English 101E - Introduction to Expository Writing
4 semester hours
Incorvati, Rick
In this class we will approach writing as having both a private and a public function. First, we will use writing as a means of personal reflection and as a way of examining and sharpening your own ideas. Then, we will focus on writing as an avenue for informing and influencing others, and we will practice using some techniques that can make your ideas more persuasive to a critical audience. In the process of preparing your writing for this public function, you will have opportunities to hone your research and writing skills, and you will read essays by some influential writers who have attempted to win over their readers on such topics as environmental policy, civil rights, and freedom of speech. The writing component of this class involves multiple drafts and critical feedback from classmates.
English 101 - Introduction to Expository Writing
4 semester hours
Fisher, Allison
This course is designed to practice the skills essential to successful college writing: writing clearly, correctly, and convincingly. We will also address common fears and anxieties about writing: How do I use evidence to sound credible and knowledgeable? Can I use standard written English in a way that makes me seem competent and thoughtful? This course will teach skills to begin to address these and other issues and to develop strategies for continued growth as writers and readers.
We will approach these skills by reading essays and looking at "texts" from popular culture. We will analyze both the ideas in these essays and other texts and their rhetoric (how they use language and form to communicate their ideas and achieve their effects and goals). In addition to analyzing a variety of texts, we will practice specific skills of grammar and style, and work together to use constructive peer response to improve our writing. We will pay close attention to the concept of audience when constructing essays and when analyzing the work of others.
English 101E - Introduction to Expository Writing
4 semester hours
Fallon, D'Arcy
"You learn to write by writing. It's a truism, but what makes it a truism is that it's true." --William Zinsser.
English 101 introduces students to academic reading and writing processes. You will develop critical reading, writing, and thinking skills through class discussions as well as through the rhetorical analysis of various texts based on the readings in Signs of Life in the USA: Readings on Popular Culture for Writers. The essays reflect diverse viewpoints and voices exploring the signs and symbols of popular culture, including those found in film and television, advertising, icons and idols, consumerism, etc. Keep in mind that the dictionary lists "essay" only secondarily, as a noun. It is first a verb-"to try out; attempt." In response to the essays you'll be reading, analyzing, and writing about, you'll be developing your own voice and testing your own thoughts. And remember that the key to good writing is revision. As the medieval mystic Meister Eckhart once said, "Only the hand that erases can write the true thing."
Writing assignments: Three argumentative or persuasive essays based on readings in the textbook using MLA-style documentation. The fourth assignment is a research paper.
English 101E - Introduction to Expository Writing
4 semester hours
Barrett, Melissa
Change, the word of the year. Everyone's telling us we need it, from Obama to the polar bears to the guys at Apple that want you to buy that fancy phone. But will 2008-2009 be a time of change? Will it mark the social evolution that so many have forecast, with every finger crossed? Contemporary American culture is the writing prompt for this course; together we'll muddle through the immense topics of gender, race, religion, ethnicity, sexual orientation, age, ability level, and soicioeconomic status, and how each is represented in larger society. Through course readings and shared personal experiences, we will begin to understand how our own perceptions, and even our identities, have been formed by acts of exclusion and privilege. Students will be responsible for four major projects, five short papers, and the completion of a mid-term exam. Open, unhindered, and respectful discussion, both in person and in a digital classroom, is the most crucial aspect of this course.
English 101E - Introduction to Expository Writing
4 semester hours
Davis, Robert
This course is an introduction to composition. We will cover many of the foundational skills of expository writing in class, and we'll work with style and revision exercises from writing handbooks. But ultimately better writing comes from practice, practice, and more practice. Writing is not a matter of chance or good luck. It's not a matter of first-draft inspiration. Successful prose in all disciplines is based on specific techniques any writer can master. We discover these techniques, in part, by analyzing prose we admire and by applying what we learn in that analysis to our own developing style. For this reason, I'll urge you to become an active reader as well as an active writer and to study the essays and narratives in the course as a source for techniques you can use yourself.
English 101E - Introduction to Expository Writing
4 semester hours
Thomas, Shannon
E.M. Forster once said, "How do I know what I think until I see what I say?" As an expository writing class, this course is designed, first and foremost, to help you develop your analytical and persuasive writing skills. E.M. Forster's quotation will serve as a frame for how we will approach writing in this class. That is, we will write to learn about/develop our ideas, responses, and arguments as well as to communicate these ideas, responses, and arguments to various audiences. The format for the class will be heavily based on in- and out-of-class informal writing exercises as well as formal writing assignments.
The thematic focus for this course will be an in-depth study of American teen culture through the lens of gender. Some questions that we will address include: How do gender stereotypes affect teenagers? How do teen girls and boys experience their teen years differently? What are the central issues that affect teen girls? Teen boys? How are teen girls and boys portrayed in American pop culture? Under this theme we will read a variety of essays, and a few short stories, that address the American teenager.
English 101E - Introduction to Expository Writing
4 semester hours
Askeland, Lori
Theme:"Begging, Borrowing and Stealing." The quip "amateur poets borrow; professionals steal," often attributed to the poet T.S. Eliot, suggests a potentially dangerous paradox. This course is designed to ask questions rooted in that misquotation: Â what role do copying and imitation play in the creation of new works of writing, art, music, and life in general? After all, writing in English really just means the re-arranging of the same old 26 letters of the alphabets into words and grammatical structures shared by most speakers of the language for hundreds of years. Likewise with most musical composition-there are a limited notes and keys available. So then what does it mean to write an "original" piece, as opposed to something that is "derivative"? What is "plagiarism," and what is "allusion," what is "sampling"-and are they different? These are the kinds of questions we will be asking all term. Obviously, we may not come to any clear consensus on these questions, but it's my hope that by asking these questions you will: arrive at a richer understanding of your own writing/creative process, learn to think more carefully about how to ethically work with the ideas / words of others, and better understand the academic rules that govern this process for college-level writing. Writing intensive.
English 180 - War in Literature and Film
4 semester hours
Jones, Mary Ellen
Prerequisite: English 101
There will be wars and rumors of wars....From the Biblical assaults on the walls of Jericho to yesterday's car bombs in Bagdad, war seems always with us. Apparently, war is an archetypal experience. Combat changes soldiers forever and, as it becomes more total, affects civilians as well. The course readings will range from the American Civil War through World Wars I and II to Vietnam and the Gulf War and perhaps, given published materials, even to the present Awar on terrorism." Readings will be supplemented by occasional films. Writing will include several short papers and one long one. Active class participation is a must.
English 180 - The Lost Generation
4 semester hours
Smith, J. Fitzpatrick
Prerequisite: English 101
In conversation with a young Ernest Hemingway, Gertrude Stein claimed that the new crop of writers and artists were Aa lost generation. Between the world wars, a generation of writers descended upon Paris in search of intellectual , artistic, and emotional freedom. This course will explore Stein's idea of a Alost generation by reading the works of this generation's greatest writers: F. Scott Fitzgerald, Ernest Hemingway, Katherine Ann Porter, and Archibald MacLeish, to name only a few. While focused primarily on the literature of the age, our conversations will not neglect the other arts flourishing in the twenties, particularly in light of the fascinating explorations in photography and painting of Picasso and Man Ray. The course requirements--a reading journal, several short essays, and a group presentation--will work to uncover the implications of Steins's designation; indeed, the questions that might best give shape to our semester is simple: Was the Lost Generation ever Found?
English 180A-Jane Goes to the Movies
4 semester hours
Inboden, Robin
Prerequisite: English 101
Jane Austen would probably be bemused (and amused) were she alive today to see the veritable entertainment empire that has sprung from her novels, which she self-deprecatingly described as "little bit[s] (two Inches wide) of Ivory on which I work with so fine a Brush, [producing] little effect after much labour." In her metaphor she is a miniaturist, producing tiny portraits-but for over sixty years, her work has filled the big screen, with no signs of stopping any time soon. In this course we will read the major novels of Jane Austen and view representative film and television adaptations of them. Not only will we learn basic critical skills for reading fiction and viewing film, but we will find that our discussion of the novels will be illuminated by the choices made (and not made) by filmmakers. We will also explore the continuing popularity of Jane Austen and her novels: what does the current boom in Austen adaptations, sequels, prequels, etc. suggest about our own society's values, desires, and anxieties? We will also examine Austen's life in various versions, as well as considering other fictions and films related to her work. The graded work of the course will include several analytical papers, a final exam, and possibly quizzes and a creative project. Writing Intensive.
English 180 - Making Romance
4 semester hours
Richards, Cynthia
Prerequisite: English 101
A love story: the oldest story-yet the least understood? What are the narratives of love? Their conventions, structures, familiar gestures? Their deep underlying meanings? Their psychological ramifications? And how do these stories vary according to the one telling the story? In particular, how does the gender of the author influence the nature of these narratives and, in turn, how do these narratives influence our understanding of gender and the roles we play as men and women? This course will provide a historical overview of the romance, beginning with the highly scripted "luf-talking" of the Arthurian romance and moving to the fragmentary forays into love in the postmodern novel. The course will pair male and female authors, continually asking how these gendered narratives both differ and concur. We will read such authors as Chretien de Troyes, Marie de France, William Shakespeare, Mary Wroth, Aphra Behn, F. Scott Fitgerald, Zora Neale Hurston, Chuck Palahniuk, and Jeannette Winterson. Along the way, we will explore the primary poetic device for declaring one's love-the sonnet-and the ubiquitous prosaic one-the fairy tale.
The course is discussion based and writing intensive. There will be three formal critical/analytical papers and a final exam.
ENGL 190A/C-Afro-Caribbean Studies: Migratory Subjects
4 semester hours
Wilkerson, Carmiele
Prerequisite: English 101
This course will examine major writers from contemporary Caribbean literature. The course will introduce students to the literary works and cultural history of English-speaking Caribbean authors who have migrated from their respective Islands to the U.S., Canada and Europe. In Migratory Subjects, students will examine short stories, poetry, political essays and novels written by women authors from Trinidad, Barbados, Jamaica, Guyana and Haiti. We will look at their work as an entry point into the migratory experience that aids in the formation of nationhood for Caribbean writers of the African Diaspora. Possible authors include Dionne Brand, Grace Nichols, Audre Lorde, Michelle Cliff, and Edwidge Danticat.
ENGLISH 200 - Introduction to Literary Studies
4 semester hours
Hinson, Scot
Prerequisite: English 170H or 180A or 190. Majors urged to take 200 before 280 or 290.
Few things compare to the exhilaration, mystery, and promise of turning the first page in a new book. This course is designed to intensify that delicious feeling while at the same time introducing you to a more intentional textual awareness. Literary studies, historically a relatively new discipline, is restless, always challenging fundamental assumptions about readers, writers, and texts. Literary studies perennially grapples with other fundamental questions about why we read, what we read, and how we read. We will not exhaust these questions any time in the near future, and that, of course, is part of the excitement. This course will introduce you to those questions currently shaping our thinking about literature and how it makes meaning. We will focus on honing close reading skills and developing interpretive strategies, and on familiarizing ourselves with a number of critical theories or schools. We will also concentrate on shaping effective arguments about literary works. Intended primarily for majors and minors in English, this course is reading and writing intensive and will require essays, reading journals, a research paper, and examinations.
English 240 - Beginning Creative Writing
4 semester hours
Fallon, D=Arcy
Prerequisite: English 101
This course will introduce students to the essential elements of good writing, focusing on fiction, nonfiction, poetry, and drama. Throughout the semester, students will read representative texts and study the fundamental elements of all the genres. This course is centered around the Aworkshop,@Bessentially informal peer critique of student work as well as close reading and class discussion of selected texts. We=ll read and analyze, discuss and critique, but most of all we=ll be a community of people who write. Students will produce pieces in all four genres. There are no exams, but there will be an occasional quiz. The grade is based on a writing portfolio of one's best, revised work, which will be handed in at the end of the semester. The rest of the grade will be based on a journal/writer's notebook and class participation.
English 241 - Beginning Journalism
4 semester hours
McClelland, Michael
Prerequisite: English 101
This course will provide a basic introduction to the practice and principles of journalism, with an emphasis on newspaper production. We will discuss news, features, opinion and sports writing; interviewing skills, journalistic ethics, copy-editing, layout, and other related topics. Students will write regularly, and will be expected to contribute to The Torch, Wittenberg's weekly student newspaper.
English 242 - Writing and Peer Editing - Fry
4 semester hours
Fry, Maureen
Prerequisite: English 101 and permission of the instructor
This intermediate writing course will help students write more fluently and become more effective critics of their own and others= writing. Designed chiefly for prospective writing advisors in the Writing Center, it also attracts future teachers, those needing editing skills in a later profession, and those who simply wish to strengthen their writing. The course focuses on the personal essay, a genre which encourages individuality and creativity, and emphasizes collaborative learning. The main text is students= own writing. Through a combination of readings, writing exercises, papers, and projects and peer editing sessions, students will explore a variety of rhetorical strategies, audiences, structures, and styles. Class organization features a workshop approach and practical experience. This course is limited to 15 students, and the instructor's permission is required before enrolling.
ENG 243 - Business and Professional Writing
4 semester hours
Wilkerson, Carmiele
Prerequisite: English 101
Most people in the business field will admit that writing is very important to their jobs and that writing well is important to the advancement in their careers. The purpose of ENG 243, Business and Professional Writing, is to teach the writing skills needed in order to write successfully in the business world. The course will take an audience-centered approach to writing using the conventional formats for letters, memos and formal reports. Students will also learn to write bibliographies for business documents and how to review and recommend improvements in writing by others.
Through the four projects assigned in the class, students will learn an audience centered writing process that teaches them to define their objectives, plan their writing, and draft their writing and to evaluate and revise their own writing. Corporate teamwork and attention to detail will be emphasized with each project assigned.
English 280 - British Survey I
4 semester hours
Richards, Cynthia
Prerequisite: ENGL 170H, ENGL 180A or ENGL 190A/C
In the course, we will read, discuss, and write about representative texts from the Middle Ages to the beginnings of the British novel in the eighteenth century. We will also seek to locate these texts within the historical and ideological conditions which helped to determine their meaning for their contemporary readers. The course will focus on several themes, such as the construction of the self and the relationship of literature to the state. These themes will help us organize and familiarize a diverse body of literature that can often feel quite foreign to the modern reader. Early British attitudes toward the writer, the reader, and the text can also vary from our own and we will remain attentive to how these attitudes change over the centuries. Â In the process, you will acquire a basic knowledge of literary terms, styles, forms, critical concepts and significant dates. Finally, we will step back from these concerns to reflect on how English is made and why it is that we read these particular works as representative. Frequent response papers, two final papers, a midterm and a final. Writing Intensive.
English 290 - American Literary Traditions: American GothicÂ
4 semester hours
Hinson, Scot
Prerequisite: ENGL 170H, ENGL 180A or ENGL 190A/C
Through an examination of the American Gothic, its origins and its contemporary manifestations, we will explore the difficult, bloody, and painful birth of American literature as well as its continued fascination with and terror of what Melville called the "power of blackness" and the sublime mixture of terror and beauty. This course is driven by America's fascination with Gothic literature, and with what can accurately be described as a Gothic revival in American culture. What is it about the shadowy, diseased, the grotesque, and sublime that so attracts us? What scares us and what spectral shapes do those fears inhabit in our literature? This course in the American Gothic is definitely not for the squeamish and requires frequent reading quizzes, one short and one longer researched essay, a midterm and a final, and a group presentation and bibliography.
 English 290: American Literary Traditions
4 semester hours
Davis, Robert
Prerequisite: ENGL 170, ENGL 180A or ENGL 190A/C
English 290 takes in a wide sweep of American literature-from Puritan poetry to Transcendental essays, from African-American slave narratives to Gothic fiction. But the goal of the American Survey isn't just to expose students to the range and variety of American writing or to cover its historical periods. I'm more interested in teaching students how to think intertextually about literature. I want them to see how American writers play off one another in their books, answering, challenging, questioning-in short, reworking and reimagining the literature of the past.
English 308 - Anarchy for the U.K.: A Study of Romantic Literature
4 semester hours
Rick Incorvati
Prerequisite: ENGL 200 and ENGL 280A
This class considers the innovative and challenging writing of the Romantic-era as well as the remarkable cultural events that helped to shape those texts. We'll take the anarchist theories of William Godwin as our touchstone as we examine the reformist ideas that permeate writings of the feminist Mary Wollstonecraft, the radical poet William Blake, the proto-Marxist Percy Shelley, and the mad, bad, and dangerous Lord Byron, among others. These texts will help us to raise some challenging questions about political authority, about individual identities, and about the nature of divinity. We'll most likely have three exams and two papers, including one 15-page semester project, in this course.
English 310 - Modern Drama
4 semester hours
Smith, Fitz
Prerequisite: ENGL 200 and ENGL 280A
Surveying a range of late-nineteenth and twentieth-century playwrights, this course will discuss the issues central to the contemporary stage. With particular emphasis on the intersections of aesthetics and politics in each playwright's work, our course will develop a critical vocabulary with which we can identify-at times, potentially unlock-the questions crucial to an interpretive reading of a play, questions pertaining to the stage's relation to literary history as well as the stage's relation to its cultural backdrop.
English 313 - Harlem Renaissance
4 semester hours
Wilkerson,Carmiele
Prerequisite : ENGL 200 & 290
The core ideals of the Harlem Renaissance fueled an ideological movement brought about by a keen political awareness of the oppression and inequity that Blacks faced in the United States at the beginning of the 20th century. Writers of the Harlem Renaissance used this awareness as a tool to reach a large audience of Black and white Americans. Particularly, authors Jessie Redmon Fauset, Nella Larson, Angelina Grimke and W.E. B. Du Bois focused their writing during the Harlem Renaissance on the politics of color and identity for the American Black. Fauset, Larson and Grimke wrote specifically about color politics and passing. Du Bois, activist, scholar and writer, was a central figure during the period and his body of writing intersects with many important benchmarks in literary history and race identity at the turn of the century. Overall, the Harlem Renaissance was an era of enormous literary production written by and about American Blacks.
Some goals of the course are designed to help students:
(1) recognize major writers of the Harlem Renaissance period
(2) develop an understanding of how race informs literary identity
(3) become acquainted with a selection of American Black women writers of the period
(4) further advance their skills in critical reading, thinking and writing
English 318 Bad Girls: From Eve to Mary (Wollstonecraft)
4 semester hours
Richards, Cynthia
Prerequsite: ENGL200 and ENGL280A/Non-majors must have junior standing
This course will primarily examine the work of women writers from the medieval period to the early nineteenth century. But the course will not be organized as a survey, but rather focus on the most common tropes by which a woman becomes a "bad girl." I am sure you know those "tropes" already, but to remind you (and to use their less vulgar incarnations) they are: the fallen woman, the shrew, the prostitute, the coquette, and the promiscuous woman. The course will begin by looking at the original "bad girl," Eve and will examine in detail a period of particularly virulent misogynist attacks during the sixteenth and seventeenth centuries, all played out through an examination of Eve's original transgression. We will look at the feminist responses to these debates, including-I would argue-Milton's representation of Eve in Paradise Lost. We will then go back to discuss the shrew or masculinized woman, starting with Chaucer's Wife of Bath and Margery Kempe's account of her spiritual life and concluding in Margaret Cavendish's early foray into science fiction The Blazing World (1665). We will then move on to the figure of the prostitute, focusing primarily on the Restoration stage and the work of Aphra Behn. From there, we will examine the coquette or the tease, a figure of womanhood intrinsically connected-interesting enough-with the birth and development of the novel in the eighteenth century. We will conclude with the figure of the promiscuous woman, focusing primarily on the overtly feminist work of Mary Wollstonecraft and how that intersected with the complexities of her own romantic history. As a kind of coda to the class, we will look at two early nineteenth-century novels, Emma and Frankenstein, one written by a "good girl"-Jane Austen-and another written by a "bad girl"-Mary Shelley-and examine how the "bad girl" goes underground in these novels, one experiencing a happy ending and the other a very tragic one.
The course will include a midterm and final, one shorter paper (five pages) and one researched paper (12-15 pages.) There will also be response papers along the way and the research paper will include a personal component. Writing Intensive.
English 320 - Advanced News Writing
4 semester hours
McClelland, Michael
Prerequisite: English 241, Beginning Journalism
This course will focus on honing the skills needed for a career in journalism, with a heavy focus on producing publication-quality work. Areas covered will include advanced news reporting and writing techniques, investigative journalism, editing, layout, writing for on-line publication, the state of American journalism today, and journalistic ethics and related issues. We will learn by doing-in addition to regularly assigned stories, the class will produce and publish its own magazine. Students will be in charge of every phase of this, from generating ideas to distributing the finished product. In addition, each student will be expected to do an outside internship at Wittenberg's Torch or a comparable journalistic organization. This course is designed for students serious about pursuing a career in journalism or a related field. The course is, obviously, writing intensive.
English 340 - Advanced Fiction Writing
4 semester hours
McClelland, Michael
Prerequisite: ENGL 240
There is really only one way to become a superior fiction writer: Write, then read, then go write some more. In this class, we will do plenty of both. Students will continue developing the skills and techniques introduced in Beginning Creative Writing through readings, discussion, workshopping, journal-keeping and lots of writing. Each student will produce three short stories and will do a major revision of one of those pieces. Our goal will be for each student to write at least one story suitable for submission to a literary journal.
English 341 - Advanced Poetry
4 semester hours
Rambo, Jody
Prerequisite: ENGL 240
If poems are, as Jorie Graham writes, "records of true risks taken by the soul of the speaker" then the intent of this advanced writing course in poetry is to create the conditions for taking such risks. The course will be composed of equal parts reading and writing poetry to introduce students to developments in contemporary poetry and to help them develop further their craft. Students will also explore different forms of poetry such as the sonnet, villanelle, and sestina, along with free verse and prose poems. Regular writing workshops, a poet's notebook, diverse reading assignments, and a final manuscript. Prerequisite: English 240 or instructor's permission.
English 343 - Screenwriting
4 semester hours
Barrett, Melissa
Prerequisite: ENGL 240; Theatre/Dance 240 strongly recommemded
The primary goal of the course is to reach the near-completion of one feature-length screenplay. In order to do so, students must be willing to operate on a tight schedule, embrace radical revision, and complete the course reading materials, which include style manuals, successful screenplays, and each other's work. Because the art of screenwriting demands the end before you finish writing the beginning, it is crucial to have the time and energy for this course. In short, the semester will be intense and exhausting-but prolific.
English 380: The Literature of the Beat Generation
4 semester hours
Davis, Robert
Prerequisite: ENGL 200
I didn't discover the Beats until I was almost forty. I'd read Howl in high school, mainly because my English teacher had warned us that it was an obscene book, and I'd heard Michael McClure read his poetry at something called "The Tribal Stomp" in Berkeley in 1978. But I didn't think much of the Beats as serious writers at that point, and I always thought of Maynard G. Krebs (the bongo-playing "beatnik" from the 60s sitcom) whenever anyone mentioned Jack Kerouac. Five or six years ago, however, I stumbled onto a collection of Buddhist writings by the Beat poets Diane di Prima and Gary Snyder and found something well-hidden behind the media images of bongo drums and black berets: a literature of spiritual exploration as courageous and complex as anything I'd ever read. This course grows out of that discovery. Rejecting the bland optimism of the 1950s, the Beat movement expressed a spirituality of raw intensity, a rock-and-roll mix of existentialism, transcendentalism, and working-class Zen. The primary texts for the course-On the Road, Minor Characters, Howl, Naked Lunch, Pieces of a Song, and Riprap and Cold Mountain Poems-grow out of these sources, and explore, in the midst of suffering and despair, new ways of being alive in the world.
English 380 - Screening Fiction
4 semester hours
Hinson, Scot
Prerequisite: ENGL 200
So-called "classic" literature, as well as "popular" literature has always been a rich source for filmmakers. In recent years, filmmakers have drawn more and more heavily on the likes of Shakespeare, Jane Austen, and other literary giants for their movies. But filmmakers have also had a long-standing tradition of adapting the comics and graphic novels into narrative films. And, finally, Hollywood shamelessly has begun mining international film as grist--and in many cases, gristle--for its blockbuster mill. Throughout this long history, film adaptation of narrative sources has always been fraught with a number of questions: Should the films be "faithful" to the original? Is the "original" more important than the adaptation? When is an adaptation and adaptation and when is it something else? Does literature love the cinema as much as the cinema seems to love literature? What are the capabilities and limitations of each medium? We will explore these questions and others by looking at a number of literary works and their film adaptations. Some works that might be included are Dracula, Frankenstein, Romeo and Juliet, Possession, Atonement, The Road, Cold Mountain, The English Patient, Watchmen, and others. The course is writing intensive and requires a film screening lab each Monday evening, 7:00-9:30 PM.
English 403 - Special Projects in Creative Writing
4 semester hours
Fallon, D'Arcy
Prerequisite: Department Permission, senior status
Special Projects in Creative Writing offers serious creative writing students an opportunity to produce a significant piece in fiction, poetry, creative nonfiction, or with a screenplay. This advanced project combines the group experience of a workshop with the private conference, typically requiring weekly group meetings in a workshop format and individual meetings with the instructor in the given genre. Admission to the course is based on a writing sample and a brief description of the kind of project the student is proposing.
