Creative Writing Conservatory *
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GCWC WAG Creative Writing
GASTON COLLEGE Creative Writing Writing Center I. GENERAL PURPOSE/AUDIENCE Creative writing may take many forms, such as fiction, creative non-fiction, poetry, playwriting, and screenwriting. Creative writers can turn almost any situation into possible writing material. Creative writers have a lot of freedom to work with and can experiment with form in their work, but they should also be aware of common tropes and forms within their chosen style. For instance, short story writers should be aware of what represents common structures within that genre in published fiction and steer away from using the structures of TV shows or movies. Audiences may include any reader of the genre that the author chooses to use; therefore, authors should address potential audiences for their writing outside the classroom. What’s more, students should address a national audience of interested readers—not just familiar readers who will know about a particular location or situation (for example, college life). II. TYPES OF WRITING • Fiction (novels and short stories) • Creative non-fiction • Poetry • Plays • Screenplays Assignments will vary from instructor to instructor and class to class, but students in all Creative Writing classes are assigned writing exercises and will also provide peer critiques of their classmates’ work. In a university setting, instructors expect prose to be in the realistic, literary vein unless otherwise specified. III. TYPES OF EVIDENCE • Subjective: personal accounts and storytelling; invention • Objective: historical data, historical and cultural accuracy: Work set in any period of the past (or present) should reflect the facts, events, details, and culture of its time and place. -
Stream of Consciousness: a Study of Selected Novels by James Joyce and Virginia Woolf
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Italian translations of English stream of consciousness: a study of selected novels by James Joyce and Virginia Woolf Giulia Totò PhD The University of Edinburgh 2014 Declaration I hereby declare that this thesis was composed by myself, that the work contained herein is my own except where explicitly stated otherwise in the text, and that this work has not been submitted for any other degree or professional qualification except as specified. Giulia Totò iii To little Emma and Lucio, for the immense joy they spread and the love they allow me to return. iv Acknowledgments I am pleased to take this opportunity to thank my supervisors Federica G. Pedriali and Yves Gambier for their guidance and, most of all, for their support and patience during these years. -
CREATIVE WRITING PROGRAM Creative Writing ASSOCIATE of ARTS DEGREE (AA) REQUIRED CREDITS: 61 DEGREE CODE: ENGCW-AA
CREATIVE WRITING PROGRAM Creative Writing ASSOCIATE OF ARTS DEGREE (AA) REQUIRED CREDITS: 61 DEGREE CODE: ENGCW-AA DESCRIPTION The AA degree with a Creative Writing emphasis focuses on the writing of fiction or poetry. As knowledge of the genres and traditions of literature is central to the development of a writer or poet, courses that include the study of the elements of fiction and poetry are integrated into the program. STUDENT LEARNING OUTCOMES • Demonstrate knowledge and use of the forms and component elements of the genre (fiction or poetry). • Identify purpose and audience within the context of fiction or poetry. • Understand literary elements such as use of character, setting point of view, plot, style, and theme for fiction; metaphor, simile, meter, symbol, allusion, narrative, and theme for poetry. • Complete a portfolio with work that exhibits effective use of language, self-editing, and controlled voice in a given genre. PLEASE NOTE - The courses listed below may require a prerequisite or corequisite. Read course descriptions before registering for classes. All MATH and ENG courses numbered 01-99 must be completed before reaching 30 total college-level credits. No course under 100-level counts toward degree completion. GENERAL EDUCATION REQUIREMENTS (34 CREDITS) SPECIAL PROGRAM REQUIREMENTS (27 CREDITS) MATHEMATICS (3 credits) CORE REQUIREMENTS (15 credits) MATH 120 or 124 or above; or STAT 152 International Languages 111 or above 8 (courses must be in a single language) ENGLISH COMPOSITION (6-8 credits) See AA/AB/AS policy p. 45 for courses COM 101 Oral Communication 3 ENG 205 Introduction to Creative Writing: Fiction and Poetry 3 LITERATURE (3 credits) ENG 296 Portfolio Assessment 1 See AA/AB/AS policy p. -
English 138 - Topics in Creative Writing: Writing Screenplays
English 138 - Topics in Creative Writing: Writing Screenplays Hasmik Ekimyan [email protected] 818-726-0392 Course Description Students will learn the art of screenwriting and will have the opportunity to practice this art through the creation of an original story. Throughout the course students will develop their original screenplays, learning how to craft story, plot, character, dialogue, and theme, enabling them to produce a full outline and the First Act of their screenplays. Grading Participation: 20% Assignments: 40% First Act: 40% Office Hours: To be determined. Reading Suggestions There are no reading assignments for this class. However, if you are interested in further developing your skills, here is a list that you may find useful. -If you want to know more about screenwriting, these may help: --Richard Walter, Essentials of Screenwriting --Hal Ackerman, Write Screenplays that Sell the Ackerman Way --Lew Hunter, Lew Hunter’s Screenwriting 434 --Aristotle, Poetics (Nota Bene: good for story) --Lajos Egri, The Art of Dramatic Writing (Nota Bene: good for character) -If you want to know more about the art of film in general, this may help: --Howard Suber, The Power of Film -If you want to be the best writer you can possibly be, commit these to memory: --The complete works of William Shakespeare -If you want to know the answers to life’s questions, read these: --The complete works of Fyodor Dostoevsky --The complete works of Leo Tolstoy Assignments First Act: Your final assignment will be the completed First Act of your screenplays (20-30 pages). We will work on these pages throughout the course. -
The Power of Short Stories, Novellas and Novels in Today's World
International Journal of Language and Literature June 2016, Vol. 4, No. 1, pp. 21-35 ISSN: 2334-234X (Print), 2334-2358 (Online) Copyright © The Author(s). 2015. All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/ijll.v4n1a3 URL: https://doi.org/10.15640/ijll.v4n1a3 The Power of Short Stories, Novellas and Novels in Today’s World Suhair Al Alami1 Abstract The current paper highlights the significant role literature can play within EFL contexts. Focusing mainly on short stories, novellas and novels, the paper seeks to discuss five points. These are: main elements of a short story/novella/novel, specifications of a short story/novella/novel-based course, points for instructors to consider whilst dealing with a short story/novella/novel within EFL contexts, recommended approaches which instructors may employ in the EFL classroom whilst discussing a short story/novella/novel, and language assessment of EFL learners using a short story/novella/novel-based course. Having discussed the aforementioned points, the current paper proceeds to present a number of recommendations for EFL teaching practitioners to consider. Keywords: Short Stories; Novellas; Novels Abbreviation: EFL (English as a Foreign Language) 1. Introduction In an increasingly demanding and competitive world, students need to embrace the four Cs: communication, collaboration, critical thinking, and creativity. Best practices in the twenty-first century education, therefore, require practical tools that facilitate student engagement, develop life skills, and build upon a solid foundation of research whilst supporting higher-level thinking. With the four Cs in mind, the current paper highlights the significant role literature can play within EFL contexts. -
Sophie Masson Breaking the Pattern: Established Writers Undertaking Creative Writing Doctorates in Australia
Sophie Masson TEXT Vol 20 No 2 University of New England Sophie Masson Breaking the pattern: Established writers undertaking creative writing doctorates in Australia Abstract The focus of this article is an examination of the experiences of established writers who have recently completed, or are currently undertaking, a creative writing doctorate, against a background of change within the publishing industry. Is it primarily financial/career or creative control concerns that are influencing established writers to undertake creative doctorates in recent times? And how do these writers fare within the degree program? To explore these issues through individual stories, interviews were conducted, by email and phone, with six established professional writers who had recently completed, or were still undertaking, a creative doctorate as well as with four established creative writing academics, most of whom are authors themselves. Questions of motivation and experience, as well as outcome, are canvassed in this piece of original research, which provides an interesting snapshot of the current situation for established writers in Australia undertaking creative writing doctorates. Keywords: creative writing doctorates, creative writing PhDs, publishing creative writing PhDs Introduction In 2001 Nigel Krauth, writing in TEXT, observed that there were only eight universities in Australia offering creative writing doctorates, as against 37 offering creative writing degrees at lower levels than the doctorate (Krauth 2001). Just eight years later, however, much had changed. In her paper, Describing the creative writing thesis: a census of creative writing doctorates, 1993-2008 published in TEXT in 2009, Nicola Boyd reported that 27 Australian universities offered a variant of the creative writing doctorate, with 199 creative writing PhDs, DCAs, and doctorates awarded between June 1993, when the first one (to Graeme Harper at UTS) was awarded, to June 2008, when her survey ended. -
Creative Writing Workshops - by Marjorie H Morgan! to Be Used Alongside the Podcast
! ! ! ! ! ! ! ! ! ! ! Creative Writing Workshops - by Marjorie H Morgan! to be used alongside the podcast MT Productions 1 of 28 Marjorie H Morgan Sessions Week 1 Introduction to Creative Writing, Writer’s Toolbox and character development Week 2 Flash Fiction and short stories Week 3 Poetry - written and performance Week 4 Blogs and journaling ! ! MT Productions 2 of 28 Marjorie H Morgan Week 1 ! ! Introduction to Creative Writing, Writer’s Toolbox and character development ! ! 10 Rules of Writing 1) Read. Read. Read. 2) Write. ! Write what you know - your POV! Write interests what intrigues you! Write what you don’t know! Write - don’t be perfect, just write (the way you write) 3) Listen.! Listen to your writing! Listen to other people talking! Listen to dialogue 4) Have a story.! Protaganist! Antagonist! Build drama - suspense! Show, don’t tell 5) Edit.! Read you draft ALOUD! Do not be afraid to change what you have written 6) Share.! Constructive criticism 7) Practice.! Take/make time to write! Make it a regular habit 8) Go for a walk.! Inspiration - narrative triggers! Keep human - see people, go places! Make notes - writer’s notebook 9) Finish what you are writing. 10) Be honest. Tell the Truth.! ! MT Productions 3 of 28 Marjorie H Morgan What’s in the Writer’s Toolbox? Toolbox! Vocabulary Grammar (dialogue)! Words / sentences / paragraphs Experience Observation Plots Settings Characterisation - internal/external worlds Style ! ! MT Productions 4 of 28 Marjorie H Morgan In these pandemic times, and beyond, it’s useful to remember -
Creative Writing Invitation VII: Character Development and Dialogue?
Creative Writing Invitation #7 Character Development and "Dialogue" Part 1: Please read these two passages of dialogue by Ernest Hemingway: "What should we drink?" the girl asked. She had taken off her hat and put it on the table. "It's pretty hot," the man said. "Let's drink beer." "Dos cervesas," the man said into the curtain. "Big ones?" a woman asked from the doorway. "Yes. Two big ones." The woman brought two glasses of beer and two felt pads. She put the felt pads and the beer glasses on the table and looked at the man and the girl. The girl was looking off at the line of hills. They were white in the sun and the country was brown and dry. "They look like white elephants," she said. "I've never seen one," the man drank his beer. "No, you wouldn't have." "I might have," the man said. "Just because you say I wouldn't doesn't prove anything." -- from Hills Like White Elephants The door of Henry's lunch-room opened and two men came in. They sat down at the counter. "What's yours?" George asked them. "I don't know," one of the men said. "What do you want to eat, Al?" "I don't know," said Al. "I don't know what I want to eat." Outside it was getting dark. The street-light came on outside the window. The two men at the counter read the menu. From the other end of the counter Nick Adams watched them. He had been talking to George when they came in. -
Bridging the Voices of Hard-Boiled Detective and Noir Crime Fiction
Christopher Mallon TEXT Vol 19 No 2 Swinburne University of Technology Christopher Mallon Crossing shadows: Bridging the voices of hard-boiled detective and noir crime fiction Abstract This paper discusses the notion of Voice. It attempts to articulate the nature of voice in hard-boiled detective fiction and noir crime fiction. In doing so, it examines discusses how these narrative styles, particularly found within private eye novels, explores aspects of the subjectivity as the narrator- investigator; and, thus crossing and bridging a cynical, hard-boiled style and an alienated, reflective voice within a noir world. Keywords: hard-boiled detective fiction, noir fiction, voice, authenticity Introduction In crime fiction, voice is an integral aspect of the narrative. While plot, characters, and setting are, of course, also instrumental in providing a sense of authenticity to the text, voice brings a sense of verisimilitude and truth to the fiction the author employs. Thus, this paper discusses the nature of voice within the tradition of the crime fiction subgenres of noir and hard-boiled detective literature. In doing so, it examines how voice positions the protagonist; his subjectivity as the narrator-investigator; and, the nature of the hardboiled voice within a noir world. Establishing authenticity The artistic, literary, and aesthetic movement of Modernism, during the late 19th and early 20th Centuries, describes a consciousness of despair, disorder, and anarchy, through ‘the intellectual conventions of plight, alienation, and nihilism’ -
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English 1 ENGL 2020 Introduction to Creative Writing: 3 semester hours English Prerequisites: ENGL 1100 or equivalent. This course is a creative writing survey and workshop focusing on the study of three genres-short fiction, Courses poetry, and creative nonfiction. Students learn primary concepts and techniques of craft, including narrative, voice, character, setting, imagery, ENGL 1030 Beginning Creative Writing: 3 semester hours metaphor, point-of-view. Students will explore literary conventions specific This course introduces students to the building blocks of creative writing to each genre, as well as universal qualities that make all writing effective and the writing workshop classroom. Students will explore how creative for an audience. The course requires three different kinds of writing: brief writers decide what material is best suited for a story, an essay, or a analytic essays, open-ended exploratory exercises, and carefully-revised poem. Pairing creativity with critical thinking, the course offers basic writing original work. This course fulfills the core requirement in Creative Writing practice and familiarizes students with primary concepts and techniques of and counts toward the Certificate in Writing. craft (e.g. narrative, point-of-view, voice and style, character development, ENGL 2030 Poetry Writing Jumpstart: 3 semester hours setting, imagery, and figurative language). Prerequisites: ENGL 1100 or equivalent. This course provides new poets, ENGL 1100 First-Year Writing (MOTR ENGL 200): 3 semester hours would-be poets, and curious non-poets with exercises, experiments, and Integrates critical reading, writing, and thinking skills and studies actual activities to explore two questions: what is a poem, and how does one writing practices. -
Book Review: Reading Style: a Life in Sentences, 24 Perspectives: Teaching Legal Res
Perspectives: Teaching Legal Research and Writing | Vol. 24 | No. 1 & 2 | Summer 2016 32 Cite as: Deborah L. Borman, Book Review: Reading Style: A Life in Sentences, 24 Perspectives: Teaching Legal Res. & Writing 32 (2016). Book Review: Reading Style: A Life in Sentences “To become better writers, By Deborah L. Borman Davidson defines the concept of transcendent students need 2 Deborah L. Borman is Clinical Assistant Professor of Law reading as the “high glimmer factor.” to read great at Northwestern Pritzker School of Law in Chicago, Ill. Davidson’s book consists of a series of lectures authors. Set the scene: you are hunkered down to grade a set on literature she gave in 2009. Each chapter ” of student briefs. Before long before your eyes glaze stands alone as a unique lesson students can over, your lids grow heavy and you start to doze glean from literature to better inform their because of the dull, uninspired writing. Suddenly you legal writing. While Davidson’s book analyzes find yourself going micro and writing this sentence fiction writing (and a little bit of nonfiction in in the margin: “make the subject more compelling.” the last chapter), and some concepts are more Legal writers, especially novices, are often so focused relevant to crafting good legal communication on technical details that they forget good written than others, she offers many writing techniques communication begins with sentences that engage, that are adaptable to legal communication, “glimmer,” and at their best transport the reader. particularly when it comes to advocacy. To become better writers, students need to read The first step to crafting better sentences great authors. -
Terms: Definitions
Broken Arrow Public Schools 3rd Grade Literary Terms Alliteration- The repetition of the same sounds or the same kinds of sounds at the beginning of words or in stressed syllables. Autobiography- the story of a person’s life written by that person, telling the story of your own life is an autobiography. Beat- a sound or similar sounds, recurring at regular intervals, and produced to help musicians keep rhythm or give a pattern of rhythm to a poem as it is read Biography- the story of a person’s life. Cadence- balanced; rhythmic flow, as of poetry or speeches. A falling inflection of the voice, as at the end of a sentence. People who do not have any cadence to their voice speak in a dry, boring monotone. Cause and Effect- the reason (cause) something happened and what happened (effect) to it. (example: The Titanic hit an iceberg and sank, with the loss of over 1,000 lives. Cause—hitting an iceberg; Effect—Titanic sank and people died) Character- any of the people, animals, or creatures who are involved with the story. Compare and Contrast- to look at two events, time periods, people or almost any two things and tell how they are alike and different. Conflict- A struggle or problems between opposing forces which is the main force of a story and its plot. It is what keeps the reader reading. Conflicts can exist between characters (called man vs. man), between a character and society (called man vs. society), between a character and any aspect of nature (called man vs.