Creative writing programs chicago

Creative Writing

Creative Writing Graduate Programs might be a great opportunity to develop your writing through a balance of academic study and practical application. First, you could broaden your literary horizons with rigorous curriculum.

Classes might cover subjects like English theory and scholastic criticism. Creative writing programs chicago, house for sale essay writing programs could develop your skills and knowledge through workshop courses.

This part might provide you with valuable peer feedback to help improve your work. Creative Writing graduate programs aim to improve the skills and knowledge students bring to their writing. Graduate creative writing programs chicago courses reflect this by supporting multiple genres in their programs. For instance, you could pursue some of the following areas in your postgraduate studies. While students may be focusing on different genres, they may take similar, if not identical, coursework.

Your preferred genre mainly effects your personal writing projects and the feedback you receive. Speak with your intended creative writing school creative writing programs chicago more information creative writing programs chicago possible concentrations.

Masters in Creative Writing programs, often called MFA in Creative Writing programs, are a popular option that focuses on writing development and academic instruction. Students in these programs may encounter a holistic education that is equal parts workshops and in-classroom study. Some schools may also ask creative writing masters students to take part in a residency requirement. This may require students to live and write on campus for an assigned duration.

Keeping in mind these core requirements, students creative writing programs chicago potentially earn a masters degree in creative writing in 1 to 3 years. Program lengths vary by school. Unlike typical graduate how to do my homework faster, creative writing masters programs might place equal weight on previous writing experience and undergraduate transcripts.

Typically, students are asked to submit samples of their previous work. Samples could include things like completed novel chapters, poems, or stage plays. Check with your intended university for more information creative writing programs chicago their admissions guidelines and writing requirements.

A large portion of a creative writing masters program is devoted to writing new pieces for workshop classes. These are writing intensive creative writing programs chicago where students may be required to submit new drafts of their current writing for peer feedback.

These classes might be a great way to practically apply your writing know-how and also see what your peers are creating. Additionally, writing workshops electrical engineering homework help reddit provide a welcoming and safe environment for students to give and receive critical feedback on their work. These students could provide constructive feedback from their different creative perspective.

Workshop requirements may differ creative writing programs chicago school. For more details, speak with your preferred mfa creative writing program about their workshopping process. Creative writing programs chicago this purpose, many schools offer creative writing programs chicago that deal with creative writing programs chicago perspectives or ways to interpret literature.

In addition, creative epic charter school homework help masters programs may require students to take graduate English courses to round out their literary knowledge. Classes could touch on the following topics. Courses offered may vary by institution.

Check with prospective masters in writing programs for more details about their course guide. Creative Writing PhD Programs are writing intense programs concentrated on taking your work to the next level.

However, these programs similarly may require students to take part in an on-campus residency. A great example of this is the creative writing doctoral dissertation. Other doctoral programs typically have students present research for their dissertations. In comparison, creative writing dissertations usually require students to submit long-form works.

This could include some of the following. While this may be a mandatory assignment, it might also help jumpstart a writing career. These finished pieces could be a great addition to your professional portfolio. Due to the intensity of the above-mentioned writing requirements, students could potentially complete a Creative Writing Creative writing programs chicago program in 3 to 5 years.

Program length may vary by school and enrollment. Creative writing PhD programs may require previous graduate experience, as creative writing programs chicago as a 3. Additionally, writing schools may ask students to submit samples of their previous work.

Check with intended programs for more admissions details. Graduate Certificate Creative Writing programs might be a great way to quickly build your creative writing skills and knowledge.

Many certificate programs only workshop one specific genre. This may provide a succinct curriculum without requiring unnecessary academic electives. Additionally, these creative writing programs chicago typically do not require a minimum GPA for admissions. This may make it more accessible to a wide array of creative writing programs chicago so that they can begin to hone their craft before moving on to another graduate program.

While the writing focus may sound like the PhD Creative Writing program, graduate certificates creative writing programs chicago often shorter. This is because they focus on starting new writing pieces as opposed to completing long-form ones. Full creative writing programs chicago students could potentially earn a Graduate Certificate in Creative Writing in 1 year, although program lengths vary.

Contact an advisor to learn more. Residency requirements are common in many Graduate Creative Writing Programs. Biannually, students may be required to live and work on creative writing programs chicago. This is done to provide a space for students to concentrate on writing, reviewing, and revising their stages of research proposal writing. During this time, you could be sharing housing with other students from your program.

Students are creative writing programs chicago encouraged to workshop pieces with others in the residency program to further refine the final product. Typically, graduate writing programs either offer a low or high residency option. Low residency writing programs are shorter and may last around 10 days.

High residency writing programs are often lengthier, lasting from 2 to 6 weeks. Residency lengths and details may vary by university. Pinpointing Creative Writing Graduate Programs that complement your daily routine could be difficult. But, there are several different program types that could ease your educational transition. On campus programs are what you might picture when you imagine the traditional university experience. Graduate creative writing schools provide the opportunity to develop your work alongside your peers and mentors.

Things like workshops and office hours could make seeking out additional assistance to help polish your work easier. Additionally, this might be an opportunity to build professional relationships with classmates. You never know who might be your connection to creative writing programs chicago literary agent or publishing house.

Online programs are a great way to stay in your creative writing space while earning your degree. And, you could still receive valuable feedback from peers and professors via email or online forums. An online creating writing creative writing does not include may be a perfect option for students who are working. This way, you could pursue your professional endeavors while honing your craft.

Typically, these are offered in the low-residency format but could require you try travel creative writing task english campus or a nearby location. Hybrid Creative Writing programs offer a little taste of both above programs. Depending on your personal schedule, you could choose to pursue one style of learning at any given time.

For instance, you could take online courses while working. Or, take on campus courses in between jobs. This might be great for current freelance ww2 facts primary homework help because of their constantly changing work schedule. Depending on your future responsibilities, you could plan your semesters accordingly.

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Students should consult with a representative from the school they select to learn more about career opportunities in that field. Specific School Disclosures. Financial aid may be available to those who qualify. The information on this page is for informational and research purposes only and is not an assurance of financial aid. Skip to main content. MFA Creative Writing Workshops A large portion of a creative writing masters program is devoted to writing new pieces for workshop classes.

Manuscripts Short Stories Poems Screenplays While this may be a mandatory assignment, it might also help jumpstart a writing career. Creative Writing Graduate Certificate Programs Graduate Certificate Creative writing programs chicago Writing programs might be a great way to quickly build your creative writing skills and knowledge.

High vs.

Creative writing programs chicago

Flex your storytelling muscles as you build a wide-ranging creative practice in writing. Learn the history, forms, genres, and techniques of nonfiction writing.

As you create your own body of work, you will study the evolving role of nonfiction writing in literature. Discover your poetic voice and develop your craft as you write the poems that are meaningful to you. Critical reading in literature courses informs your creative work and helps you become a more effective writer.

Combined with your writing workshops, these electives will open your eyes to the many ways writing enables you to participate in contemporary conversations on social and cultural change. Creative Writing students also have the chance to study their craft internationally through a number of global learning experiences.

Each of these opportunities will help you develop skills for a variety of careers and creative practices. Like our students, our faculty members are diverse in every sense of the word. They are practicing, publishing writers; they are artists who teach.

Combining different literary backgrounds and experiences with a willingness to experiment, faculty members encourage you to produce your best work, no matter where you fit into the literary scene. View Department Faculty. Employers in many fields look for strong communicators.

Companies and organizations get your strong writing skills, and you make professional contacts and create a portfolio of real-world work at places like The Daily Show, Disney, Pitchfork, and Time Out Chicago.

From submitting work to taking the lead in publishing, editing, and producing, you can contribute to these highly professional publications. Here are just a few of our successful alumni:. With a Creative Writing minor , you can combine your major field of study with workshop classes and writing courses that will improve your reading, writing, listening, speaking, and problem-solving skills—a natural boost for any creative professional. The Profesional Writing minor offers a wide range of literature courses.

You will gain valuable career skills in research, critical thinking, idea development, and analytical writing. You will also study the relationships between literature and the diverse aesthetic, historical, and cultural contexts in which it is written and read. The flexible curriculum allows you to tailor the minor to your interests. Read More. Search Mobile Search Input. Nonfiction Learn the history, forms, genres, and techniques of nonfiction writing.

Poetry Discover your poetic voice and develop your craft as you write the poems that are meaningful to you. Outside the Classroom. Creative Writing Minor With a Creative Writing minor , you can combine your major field of study with workshop classes and writing courses that will improve your reading, writing, listening, speaking, and problem-solving skills—a natural boost for any creative professional.

Creative Writing

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Chicago on delicious bookmarks. Roxane gay's writing colleges for itself as work: delicious bookmarks. Sep 8, - best creative process, illinois creative masters in. Undergraduate and phd with experienced and ambitions. Ranked among other, with one of chicago. Intro to Genres: Writing the Visual Arts. How might language render visual experience?

How do verbal representations diverge from visual representations? How might writing help us see art in new ways? How might art objects compel our writing into new forms?

With these questions in mind, we will read poems and essays by a variety of writers, visit several of Chicago's excellent museums, and conduct regular writing experiments. This course will introduce students to recent debates in the environmental humanities while exposing them to a range of works spanning fiction, documentary prose, poetry, and film that engage what has come to be called the Anthropocene era despite substantive challenges to the term that we will address.

We will read foundational texts in environmental perception and activism John Ruskin's "Storm-Cloud of the Nineteenth Century" and Rachel Carson's Silent Spring in dialogue with modernist work surrounding urban landscapes William Carlos Williams's Paterson.

We will then open onto a wide range of contemporary texts that engage the natural and constructed environment in crisis. Students will be asked to conduct fieldwork on an environmental theme of their choosing climate change, petrol economies, watershed issues, air quality, pandemics and the management of wild animals, species extinction, etc.

Contact the instructor for a spot on the waiting list. Reading as a Writer: Hallucinations. Where is the aperture of experience? The apparitions, which partition night, its many voices, bodies which are forgotten, and then remembered, why?

What is the time of writing, of reading? This course goes a little back and a little forward between the two world wars, hoping to track an itinerary of history material, its incandescence, between situations of mourning and mystical experience.

Students will be asked to keep a reading notebook as well as to produce weekly creative responses for class discussion. What is the temporality of the sea? Its consciousness? Where does it begin? Or end? In this course, we will consider the sea both as a figure in our literary, critical, visual, political, historical, and ecological imaginations, as well as a body in itself, iridescent and gleaming at the end of the world. We will look at practices of burial at sea, the infamous "wine dark sea" of Homer, the Middle Passage, the hold and wake of the ship, necropolitics, the concept of sovereignty and bare life, stowaway and asylum seekers, piracy and floating armories, eco-materialism, the post-human and alien worlds of our oceanic origins, the moon.

Reading as a Writer: Questions of Travel. Travel narratives remain a perennial tool for looking outward and understanding places and cultures unlike our own. We'll look at both historical and contemporary accounts of time abroad and explore how technological advances in communication and increasingly cheap and easy travel may be changing this most enduring of forms.

Travel writing has often gone hand in hand with imperial and neo-imperial projects, but more and more the global "south" visits the global "north. Students will write short responses over the quarter and synthesize our texts, along with a text of their choosing, into a culminating critical paper. Reading as a Writer: Adaptation as Form.

The main goal of this course will be to understand the reasons, traditions and methods behind the practice of literary adaptations. Each text will be explored both independently and within the context of its adaptive genealogy.

Students will be expected to read each text carefully, come prepared to actively participate in class discussion and respond to both academic and creative writing prompts based on assigned texts and class lecture.

Intro to Genres: Evil Incarnate. Some of the most compelling pieces of writing across all genre deal with, and often feature, deeply problematic central adversarial characters without which the poem, story, or essay would have no forward motion, and no cause to exist. This course is designed to explore this question alongside authors who have devoted their lives to understanding the role of evil in literature, its necessity, its appeal, its frivolity and its betrayal. The course will be divided into three section, each section devoted to a specific genre during which two to three texts will be explored, discussed and analyzed in class, and at the end of which one brief analysis paper will be due.

One creative piece, in any of the three major genres, exploring the said topic will be due at the end of the course. In this course, we will embark on a contemporary survey of the dazzling assortment of stories about love or its mirages , from its indoctrinations, blindings, and inevitable misgivings.

We will read works on this subject by fiction writers, memoirists, and poets, including Kristen Dombek, Lisa Carver, and Garth Greenwell. Of course, no contemporary survey would be complete without considering Candace Bushnell's original "Sex and the City" columns, the surprisingly nihilistic vignettes that inadvertently spawned the consumerist fantasia of single-life romance.

Expect to engage with creative assignments, and to participate in workshop sessions. Reading as a Writer: Writing War. In the aftermath of war, we attempt to make sense of the senseless. We grapple with the pieces, we organize, we mold, and we give shape to the shapeless. In this course, using the Nigeria-Biafra War as a case study, we'll investigate the practices that constitute authorship of war.

We'll read works by writers of the war generation, like Ken Saro-wiwa, as well as those who have inherited it, like Chimamanda Ngozi Adichie. We'll identify and study their methods for reconstructing the past-lived experiences, research, and the imagination. We'll consider the ethics of leaps of the imagination as we read works of realism alongside the speculative, like Nnedi Okorafor's AfricanFuturist comic book take LaGuardia.

We'll study narratives like Chinelo Okparanta's queer coming-of-age story Under the Udala Trees to consider what it means to depart from the national narrative in order to recover silenced or erased voices. In critical papers, we'll analyze how genre, form, and media inform these works. Using the questions, techniques, and practices we identify, you'll be asked to write and research narratives using a real war as its basis.

Intro to Genres: Drawing on Graphic Novels. Like film, comics are a language, and there's much to be learned from studying them, even if we have no intention of 'writing' them. Comics tell two or more stories simultaneously, one via image, the other via text, and these parallel stories can not only complement but also contradict one another, creating subtexts and effects that words alone can't.

Or can they? Our goal will be to draw, both literally and metaphorically, on the structures and techniques of the form. While it's aimed at the aspiring graphic novelist or graphic essayist, or poet , it's equally appropriate for those of us who work strictly with words. What comics techniques can any artist emulate, approximate, or otherwise aspire to, and how can these lead us to a deeper understanding of the possibilities of point of view, tone, structure and style?

Assignments include weekly creative and critical assignments, culminating in a final portfolio and paper. Reading as a Writer: Voices From the Edge. When we think of groups that are othered, who and what do we mean? Is the other always defined against hegemonic ideas of race, gender, sexuality, and class? Can we understand American othering outside of post-colonialism? In this seminar, we will read work that investigates othering-which is to say, who and what constitutes an othered literary voice, the ways writers contend with that othering in their work, and the cultural and political forces that push an othered voice to "the edge" of the mainstream.

We will work to deepen our facility with the skills needed to critique the ideas in the texts and also situate them in their cultural context. In addition, we will discuss how othering has produced eloquent literary voices and the particular aspects of a given writer's eloquence.

During the semester, you will engage in rigorous inquiry, prompted informal writing, and formal writing in the form of response-papers and short creative assignment accompanied by a critical reflection.

Fundamentals in Creative Writing: Literary Empathy. It was books that taught me that the things that tormented me most were the very things that connected me with all the people who were alive, or who had ever been alive. Students will write critical responses, creative exercises, and a final paper on a topic to be approved by the instructor. Students must meet the course application deadline specified on the website.

This course is open only to students who have declared the Major in Creative Writing. Fundamentals in Creative Writing: Testimony.

To give testimony is to bear witness and to provide evidence. To give testimony is also to draw the reader or listener into an individual point of view. In this course, we will study the first-person voice in various forms of personal testimony. Drawing from a mix of memoirs, personal essays, letters, fiction, and other first-person narratives, we will analyze the techniques and rhetorical devices used by writers, standup comedians, memoirists in transporting the listener or reader into unknowable, unfamiliar experiences.

We will compose our own personal writings through creative exercises. A critical paper is also due. From the short stories of Karen Russell to the conjectures of Danny Glover's TV show Atlanta, many contemporary writers of speculative craft often introduce fantastical elements into otherwise ordinary narratives set in everyday reality.

In this course, we will examine the fantastical element, its typical characteristics, and what it's trying to do by puncturing the veil of the realism. As a craft course, we will look at how the fantastical element is often implemented, and how the narrative absorbs it or attempts to resolve it.

In the process, we will try our hand at writing speculative narratives, along with critical papers on technique. Apply via creativewriting. This is class is restricted to students who have declared a major in Creative Writing. Storytelling goes nearly as far back as human consciousness, while the ways in which we tell stories has been expanding ever since. This class will look at several different forms of narrative-fiction, creative non-fiction, narrative poetry, and film-and explore the "grammar" of these different genres, what they share and where they differ and how their particular strengths influence the ways in which they most effectively communicate.

How does film a visual medium tell a story differently than does fiction which asks us to project our own imagined version of the story , differently than creative non-fiction, which must always rely on facts , differently than poetry which condenses the story to its essences?

How do these different genres and mediums influence the stories they tell and the effects they achieve? Readings will include primary texts as well as critical and fundamentals texts in each genre. Students will complete weekly reading responses, as well as creative exercises. A paper focusing on a specific element derived from the class will be due at the end of the course. How do you write silence? What is subtext? What is the structure of a joke?

Dialogue is one of the most important elements of fiction because of its dynamism. It can, among other effects, reveal character, advance plot, and escalate tension. In this seminar, we will read work that inspires, informs, and expands our understanding of the definition and usages of dialogue. We will read exemplars of fiction, nonfiction, drama, poetry, as well as watch film-all with the objective of discovering the aspects that make the dialogue or written speech in each text effective.

We will discuss stylistic elements of the work, its ideas, and attempt to situate it in its cultural context. Class sessions will consist of informal writing, discussion, and lecture. Coursework includes two short creative assignments with a critical component , questions for discussion, and informal writing.

Fundamentals in Creative Writing: Speaking Silence. Silence is pouring into the play like water into a sinking ship," wrote Beckett of the role of silence in his elegiac masterpiece, Waiting for Godot. There is the silence of speechlessness, the silence of reticence, the silence of listening, the many silences of history - both personal and geopolitical - and beneath them all there is the silence we break when we're born and to which we return when we die.

This class will make a study of silence across a range of literary genres and styles, with the aim of amplifying what silence contains. From stage directions to erasure, from lineation to fragmentation to use of white space, typography, and images, we will examine an assortment of strategies writers like John Cage, Samuel Beckett, Anne Carson, Charles Reznikoff, M Nourbese Philips, W.

Sebald, and John Keene have deployed in their engagement with silence. Class time will consist of discussions, in-class exercises, and occasional sharing of new work. A final critical paper of pages will allow for creativity. Fundamentals in Creative Writing: What is Character? What is character? And what is a character?

How we answer these two questions depends not only on the genre we're writing in, but also on the kind of writer and person we are. Which is also to say that tackling these questions requires a look within ourselves, a confrontation with who we think we are and how we think we see the world around us, even when our characters are nothing like us.

In this Fundamentals course, we'll look at the range of ways that "character" can be seen and constructed-the different technical, aesthetic, and even philosophical approaches to characterization. How does characterization in a poem differ from characterization in a story, or in an essay, play, or memoir? What ultimately makes for a compelling and memorable character? Beyond actual human beings, what does it mean for an idea to be a character, or a city to be one, or the very work itself?

Our reading material will include poetry, fiction, and essays, and our assignments will include reading responses, creative writing exercises, short essays, and presentations. This spring-quarter Arts course is related to the Humanities course "Poetry and the Human" and is intended as a potential sequel to its first two quarters, but can also be taken as a freestanding course. Through a combination of seminar discussions and creative writing workshop sessions, it focuses upon creative practice form, flow, and voice as way of approaching many of the questions raised over the Autumn and Winter terms.

It considers the role of poetry in different traditions Japanese, English, Persian, etc. Students in the Poetry and the Human sequence HUMA will have priority registration for this course; other students may register for any remaining seats. Technical Seminar in Fiction: Characterization.

This reading and writing seminar will acquaint students with one of the essential tools of fiction writers: characterization. We will read primary texts by authors including Baldwin, Flaubert, Munro, and Wharton, as well as critical work by Danticat, Forester, and Vargas Llosa, toward exploring how some of literature's most famous characters are rendered.

How do writers of fiction create contexts in which characters must struggle, and how does each character's conflicts reveal his or her nature? Students will complete both creative and analytical writing exercises, reading responses, and a paper that focuses on characterization in a work of fiction.

This inter-genre readings course will be of special interest to student writers interested in both fiction and creative nonfiction. We'll look at hybrid works by W. Finally, we'll dip into Robert Musil's notion of "essayism" as a modern mode of thought and the recent debate over the "lyric essay. By exploring the interestingly smudged line between factual and fictional texts, we'll interrogate both genre categories and ways of perceiving and presenting what's true.

Writing fiction is in large part a matter of convincing world-building, no matter what genre you write in. And convincing world-building is about creating a seamless reality within the elements of that world: from character dynamics, to setting, to social systems, and even the story or novel's conceptual conceit. And whether it be within a genre of realism, historical fiction, or science fiction, building a convincing world takes a good deal of research.

So while we look closely at the tools and methods of successful world-building, we will also dig into the process of research. From how and where to mine the right details, to what to look for.

We will also focus on how research can make a fertile ground for harvesting ideas and even story. Students will read various works of long and short fiction with an eye to its world-building, as well as critical and craft texts.

They will write short weekly reading responses and some creative exercises as well. Each student will also be expected to make a brief presentation and turn in a final paper for the class. This technical seminar course will look at fiction and some film to explore the use and function of setting in narrative works.

We will consider its uses beyond simply as a tool in world-building or backdrop creation, looking into how it informs character, defines perspective, affects mood, pushes plot, and even makes us see the world differently.

Students will read various works of long and short fiction with an eye to their use of setting, as well as critical and craft texts. Technical Seminar in Fiction: The Dilemna. Some of the most compelling works of fiction are built around moral, social, and psychological dilemmas. Such stories present a dramatized prism of arguments and resist easy "lessons.

The challenge for writers, of course, is to avoid polemic, instead exploring this moral, social, and psychological terrain in a way that is even-handed and flows organically out of character. In this technical seminar, we will read fiction by writers like James Alan McPherson, Graham Greene, Tayari Jones, and Cynthia Ozick, among others that centers on an uneasy choice between moral positions.

We will examine how the dilemma shapes conflict and plot, and, perhaps most important, how the writer invites the reader to get lost in a dark woods alongside the story's characters.

The emphasis of this course will be on critical writing, but students will also have opportunities to write creative responses to the readings and experiment with the craft techniques we discuss. Technical Seminar in Fiction: Literary Digressions. In this technical seminar, we will set about exploding the traditional "rules" of fiction craft in order to broaden our grasp of intention and technique.

Each week, using Charles Baxter's Burning Down the House as our textbook, we will focus on a nontraditional approach to a craft element e. We will analyze the fictional element in an assigned short story and write a short craft analysis, meditating on both the risk and payoff of these literary digressions.

Then we'll experiment with the technique in a short writing exercise. Although this is not a formal workshop, we will share and receive feedback in brief "10 Minute Workshops. Technical Seminar in Fiction: Writing Autobiographically. Many if not most writers draw on their own lives. Does writing autobiographically necessarily equal "confession"? Or are there other ways of writing the self?

What pact do we form with the reader when the material is explicitly close to our own lives? What pact do we have with ourselves and the real people we write about?

Critical responses and creative exercises alike will help you understand the nuances, challenges, and pleasures of writing autobiographically. Technical Seminar in Fiction: Writers in Conversation.

Whenever we write stories, we are in conversation with other writers, living or dead. Sometimes that conversation is quiet and intimate-a matter of subtle influence, much as we take on unconsciously the diction and cadences of admired mentors and beloved friends. Other times, the conversation is boisterous, a meeting of minds, a deepening of our collective discourse. Still other times, the conversation gets heated. We feel the need to set the record straight, give voice to a neglected or misrepresented character, vindicate a monster or indict a hero.

What is plot-beyond the dramatic events that take place in a work of fiction? Why is it important-beyond engaging us in what happens to a story's characters? Can plot be just as consequential to character-driven, aesthetic-driven, or idea-driven fiction as it is to fiction that privileges incident and action? And what exactly do we mean when we label stories in this fashion?

This technical seminar will examine these questions and the many others that concern this crucial but often underrated element of craft. We will begin with the basic mechanics of plot and work towards a deeper understanding of all its effects on a narrative, whether they be dramatic, formal, characterological, even philosophical.

Most importantly, we will try to apply these lessons to our own work, no matter the label we assign to our narrative and aesthetic interests. The course will include writing exercises, weekly reading responses, presentations, and a final essay.

Technical Seminar in Poetry: Units of Composition. This course aims to investigate, through a range of readings and writing exercises, various units of composition and the ways that they interact with each other in poems. We will study and imitate traditional formal approaches, such as the poetic foot, meter, caesuras, sprung rhythm, rhymed stanzas, and refrains.

We also will study and imitate modernist and contemporary "units," such as the word approached, for example, etymologically or connotatively , the free verse line, the variable foot, vers libre, serial form, the sentence the "new" sentence, but also modulations of basic syntax , the paragraph, the page, and forms of call and response. This reading intensive course will draw from a selection of mostly modern and contemporary poetry, poetics, and criticism. Students will be expected to submit weekly technical exercises, complete several short critical responses, write a longer essay, and submit a final portfolio of revised material.

Prerequisite s : Instructor consent required. Technical Seminar in Poetry: Imagery and Description. This technical seminar explores different theoretical and practical approaches to imagery and description in poetry.

To begin with, we'll try to distinguish between the two terms, to the extent necessary and possible. Then we will examine and practice writing radically different approaches to image making and description e. Along the way, we'll consider theories about the rhetorical functions of imagery and description in the poetic text. Although this course focuses on poetry, it is certainly relevant to prose writers interested in the role of descriptive detail in literary writing, and for comparison we will examine famous examples of description in works of fiction.

Students should plan to submit a weekly exercises, write a critical essay, and give a class presentation. From the fragmented to the recurrent, from the recurrent to the intricate, from the precise to the vernacular, from the vernacular to the artificial; we'll discuss the why, the how, and the effects of a few of the possible forms and devices of poetry. Poetry writing is often undertaken with solemnity, but perhaps we've been approaching it all wrong.

What if we read Prufrock as stand-up comedy? Dickinson as a dark humorist? Stein as a prankster? Along with rethinking the daring but subtle humor of a few classic poets, this course will trace specific kinds of comedic moves in contemporary poetry. We'll try to understand the maneuvers that make for varieties of humor, such as absurdity, irony, satire, parody, ridicule, and dark humor.

Students should expect to complete a series of writing exercises, give a presentation, and write a final essay. All while smiling. Technical Seminar in Nonfiction: The Synecdoche. Every writer of personal nonfiction knows that ultimately the story isn't about them: it's about something larger, perhaps universal, and their personal story is merely a means to that end. The key to this paradox is the synecdoche, or the part that stands for the whole.

It's the grain of sand that contains the universe, the one story that by implication tells other peoples' stories. When Anne Fadiman told the story of a Hmong immigrant to the United States, she told a larger story about immigration in general. So did Joan Didion, in Where I Was From; by telling the story of her family, she told the story of California, and by telling the story of California she told the story of the West and thus of America.

Rian Malan did the same in My Traitor's Heart: by telling the story of his family he told the story of Apartheid, and thus of South Africa, and of our segregated world. Through weekly exercises and analytic essays you'll see how these and other writers locate the universal in their particulars, and you'll apply their examples to your own work. Technical Seminar in Nonfiction: Forms of the Essay.

The essay, derived from the French term essayer meaning "to try" or "to attempt," is not only a beloved sub-genre of creative nonfiction, but a form that yields many kinds of stories, thus many kinds of structures. Araceli Arroyo writes that the essay can "reach its height in the form of a lyric, expand in digression, coil into a list, delve into memoir, or spring into the spire of the question itself all with grace and unexhausted energy.

In our class, we will investigate the relationship between content and form. What does it mean to be scene-driven? What happens when a narrative abandons chronology and event, propelled instead by language and image?

What is gained through gaps and white space? You will leave this class with a strong grasp of content's relationship to form, prepared to participate effectively in creative writing workshops. You will also create a portfolio of short writings that can be expanded into longer pieces. Technical Seminar in Nonfiction: Narrative Pacing. Students will be expected to actively participate in class discussion, read from a broad assorted of texts, and complete a series of corresponding creative writing prompts testing the principles discussed in class.

Technical Seminar in Nonfiction: Autopsy of a Scene. Few elements in literare are as effective in constructing both lyric and narrative arcs that capture the attention and imagination of a reader as well crafted scenes. The creation of the illusion of movement, time and rich sensory experiences is by no means an easy task, however, and it must take into consideration pacing, punctuation, spatial references and white space among a vicissitude of other components.

In addition, each genre has a different tolerance for and use of the scene itself. Nonfiction brings the added difficulty of much needed research, and the distortion of memory, while poetry thrives on limitations that seem to counter the organic development of a scene, while fiction can be easily overwhelemed by the aparent limits of its limitlessness.

This course is intended to address these questions through a series of readings, lectures and writing prompts designed to dissect the matter at hand and equip the writer with the necessary tools to build a well-paced and effective scene. The art of nonfiction is sometimes described as the art of leaving things out, and nowhere is this more pronounced and problematic than in capturing character. The way you characterize people, places, and things ultimately says as much about you, the author, as it does about what you're characterizing, and the goal of this class is to teach you to do so economically yet accurately, or at least fairly.

Not reductively. We'll start with the surface: with the eccentricities, tics, and quirks that make someone who they are, or appear to be. How to capture these oddities without sliding into caricature? Writers often default to physical description, but we'll devote as much or more effort to the verbal, i. We'll also practice writing in body language, which is equally revealing of mien, demeanor, and underlying motivation.

Beneath it all lies what we call 'true character': the values, morals, and ideals evident in deeds, facts, and what we might call properties, the essential characteristics of a culture, city, or place. Our weekly reading and writing assignments and exercises will culminate in a creative portfolio and a final essay, as well as the skills you'll need to take workshops.

Advanced Translation Workshop: Prose Style. Purple, lean, evocative, muscular, literary, exuberant, lucid, stilted, economical. These are all labels that critics and reviewers have used to characterize prose styles that call attention to themselves in distinct ways. Of course, what constitutes style not only changes over time, but also means different things in different literary traditions.

How, then, do translators carry style over from one language and cultural milieu to another? And to what extent does style structure storytelling? We will explore these questions by reading a variety of modern and contemporary stylists who either write in English or translate into English, paying special attention to what stylistic devices are at work and what their implications are for narration, characterization, and world building.

Further, we'll examine the range of choices that each writer and translator makes when constituting and reconstituting style, on a lexical, tonal, and syntactic scale. By pairing readings with generative exercises in stylistics and constrained writing, we will build toward the translation of a short work of contemporary fiction into English. To participate in this workshop, students should be able to comfortably read a literary text in a foreign language.

Advanced Translation Workshop. All writing is revision, and this holds true for the practice of literary translation as well. We will critique each other's longer manuscripts-in-progress of prose, poetry, or drama, and examine various revision techniques-from the line-by-line approach of Lydia Davis, to the "driving-in-the-dark" model of Peter Constantine, and several approaches in between.

We will consider questions of different reading audiences while manuscripts for submission for publication, along with the contextualization of the work with a translator's preface or afterword. Our efforts will culminate in not only an advanced-stage manuscript, but also with various strategies in hand to use for future projects. Students who wish to take this workshop should have at least an intermediate proficiency in a foreign language and already be working on a longer translation project.

As readers, we can all sense when the narrator doesn't seem convincing. What makes a first-person voice seem "real" to readers? How does this voice naturally move - whether in moments of boredom, of distress, of passion? Ultimately, what we're asking as writers is, How can interiority be achieved within this point-of-view?

In this reading course, we will examine the first-person voice in contemporary fiction by authors such as Samantha Hunt, Ben Lerner, Carmen Maria Machado - always with a craft-specific eye on how we can fine-tune our own narrators' voices.

Expect to write both critical papers and creative works. Technical Seminar in Fiction: Perspective. Who or what tells a story might be the most important decision a writer makes. The narrator of a work of fiction will tell the story from a particular point in time, will have particular biases, agendas, frames of reference, lexicon, insights, and history.

And all of those factors contribute to their perspective-in fact, a story's narrative could be understood as the delivery of the narrator's perspective to the reader. In this seminar, we will examine perspective in works of fiction, with an eye towards discovering the elements that comprise a given perspective and also what we might learn as writers from the work.

Along with the reading material, assignments will include reading responses, creative writing exercises, and presentations. Technical Seminar in Fiction: Elements of Style. What we call style is more than literary flourish. Control of a story begins with a writer's characteristic approach to the line.

Style dictates and shapes immersive and impactful worlds of our creation. It's also indicative of a work's larger themes, philosophies, and aesthetic sensibility. This advanced fiction workshop is for students who have taken Beginning or Intermediate Fiction Writing and produced a body of work, large or small, that reflects their developing aesthetic.

Our workshops will focus on the fundamentals of craft like language, voice, and plot and character development, but with an eye also on expanding the formal possibilities in our storytelling. This advanced fiction workshop will examine the ways we write about love in fiction: romantic love, familial love, unconventional love, etc.

Our basis will be the notion that love is ultimately self-knowledge, which lies at the core of all great fiction, and like self-knowledge it involves an endless and inexhaustible act of seeking.

We will read and discuss stories centered on the topic of love, this act of seeking, and we will do writing exercises that help us write compellingly, convincingly, and unsentimentally about deeply sentimental things. Every student will also complete and workshop a full-length story that explores the idea of love on some level. They will additionally write a significant revision of this story, which they will either present for a second workshop or turn in at the end of the quarter.

Please expect a rigorous but constructive workshop environment where being a critic and an editor is as essential as being a writer. Submit writing sample via www. This workshop-based course is suitable for any student wishing to refine and expand their understanding of how fiction gets made, and will be of particular interest to those exploring new stylistic possibilities or working in both the disciplines of prose writing and music.

We'll look at the Modernists' experiments with refrain, repetition, and pure verbal music, their attempts "to find out what's behind things," as Woolf put it. We'll consider literary improvisation as Ellison meant the term: the gathering of seemingly disparate materials to synthesize something wildly new. We'll explore how musicians are often allowed or forced to cross cultural boundaries through texts like Baldwin's "This Evening, This Morning, So Soon" and interviews with Wendy Carlos and Fred Hersch.

We'll also look at the burgeoning field of rhythmology, and use it as a bridge to examine how music also borrows from fiction, through storytelling in song and a guest lecture from a Pulitzer-Prize-nominated composer. The books and stories we read as teenagers are often some of the most influential in developing our tastes as adult readers and writers of fiction.

In this advanced workshop course, we'll discuss the genre of young adult literature through evaluation of your own writing: what are its defining characteristics, and what's the difference between writing for a young adult audience versus writing books and stories about teenagers but designed for adult readers?

Students should be working on book-length projects involving teenaged protagonists, no matter the intended audience; please come to the first session with either work to submit or a sense of when you'd be able to sign up for a slot.

We'll spend most of our time evaluating student work, learning how to become both generous and rigorous critics, and we'll also talk about the books that influenced us the most as young adult readers and the books we're reading today, from contemporary writers like John Green and Rainbow Rowell to classic authors like S.

Hinton and Madeleine L'Engle. Students will read at least one or two novels during the quarter as well. Terms Offered: Spring Prerequisite s : Instructor consent required. Advanced Fiction Workshop: Migration Stories. In this advanced fiction workshop, students will read and write stories of migration. We will use research and imagination to construct narratives about the ways in which human beings move across time and place, and to work on creating characters who are forged and reforged by their cultural, linguistic, and familial contexts both familiar and unfamiliar.

Historical research will be a key component. Half of each class meeting will be devoted to the careful consideration of student work. This course aims to deepen your understanding of the craft of short fiction through intensive study of contemporary writers and through workshops of both your own work and that of your classmates. Together we will examine stories by Mary Gaitskill, Kevin Brockmeier, Charles Yu, and others, reading as writers, searching not for theme but for a sense of how the stories were created, what craft choices the authors made, and what their structures can teach us as we create our own narratives.

In addition to these readings, you will complete several short writing exercises and one longer story, which you will workshop and substantially revise.

Creative writing mfa programs in chicago

Welcome to the University of Chicago Writing Program. The Writing Program offers credit and non-credit courses, seminars and workshops focused on writing for readers in academic and professional contexts. We offer writing support to all University divisions, schools, and programs. Aug 10,  · The Writer’s Studio offers open-enrollment courses in creative and professional writing that students can take without committing to a certificate program. Both in-person and online, courses range from eight-week workshops to one-day seminars that provide craft instruction in a variety of genres, including fiction, creative . The program’s commitment to interdisciplinary work and academic rigor, coupled with an emphasis on teaching the elements of creative writing that underlie all genres, accounts for the program's vitality and explains why Creative Writing at Chicago .

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