CRW 240 Fiction Writing II (Online) - JoAnna Novak
“Write a short story every week," Ray Bradbury advises, noting "It's not possible to write 52 bad short stories in a row.” In this workshop, we'll practice writing stories of all shapes and sizes, from flash fiction to novella-length. Along the way, we'll read work by a wide range of classic, counterculture, and contemporary practitioners of this form, including Fleur Jaeggy, Leonora Carrington, George Saunders, Jamel Brinkley, Dorthe Nors, Sofia Samatar, and more.
CRW 231 Poetry Writing: Oddysey (Lecture) - Johnny Payne
Haven’t yet used Google cardboard or worked in 3D? Now is your chance. A significant dimension of this long-form poetry course takes place in virtual reality. We will first read Homer’s Odyssey in a sterling translation by Stephen Mitchell, followed by the book-length poems The California Poem and Olio. Then you’ll undertake a journey, in stages throughout the semester, tracking Odysseus’s route. On the islands of Calypso and Circe, in the underworld, and back in Ithaka, you will be asked to experience his voyage, and along the way be assigned poetic writing tasks. This adventure will lead us to write a lot of long and short poetry while examining the ideas of heroic and lyric, and the place of both in modern poetry. You will be oriented in class to navigate Odyssey, so no reason to stress. It's fun. No previous poetry writing experience assumed.
CRW 242 Screenwriting II: Short Film (Lecture) - Andrew Ruiz
The short film is often dismissed as a stepping stone to a larger project, a career necessity for the aspiring filmmaker, but rarely worth close examination. The short film in fact is more often a purer example of the filmmaker’s vision. In this course, we will examine the early shorts of major directors and unknown artists, exposing us to a wide range of experiences and styles. We will then apply their narrative magic to our own work. You will create and revise three different short screenplays completing the semester with three scripts ready for production.
CRW 243 Non Fiction Writing: Latin American Nonfiction, (Online) - Lisa Fetchko
From the pre-Columbian era to the present-day boom in la crónica (a versatile blend of journalism, memoir, essay, and fiction), this course will explore the long, rich tradition of nonfiction in Latin America. Readings include essays, letters, memoirs, journalism, and New Journalism. Students will learn basic journalistic skills and explore literary techniques like narrative voice and the creation of scenes as they write and revise their own crónicas. There will be a strong focus on the challenges and rewards of editing. The course is taught in English, but students may write and do many of the readings in Spanish.
Massacre in Mexico by Elena Poniatowska
The Story of a Shipwrecked Sailor by Gabriel García Márquez
Operation Massacreby Rodolfo Walsh
Salvador by Joan Didion
A Simple Story: The Last Malambo by Leila Guerriero
The Book of Emma Reyes: A Memoir by Emma Reyes
An Episode in the Life of a Landscape Painter by César Aira
La noche de Tlatelolco by Elena Poniatowska
Relato de un náufrago by Gabriel García Márquez
Operación Masacre by Rodolfo Walsh
Una historia sencilla by Leila Guerriero
Memoria por correspondencia by Emma Reyes
Un episodio en la vida del pintor Viajero by César Aira
CRW 248 ST Cultural Criticism (Online) – JoAnna Novak
“All criticism is based on that equation: knowledge + taste = meaningful judgment,” writes Daniel Mendelsohn in The New Yorker. What factors influence this equation in the era of the twenty-four hour news cycle, in a world where anyone can pen a Yelp! review? In this course, we'll explore what it means to be a cultural critic in the twenty-first century. Looking at examples including film, television, art, food, and drama criticism, we'll consider the tradition of “meaningful judgment,” practice developing “knowledge” + “taste” of our own, and learn how to pitch work to editorial and journalistic outlets.
CRW 296 Thesis (Online) – JoAnna Novak
Required for completion of the degree is submission of a publication-ready, 100-page manuscript in one genre-fiction, creative non-fiction, screen play or teleplay, or 50 pages of poetry - closely reviewed, edited and refined with the assistance of the student's Thesis Committee.
CRW 297A Thesis Continuation - Johnny Payne
Students who need a little more time to finish their theses may register for up to 4 additional one-units.