Fall 2019 Course Atlas


FALL 2019

All students, including majors and non-majors, must take one 200-level Intro (either 270, 271, or 272) before advancing to Intermediate 300-level workshops in prose or poetry. The same is required of non-majors who wish to take creative writing workshops, though some professors may choose to waive this requirement for junior and senior non-majors. The requirement is never waived for majors. Note that the 300-level workshop in Playwriting does not require any pre-requisite.

Students who have completed the 200-level requirement may apply to any Intermediate workshop.

A 300-level intermediate course is a prerequisite for an advanced course. Students who wish to take an advanced course in fiction, poetry or playwriting in the spring must receive a grade of A or A- in their intermediate 300-level course.

Please see http://creativewriting.emory.edu/home/academics/major-english-creative-writing.html for more information about the Creative Writing Program requirements.

Permission is required to enroll in all creative writing classes. Students must fill out an application and submit to the Creative Writing Program office in N209 Callaway. Application forms are available at the office or may be printed out from the Creative Writing Program website at http://creativewriting.emory.edu/home/academics/major-english-creative-writing.html (see “Quick Links” on the right).

Applications must be submitted in hardcopy at the Creative Writing Program office (N209 Callaway). E-mail applications are only accepted if you are not on campus this semester (i.e., study abroad, semester off, at Oxford College, etc.) or are mobility impaired. Students meeting those conditions may e-mail their applications to pvitari@emory.edu.

All classes are HAPW unless otherwise noted.

All classes have a maximum of 15 students unless otherwise noted.

DO NOT E-MAIL AN INSTRUCTOR FOR PERMISSION. The instructors will forward your e-mail to Paula Vitaris in the Creative Writing Program office, who will then remind you that the proper procedure to apply for a class is to submit your application (and writing sample, if required) at the Program office.

If you are not sure if a course is open, or have any other questions, please e-mail Paula Vitaris at pvitari@emory.edu. ***OPUS is NOT an accurate picture of availability*** as students who have been accepted into a class may have not yet pre-registered or added in.

The list of accepted students is posted online at: http://creativewriting.emory.edu/home/academics/student-resources/accepted-students.html

Emory College atlas page: https://atlas.emory.edu/

ENGCW 271W Introduction to Poetry Writing

ENGCW 271W:  Introduction to Poetry Writing (four sections)

Extracurricular activities for all sections:

Students are required to attend on-campus readings and colloquia sponsored by the Creative Writing Program outside of class time and are encouraged to attend any other activities sponsored by the Program.

Pre-requisite: None



ENGCW 271W-1  Condon           Monday 2-5 p.m.

ENGCW 271W-2  Christle           Tuesday 2:30-5:30 p.m.

ENGCW 271W-3  Bosch             Wednesday 2-5 p.m.

ENGCW 271W-4  Schiff              Thursday 2:30-5:30 p.m.


Condon’s section (Monday 2-5):


Writing poetry has the potential to make us more emotionally literate, and inevitably renders our attention to the world more acute. In this creative writing workshop, you will learn essential craft tools and poetic forms that will help you become a more sophisticated poet. To learn these tools, we will read and discuss the work of 20th-century and contemporary poets who have mastered them, focusing on how their formal decisions communicate something fundamental about our human situations. In-class writing prompts will help you generate your own original poetry. As the semester progresses you will be expected to discuss and analyze your peers’ poems and poetic choices, as well as your own. One characteristic of poetry is its translation of human experience into art that lasts. Often, these experiences raise challenging questions. You should be prepared to read and respond respectfully to poetry that addresses sensitive and adult material. Please plan to budget for printing and photocopying.


A Poetry Handbook, Mary Oliver

High Ground Coward, Alicia Mountain

You are also required to read a new collection of poetry (published in 2018 or 2019) of your own choosing and write a 2-3 page craft analysis. I will provide you with a list of possible options. Other handouts and supplementary readings will be provided. 


Attendance and informal writing: 10%

Workshop submissions: 15%

Workshop Commentary/Participation: 15%

Craft Analysis: 15%

Essay on Personal Poetics: 15%

Final Portfolio: 30%


Christle’s section (Tuesday 2:30-5:30):


An intensive introductory workshop, in which we will meet to share, discuss, critique, celebrate, explore, and dissect poems by class members and other people. We will seek, in our meetings, to make connections between the language and ideas of poetry and those of the worlds we inhabit. Together we will develop and expand a shared vocabulary in which poems can be made, read, understood, furthered, and enjoyed. A portfolio of revised work, including a brief introduction, will be handed in at the semester’s end. Students should budget for p hotocopying.


Brain Fever, Kimiko Hahn

Catalog of Unabashed Gratitude, Ross Gay

IRL, Tommy Pico

Homage to the Lame Wolf, Vasko Popa

Trances of the Blast, Mary Ruefle


-Your writing of a new poem each week, sometimes in response to an assigned prompt, sometimes in response to an idea of your own

-Your participation in discussions of your classmates’ new poems

-Your reading of several books (and other texts) and your discussion of them in class

-Your writing of thoughtful, detailed responses to three of those books

-Your revising of poems with as you approach the assembly of a portfolio at the semester’s end

-Your writing of an introductory essay to your portfolio, examining and contextualizing your work within the ideas you’ve encountered in the course


Bosch’s section (Wednesday 2-5):


In this anonymous workshop students will define, experiment with, and enter into specific, detailed, and precise conversations about a fundamental toolkit of poetry derived from exemplary poems composed in a variety of embodied oral and written traditions from all over the world and dating back many thousands of years. More contemporary tools—those developed since the advent of printed pages, for example—will be seen in light of a critical grasp of these ancient tools. The workshop’s principal concern will be the development of participants’ tool use and their fluency in using, talking about, writing about, and analyzing the tools in the kit. ENGCW 271W will lay a groundwork for future attempts to read and write poems. 

Nearly every week, students will compose a new “experiment” in lines. The experiments will be anonymized and distributed as “packets” that will be read closely and out loud, assessed critically, and discussed honestly in workshop meetings. For every workshop packet read, each student will compose a specific, detailed, and accurate Peer Note addressed to the anonymous composer of one or two of the experiments. Every fifth experiment assigned will explicitly involve revision of a previous experiment

NOTE: Students should budget for printing readings and workshop poems.


Western Wind, J.F. Nims and D. Mason (students are encouraged to purchase used copies of any edition)

Hand-outs from the instructor


  • 30% of a participant’s course grade will be derived from assessment of their active, precise, and specific participation in class discussions and workshop meetings—whether that participation is vocal or written in Peer Notes.
  • 30% of a participant’s course grade will be derived from assessment of the qualities of the experiments each participant produces.
  • 40% of a participant’s course grade will be determined by assessment of the qualities of the Revised Portfolio submitted at the end of the term.

Extra credit will be offered for specific, detailed, and accurate written responses to literary events attended and then directly related by the participant to issues raised in our workshop.


Schiff’s section (Thursday 2:30-5:30):


This lively poetry workshop will concentrate on form and play in poetry. We will look closely at both the formal attributes, and the sense of play, in a wide variety of poems across historic periods and in the contemporary moment to discover how the use of poetic forms—and moreover the playful breaking of forms—has shaped poetic expression over time. We will engage a number of traditional forms, as well as free verse, nonce forms, invented procedures, and chance operations, to ask ourselves how form and structure can be expressive, rebellious, political, and innovative. Students will have the opportunity to imitate and undermine the structures we encounter, and will invent their own as we wonder together how form might be reinvigorated, renovated, recycled, or even abandoned in the present day. Our conversations will inspire exercises and dares that challenge our habits and visions, and we will embrace all kinds of structural possibilities. During the long weekly workshop component of each class session we will deeply and generously respond to student work with an eye toward articulating and enhancing the relationships between deep structure and expression. Requirements include a sense of play and an open mind. Students should budget for photocopying. 


The Art of Description: World into Word, Mark Doty

The Norton Anthology of Poetry, Shorter Fifth Edition, Margaret Ferguson, Mary Jo Salter, Jon Stallworthy, eds.

Selected Poems, Gwendolyn Brooks

Dear Prudence: New and Selected Poems, David Trinidad

The New Collected Poems, Marianne Moore; Heather Cass White, ed.

Electronic course pack curated by the instructor. Please budget for voluminous printing.


30 points: Class participation & classroom citizenship

20 points: Midterm portfolio and essay

20 points: Final portfolio and essay

5 points: Recitation

25 points: Quizzes on reading



ENGCW 272W Introduction to Fiction Writing

Extracurricular activities for all sections:

Students are required to attend on-campus readings and colloquia sponsored by the Creative Writing Program outside of class time and are encouraged to attend any other activities sponsored by the Program.

Pre-requisite: None



ENGCW 272W: Introduction to Fiction Writing (four sections) 

ENGCW 272W-1  Yanique                       Monday 10-1

ENGCW 272W-2  Kamal                          Tuesday 2:30-5:30

ENGCW 272W-3  Houck                          Wednesday 2-5

ENGCW 272W-4  Houck                          Thursday 2:30-5:30 p.m. 


Yanique’s section (Monday 10-1):


This is an introductory course on the art of fiction writing.  We will focus on elements of craft such as character development, narrative control, dialogue, scene development, setting, structure, openings and endings.  We will engage with fiction writing as always about creating human beings with histories, bodies, and social realities; as always about creating a world anew for an audience; and always a form of communication with an ongoing humanity—be it dead writers, current beloveds, future anonymous readers or one’s own self.  Students will come to understand the fiction workshop as a place to face fears, biases and the limitations of the imagination all via practice and hard work.  Students will come to see fiction writing as a place to engage bravely and vulnerably with grief, joy and the full range of human emotions between. Students should budget for printing/photocopying.


Telling Tales, Nadine Gordimer, ed.

Bastard Out of Carolina, Dorothy Allison

Selected stories handed out by the professor


Students will be assessed on five elements of the course, as listed below. Each aspect of the class will be weighed equally at 20%. Students must perform with excellence on all elements of the course to receive an A-. Excellence is defined by the professor.  Students performing very well will receive a grade on the B to B+ scale. Students performing well will receive a grade on the C+ to B- scale. Students performing mediocrely will receive a grade on the D to C scale. Students performing inadequately will be asked to leave the class or they will receive an F grade. The A grade is reserved for students who exceed the professor’s expectations.


Written comments to fellow students

Writing Exercises 

Class Participation 

3 pieces of fiction/2 new pieces and one revision (3-20 pgs each)


Kamal’s section (Tuesday 2:30-5:30):


This course is an introduction to the techniques, art and craft of storytelling in short stories for beginner writers and a good revision for more advanced writers. We will read short stories and essays on writing from a wide variety of authors from around the world. All the elements of storytelling in fiction will be covered such as plotting, character development, setting/atmosphere, conflict, dialogue, telling versus showing, style, tone, point of view etc. while learning to read like a writer. We will also study how some writers/stories focus on telling, others on dialogue, and still others on tone. How does one writer maintain conflict and tension? How does another depict characterization through dialogue? How does yet another writer invoke atmosphere through setting? We will discuss how specific details give rise to universal experience. Each student will write a draft of a short story (2000-5000 words, no novel excerpts) and revise and polish that draft for a final revision using techniques we will have studied in class. You will be expected to turn in a 2-5 page double spaced response of what class readings you used to help you polish your final revision story.  


Reading assignments will be posted or distributed in class, usually a short story with an accompanying craft essay and a Ted talk on writing.


Class participation:  20%

Attendance:  10%

Draft:  20%

Final story:  30%

Class Reading used for Final:  20%


Houck’s sections (Wednesday 2-5/Thursday 2:30-5:30):


This course will be an introduction to the elements, forms, and philosophy of short literary fiction. Through exercises, discussion, and a variety of texts, we will examine the challenges of compressed narratives and the possibilities they offer us as writers. We will also consider fundamental questions about the origins and signifiers of successful fiction, and seek to illuminate a path towards our own writing voice and our individual processes. Students will gain experience via immersion in the various roles of the writing life. A significant portion of the semester will be dedicated to the writing workshop, for which students will be expected to write, submit, and discuss several original works of short fiction. Selected readings will be provided digitally; students should budget for the cost of printing and copying for class.  


The Art and Craft of Fiction, 2nd ed., Michael Kardos

Now Write!, Later Printing Edition, Sherry Ellis, ed.

Readings and handouts from the instructor


Coursework will be collected in a Final Portfolio at the end of the year, which will account for 65% of the student grade. Portfolios will include drafts of each story workshopped and one (1) story selected for revision. Participation, citizenship, and attendance – along with occasional short assignments – will comprise the other 35%.

*Note: Work in the final portfolio will be graded normally, but workshopped drafts will not be receiving letter grades during the semester. They will instead be given a comprehensive feedback letter from the instructor, along with a ‘Draft-Stage Evaluation’ using the Early/Middle/Late system. This system has approximate letter-grade equivalents (Early and Early-Middle = C or below, Middle = C+ to B, Middle-Late = B to B+, and Late = A- to an A), but is meant to indicate how finished a story is, on its own terms and as a draft, rather than as a completed work. Feedback in this form (along with feedback from peers) is oriented towards the re-approach, revision and fine-tuning of students’ stories, and better emulates the real-world processes of practicing authors.

ENGCW 370RW Intermediate Fiction

Extracurricular activities for all sections:

Students are required to attend on-campus readings and colloquia sponsored by the Creative Writing Program outside of class time and are encouraged to attend any other activities sponsored by the Program.


ENGCW 370RW: Creative Writing: Intermediate Fiction (three sections)

ENGCW 370RW-1  Clark                Monday 2-5

ENGCW 370RW-2  Unigwe             Tuesday 2:30-5:30

ENGCW 370RW-3  Unigwe             Wednesday 2-5


Clark’s section (Monday 2-5):


This writing workshop grants you citizenship in a community of artists. While part of this community, we will encounter the work of other fiction writers, learn various narrative forms and techniques, share your experiments in narrative, and offer and receive constructive criticism. This class also serves as a weekly reminder you are not alone in the solitary endeavor of writing.

There are two ways to become a better fiction writer—writing fiction and reading fiction—and this semester you will do a significant amount of both. We will read, discuss, and respond to contemporary fiction stories and one novel. Based on these readings, we will write flash imitations focused on specific forms or techniques and then write short stories based on these imitations. We will workshop imitations and stories to sharpen and hone these narrative elements.

This course will strengthen your writing and editing skills, including original creative composition, proofreading, copyediting, and revision. It will broaden your familiarity with and your appreciation of contemporary fiction. It will deepen your understanding of the elements of craft in fiction by “reading like a writer.” We will practice gracefully giving and receiving constructive criticism in workshop. Students should budget for photocopying.


  • Pre-requisite: Any 200-level (ENGCW 270W, 271W, 272W) Creative Writing workshop.
  • All non-Creative Writing majors must attach a 15-20 page prose writing sample to their application.
  • Creative Writing majors who have NOT taken ENGCW 272W Introduction to Fiction Writing must also attach a 15-20 page prose writing sample.


The Virgin Suicides, Jeffrey Eugenides

PDF packet of short fiction


Students will be assessed on their writing, “reading as a writer” skills, and active participation, both in class and in the literary community. Flash imitations 25%; Short stories for workshop 35%; Final portfolio revision 10%; Participation 15% (attendance, class discussion, reading responses); Literary citizenship 5% (attending readings and submitting written responses); Written workshop critiques 10%.


Unigwe’s sections (Tuesday 2:30-5:30/Wednesday 2-5):


This workshop will build on the skills students already acquired in previous fiction classes by studying exemplary works by contemporary fiction writers, discussing craft essays by practicing writers, practicing the techniques of fiction writing, and workshopping fiction in progress and so on. This is going to be a semester of intensive reading, intensive writing and intensive re-writing.  In addition to their own stories, students will be expected to write an essay on any one of the four prescribed novels/novellas examining the author's craft. Students should budget for photocopying.


  • Pre-requisite: Any 200-level (ENGCW 270W, 271W, 272W) Creative Writing workshop.
  • All non-Creative Writing majors must attach a 15-20 page prose writing sample to their application.
  • Creative Writing majors who have NOT taken ENGCW 272W Introduction to Fiction Writing must also attach a 15-20 page prose writing sample.


Students are required to select any two novellas from the list below (there's something for every taste!) to read during the semester. At the end of the semester, they are to write a short essay (1000 words) on their choice, analyzing the works and stating what, if any, lessons they have learned (about craft) from the novellas. This essay will form part of their portfolio. 

Adele, Leila Silmani

Fever Dream, Samantha Schweblin

My Sister, the Serial Killer, Oyinkan Braithwaite

Short stories (various sources)


Students won’t be graded on creativity or artistic ability, but they will be graded on the ability to write clearly, on whether or not they've completed each assignment and on class participation (which includes attendance).

ENGCW 371RW Intermediate Poetry

ENGCW 371RW-1: Creative Writing: Intermediate Poetry 

Brown  Tuesday 2:30-5:30


An opportunity to generate new work while helping to engender in one another new ideas about writing. As there is a profound relationship between reading poetry and writing it, we will read, discuss, and even recite the work of several poets whose example might lead us to a further honing of our craft. In each workshop, we will read and discuss students’ poems in order to examine the relationships between the poet's intentions and ideas and the phrases and images used to embody them. As we explore the genre of poetry in the United States, students will learn the meanings and uses of poetic terms, as well as the work of major American poets. As poetry always has, this course deals with material meant for mature audiences and adult discussion. Students who do not wish to think or study, should reconsider their enrollment in this one. Students should budget for photocopying.


  • Pre-requisite: Any 200-level (ENGCW 270W, 271W, 272W) Creative Writing workshop.
  • Applications must include a writing sample of 3-4 poems, each poem on a separate page.
  • No adds unless you’ve attended the first session, so if you’re on the waiting list and plan to enroll if a space opens up, you must sit in on the first session.


Legitimate Dangers: American Poets of the New Century, Michael Dumanis and Cate Marvin, eds.

Contemporary American Poetry, 7th ed., A. Poulin and Michael Waters, eds. NOTE: The 7th edition of Contemporary American Poetry is out of print and will not be available through the Emory bookstore. Students may purchase used copies online at Barnes and Noble: http://search.barnesandnoble.com/Contemporary-American-Poetry/A-Poulin-Jr/e/9780618042999 or Amazon: http://www.amazon.com/Contemporary-American-Poetry-7th-2000/dp/0618042997

Deaf Republic, Ilya Kaminsky

A Woman of Property, Robyn Schiff

Heliopause, Heather Christle


Students will be evaluated on their writing and critiquing skills though the following expectations:

Essay on personal poetics I: 5%

Invocation (recitation of at least seven lines of a poem): 5%

Presentation/Review: 15%

Presentation Discussion: 20%

Workshop Participation: 20%

Workshop Discussion: 20%

Revisions: 5%

Essay on personal poetics II: 10% 

Extracurricular activities:

Students are required to attend on-campus readings and colloquia sponsored by the Creative Writing Program outside of class time and are encouraged to attend any other activities sponsored by the Program.


ENGCW/THEA 372RW Playwriting

ENGCW 372RW: Playwriting  Two sections

(Crosslisted with THEA 372RW, Playwriting)

ENGCW/THEA 372RW-1  Paulsen/Belflower       Thursday 2:30-5:30

ENGCW/THEA 372RW-2  Paulsen/Wilder           Wednesday 2-5


Atlas description for both sections:


An introduction to the craft and art of playwriting. No previous experience necessary in playwriting, acting, or theater. This course is co-taught by a playwright and a theater artist and will focus on writing exercises and a final project that will allow students to experience first-hand the creative process, from finding inspiration to the fundamentals of playwriting (character, dramatic action, dialogue) to the exciting collaboration implicit in presenting the play to an audience. Students should budget for photocopying. 

NOTE: This is a permission-only course and all students, including Theater Studies students, must apply through the Creative Writing Program. Applications are available at the Creative Writing Program office (N209 Callaway) or may be printed out from the “Quicklinks” section on the right-hand side of the Creative Writing “Academics” page (http://creativewriting.emory.edu/home/academics/index.html).


Backwards and Forwards, David Ball

Additional reading list chosen from a selection of full-length, one-act and ten-minute plays from playwrights such as: Edward Albee, John Patrick Shanley, Arthur Miller, Jose Rivera, Suzan-Lori Parks, David Mamet, Sarah Ruhl, John Guare and Paula Vogel. 


Students will be assessed on their ability to write clearly and with proper grammar, the shaping of a stageable drama, the logic and artistry of their dramatic choices, and their basic understanding of theatrical process. Highest grades will be given to writers whose work is without need of major overhaul or who make extraordinary progress in their writing over the course of the semester. Writers who need substantial correction either in the use of language, the shaping of a play, the logic of a story, or the meeting of class deadlines will receive lower grades. Failing grades will be given to students who fail to meet substantial class objectives.

Extracurricular Activities:

Students are required to attend on-campus readings sponsored by the Creative Writing Program outside of class time, as well as productions by Theater Emory, and write short responses.


ENGCW 376RW Creative Nonfiction

ENGCW 376RW-1: Creative Nonfiction 

Klibanoff  Tuesday  2:30-5:30 p.m. 


This workshop is focused on long form, nonfiction magazine and feature writing -- reading it, reporting it, writing it, and doing so in ways and by means that separate the exceptional from the pedestrian. This is nonfiction. Be prepared to be a reporter, to meet people face-to-face, to ask questions, to see and hear things with your own eyes and ears. We’ll have visiting experts on hand as we discuss where great ideas come from, how to be strategic in your reporting, the art of the interview, and crafting stories, then stories within stories. We're looking mostly at print, but we will see beyond the dead tree media at the growing opportunities for magazine-style writing and long-form narratives online. Ultimately, the goal of the course is for you to become a considerably wiser and more effective nonfiction story-teller, for which the basis is sound reporting. Students should budget for photocopying. 


  • Students must have taken ENGCW 272W Introduction to Fiction Writing or they must provide some evidence they have done journalistic writing and attach a writing sample of 10-15 pages of prose or journalistic writing to their application.
  • This course is not open to first-year students.


Storycraft: The Complete Guide to Writing Narrative Nonfiction, Jack Hart


This course in magazine and feature writing requires students to report, report and report (which means interviewing people, conducting research, observing people, situations) and to write complete stories in a narrative, journalistic style that meets high standards for clarity, accuracy, story-telling and ethics. Students will be assessed primarily on their engagement in effective, ethical reporting (gathering of information) for magazine and feature stories, and on the overall development of their reporting skills; on the development of their narrative writing as they seek the ultimate goal: to produce publishable work; on class participation, and on the quality of their responses to assignments.

Extracurricular activities:

Students are required to attend on-campus readings and colloquia sponsored by the Creative Writing Program outside of class time.



ENGCW 379W/FILM 389W Special Topics: Introduction to Television Writing

ENGCW 379W: Special Topics: Introduction to Television Writing      

Cooper  Monday 2-5

Crosslisted with FILM 389RW-1 Special Topics

Maximum number of students: 14 (ENGCW: 10/FILM: 4)


This workshop will introduce students to the fundamentals of writing for television. Focusing on half-hour comedies and one-hour dramas, students will learn the format, forms, craft, and culture of television writing. The elements of episodic storytelling will be explored (premise, character, setting, scene structure, episode structure, conflict, dialogue, etc.). Over the course of the semester, students will develop their collaborative and critical skills while exploring their individual creative voices. Students will work together in "writers rooms" to develop detailed pitches for a currently running television series (including the writing of log-lines, beat sheets, outlines, scenes, and acts). As a final project, each student will write a full "spec script" (half-hour or one-hour). Classes will include instruction-based lecture, episode review, individual and collaborative writing exercises, workshops of both individual and group work, and in-depth discussion. Further areas to be explored include writing an original treatment/show bible, developing a pitch, working in a writers' room, dealing with notes, and other aspects of both the creative and business sides of television writing. Students should expect to collaborate frequently (and creatively) with fellow classmates, in addition to writing their own work. Students will also be expected to participate frequently and meaningfully in class discussion/critiques. (Depending on scheduling, there will be on- and/or off-campus immersive experiences with television production/industry.)


  • Pre-Requisite: ENGCW 272W Introduction to Fiction, or ENGCW/THEA 372RW Playwriting, or ENGCW/FILM 378RW Screenwriting.
  • A writing sample (10-15 pages of a screenplay, a play, or fiction) is required to be admitted to this course.
  • Film students must apply through the Creative Writing Program office in N209 Callaway
  • This course is not open to first-year students.


There are no set texts for this course, but please budget for:

  1. A good amount of photocopying/printing
  2. Final Draft software. (This is required for collaboration: a deeply-discounted code will be provided to purchase Final Draft on the first day of class; a free trial version of the software might also be available, TBD).
  3. Laptop (with Final Draft software) should be brought to every class.
  4. Streaming service subscription (TBD, depending on selected series)


Students will be assessed on their writing and class participation:

50% Writing (including in- and out-of-class writing, a final spec script, and an original treatment).

50% Class participation and attendance (including outside reading series attendance/responses, peer responses, class discussion, class attendance, collaboration, and overall effort/improvement)

Extracurricular activities:

Students are required to attend on-campus readings and colloquia sponsored by the Creative Writing Program outside of class time. Depending on local production schedules, students might also be visiting off-campus production companies/active sets in the Atlanta area.


ENGCW 385RW/AAS/AMST/HIST 387RW Georgia Civil Rights Cold Cases

ENGCW 385RW-1: Georgia Civil Rights Cold Cases      

Klibanoff        Wednesday 2-4:30    

Crosslisted with AAS/HIST/AMST 387RW-1

Maximum number of students: 16 (4 in each crosslist)


In the years between 1945 and 1968, untold numbers of American citizens were targeted for death because of their race, beliefs, or civil rights work – and in some cases merely because of what they drove, how they spoke, or the ever-shifting lines of racial etiquette they crossed. In many cases, their murders were inadequately investigated or prosecuted, their stories left untold, and the crimes against their humanity never punished. The Georgia Civil Rights Cold Cases Project at Emory University is both a class and an ongoing historical and journalistic exploration of the Jim Crow South through the prism of unsolved or unpunished civil rights-era murders in Georgia. Using primary evidence – including FBI records, NAACP files, old newspaper clippings, court transcripts, and personal archives – students come to see and understand history from the inside out. Student essays, grounded in secondary readings that provide broader context, will be aimed at the project website, coldcases.emory.edu, which was launched in early 2015.

Students should budget for photocopying.

NOTE: This course is not open to first-year students. 


Course packet distributed in class


There will be frequent writing assignments and frequent requests to revise your work. I will read your work closely, make comments on your theme, your structure, your language, word selection, grammar, punctuation, spelling and citations, as well as your integration of primary evidence and secondary material. You will write a 8- to 10-page midterm and a final paper that is a smaller, sharper, web-ready distillation of your midterm paper. I will build in time for peer review of your work. I will meet with you out of class to focus on both the research and the writing. You will see that I am as serious about your mastery of writing as we are of your command of the historical events we will examine. Our goal is not merely for you to learn and understand the history, but to be able to convey it clearly. I want to see progress in your writing each week.

Extracurricular activities:

Students are required to attend on-campus readings and colloquia sponsored by the Creative Writing Program outside of class time.

ENGCW 495RW Honors

Permission required: Accepted honors students only.

Pre-requisite: Approval of project by honors thesis director.

Please review honors application guidelines at http://creativewriting.emory.edu/home/academics/honors-program.html