Fall 2020 Course Atlas

CREATIVE WRITING PROGRAM COURSE ATLAS

FALL 2020

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.

Fall 2020 courses that do not require an 200-level introductory class:

ENGCW 354-1 50 Shades: Nonfiction Ethics

ENGCW/THEA 372RW Intermediate Playwriting

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

 

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 via e-mail to Paula Vitaris at pvitari@emory.edu. If your application includes a writing sample, the writing sample must be attached to the application and sent as ONE DOCUMENT IN WORD FORMAT. Application forms may also be downloaded 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 will be accepted until the end of add-drop in the fall.

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/

CREATIVE WRITING FALL 2020 COURSE ATLAS

ENGCW 190 Freshman Seminar

ENGCW 190-1 Freshman Seminar: House by the Sea: Eco-Poetics & Eco-Narratives of the Caribbean and Emory   Yanique    Monday 10 a.m.-1 p.m.

Crosslisted with AAS 190.  MAX: 15 (ENGCW: 12; AAS: 3)

NOTE: This is not a permission course and an application is not required.

Content:

This is a first year seminar where we will read books of fiction and poetry in order to think about how humans are made in response to the world around them, as well as how humans make the world around them. We will write our own poetry and fiction. We will study a place far away (The Caribbean) and a place close and intimate (Emory’s campus) in order to make our own characters who are rooted in and impacted by their own placement (be it real or imagined place). You will be asked to write bravely, fiercely and to have fun.  

Written Assignments

  • Written assignments throughout class
  • One close reading paper (4-6 pages)
  • One short story, group of poems or novel excerpt

Texts:

Claire of the Sea Light, Edwidge Danticat

Kingdom Animalia, Aracelis Girmay

Assessment:

This is a first year seminar designed to introduce students to Emory, college-level work, writing about the environment, and craft issues around writing poetry and fiction. 

Class Participation: 25%

Small Writing Assignments: 25%

Critical Paper: 25%

Final Presentation: 25%

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.

Pre-requisite: None

ENGCW 271W Introduction to Poetry Writing

ENGCW 271W:  Introduction to Poetry Writing (four sections) MAX: 15 students each section

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

 

Sections:

ENGCW 271W-1  Schiff              Monday 2:30-5:30 p.m.

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

ENGCW 271W-3  Schiff              Wednesday 2:30-5:30 p.m.

 

Schiff's sections:

Content:

In this lively poetry course we will look closely at the formal attributes of a wide variety of poems across historic periods and in the contemporary moment to discover how the use of poetic forms—and moreover the breaking of forms— has shaped poetic expression over time. We will engage a number of traditional forms, including ballad stanzas, blank verse, couplets, and sonnets, as well as free verse, nonce forms, invented procedures, and chance operations, to ask ourselves how the use of form and structure can be expressive, rebellious, political, and innovative. Students will have the opportunity to imitate and undermine the formal structures we encounter as we ask ourselves how they might be reinvigorated, renovated, recycled, or even abandoned in the present day. Our conversations will inspire exercises and dares that challenge our vision and embrace all kinds of formal possibilities, and during the long weekly workshop component of each class we will deeply and generously respond to student work with an eye toward the relationship between structure and expression. Requirements include a sense of play and an open mind. Students should budget for printing and photocopying.

Texts: 

The Art of Description: World into Word, Mark Doty

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

Selected Poems, Gwendolyn Brooks

Dear Prudence: New and Selected Poems, David Trinidad

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

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

Assessment:

30 points: Class participation & classroom citizenship

25 points: Quizzes on reading

15 points: Meter exercise

15 points: Midterm portfolio and essay

15 points: Final portfolio and essay

  

Christle's section:

Content:

A workshop introducing some fundamental terms and techniques for the art of writing poetry. You will read three full-length poetry collections, as well as an abundance of handouts containing poems and craft essays, in order to familiarize yourself with the breadth of possibilities and traditions from which you might draw. Writing assignments will include one new poem each week, three craft-based essays in response to the assigned books, and a final portfolio, which will include revised poems and an introductory essay discussing revision choices. Highly engaged participation in discussion of classmates’ work, assigned readings, and other in-class conversations is required, which means the course has strict rules about attendance. A sense of being game for trying new ways of reading and writing is strongly recommended. You should budget for printing and copying, and attendance at the first class is required.

Texts:

The Carrying, Ada Limon,

Soft Science, Franny Choi

It is Daylight, Arda Collins

Assessment:

Your grade will be based on the following:

-Your writing of a new poem each week, sometimes in response to an assigned prompt, sometimes in response to an idea of your own (25%)

-Your participation in discussions of your classmates’ new poems (15%)

-Your reading of three books (and other texts) and your discussion of them in class (15%)

-Your writing of craft-based responses to those books (15%)

-Your participation in in-class writing exercises (5%)

-Your final portfolio of revised poems (20%)

-Your introductory essay to your portfolio, examining and contextualizing your work within the ideas you’ve encountered in the course, including essays on poetics (5%)

ENGCW 272W Introduction to Fiction Writing

ENGCW 272W: Introduction to Fiction Writing (five sections) MAX: 15 students each section

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

 

Sections:

ENGCW 272W-1  Cooper                         Monday 2:30-5:30

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

ENGCW 272W-3  Houck                          Wednesday 2:30-5:30

ENGCW 272W-4  Yanique                        Friday 10-1

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

  

Cooper's sections:

Content:

This is an introduction to the art of fiction writing for beginning students. The roots of storytelling will be explored, and elements of the fiction writer's craft will be introduced and practiced (desire/conflict, character development, point of view, dialogue, structure, etc.). We will also closely read and examine selected works of published short fiction, though the occasional interdisciplinary model of music, film, and other genres will be considered—all with an eye toward identifying and generating character and story, and learning how to “read like a writer.” For the workshop environment, students will write shorter pieces of fiction, as well as one longer story and revision. They will also be expected to discuss in-depth the work-in-progress of fellow students and published stories; thusly, class participation is not optional. This course will prepare students for intermediate-level workshops in fiction. Students should budget for significant printing and photocopying.

Texts:

No texts, but students will be expected to print and read several selections posted to Canvas throughout the semester, as well as print their own workshop stories for fellow classmates.

Assessment:

Students will be assessed on their writing and class participation:

-Writing (50%): shorter pieces of writing; one longer workshop story; one significant revision.

-Participation (50%): oral and written responses to student and published work; story presentation (with assigned partner); class discussion/participation; writing exercises; attendance; overall effort/improvement.

 

Houck's section:

An introduction to the philosophy and practice of short literary fiction. Through exercises, discussion, readings and workshops, we will explore the challenges and possibilities of the short form. This class is dedicated to a model of learning-by-doing in which we will practice as writers, editors, and collaborators in a fiction-writing community. A significant portion of the semester will be dedicated to the writing workshop, for which students will be expected to write, submit, and discuss original works of short fiction with their peers. Selected readings will be provided digitally; students should budget for the cost of printing and copying for class.

Texts:

Required: The Art and Craft of Fiction, 2nd edition, Michael Kardos

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

Readings and handouts from the instructor

Assessment:

Coursework will be collected in a Final Portfolio at the end of the year, which will account for the majority of a student’s grade. Portfolios will include drafts of workshopped stories and one (1) story selected for revision. Participation, attendance, and analytic assignments will also be assessed.

*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.

 

Yanique's section:

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.

Texts:

Telling Tales, Nadine Gordimer, ed.

God of Small Things, Arundhati Roy

Selected stories handed out by the professor

Assessment:

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.

Attendance
Written comments to fellow students
Writing Exercises
Class Participation
3 pieces of fiction/2 new pieces and one revision (3-20 pgs each)

ENGCW/FILM 354: 50 Shades: Nonfiction Ethics

ENGCW/FILM 354-1 50 Shades: Nonfiction Ethics  Klibanoff  Tues 2:30-5:30

Content:

This course will examine longstanding and evolving ethical standards that confront creators of journalism, documentary filmmaking, nonfiction books (history and memoir), and nonfiction narrative podcast script-writing. (The portion of the course focused on the ethics of documentary filmmaking will be taught by Prof. Matthew Bernstein, chair of the Film and Media Studies Department).The course, which will feature guests, will study existing standards and codes, review real scenarios in which those standards were tested and sometimes failed, and examine how the respective industries responded. Students should budget for printing and photocopying.

 

NOTE: This class does NOT fulfill the writing requirement. This class is not open to freshmen.

 

Texts:

The Ethical Journalist, 2nd ed., Gene Foreman (make sure NOT to purchase the first edition)

Assessment:

Students will be evaluated on their skill at analyzing, anticipating and discussing/writing about ethical dilemmas across nonfiction platforms; on a team presentation of an historically important ethical controversy in one of those platforms; and on their ability to grasp and apply the meanings and components of ethical standards sufficiently to form solid, defensible judgments in challenging scenarios. The standards that matter in journalism -- clear and clean writing, correct spelling, proper grammar and punctuation -- matter here. Your final grade will be determined as follows: 20 percent each for attendance and participation; the team presentation; the mid-term research paper; writing assignments and the take-home final.

 

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.

Pre-requisite: None

ENGCW 370RW Intermediate Fiction

ENGCW 370RW: Creative Writing: Intermediate Fiction (two sections) MAX: 15 students each section

NOTE REGARDING APPLICATION TO THIS COURSE:

  • Pre-requisite: Any 200-level (ENGCW 270W, 271W, 272W) Creative Writing workshop.
  • Applications must include a 10-15 page fiction writing sample

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. 

 

Sections:

ENGCW 370RW-1  Jones                Monday 2:30-5:30

ENGCW 370RW-2  Corbitt              Thursday 2:30-5:30

 

Jones' section:

Intermediate Fiction is a workshop/studio style course. Students will produce two complete works of short fiction of 10-15. One of the works of short fiction will be revised significantly and this revised version will serve as the final project in lieu of a final exam. Along with peer critique, students will also read widely in the genre of short fiction, focusing on the basic components of fictions— plot, dialogue, setting, character, etc. Students should budget for printing and photocopying. 

Texts:

The Scribner Anthology of Contemporary Short Fiction: 50 North American Short Stories Since 1970, 2nd edition, Lex Williford and Michael Martone, eds.

Assessment: 

Students will be assessed on their ability to draft and revise short stories, and their critical reading & editing ability demonstrated in workshop. 60% of the final grade will come from the students' original, written pieces (25% for each workshop story; 15% for the final revision of one of them), and 30% from class participation and participation in the literary community (including oral and written responses to published work and other students' writing, class discussion/participation, shorter writing exercises, and attendance. Participation in the literary community included attending readings and submitting written responses.). The final 5% of the grade is the instructor's subjective evaluation of the students' performance and progress, in both class and written assignments.

 

Corbitt's section:

This workshop-based course focuses on strengthening students’ understanding of and confidence with the art and craft of short fiction. Students will produce two original stories for class-wide workshop and revise one, through small group workshop, for the final. Students will also study contemporary and foundational short fiction through selected readings, class discussion, and a craft review on the contemporary short story collection of their choosing. (A list of options will be provided, but students are not required to select from that list.) Reviews will focus on the collection’s use of a single craft element (such as dialogue, point of view, or description). Students should budget for photocopying.

Texts:

No required texts

Assessment:

Students will be assessed on their participation, writing, revision, and close reading skills. 40% of the final grade will come from students’ original work (10% each for two stories submitted for workshop; 20% for the final revision and explanation). 40% will come from workshop participation (including written responses, attendance, and contribution to class discussions). 15% will come from the craft review. 5% will come from attendance at and responses to the Creative Writing Program’s Reading Series.

ENGCW 371RW Intermediate Poetry

ENGCW 371RW: Creative Writing: Intermediate Poetry (two sections) MAX: 15 students each section

NOTE REGARDING APPLICATION TO THIS COURSE:

  • 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.

Extracurricular activities for both 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.

 

Sections:

ENGCW 371RW-1  Brown                       Tuesday 2:30-5:30

ENGCW 371RW-2  Christle                     Wednesday 2:30-5:30

 

Brown's section:

Content:

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.

NOTE: 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.

Texts:

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 at the Emory University bookstore. Students may purchase used copies online at Barnes and Noble.

Assessment:

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% 

 

Christle's section:

Content:

An intermediate, intensive workshop in which you will read, discuss, create, revise, and otherwise experience an abundance of poetry. 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. We will read not only five poetry collections, but essays on poetics, and you will be asked to begin considering what informs your own. A portfolio of revised work, including an introduction, will be handed in at the semester’s end. Highly engaged participation in discussion of classmates’ work, assigned readings, and other in-class conversations is required, which means the course has strict rules about attendance. A sense of being game for trying new ways of reading and writing is strongly recommended. You should budget for printing and copying, and attendance at the first class is required.

Texts:

Hera Lindsay Bird, Hera Lindsay Bird

Quilting, Lucille Clifton

Oceanic, Aimee Nezhukumatathil

Voyager, Srikanth Reddy

The Morning of the Poem, James Schuyler

Assessment:

Your grade will be based on the following:

-Your writing of a new poem each week, sometimes in response to an assigned prompt, sometimes in response to an idea of your own (25%)

-Your participation in discussions of your classmates’ new poems (15%)

-Your reading of five books (and other texts) and your discussion of them in class (15%)

-Your writing of craft-based responses to three of those books (15%)

-Your facilitation (with partners) the discussion of one book (5%)

-Your final portfolio of revised poems (20%)

-Your introductory essay to your portfolio, examining and contextualizing your work within the ideas you’ve encountered in the course, including essays on poetics (5%)


ENGCW/THEA 372RW Playwriting

ENGCW 372RW: Playwriting  Two sections

(Crosslisted with THEA 372RW, Playwriting) MAX: 15 (ENGCW: 10; THEA: 5) each section

Pre-requisite: None

APPLICATION INFORMATION FOR BOTH SECTIONS:

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).

Extracurricular Activities for both sections:

Students are required to attend and write short responses about selected on-campus readings sponsored by the Creative Writing Program, as well as productions by Theater Emory and/or in the greater Atlanta community.

 

ENGCW/THEA 372RW-1 Belflower       Monday 2-5

ENGCW/THEA 372RW-2 Wilder           Tuesday 2:30-5:30

 

Belflower’s section:

Content:

An introduction to the craft and art of playwriting. No previous experience necessary in playwriting or theater. This course will focus on writing exercises, reading and analysis, and creating/ workshopping one-act plays. Students should budget for photocopying.

Texts:

No required text.

Readings will be made available on Canvas and will consist primarily of a selection of full-length and one-act plays from playwrights such as Annie Baker, Tarell Alvin McCraney, Lynn Nottage, Caryl Churchill, Rajiv Joseph, and Paula Vogel.

Assessment:

Students will be assessed on their demonstrated understanding of playwriting craft and theatrical process, ability to write with clarity and artistry, and willingness to reflect and implement feedback. Highest grades will be given to students who make extraordinary progress in their playwriting over the course of the semester, approach their analytical assignments with the same rigor and creativity as their writing exercises, and participate generously in giving feedback to other writers. Students who need substantial correction either in the shaping of a play, the meeting of class deadlines, or feedback given to other writers will receive lower grades. Failing grades will be given to students who fail to meet substantial class objectives.

 

Wilder's section:

Content:

An introduction to the craft and art of playwriting. No previous experience necessary in playwriting, acting, or theater. This course 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.

Texts:

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.

Assessment:

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.

ENGCW 376RW Creative Nonfiction

ENGCW 376RW-1: Creative Nonfiction  MAX: 15 students

Skibell   Tuesday  2:30-5:30 p.m. 

Content:

This workshop will introduce the fundamentals of writing personal nonfiction narratives. We will explore the basic elements of storytelling -- character, plot, setting, structure dialogue, etc. -- and how each is used in creating a story out of the events of one’s own life. Students will learn how to turn a true story into a written narrative. Editing skills will be sharpened in discussion and evaluation of one another’s works-in-progress. The course will concentrate on the creation of three short nonfiction pieces as well as considerations of technique, creation of real characters, and dramatic structure. Classes will be conducted as workshops in which the main emphasis is on the students' own work, with some in-class writing and improvisation. Students should budget for printing and photocopying.

Pre-requisite/Writing sample information: Any 200-level Creative Writing workshop, but if you have not taken ENGCW 272W Introduction to Fiction Writing, then you must attach a 10-15 page prose writing sample to your application.


Texts:

My Father’s Guitar & Other Imaginary Things, Joseph Skibell

Assessment:

Students will be assessed on their performance based on an 100-point system. Class attendance makes up 26 points. Peer responses equal 28. Each story is worth 10 points, and proof of attendance at a Creative Writing Reading Series event or another literary event is worth 2.5 points each. The other 11 points is the professor’s evaluation of the student’s writing and critical reading skills.

Extracurricular activities:

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

ENGCW/FILM 378RW: Screenwriting

ENGCW 378RW: Screenwriting   

(Crosslisted with FILM 378RW, Screenwriting) MAX: 15 (ENGCW: 10; FILM: 5) each section   

Skibell  Thursday 2:30-5:30

This workshop will introduce the fundamentals of writing for film. We will explore the basic elements of storytelling -- character, plot, setting, structure dialogue, etc. -- and how each is used in writing for the screen. Students will learn the various formats used for film scripts. Editing skills will be sharpened in discussion and evaluation of each other's works-in-progress. The course will concentrate on the creation of three short screenplays as well as technical consideration of technique, character development, and dramatic structure. Classes will be conducted as workshops in which the main emphasis is on the students' own work, with some in-class writing and improvisation. Students should budget for photocopying.

NOTE: This is a permission-only course and all students, including Film 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).

PRE-REQUISITE: Screenwriting applicants must have taken or currently be enrolled in one of these classes:

  • ENGCW 270W Introduction to Creative Writng
  • ENGCW 271W Introduction to Poetry Writing
  • ENGCW 272W Introduction to Fiction Writing
  • FILM 270 Introduction to Film

Texts:

Chapters on Course Reserves from Story: Substance, Structure, Style, and The Principles of Screenwriting, Robert McKee

Assessment:

Students will be assessed on their performance based on an 100-point system. Class attendance makes up 26 points. Peer responses equal 28. Each screenplay is worth 10 points, and proof of attendance at a Creative Writing Reading Series event or another literary event is worth 2.5 points each. The other 11 points is the professor’s evaluation of the student’s writing and critical reading skills.

Extracurricular activities:

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

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

ENGCW 385RW-1: Georgia Civil Rights Cold Cases     

(Crosslisted with AAS/AMST/HIST 387RW-1) MAX: 16 (ENGCW: 4; AAS: 4; AMST: 4; HIST: 4)  

Klibanoff        Wednesday 2:30-5:00    

Content:

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. Students also may become engaged in the third season of a podcast, Buried Truths, based on a case we’ll be examining in class.

Students should budget for printing and photocopying.

NOTE: This course is not open to first-year students. All students, including students from African American Studies, American Studies, and History, must fill out and submit the application form in Word format to Paula Vitaris at pvitari@emory.edu

Texts: 

Course packet handed out in class

Assessment: 

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 may work on a team project, may be tasked to help with the podcast Buried Truths, and will write an 8- to 10-page final 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 I am of your command of the historical events we will examine. My goal is not merely for you to learn and understand the history, but to be able to convey it clearly.

Extracurricular activities:

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

Pre-requisite: None

ENGCW/FILM 389W Special Topics: Television Writing

THIS CLASS HAS BEEN CANCELLED FOR FALL 2020 AND RE-SCHEDULED FOR SPRING 2021.

ENGCW 389W: Special Topics: Television Writing

(Crosslisted with FILM 385W) MAX: 14 (ENGCW: 10; FILM: 4)   

Cooper  Monday 2:30-5:30

Content:

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 collectively 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). Each student will also write a full "spec script" for an existing series (half-hour or one-hour), as well as develop a treatment for an original series of their own design. Classes will include instruction-based lecture, episode review, individual and collaborative writing exercises, presentations/workshops of both individual and group work, and in-depth discussion. Further areas to be explored include the art and practice of pitching, working in a professional writers' room, dealing with notes, and other aspects of both the creative and business sides of TV 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.)

NOTE:

  • Special topics are NOT repeatable; if you took Prof. Cooper's Special Topics class Introduction to Television Writing in Fall 2019, you may not apply for this class.
  • A 10-15 page writing sample is required to be admitted to this course (preferably a teleplay, screenplay, or play). You must submit the writing sample along with your application in WORD FORMAT, in ONE DOCUMENT.
  • This is a permission-only course, and all students, including Film and Media Studies students, must apply through the Creative Writing Program.
  • This course is open ONLY to juniors (third-year) or seniors (fourth-year) students.
  • Students on the waiting list who hope to add this course (if a space opens up) must attend the first session.

Texts/Expenses:

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

  1. A good amount of photocopying/printing
  2. Final Draft software. (No other screenwriting software will be accepted: a deeply-discounted code will be provided to purchase Final Draft on the first day of class).
  3. Laptop (with Final Draft software) should be brought to every class.
  4. Streaming service subscription (Netflix, Amazon, Hulu, etc., TBD based on selected series)

Assessment:

Students will be assessed on their writing and class participation:

50% Writing (including a final spec script, an original treatment, and shorter work).

50% Class participation and attendance (including collaborative work, outside reading series attendance/responses, peer responses, class discussion, class attendance, 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 required to attend an off-campus production-related activity in the Atlanta area.

Pre-Requisites:

ENGCW/FILM 378RW Screenwriting; or ENGCW 370RW Intermediate Fiction; or ENGCW/THEA 372RW Playwriting.

 

 

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