we’ve merely passed through once. This week the lecture will focus on the role place can have in our writing, and, through the readings, we’ll examine the ways in which a writer’s presence can still be felt, whether up close or from afar, through the use of sensory details to make the reader feel the writer’s experience. We’ll combine our own memories with here-and-now observation to fully capture a particular place. Participants will submit their second full-length essay (up to 2,500 words).

Week 8: Polemics

Through writers like James Baldwin, David Foster Wallace, and Joan Didion, we’ll look at the polemic or opinion essay, a form that allows writers to construct and share an argument based on evidence, facts, and reason. We’ll discuss the role narrative tone can play in these essays and how to use rhetorical appeals to persuade our audience.

Week 9: Credibility and Fact-Checking

What is our obligation to the people we are writing about? Creative nonfiction writers often walk a thin line between being creative and truthful. This week’s lecture will focus on issues relating to truth, accuracy, and fact-checking in writing creative nonfiction. We’ll discuss the boundary between ethical and artistic clarity to consider whether emotional truth supersedes factual truth. At the end of the week, participants will turn in their third full-length essay (up to 2,500 words).

Week 10: Structure and Form 

A writer must have a repertoire of forms to draw from in shaping their work and so this week will have an emphasis on structure—what are the different ways writers can organize their ideas, images, and facts on the page, and how do these various structures affect how we understand the genre? For our final week, we’ll look at the interplay between form and content, and the readings will focus on writers who’ve pushed the conventions of narrative form.

British Council India

Creative writing for adults - module i.

Whether you are a scribbler, a secret diarist, or a would-be journalist, come find your unique writing style with British Council’s Creative Writing course - Module I . Two batches have been scheduled. Batch 1 is starting from  Saturday, 22 July 2023 and batch 2 is starting from  Saturday, 29 July 2023.

This course will help you:

• Develop your unique writer’s voice and perspective
• Help your creativity find expression
• Enhance your knowledge of literature
• Help you structure your thoughts
• Develop a critical appreciation of different writing styles

Required English language level:  Above upper-intermediate level (Level B2).

Course duration: 36 hours I 9 weeks I weekend online classes | all the participants will receive a digital certificate upon completion of the course.

Course fee:  INR 10,000 per participant Click here to register

Special offer to British Council library members - 10% discount on the course fee Click here to register

About the Course

Our Creative Writing- Module I course offers the opportunity to learn a variety of techniques to improve your writing process and enhance creativity.

The course content covers plot, characters, dialogue and setting when writing fiction. You will also learn how to travel write and blog, learn to differentiate between news reports and feature articles, be introduced to screenwriting and writing memoirs. You will explore the tools of a poet and learn to write poetry. In addition, you will be introduced to experimental writing and children’s fiction. The syllabus is specifically designed to guide those who wish to write creatively and explore their writing talent to realise their dreams of becoming a writer.

Our experienced teachers will help you find your unique writer’s voice through this enjoyable writing course. You will receive feedback on your writing to help you know your prospects as a future writer. Once you join our Creative Writing course, you will realize that lively and interactive sessions are exactly what you need to begin your journey as a writer.  The course is, however, not aimed at those wishing to improve their academic or technical writing skills.

Schedule for July 2023

Course delivery.

36 hours of learning will happen through online classes and 14 hours of interaction and peer-learning will be facilitated through our online interactive learning platform.

There will be assessments by the teacher during the mid and end of the course

Participants should use laptop/desktop to attend the session. 

• Recording/taking screenshot/photos of the course is strictly prohibited.

Course Fee: INR 10,000 per participant.

Special offer: British Council library members can avail a special discount of 10% on the course fee.

How to ascertain your English language level and register?

Step 1: Ascertain your language level (required English Language level)

The course is open for all. However, English Language level suitable for the course is above upper-intermediate level (B2) and advanced level (C1 and C2).

• You are at Elementary level(A1) if you can say simple things about your day. For example:  I wake up at 7 am every day.
• You are at Pre-intermediate level(A2) if you can communicate in simple and routine tasks on familiar topics and activities. For example: I like exercising early in the morning if I sleep on time. 
• You are an Intermediate level(B1) if you can share your thoughts, opinions, and views. For example:  She must be really tired. She’s worked late every night this week.
• You are at Upper intermediate level(B2) if you can present clear, detailed descriptions on a wide range of subjects related to your field of interest. For example: Unfortunately for him, the situation turned out to be opposite to what he thought it was.
• You are at Advanced level (C1 & C2) if you can present clear, detailed descriptions of complex subjects. For example: Being born and raised in India, I believe her to be the country’s best ambassador in the world.

Step 2 : Once you have ascertained your English language level, please proceed for the course registration.

Course fee: INR 10,000 per participant. Click here   to register.

Special offer to British Council library members - 10% discount on the course fee. Click here  to register.

Terms and Conditions

• Participants must be over 18 years of age.
• Non-refundable fee is payable in full prior to the commencement of course.
• If obliged to cancel the course, the British Council reserves the right to do so without further liability, subject to the return of any fee already paid. 
• The course schedule is subject to change. Participants will be notified the changes, if any.

For any query, please email us at [email protected] .

Live chat for Library related enquiries

Mon - Sat, 9 a.m. to 6 p.m.

• Utility Menu

• Creative Writing

The vital presence of creative writing in the English Department is reflected by our many distinguished authors who teach our workshops. We offer courses each term in fiction, poetry, nonfiction, screenwriting, playwriting, and television writing. Our workshops are small, usually no more than twelve students, and offer writers an opportunity to focus intensively on one genre. 

Apply to Creative Writing Workshops

Workshops are open by application to Harvard College undergraduates, graduate students, staff, and students from other institutions eligible for cross registration. Submission guidelines for workshops can be found under individual course listings; please do not query instructors.  Review all departmental rules and application instructions before applying.  

Fall 2024 Application Deadline: 11:59 pm ET on Sunday, April 7, 2024. Spring 2025 Application Deadline: TBD

Please visit our course listings for all the Fall 2024 workshops.

Our online submission manager (link below) will open for Fall 2024 applications on Friday, March 22 , 2024.

Students who have questions about the creative writing workshop application process should contact Case Q. Kerns at [email protected] .

Featured Faculty

Teju Cole  is a novelist, critic, and essayist, and is the first Gore Vidal Professor of the Practice. "Among other works, the boundary-crossing author is known for his debut novel “Open City” (2011), whose early admirers included Harvard professor and New Yorker critic James Wood." 

Faculty Bookshelf

The botany of desire by michael pollan (2001).

No Planets Strike by Josh Bell (2008)

The Emperor's Children by Claire Messud (2007)

Open City by Teju Cole (2011)

Creative Writing Workshops

• Spring 2024

English CACD. The Art of Criticism

Instructor: Maggie Doherty Wednesday, 12:00-2:45pm | Location: TBD Enrollment: Limited to 12 students Course Site

This course will consider critical writing about art–literary, visual, cinematic, musical, etc.—as an art in its own right. We will read and discuss criticism from a wide variety of publications, paying attention to the ways outlets and audience shape critical work. The majority of our readings will be from the last few years and will include pieces by Joan Acocella, Andrea Long Chu, Jason Farago, and Carina del Valle Schorske. Students will write several short writing assignments (500-1000 words), including a straight review, during the first half of the semester and share them with peers. During the second half of the semester, each student will write and workshop a longer piece of criticism about a work of art or an artist of their choosing. Students will be expected to read and provide detailed feedback on the work of their peers. Students will revise their longer pieces based on workshop feedback and submit them for the final assignment of the class. Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7) Supplemental Application Information:  Please write a letter of introduction (1-2 pages) giving a sense of who you are, your writing experience, and your current goals for your writing. Please also describe your relationship to the art forms and/or genres you're interested in engaging in the course. You may also list any writers or publications whose criticism you enjoy reading. Please also include a 3-5-page writing sample of any kind of prose writing. This could be an academic paper or it could be creative fiction or nonfiction.

English CACW. Advanced Fiction Workshop

Instructor: Paul Yoon TBD | Location: TBD Enrollment: Limited to 12 students Advanced fiction workshop for students who have already taken a workshop at Harvard or elsewhere. The goal of the class is to continue your journey as a writer. You will be responsible for participating in discussions on the assigned texts, the workshop, engaging with the work of your colleagues, and revising your work. Supplemental Application Information:   * Please note: previous creative writing workshop experience required. * Please submit ONLY a cover letter telling me your previous creative writing workshop experience, either at Harvard or elsewhere; then tell me something you are passionate about and something you want to be better at; and, lastly, tell me why of all classes you want to take this one this semester. Again, please no writing samples.

English CBBR. Intermediate Poetry: Workshop

Instructor:  Josh Bell   Monday, 12:00-2:45pm | Location: Barker 018 Enrollment: Limited to 12 students Course Site

Initially, students can expect to read, discuss, and imitate the strategies of a wide range of poets writing in English; to investigate and reproduce prescribed forms and poetic structures; and to engage in writing exercises meant to expand the conception of what a poem is and can be. As the course progresses, reading assignments will be tailored on an individual basis, and an increasing amount of time will be spent in discussion of student work. Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7)

Supplemental Application Information:  Please submit a portfolio including a letter of interest, ten poems, and a list of classes (taken at Harvard or elsewhere) that seem to have bearing on your enterprise.

English CCEP. Ekphrastic Poetry: Workshop

Instructor: Tracy K. Smith Wednesday, 3:00-5:45 pm | Location: Lamont 401 Enrollment: Limited to 12 students Course Site What can a poem achieve when it contemplates or even emulates a work of art in another medium? In this workshop, we'll read and write poems that engage with other art forms--and we'll test out what a foray into another artistic practice allows us to carry back over into the formal methods and behaviors of poetry. With poems by Keats, Rilke, Auden, Hughes, and Brooks, as well as Kevin Young, Evie Shockley, Ama Codjoe and other contemporary voices. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26) Supplemental Application Information:  Please submit a writing sample of 5-10 poems and an application letter explaining your interest in this course.

English CCFC. Poetry Workshop: Form & Content

Instructor: Tracy K. Smith Tuesday, 12:00-2:45pm | Location: Sever 112 Enrollment: Limited to 12 students Course Site

In this workshop, we’ll look closely at the craft-based choices poets make, and track the effects they have upon what we as readers are made to think and feel. How can implementing similar strategies better prepare us to engage the questions making up our own poetic material? We’ll also talk about content. What can poetry reveal about the ways our interior selves are shaped by public realities like race, class, sexuality, injustice and more? Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26)   

Supplemental Application Information:  Please submit a writing sample of 5-10 poems and an application letter explaining your interest in this course.

English CCIJ. Intermediate Fiction Workshop

Instructor: Jesse McCarthy Thursday, 3:00-5:45 pm | Location: Barker 269 Enrollment: Limited to 12 students Course Site This is an intermediate course in the art of writing literary fiction. Previous experience with workshopping writing is encouraged but not required. The emphasis of the course will be learning how to read literature as a writer, with special attention given to the short story, novella, or short novel. We will read these works from the perspective of the writer as craftsperson and of the critic seeking in good faith to understand and describe a new aesthetic experience. We will be concerned foremost with how literary language works, with describing the effects of different kinds of sentences, different uses of genre, tone, and other rhetorical strategies. Together, we will explore our responses to examples of literature from around the world and from all periods, as well as to the writing you will produce and share with the class. As a member of a writing community, you should be prepared to respectfully read and respond to the work of others—both the work of your peers and that of the published writers that we will explore together. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26) Supplemental Application Information:  This course is by application only but there are no prerequisites for this course and previous experience in a writing workshop is not required . In your application please submit a short letter explaining why you are interested in this class. You might tell me a bit about your relationship to literature, your encounter with a specific author, book, or even a scene or character from a story or novel. Please also include a writing sample of 2-5 pages (5 pages max!) of narrative prose fiction.

English CCFS. Fiction Workshop

Instructor: Teju Cole Spring 2024: Tuesday, 6:00-8:45pm | Location: TBD Enrollment: Limited to 12 students Course Site Spring 2025: TBD This reading and writing intensive workshop is for students who want to learn to write literary fiction. The goal of the course would be for each student to produce two polished short stories. Authors on the syllabus will probably include James Joyce, Eudora Welty, Toni Morrison, Alice Munro, Jhumpa Lahiri, and Diane Williams.

Supplemental Application Information:   Please submit a cover letter saying what you hope to get out of the workshop. In the cover letter, mention three works of fiction that matter to you and why. In addition, submit a 400–500 word sample of your fiction; the sample can be self-contained or a section of a longer work.

English CLPG. Art of Sportswriting

Instructor: Louisa Thomas Spring 2024: Tuesday, 9:00-11:45am | Location: TBD Enrollment: Limited to 12 students Course Site Spring 2025: TBD

In newsrooms, the sports section is sometimes referred to as the “toy department” -- frivolous and unserious, unlike the stuff of politics, business, and war. In this course, we will take the toys seriously. After all, for millions of people, sports and other so-called trivial pursuits (video games, chess, children’s games, and so on) are a source of endless fascination. For us, they will be a source of stories about human achievements and frustrations. These stories can involve economic, social, and political issues. They can draw upon history, statistics, psychology, and philosophy. They can be reported or ruminative, formally experimental or straightforward, richly descriptive or tense and spare. They can be fun. Over the course of the semester, students will read and discuss exemplary profiles, essays, articles, and blog posts, while also writing and discussing their own. While much (but not all) of the reading will come from the world of sports, no interest in or knowledge about sports is required; our focus will be on writing for a broad audience.  Supplemental Application Information:  To apply, please write a letter describing why you want to take the course and what you hope to get out of it. Include a few examples of websites or magazines you like to read, and tell me briefly about one pursuit -- football, chess, basketball, ballet, Othello, crosswords, soccer, whatever -- that interests you and why.

English CALR. Advanced Screenwriting: Workshop

Instructor: Musa Syeed Spring 2024: Wednesday, 12:00-2:45pm | Location: TBA Enrollment: Limited to 12 students Course Site Spring 2025: TBD

The feature-length script is an opportunity to tell a story on a larger scale, and, therefore, requires additional preparation. In this class, we will move from writing a pitch, to a synopsis, to a treatment/outline, to the first 10 pages, to the first act of a feature screenplay. We will analyze produced scripts and discuss various elements of craft, including research, writing layered dialogue, world-building, creating an engaging cast of characters. As an advanced class, we will also look at ways both mainstream and independent films attempt to subvert genre and structure. Students will end the semester with a first act (20-30 pages) of their feature, an outline, and strategy to complete the full script.

Supplemental Application Information:  Please submit a 3-5 page writing sample. Screenplays are preferred, but fiction, creative non-fiction, poetry, and plays are acceptable as well. Also, please write a short note to introduce yourself. Include a couple films/filmmakers that have inspired you, your goals for the class, as well as any themes/subject matter/ideas you might be interested in exploring in your writing for film.

English CNFR. Creative Nonfiction: Workshop

Instructor: Darcy Frey Fall 2024: Wednesday, 3:00-5:45 pm | Location: TBD Enrollment: Limited to 12 students. Course Site Spring 2025: TBD

Whether it takes the form of literary journalism, essay, memoir, or environmental writing, creative nonfiction is a powerful genre that allows writers to break free from the constraints commonly associated with nonfiction prose and reach for the breadth of thought and feeling usually accomplished only in fiction: the narration of a vivid story, the probing of a complex character, the argument of an idea, or the evocation of a place. Students will work on several short assignments to hone their mastery of the craft, then write a longer piece that will be workshopped in class and revised at the end of the term. We will take instruction and inspiration from published authors such as Joan Didion, James Baldwin, Ariel Levy, Alexander Chee, and Virginia Woolf. This is a workshop-style class intended for undergraduate and graduate students at all levels of experience. No previous experience in English Department courses is required. Apply via Submittable  (deadline: 11:59pm ET on Sunday, April 7)

Supplemental Application Information:   Please write a substantive letter of introduction describing who you are as writer at the moment and where you hope to take your writing; what experience you may have had with creative/literary nonfiction; what excites you about nonfiction in particular; and what you consider to be your strengths and weaknesses as a writer. Additionally, please submit 3-5 pages of creative/literary nonfiction (essay, memoir, narrative journalism, etc, but NOT academic writing) or, if you have not yet written much nonfiction, an equal number of pages of narrative fiction.

English CKR. Introduction to Playwriting: Workshop

Instructor: Sam Marks TBD | Location: TBD Enrollment: Limited to 12 students This workshop is an introduction to writing for the stage through intensive reading and in-depth written exercises. Each student will explore the fundamentals and possibilities of playwriting by generating short scripts and completing a one act play with an eye towards both experimental and traditional narrative styles. Readings will examine various ways of creating dramatic art and include work from contemporary playwrights such as Ayad Aktar, Clare Barron, Aleshea Harris, Young Jean Lee, and Taylor Mac, as well established work from Edward Albbe, Caryl Churchill, Suzan Lori-Parks, and Harold Pinter. Supplemental Application Information:  No experience in writing the dramatic form is necessary. Please submit a 5-10 page writing sample (preferably a play or screenplay, but all genres are acceptable and encouraged). Also, please write a few sentences about a significant theatrical experience (a play read or seen) and how it affected you.

English CACF. Get Real: The Art of Community-Based Film

Instructor: Musa Syeed Wednesday, 12:00-2:45pm | Location: TBD Enrollment: Limited to 12 student Course Site

“I’ve often noticed that we are not able to look at what we have in front of us,” the Iranian director Abbas Kiarostami said, “unless it’s inside a frame.” For our communities confronting invisibility and erasure, there’s an urgent need for new frames. In this workshop, we’ll explore a community-engaged approach to documentary and fiction filmmaking, as we seek to see our world more deeply. We’ll begin with screenings, craft exercises, and discussions around authorship and social impact. Then we each will write, develop, and shoot a short film over the rest of the semester, building off of intentional community engagement. Students will end the class with written and recorded materials for a rough cut. Basic equipment and technical training will be provided.

Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7)

Supplemental Application Information:  Please submit a brief letter explaining why you're interested to take this class. Please also discuss what participants/communities you might be interested in engaging with for your filmmaking projects. For your writing sample, please submit 3-5 pages of your creative work from any genre (screenwriting, poetry, fiction, non-fiction, etc.)

English CAFR. Advanced Fiction Workshop: Writing this Present Life

Instructor: Claire Messud Thursday, 3:00-5:45 pm | Location: TBD Enrollment: Limited to 12 students Course Site Intended for students with prior fiction-writing and workshop experience, this course will concentrate on structure, execution and revision. Exploring various strands of contemporary and recent literary fiction – writers such as Karl Ove Knausgaard, Rachel Cusk, Chimamanda Adichie, Douglas Stuart, Ocean Vuong, etc – we will consider how fiction works in our present moment, with emphasis on a craft perspective. Each student will present to the class a published fiction that has influenced them. The course is primarily focused on the discussion of original student work, with the aim of improving both writerly skills and critical analysis. Revision is an important component of this class: students will workshop two stories and a revision of one of these. Apply via Submittable  (deadline: 11:59pm ET on Sunday, April 7)

Supplemental Application Information:  Please submit 3-5 pages of prose fiction, along with a substantive letter of introduction. I’d like to know why you’re interested in the course; what experience you’ve had writing, both in previous workshops and independently; what your literary goals and ambitions are. Please tell me about some of your favorite narratives – fiction, non-fiction, film, etc: why they move you, and what you learn from them.

English CAKV. Fiction Workshop: Writing from the First-Person Point of View

Instructor:  Andrew Krivak Tuesday, 9:00-11:45 1m | Location: TBD Enrollment: Limited to 12 students Course Site This course is a workshop intended for students who are interested in writing longer form narratives from the first-person point of view. The “I” at the center of any novel poses a perspective that is all at once imaginatively powerful and narratively problematic, uniquely insightful and necessarily unreliable. We will read from roughly twelve novels written in the first-person, from Marilynne Robinson and W.G. Sebald, to Valeria Luiselli and Teju Cole, and ask questions (among others) of why this form, why this style? And, as a result, what is lost and what is realized in the telling? Primarily, however, students will write. Our goal will be to have a student’s work read and discussed twice in class during the semester. I am hoping to see at least 35-40 pages of a project —at any level of completion—at the end of term.  Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7) Supplemental Application Information:  Please write a substantive letter telling me why you’re interested in taking this class, what writers (classical and contemporary) you admire and why, and if there’s a book you have read more than once, a movie you have seen more than once, a piece of music you listen to over and over, not because you have to but because you want to. Students of creative nonfiction are also welcome to apply.

English CCSS. Fiction Workshop: The Art of the Short Story

Instructor: Laura van den Berg Tuesday, 12:00-2:45 pm | Location: TBD Enrollment: Limited to 12 students Course Site This course will serve as an introduction to the fundamentals of writing fiction, with an emphasis on the contemporary short story. How can we set about creating “big” worlds in compact spaces? What unique doors can the form of the short story open? The initial weeks will focus on exploratory exercises and the study of published short stories and craft essays. Later, student work will become the primary text as the focus shifts to workshop discussion. Authors on the syllabus will likely include Ted Chiang, Lauren Groff, Carmen Maria Machado, and Octavia Butler. This workshop welcomes writers of all levels of experience. Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7) Supplemental Application Information:  Please submit a letter of introduction. I’d like to know a little about why you are drawn to studying fiction; what you hope to get out of the workshop and what you hope to contribute; and one thing you are passionate about outside writing / school. Please also include a very brief writing sample (2-3 pages). The sample can be in any genre (it does not have to be from a work of fiction). 

Write an Honors Creative Thesis

Students may apply to write a senior thesis or senior project in creative writing, although only English concentrators can be considered. Students submit applications in early March of their junior year, including first-term juniors who are out of phase. The creative writing faculty considers the proposal, along with the student's overall performance in creative writing and other English courses, and notifies students about its decision in early mid-late March. Those applications are due, this coming year, on TBA . 

Students applying for a creative writing thesis or project must have completed at least one course in creative writing at Harvard before they apply. No student is guaranteed acceptance. It is strongly suggested that students acquaint themselves with the requirements and guidelines well before the thesis application is due. The creative writing director must approve any exceptions to the requirements, which must be made in writing by Monday, February 7, 2022. Since the creative writing thesis and project are part of the English honors program, acceptance to write a creative thesis is conditional upon the student continuing to maintain a 3.40 concentration GPA. If a student’s concentration GPA drops below 3.40 after the spring of the junior year, the student may not be permitted to continue in the honors program.

Joint concentrators may apply to write creative theses, but we suggest students discuss the feasibility of the project well before applications are due. Not all departments are open to joint creative theses.

Students who have questions about the creative writing thesis should contact the program’s Director, Sam Marks .

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Publications, embracing generative ai in the classroom and office.

Generative AI (artificial intelligence) is rapidly transforming the world around us, and universities are uniquely positioned to be at the forefront of this exciting new frontier. But how can faculty, administrators, and staff members leverage generative AI to enhance their work and explore its creative potential?

I collaborated with several different chatbots to create this blog post outlining five engaging activities that can help you develop familiarity and proficiency with generative AI:

Train Your Own Pet AI

Services like my new favorite toy Teachable Machine empower you to create custom image, sound, or pose recognition models. Imagine training a tool to identify specific objects in historical documents or classify musical pieces by genre for the music library. Teachable Machine offers a user-friendly interface with no coding required, making it a perfect platform for beginners looking to understand how AI works.

Unveiling Hidden Details in Historical Documents:

Are you a history buff sifting through mountains of historical documents? Train a Teachable Machine model to recognize specific objects or symbols within them. This can significantly reduce manual analysis time and unearth hidden patterns or trends. Imagine a model identifying specific types of ships in maritime trade records or recognizing architectural features in historical photographs.

Classifying Biological Specimens:

Working in the biology department? Train a model to differentiate between various plant or animal species based on images. This can expedite research tasks like specimen identification or image analysis for ecological studies.

Effortless Music Library Cataloging:

Managing a vast music library? Train a model to categorize music by genre based on sound samples. This can automate the cataloging process and free up staff time for other tasks. Imagine uploading samples of classical, jazz, and rock music to train a model that sorts incoming music files automatically.

Automated Equipment Monitoring:

Working in facilities management? Train a model to identify specific sounds associated with malfunctioning equipment. This can enable preventative maintenance by detecting potential issues before they escalate into major breakdowns. Imagine a model recognizing the whirring of a failing ventilation fan or the clanging of an overheating machine.

Developing Interactive Museum Exhibits:

Imagine museum exhibits where visitors can interact with AI models to learn more about artifacts. Train a model to identify specific objects displayed in an exhibit and trigger the delivery of relevant information or historical context.

AI as Your Muse

Struggling for inspiration? Generative AI tools can provide a springboard for fresh ideas. Platforms like Copilot , Gemini , ChatGPT , or Claude can generate different creative text formats, from poems to code, based on your input. Or use AI-generated text as a starting point for brainstorming a new lecture topic, developing a research proposal, or crafting the opening line of a grant application.

Fresh Lecture Topics:

Feeling stuck in a rut with your lecture topics? Provide Copilot , Gemini , ChatGPT , or Claude with keywords related to your course and let AI generate a range of potential topics. You might be surprised by unexpected angles or creative connections you haven't considered before. Imagine feeding keywords like "Renaissance Art" and receiving suggestions like "The Intersection of Science and Religion in Renaissance Masterpieces" or "The Hidden Symbolism in Everyday Objects of the Renaissance."

Interactive Activities Galore:

Struggling to create engaging activities for your students? Use Copilot , Gemini , ChatGPT , or Claude to brainstorm interactive exercises, thought-provoking questions, or creative writing prompts related to your course material. Imagine prompting Copilot , Gemini , ChatGPT , or Claude for "interactive activities related to the theory of evolution" and receiving suggestions like a role-playing simulation of the Great Leap Forward or a debate on the ethics of genetic engineering.

Fostering Student Creativity:

Incorporate Copilot , Gemini , ChatGPT , or Claude into student assignments or projects. Let students use it to generate story ideas, brainstorm creative solutions to problems, or explore different writing styles. Remember to address Academic Integrity regarding AI use in your syllabus to avoid any misuse or confusion on the part of your students.

Crafting Compelling Introductions:

The opening line of your grant proposal can make or break your chances of securing funding. Use Copilot , Gemini , ChatGPT , or Claude to generate different options for captivating introductions that clearly articulate the significance of your research. Imagine feeding Copilot , Gemini , ChatGPT , or Claude keywords like "renewable energy solutions" and receiving compelling opening lines like "As our planet faces the challenge of climate change, the need for innovative renewable energy solutions has never been greater" or "Imagine a world powered by the sun, wind, and tides. This is the vision behind our cutting-edge research in ..."

Strengthening Your Research Questions:

Refine your research question with the help of Copilot , Gemini , ChatGPT , or Claude . Provide a brief overview of your research area and let Copilot , Gemini , ChatGPT , or Claude generate multiple variations of your question, exploring different angles and potential complexities. This can broaden your perspective and ensure your research addresses a truly impactful question. Imagine inputting "the impact of social media on mental health" and receiving refined questions like "Does social media usage lead to increased anxiety in adolescents?" or "How do different social media platforms influence body image perception in young adults?"

Overcoming Writer's Block:

Hitting a wall while writing a research paper or developing a new research project? Use Copilot , Gemini , ChatGPT , or Claude to generate different creative text formats related to your topic. Explore potential research directions, brainstorm new hypotheses, or generate outlines to structure your writing. Imagine feeding Copilot , Gemini , ChatGPT , or Claude keywords like "microplastics in the ocean" and receiving prompts for creative writing pieces from the perspective of a microplastic particle or a poem highlighting the ecological impact of microplastics.

Beyond Academic Uses

Generative AI tools like Copilot , Gemini , ChatGPT , or Claude aren't limited to academic endeavors. They can also spark creativity in unexpected ways:

Engaging Marketing Materials:

Working in university communications? Use Copilot , Gemini , ChatGPT , or Claude to brainstorm taglines, slogans, or creative content for upcoming events or marketing campaigns. Or use a tool like Copilot to generate market analysis for a new proposal.

By using generative AI tools like Copilot , Gemini , ChatGPT , or Claude as a springboard for creativity, you can overcome writer's block, generate fresh ideas, and approach your work with a renewed sense of inspiration. Remember, AI is not meant to replace your own creativity; it's here to augment it, helping you reach new heights of innovation and excellence in your academic pursuits.

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Unlocking Your Creative Potential with AI: An Ethical Guide for College Students

You live in the Age of AI. Accept it. Artificial Intelligence (AI) isn't just a buzzword — it's a tool at your fingertips, ready to propel your creativity into new dimensions. As college students, you're at the forefront of this exciting frontier, where AI can serve as a muse, a mentor, and a collaborator.

Crafting a Screencasting Persona

Any faculty member who wants to produce a video needs to really think about how they are coming across to their audience and what harm they may be doing to the image of academics with a poor production. A Nov. 12, 2012 article by Jenny Rogers in the Chronicle of Higher Education, Old, Boring, White, and Mean: How Professors Appear on the Small Screen, further illustrates this point and cites the rapid proliferation of flipped classrooms, screencast lectures, and academics on every possible social media outlet as a potential detriment to the future of web-based teaching. That said here are some tips for crafting an online educator persona using Salman Khan and the Plaid Avenger as role models.

A Brave New World of Higher Education

Welcome to 2024. If 2023 ushered in the dawn of the era of AI, then I suspect 2024 will see a deeper embrace of AI as a tool that we start to develop an understanding of how best to use to make our lives easier, make our work more efficient, and to expand our capabilities as educators.

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CBSE Class 9 Hindi (Course B) Syllabus 2024-25: Download PDF Here

Cbse class 9 hindi b syllabus 2024-25: get here the cbse syllabus for class 9 hindi (course b) to download in pdf. check the complete syllabus to know the course structure and exam pattern for 2024-25..

CBSE Class 9 Hindi Syllabus 2024-2025: The Central Board of Secondary Education (CBSE) plays a crucial role in shaping the academic journey of its students by providing a clear roadmap through meticulously crafted syllabus. The CBSE Class 9 Hindi Course B syllabus, in a similar manner, is designed to equip students with the necessary skills and knowledge to succeed and excel in their examinations. The syllabus aims to equip students with strong foundational skills in Hindi communication and foster their interest for literature. The syllabus is majorly divided into the following parts:

• Sparsh (Part 1): This textbook focuses on prose and poetry selections, aiming to enhance literary understanding in students.
• Sanchayan (Part 1):  This textbook emphasizes developing language skills through writing exercises, grammar lessons, and supplementary reading materials.

Grammar:  This part of the syllabus covers essential grammar concepts like punctuation, sentence structure, and word formation.

Reading Comprehension: It focuses on developing the ability to analyse and interpret various prose and poetic styles.

Writing Skills: The course emphasises developing writing skills by assessing through different formats such as reports, letters, and creative pieces.

To know the details of the content, students must go through the latest CBSE Class 9 Hindi (Course B) Syllabus which can be accessed from this article in PDF format .

CBSE Class 9 Hindi B (Code - 085) Syllabus 2024-2025

Check the detailed course content below:

Prescribed Textbooks for CBSE Class 9 Hindi B

Deleted Chapters from Textbooks

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The Unique Burial of a Child of Early Scythian Time at the Cemetery of Saryg-Bulun (Tuva)

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Pages:  379-406

In 1988, the Tuvan Archaeological Expedition (led by M. E. Kilunovskaya and V. A. Semenov) discovered a unique burial of the early Iron Age at Saryg-Bulun in Central Tuva. There are two burial mounds of the Aldy-Bel culture dated by 7th century BC. Within the barrows, which adjoined one another, forming a figure-of-eight, there were discovered 7 burials, from which a representative collection of artifacts was recovered. Burial 5 was the most unique, it was found in a coffin made of a larch trunk, with a tightly closed lid. Due to the preservative properties of larch and lack of air access, the coffin contained a well-preserved mummy of a child with an accompanying set of grave goods. The interred individual retained the skin on his face and had a leather headdress painted with red pigment and a coat, sewn from jerboa fur. The coat was belted with a leather belt with bronze ornaments and buckles. Besides that, a leather quiver with arrows with the shafts decorated with painted ornaments, fully preserved battle pick and a bow were buried in the coffin. Unexpectedly, the full-genomic analysis, showed that the individual was female. This fact opens a new aspect in the study of the social history of the Scythian society and perhaps brings us back to the myth of the Amazons, discussed by Herodotus. Of course, this discovery is unique in its preservation for the Scythian culture of Tuva and requires careful study and conservation.

Keywords: Tuva, Early Iron Age, early Scythian period, Aldy-Bel culture, barrow, burial in the coffin, mummy, full genome sequencing, aDNA

Information about authors: Marina Kilunovskaya (Saint Petersburg, Russian Federation). Candidate of Historical Sciences. Institute for the History of Material Culture of the Russian Academy of Sciences. Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail: [email protected] Vladimir Semenov (Saint Petersburg, Russian Federation). Candidate of Historical Sciences. Institute for the History of Material Culture of the Russian Academy of Sciences. Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail: [email protected] Varvara Busova  (Moscow, Russian Federation).  (Saint Petersburg, Russian Federation). Institute for the History of Material Culture of the Russian Academy of Sciences.  Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail:  [email protected] Kharis Mustafin  (Moscow, Russian Federation). Candidate of Technical Sciences. Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected] Irina Alborova  (Moscow, Russian Federation). Candidate of Biological Sciences. Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected] Alina Matzvai  (Moscow, Russian Federation). Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected]

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Out of the Centre

Savvino-storozhevsky monastery and museum.

Zvenigorod's most famous sight is the Savvino-Storozhevsky Monastery, which was founded in 1398 by the monk Savva from the Troitse-Sergieva Lavra, at the invitation and with the support of Prince Yury Dmitrievich of Zvenigorod. Savva was later canonised as St Sabbas (Savva) of Storozhev. The monastery late flourished under the reign of Tsar Alexis, who chose the monastery as his family church and often went on pilgrimage there and made lots of donations to it. Most of the monastery’s buildings date from this time. The monastery is heavily fortified with thick walls and six towers, the most impressive of which is the Krasny Tower which also serves as the eastern entrance. The monastery was closed in 1918 and only reopened in 1995. In 1998 Patriarch Alexius II took part in a service to return the relics of St Sabbas to the monastery. Today the monastery has the status of a stauropegic monastery, which is second in status to a lavra. In addition to being a working monastery, it also holds the Zvenigorod Historical, Architectural and Art Museum.

Belfry and Neighbouring Churches

Located near the main entrance is the monastery's belfry which is perhaps the calling card of the monastery due to its uniqueness. It was built in the 1650s and the St Sergius of Radonezh’s Church was opened on the middle tier in the mid-17th century, although it was originally dedicated to the Trinity. The belfry's 35-tonne Great Bladgovestny Bell fell in 1941 and was only restored and returned in 2003. Attached to the belfry is a large refectory and the Transfiguration Church, both of which were built on the orders of Tsar Alexis in the 1650s.  

To the left of the belfry is another, smaller, refectory which is attached to the Trinity Gate-Church, which was also constructed in the 1650s on the orders of Tsar Alexis who made it his own family church. The church is elaborately decorated with colourful trims and underneath the archway is a beautiful 19th century fresco.

Nativity of Virgin Mary Cathedral

The Nativity of Virgin Mary Cathedral is the oldest building in the monastery and among the oldest buildings in the Moscow Region. It was built between 1404 and 1405 during the lifetime of St Sabbas and using the funds of Prince Yury of Zvenigorod. The white-stone cathedral is a standard four-pillar design with a single golden dome. After the death of St Sabbas he was interred in the cathedral and a new altar dedicated to him was added.

Under the reign of Tsar Alexis the cathedral was decorated with frescoes by Stepan Ryazanets, some of which remain today. Tsar Alexis also presented the cathedral with a five-tier iconostasis, the top row of icons have been preserved.

Tsaritsa's Chambers

The Nativity of Virgin Mary Cathedral is located between the Tsaritsa's Chambers of the left and the Palace of Tsar Alexis on the right. The Tsaritsa's Chambers were built in the mid-17th century for the wife of Tsar Alexey - Tsaritsa Maria Ilinichna Miloskavskaya. The design of the building is influenced by the ancient Russian architectural style. Is prettier than the Tsar's chambers opposite, being red in colour with elaborately decorated window frames and entrance.

At present the Tsaritsa's Chambers houses the Zvenigorod Historical, Architectural and Art Museum. Among its displays is an accurate recreation of the interior of a noble lady's chambers including furniture, decorations and a decorated tiled oven, and an exhibition on the history of Zvenigorod and the monastery.

Palace of Tsar Alexis

The Palace of Tsar Alexis was built in the 1650s and is now one of the best surviving examples of non-religious architecture of that era. It was built especially for Tsar Alexis who often visited the monastery on religious pilgrimages. Its most striking feature is its pretty row of nine chimney spouts which resemble towers.

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ICSE Class 10 French Syllabus 2024-25: Download Class 10 French Syllabus With Course Structure And Weightage

img src="https://img.jagranjosh.com/images/2024/May/2952024/ICSE-CLASS-10-French-24.jpg" width="1200" height="675" />

ICSE Class 10 French Syllabus 2024-25:  To enable students to improve their linguistic skills, the Council for the Indian School Certificate Examinations (CISCE) Board, offers students the opportunity to study foreign languages. French is one of the languages included in the curriculum. The ICSE Class 10 French syllabus consists of topics like composition, grammar and translation. Let’s take a look at the aims of the syllabus. 

ICSE Class 10 French Syllabus Aims are: 

To develop and integrate the use of the four language skills i.e. listening, speaking, reading and writing; To use the language effectively and appropriately on topics of everyday life situations; To develop an interest in the appreciation of French; To develop an intercultural awareness;  To enhance the ability of the candidates to express their ideas and feelings in their own words and for them to understand the use of correct language; To appreciate the language as an effective means of communication; To understand language when spoken at normal conversational speed in everyday life situations;  To understand the basic structural patterns of the language, vocabulary and constructions. 

ICSE Class 10 French Paper Guidelines are: 

There will be one paper of three hours duration carrying 80 marks and an Internal Assessment of 20 marks.

Candidates opting for a Modern Foreign Language as a Second Language in Group I may not opt for the same language under Modern Foreign Languages in Group II and Group III. 

ICSE Class 10 French Syllabus 2024-25

Internal Assessment - 20 marks

Schools will prepare, conduct and record assessments of the Listening, Speaking and Creative Writing Skills of candidates as follows:

Class X: Three assessments in the course of the year.

To get the PDF of the entire syllabus, click on the below link: 

Also, check

ICSE Class 9 Modern Foreign Languages Group I Syllabus 2024-2025: Download French Spanish German Syllabus PDF

ICSE Class 10 History and Civics Syllabus 2024-25: Download PDF