The Brouzils Seminars: Creative writing workshops in France

Students who are not English Language and Literature or Creative Writing majors may complete a minor in English and Creative Writing. Such a minor requires six courses plus a portfolio of creative work. At least two of the required courses must be Creative Writing (CRWR) workshop courses, with at least one being an Advanced Workshop. Three of the remaining required courses may be taken in either the Department of English Language and Literature (ENGL) or the Program in Creative Writing (CRWR). This may include CRWR Technical Seminars or general education courses, as long as they are not already counted toward the general education requirement in the arts.

Gotham Writers Workshop: Creative Writing Classes in NYC and Online

WRIT W3325 Nonfiction Seminar: Truths & Facts: Creative License In Nonfiction. 3 points.
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Online Writing Classes - Gotham Writers Workshop

Writer’s Studio faculty and students create powerful work in and out of the classroom. We are proud of the literary and creative accomplishments of students, alumni and instructors (see our growing list of ). To strengthen relationships and writing, we hold regular events on and off campus, including open mics and readings, as well as our free annual Business of Writing Seminar and programs at Chicago literary institutions such as Printers Row Lit Fest. Above all, we endeavor to help our students live the writing lives that they envision within a vibrant, supportive community, whether those visions include publishing, performing or simply pushing the bounds of their creative expression.

Creative Writing 101 (6-week Class)

Lyric poetry in contemporary practice continues to draw upon and modify its ancient sources, as well as Renaissance, Romantic and Modernist traditions. In this seminar, we will explore the creation of the voice of the poem, the wild lyrical I, through closely reading female poets from antiquity to present day, beginning with Anne Carson's translations of Sappho, If Not Winter, all the way up to present avatars and noted sylists such as Mary Jo Bang (Elegy), Traci K. Smith (Life on Mars), Bernadette Mayer (New Directions Reader), Eileen Myles (Not Me), Maggie Nelson (Bluets) and others. The identity of the poetic speaker remains with inescapable ties to memory and experience as one mode of the lyric, and with the dramatic topes of mask and persona as another. Students will be asked to hear a range of current and classic women poets deploying, constructing and annihilating the self: the sonnets of Queen Elizabeth and the American beginnings of Anne Bradstreet; the emergence in the 19th century of iconic and radicalizing female presences: Emily Bronte, Emily Dickinson, Christina Rossetti, Elizabeth Barrett Browning; and the predominance of 20th century masters who re-invented the English-language lyric as much as they inherited: Louise Bogan, Gwendolyn Brooks, H.D., Marianne Moore, Edna St. Vincent Millay, Laura Riding, and Gertrude Stein. As background, students will read prose works (epistolary, writing, journals and diaries, classic essays as well as prose poetry), which may contextualize women's desire and its reception in public and private space: the religious mysticism of Sor Juana Inés de la Cruz, Lady Mary Wortley Montagu, Dorothy Wordsworth's journals, Emily Dickinson's letters, and Virginia Woolf's criticism and novels. Students will be expected to keep their own reading diary or write letters in response to class readings, as well as select a classic and contemporary female poet for semester-long research. Additional course handouts will be organized by particular groupings of interest to our study of desire & identity, voice & witness: Confessional poetry (Sylvia Plath and Anne Sexton), Cave Canem poets (Harryette Mullen and Natasha Trethway), New York School (Alice Notley and Hannah Weiner), as well as additional contemporary poets (Lyn Melnick and Matthea Harvey).

The major in creative writing requires a minimum of 36 points: five workshops, four seminars, and three related courses.
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Creative Writing Workshop | University of New Orleans

This reading and writing seminar will acquaint students with one of the essential tools of fiction writers: characterization. We will read primary texts by authors including Baldwin, Flaubert, Munro, and Wharton, as well as critical work by Danticat, Forester, and Vargas Llosa, toward exploring how some of literature’s most famous characters are rendered. How do writers of fiction create contexts in which characters must struggle, and how does each character’s conflicts reveal his or her nature? Students will complete both creative and analytical writing exercises, reading responses, and a paper that focuses on characterization in a work of fiction.

Heart-centered creative writing workshops in Los Angeles

During our Harvest Retreat in Rockport, MA, we will do a 48-hour creative writing bake-off together. The Bake-off exercise or writerly dare was popularized by Pulitzer Prize winning playwright Paula Vogel and introduced to the CWW by playwright Dipika Guha. The dare is to write a narrative, play, or chapbook length collection of lyric pieces in a fixed span of time 48 hours in response to a list of shared elements. We will begin with a seminar on Friday afternoon when we’ll visit our creative writing toolbox and look at devices, forms and structures available for our use. At this meeting we’ll choose six elements to include in our writing drawn from the city of Rockport, MA, seeking inspiration from its architecture, history and myths. After the seminar you will go away and write until the next evening. On Sunday over food and drink, we will read your bake-offs together and celebrate your progress. Bake-offs are not critiqued.

Workshop: A Rant Against Creative Writing Classes | Poets & Writers

The creative writing seminars form the intellectual ballast of our program. Our seminars offer a close examination of literary techniques such as plot, point of view, tone, and voice. They seek to inform and inspire students by exposing them to a wide variety of approaches in their chosen genre. Our curriculum, via these seminars, actively responds not only to historical literary concerns, but to contemporary ones as well. Extensive readings are required, along with short critical papers and/or creative exercises. By closely analyzing diverse works of literature and participating in roundtable discussions, writers build the resources necessary to produce their own accomplished creative work.