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2018-2019 Catalog [ARCHIVED CATALOG]

Courses

As a reminder, all courses have been renumbered beginning with the Fall 2018 semester. Click on the new Course Number Look-up Tool and/or go to colum.edu/registrar
 
  

  • CRAT 640 Deepening Diversity

    This workshop harnesses the power of relationship to bring compassion to conversations of difference within and beyond the clinical realm. Explorations will entail examination of preconceptions and assumptions about culture and identity from an embodied place. The relationships between intersectionality and one’s identity as well as situatedness and culture are investigated to increase cultural humility and facilitate best practices in clinical work. This course brings students’ experience of difference to the foreground as those who have already taken the course assist in facilitating sensitivity to, awareness of, and appreciation for diversity, equity, and inclusion.

    Repeatable: N
    Formerly 70-6140
    Prerequisites CRAT 623 Professional, Legal & Ethical Responsibilities through Fieldwork  
    Minimum Credits 1 Maximum Credits 1

  

  • CRAT 643 Addictions Counseling

    The etiology, assessment, diagnosis, and treatment of addictions will be explored through bio-psycho-social models of theory and practice ranging from the 12-step model to harm reduction, with emphasis given to the transtheoretical approach of Motivational Interviewing. Community learning through attendance at community support groups is essential for the completion of course requirements.

    Repeatable: N
    Formerly 70-6125
    Prerequisites   CRAT 617 Clinical Techniques of Counseling  and CRAT 623 Professional, Legal & Ethical Responsibilities through Fieldwork  
    Minimum Credits 3 Maximum Credits 3

  

  • CRAT 645 Bartenieff Fundamentals

    This course focuses on functionality in movement; including physical work with the system of body re-education. Fundamentals, developed by Laban’s student, Irmgard Bartenieff. Fundamentals integrates LMA with physical therapy to provide holistic approaches to functional issues, such as mobility, efficiency, and ease in motion.

    Repeatable: N
    Formerly 70-6318
    Minimum Credits 1 Maximum Credits 1

  

  • CRAT 646 Lifestyles and Career Development

    This hybrid course introduces basic career counseling theories, workforce trends, assessment tools, and community resources to assist creative arts therapists with service provision and conducting referrals. The creation of career patterns and the need for self-care in the workplace are examined. Students gain an understanding of professional development as related to licensing and credentialing.

    Repeatable: Y
    Formerly 70-6600
    Prerequisites   CRAT 623 Professional, Legal & Ethical Responsibilities through Fieldwork  
    Minimum Credits 3 Maximum Credits 3

  

  • CRAT 660 Graduate Laban Certificate in Movement Analysis I

    In this first of three courses, students develop an emerging understanding of Rudolph Laban’s comprehensive conceptual framework for understanding movement. Students begin to examine the integration of Laban Movement Analysis (LMA) with Irmgard Bartenieff’s Fundamentals (BF) of Movement theoretical model. Students apply LMA and BF concepts to the observation, recording, and assessment of movement.

    Repeatable: N
    Formerly 70-6700
    Minimum Credits 1 Maximum Credits 6

  

  • CRAT 661 Graduate Laban Certificate in Movement Analysis II

    In this second course of study, students continue to develop a deeper understanding of Rudolph Laban’s comprehensive conceptual framework for understanding movement. Students further examine the integration of Laban Movement Analysis (LMA) with Irmgard Bartenieff’s Fundamentals (BF) of Movement theoretical model. Students expand the application of LMA and BF concepts to the observation, recording, and assessment of movement.

    Repeatable: N
    Formerly 70-6710
    Prerequisites CRAT 660 Graduate Laban Certificate in Movement Analysis I  
    Minimum Credits 1 Maximum Credits 6

  

  • CRAT 662 Graduate Laban Certificate in Movement Analysis III

    In this culminating course, students develop an integrated understanding of Rudolph Laban’s comprehensive conceptual framework for understanding movement. Students master the integration of Laban Movement Analysis (LMA) with Irmgard Bartenieff’s Fundamentals (BF) of Movement theoretical model. Emphasis is given to professional application of LMA and BF concepts.

    Repeatable: Y
    Formerly 70-6720
    Prerequisites CRAT 661 Graduate Laban Certificate in Movement Analysis II  
    Minimum Credits 1 Maximum Credits 6

  

  • CRAT 665 Graduate Laban Certificate in Movement Analysis IV: Professional Issues

    Reading and discussion seminar examining the theory and practice of body/mind therapy, performing arts, and relevant applications of Laban-based movement studies.

    Repeatable: N
    Formerly 70-6730
    Minimum Credits 1 Maximum Credits 6

  

  • CRAT 670 Movement Pattern Analysis I

    This course lays the basic foundation of becoming a Movement Pattern Analysis practitioner. Students practice advance movement observation and analysis, explore interviewing techniques, learn to construct and interpret individual profiles, conduct counseling sessions under supervision, and write reports.

    Repeatable: N
    Formerly 70-6900
    Prerequisites CRAT 505 Introduction to Laban Movement Analysis  
    Minimum Credits 3 Maximum Credits 3

  

  • CRAT 671 Movement Pattern Analysis II

    This course continues development of skills needed to make and apply individual Movement Pattern Analysis profiles. In addition, team analysis skills are introduced in the context of providing guidance to co-workers and professional or personal partners regarding their individual and composite decision-making styles according to the Movement Pattern analysis framework. Students learn to construct and interpret a profile of a dyad team, conduct a pair feedback session, and write a team report.

    Repeatable: N
    Formerly 70-6920
    Prerequisites CRAT 670 Movement Pattern Analysis I  
    Minimum Credits 3 Maximum Credits 3

  

  • CRAT 672 MPA Profile

    A Movement Pattern Analysis Profile (MPA)provides an individual with insight into one’s decision-making process as correlated to their intrinsic movement behavior. This course is designed to 1) provide students with their own individual profiles created by the instructor, and 2) begin the orientation process to the overall framework of Movement Pattern Analysis as it relates to their unique profiles. Students will engage one-on-one with the instructor for a two hour interview during which the instructor notates the student’s movement for the purposes of constructing the Movement Profile, and for a one hour feedback session during which the instructor provides the Profile Report and all explanation of the Profile and its applications. Other students in the class are actively observing both the interviews and the feedback sessions.

    Repeatable: N
    Formerly 70-6905
    Prerequisites   CRAT 670 Movement Pattern Analysis I  and CRAT 505 Introduction to Laban Movement Analysis  
    Requirements Permission Required (DP)
    Minimum Credits 1 Maximum Credits 1

  

  • CRAT 673 Team Building Practicum

    This capstone course in Movement Pattern Analysis includes a theoretical orientation to team building and its application to practice. Pairs of students will complete a team-building project in the community, applying the principles of Movement Pattern Analysis.

    Repeatable: N
    Formerly 70-6930
    Prerequisites CRAT 671 Movement Pattern Analysis II  
    Minimum Credits 3 Maximum Credits 3

  

  • CRAT 689 Internship I/Clinical Supervision

    Internship I/Clinical Supervision is the first of 700 hours of on-site clinical placement as required by the American Dance Therapy Association. Students are supervised by academic BC-DMTs and site supervisors at placements in mental health agencies, schools, hospitals, correctional facilities, and other institutions and function as counselor-dance/movement therapists. Internship I, with 350 hours, emphasizes treatment planning and goal setting as related to observation and assessment.

    Repeatable: Y
    Formerly 70-6589
    Prerequisites CRAT 623 Professional, Legal & Ethical Responsibilities through Fieldwork  
    Minimum Credits 3 Maximum Credits 3

  

  • CRAT 690 Internship II/Clinical Supervision

    This course is a continuation of Internship I with emphasis on the interrelationship of observation, assessment, treatment planning, and intervention skills in clinical practice. Students will work on their oral presentation skills, as well as written communication of the therapeutic experience. The therapeutic termination process is addressed in addition to the student’s developing theoretical framework. This class requires the student to complete the remaining 350 of the 700 clinical hours required by the American Dance Therapy Association. The experience is documented by a completed clinical portfolio.

    Repeatable: N
    Formerly 70-6590
    Prerequisites CRAT 689 Internship I/Clinical Supervision  
    Minimum Credits 3 Maximum Credits 3

  

  • CRAT 691 Graduate Thesis

    Conducting the proposed thesis plan, writing, revising, and completing the final thesis project will occur under the guidance of the Individual Thesis Committee made up of the thesis advisor, outside reader, and research coordinator.

    Repeatable: Y
    Formerly 70-6420
    Prerequisites CRAT 633 Thesis Seminar  
    Minimum Credits 1 Maximum Credits 6

  

  • CRAT 696 Independent Project: DCAT

    No description available.

    Repeatable: Y
    Formerly 70-6499
    Minimum Credits 1 Maximum Credits 6

  

  • CRWR 101 Explorations in Creative Writing

    This innovative course in creative writing, centered on a universal human experience, fits in Rubric II within the LAS Core Curriculum: Culture, Values, and Ethics. By reading a wide range of poems, stories and essays, and by reading a small number of films and pieces of music and work in other art forms, students will become familiar with a wide range of human behavior and cultural responses in relation to the thematic topic as expressed in literature and other art. Topics may include Death and Dying, Art and Violence, and Love and Lust.

    Repeatable: Y
    Formerly 59-1101
    HU
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 105 Story Across Culture and Media

    This course explores the fundamental human concept of storytelling as it applies to the construction of culture and identity, through a variety of narrative media. Students will investigate, from a global perspective, the role of storytelling in shaping experience in a wide range of cultural and historical contexts. By examining fiction, poetry, non-fiction, film, television, theatre, music, and new media, students will identify universal narrative elements and determine the ways these universal narrative elements frame basic human experiences. This course will be helpful for students interested in studying creative writing, television, film, and other narrative arts where deeper understanding of the humanities and culture strengthen their art.

    Repeatable: Y
    Formerly 59-1110
    HU
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 106 Fantasy Genre Writing

    Fantasy Genre Writing is designed for anyone interested in writing Fantasy. The course will expose students to Fantasy’s vast reach across a wide array of media and forms including fiction, film, music, theatre, art, photography, television, fashion, comics, poetry, games, and other arts. Discussion and research of the genre will give way to practical application in writing and creating Fantasy works in several of the forms explored in the class. This is an introductory level class with an interdisciplinary focus, open to Fiction Writing majors and non-majors for college-wide elective credit.

    Repeatable: N
    Formerly 59-1490
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 107 Science Fiction Genre Writing

    Science Fiction Genre Writing is designed for anyone interested in writing Science Fiction. This genre has become a significant element of contemporary culture. Through writing, research, reading, creative practice, and multimedia, this course will explore the many ways Sci-Fi’s themes and narratives have captured the imagination of a sophisticated and changing world. This is an introductory level class with an interdisciplinary focus, open to Fiction Writing majors and non-majors for college-wide elective credit.

    Repeatable: N
    Formerly 59-1491
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 108 Popular Fiction Genre Writing

    Popular Fiction Genre Writing is designed for anyone interested in writing in the Popular Fiction genres. Popular Fiction (mystery, thriller, horror, romance, graphic stories, etc.) and its themes, styles, and tropes, provide the wellspring for television, motion pictures, games, and emerging media. This course explores the conventions and approaches of popular fiction, discuss history, psychology, and sociology as reflected and influenced by popular fiction, and gives students a chance to write brief works of popular fiction. This is an introductory level class with an interdisciplinary focus, open to Fiction Writing majors and non-majors for college-wide elective credit.

    Repeatable: N
    Formerly 59-1492
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 110 Foundations in Creative Writing

    This course will introduce students to an extensive creative writing practice by inviting them to write in a number of different genres and forms. Students will become familiar with core literary devices such as structure, conflict, scene, character, voice, point of view, setting, tone, metaphor, imagery, dialogue, and language. Students will learn to read closely and analyze stylistic choices and literary elements from genres such as poetry, fiction, nonfiction, playwriting, and hybrid texts. Course writing will range from experimental to traditional, from structured to open. Students will be introduced to the workshop process by writing in various genres and by providing feedback to their peers.

    Repeatable: N
    Formerly 59-1100
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 112 Tutoring Fiction Writing Skills

    Tutorial course addresses basic skills in grammar and punctuation, fiction writing, rewriting, editing, journal writing, organization, and more. Tutorial Program is designed for students concurrently enrolled in Fiction Writing Workshop, Prose Forms, Critical Reading and Writing, and Specialty Writing classes. Many students find one-on-one attention of a tutor (who is an advanced writing student) gives their writing added energy and clarity and helps them make valuable discoveries.

    Repeatable: Y
    Formerly 59-1450
    Concurrent Requisite   CRWR 150 Fiction Workshop: Beginning  or CRWR 250 Fiction Workshop: Intermediate       
    Minimum Credits 1 Maximum Credits 2

  

  • CRWR 120 Craft and Process Seminar in Fiction: Topics

    Course requires that qualified students study the works of writers’ processes, styles, techniques and choices by reading and researching published novels, short stories, journals, letters and interviews, as well as author biographies. Students gain in-depth knowledge of the cultural context of authors’ works. Students explore the writing processes of well known authors and the ways in which students’ own responses to the reading can nourish and heighten the development of their own fiction.

    Repeatable: Y
    Formerly 59-1301
    Co-requisites CRWR 150 Fiction Workshop: Beginning  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 121 Craft and Process Seminar in Fiction: First Novels

    Course will expose student writers to the creative and intellectual processes of published writers early in their careers. It will show students that a) writing is an ongoing process of writing and rewriting; b) the creative process is both unique and universal to each writer; and c) published writers faced the same bogeys at the beginning of their careers that student writers face. Through contrast and comparisons (in the journals and class discussions) students will examine and comment on the prose forms, character developments, and story structures first-time novelists have effectively used, along with the writing processes the authors employed to get their first novels finished. Through journal entries and essays, students will examine what all this tells them about how they might go about solving the questions of structure and process presented to them by their own writing. Students will be required to read three novels and conduct research by reading writers’ diaries, notebooks, letters, and autobiographies. There will be discussion of the assigned texts and journal readings every week.

    Repeatable: N
    Formerly 59-1302
    Co-requisites CRWR 150 Fiction Workshop: Beginning  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 122 Craft and Process Seminar in Fiction: Gender and Difference

    Course examines the ways in which gay, lesbian, and straight writers contend with issues of culture, gender, and difference. Course focuses upon such questions as the following: How do straight male and female writers deal with the serious issues and challenges of writing from the point of view of gay and lesbian characters How do gay and lesbian writers deal with the same issues in writing about straight characters Course also examines the particular challenges of writing gender opposites (whatever the sexual orientation of those characters might be). Through the students’ reading of assigned stories and novels, through their written responses as writers to their reading, through creative fiction and nonfiction writing assignments, and through individual and small-group research activities, the course will approach broad and specific issues of gender and difference from early writing to the present day.

    Repeatable: N
    Formerly 59-1305
    PL
    Co-requisites CRWR 150 Fiction Workshop: Beginning  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 123 Craft and Process Seminar in Fiction: The Novel in Stories

    Course examines creative and intellectual processes of writers working in nonlinear structure forms. It raises questions writers ask themselves when determining how best to structure a body of work that is more cohesive than a collection of stories, yet not a linearly shaped novel. Through readings, small group and large group discussions, journal reflections (both students’ and authors’), and research into the authors’ writing processes, students are able to reflect upon and examine issues and questions of structure that go into putting together a cohesive body of creative work.

    Repeatable: N
    Formerly 59-1306
    Co-requisites CRWR 150 Fiction Workshop: Beginning  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 124 Craft and Process Seminar in Fiction: 19th Century Russian Authors

    Course requires that students research the reading and writing processes behind selected novels and short stories by Russian masterpiece authors and give their own oral and written responses as writers to the material they are reading. Research examines the personal and social contexts in which masterpiece works were written, as well as the ways in which writers read, respond to what they read, and incorporate their reading and responses to reading dynamically to their own fiction-writing process. Drawing upon authors’ journals, notebooks, and letters, as well as upon more authors and the ways in which students’ own responses may nourish and heighten the development of their fiction.

    Repeatable: N
    Formerly 59-1307
    Co-requisites CRWR 150 Fiction Workshop: Beginning  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 125 Craft and Process Seminar in Fiction: Contemporary European Masterpiece Authors

    This course researches the writing processes of contemporary European writers, including the ways in which their reading and responses to reading play influential roles in the overall fiction-writing process. Journals and other writings by contemporary European authors will be used as examples of how writers develop dimensions of their own fiction and see their work in relation to other writers. Course involves study of the development of diverse techniques and voices of some of the most prominent contemporary European authors, the so-called post-war generation, in such countries as France, Czechoslovakia, Poland, Yugoslavia, Russia, and others.

    Repeatable: N
    Formerly 59-1308
    Co-requisites CRWR 150 Fiction Workshop: Beginning  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 126 Craft and Process Seminar In Fiction: Contemporary Russian Authors

    This course requires that students research reading and writing processes behind selected novels and short stories by principal masterpiece authors of the Soviet period from 1920 to present, such as Bulgakov, Babel, Olesha, Erofeev, Platonov, Sokolov, and others. Drawing upon authors’ journals, notebooks, and letters, as well as upon more public writing and interviews, students examine the personal and social contexts in which writers read and respond to what they read. Students give oral and written responses as writers to material.

    Repeatable: N
    Formerly 59-1309
    Co-requisites CRWR 150 Fiction Workshop: Beginning  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 127 Craft and Process Seminar in Fiction: American Voices

    Course researches writing processes of African-American, Hispanic-American, Native-American, and Asian-American writers and other ethnic American writers and the ways in which their reading and responses to reading play an influential role in the fiction-writing process. Particular emphasis will be placed upon taking the point of view of racial and ethnic opposites. Journals and other writings are used as examples of how writers read and write about what they read to develop dimensions of their own fiction and how they see their work in relation to that of other writers. Manuscripts and notes of famous works may be used to show writers’ processes and development.

    Repeatable: N
    Formerly 59-1310
    PL
    Co-requisites CRWR 150 Fiction Workshop: Beginning  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 128 Critical Reading & Writing: Fiction Writers as Creative Non-fiction Writers

    Course explores ways in which published writers bring their knowledge of fiction writing techniques such as dramatic scene, image, voice, story movement, and point of view to the writing of creative nonfiction. Using primarily journals, letters, and other private writings, students will research the writing processes of established fiction writers who have worked extensively in creative nonfiction modes–writers as diverse as Mark Twain, Isak Dinesen, Virginia Woolf, Zora Neale Hurston, John Edgar Wideman, Gretel Ehrlich, James Alan McPherson, Scott Russell Sanders, Alice Walker, Joyce Carol Oates, David Bradley, and others. In addition to offering insights about widening writing options in a growing nonfiction market for fiction writers, this course aids in development of oral, written, and research skills useful for any major and communications-related career.

    Repeatable: N
    Formerly 59-1311
    Co-requisites CRWR 150 Fiction Workshop: Beginning  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 129 Craft and Process Seminar in Fiction: Autobiographical Fiction

    Course requires that students read fiction known to be autobiographical in nature and respond with journal entries and classroom discussion. Students research primary sources concerning a writer, his or her work, and the process by which the work came into being; give an oral report; and write a final essay. Students read aloud journal entry responses to readings and write their own autobiographical fiction, some of which is read and responded to in class.

    Repeatable: N
    Formerly 59-1312
    Co-requisites CRWR 150 Fiction Workshop: Beginning  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 130 Craft and Process Seminar in Fiction: Crime & Story

    Course explores the fact that, since Oedipus Rex, the crime has been one of the engines that drive story movement. Dostoevsky, Drieser, Petry, Dickens, Atwood, and Wright are among the many writers who use elements of the mystery and crime story to explore the psychological effects of crime on characters in fiction. By analyzing the writing techniques and processes–such as point of view, scene, voice, and story structure–of well-known writers, students will examine how murder, crime, and mystery have been transformed beyond genre to create dramatic literary fiction. By reading published work, as well as researching memoirs, journals, essays, and letters of established writers, students will explore how they may use these techniques to create compelling movement in their fiction.

    Repeatable: N
    Formerly 59-1316
    Co-requisites CRWR 150 Fiction Workshop: Beginning  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 131 Story in Fiction and Film

    Course critically explores the elements of fiction writing as they are translated on film: voice, point of view, dialogue, scene, structure, and other fictional forms. Fiction has been an important source for cinematic storytelling since its earliest incarnations. Students will view films, read fictional excerpts, discuss techniques, and hear speakers, studying how these elements can be used to heighten their own stories. Course will be helpful for students interested in studying fiction, film, and other arts and media disciplines.

    Repeatable: N
    Formerly 59-1405
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 132 Story in Fiction and Film: International

    Course critically explores the elements of fiction writing as they are translated to film with an emphasis on foreign and international stories: voice, point of view, dialogue, scene, structure, and other fictional forms. Fiction has been an important source for cinematic storytelling since its earliest incarnations. Students will view films, read fictional excerpts, discuss techniques, and hear speakers, studying how these elements can be used to heighten their own stories. Course will be helpful for students interested in studying fiction, film, and other arts and media disciplines.

    Repeatable: N
    Formerly 59-1406
    GA
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 133 Story in Graphic Forms

    Course covers writing for comics and graphic novels: Forms and formats similar to but unique from those of narrative prose, screenwriting, and storyboarding. The full script and plot outline styles of major publishers are explored and practiced. There’s an emphasis on research to enable the writer to translate the envisioned image into words for artist and audience. Business aspects such as submissions, working within publishing cooperatives, and self-publishing are presented.

    Repeatable: N
    Formerly 59-1410
    Co-requisites CRWR 150 Fiction Workshop: Beginning  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 134 Young Adult Fiction

    Course analyzes a selection of published young adult novels, with emphasis on the development of student works, including exploration of ideas and issues that sustain novel-length material. Also studied are plot construction, writing of scene and transition, and the weaving of theme into the whole.

    Repeatable: N
    Formerly 59-1411
    Co-requisites CRWR 150 Fiction Workshop: Beginning  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 135 Dreams and Fiction Writing

    Course helps writers relate the rich, various, and powerful world of dreams to the needs and delights of imaginative prose fiction. Students keep journals of their dreams, read and write dream stories, and study how dreams relate to their fiction writing, including researching the ways in which dreams have influenced the work of well-known writers.

    Repeatable: N
    Formerly 59-1412
    Co-requisites CRWR 150 Fiction Workshop: Beginning  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 136 Suspense Thriller Fiction Writing

    Course requires that students read and analyze contemporary examples of the suspense thriller genre. Suspense, legal and medical thrillers, crime novels, and horror are all various forms of the suspense thriller that make the bestseller lists. In consultation with the instructor, students plan and begin writing their own suspense thrillers.

    Repeatable: N
    Formerly 59-1414
    Co-requisites CRWR 150 Fiction Workshop: Beginning  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 137 Writing Popular Fiction

    Course investigates a variety of fiction forms written for the popular market, including mysteries, romantic women’s fiction, and dark fantasy novels. Emphasis is on analysis of given genres and characteristics of form and general technique. Students become aware of characteristics that define a popular genre novel and how to apply those defining techniques in their works. Because most popular fiction is market-driven, course includes some discussion of marketing.

    Repeatable: N
    Formerly 59-1415
    Co-requisites CRWR 150 Fiction Workshop: Beginning  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 138 Science Fiction Writing

    Course offers a fresh approach to conception and writing of science fiction, with a current overview of the state of the field and techniques. Students develop original material and present their manuscripts to instructor for careful examination, possible class reading, and critique.

    Repeatable: N
    Formerly 59-1416
    Co-requisites CRWR 150 Fiction Workshop: Beginning  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 139 Writing for Children

    Course examines writing books for children–from lap-sitter to young adult, including fiction, creative nonfiction, and plays, with emphasis on characterization, theme, plot, setting, dialogue, and conflict. Professional tips on subject matter of interest to children, preparation of manuscripts for publication, and possible markets will also be studied.

    Repeatable: N
    Formerly 59-1417
    Co-requisites CRWR 150 Fiction Workshop: Beginning  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 140 Story and Journal

    Course uses students’ personal journals and journals and notebooks of authors such as Melville, Kafka, Nin, and Boll as devices for exploration of the imagination, recording of the living image, and development of various kinds of writing.

    Repeatable: N
    Formerly 59-1419
    Co-requisites CRWR 150 Fiction Workshop: Beginning  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 141 Fantasy Writing Workshop

    Course explores the many facets of fantasy fiction, from heroic fantasy to contemporary fantasy to horror. Students will read classic short stories of the genre, with class discussion focusing on structure, content, the use of imagination combined with plausibility, and how these qualities apply to the student’s own writing.

    Repeatable: N
    Formerly 59-1420
    Co-requisites CRWR 150 Fiction Workshop: Beginning  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 142 Interactive Storytelling

    Course provides students with basic, hands-on training in order to complete interactive storytelling as well as an exploration of prose forms that adapt readily for Web venues. The internet provides a wealth of writing and publishing opportunities employing a wider range of skills and techniques than is found in print publishing. These projects will include text, creating and preparing images for the Web, planning the flow of a site, and designing pages, as well as creating internal and external links. Students read and view examples from the internet, compare these with print media, and write with these differences in mind.

    Repeatable: N
    Formerly 59-1421
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 143 Journal and Sketchbook: Ways of Seeing

    This course, open to those interested in writing and/or visual art, will be team-taught by a writer and a visual artist, using interdisciplinary approaches in order to help students better see their narrative work. Kafka, Goya, Faulkner, and others have been inspired by word and image; their journals and sketchbooks show exploration in text, image, and their intersections. Students will consider their written and visual work fully through personal observation, seeing and responding simultaneously, and seeing-in-the-mind through imagination and memory.

    Repeatable: N
    Formerly 59-1422
    GA
    Co-requisites CRWR 150 Fiction Workshop: Beginning  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 144 Topics in Fiction Writing

    Courses focus on specific topics, genres, and forms relative to Fiction and Creative Nonfiction Writing (novel, short-story, personal and researched essays, etc.) that might not be included in the current course offerings (eg: Chicago Stories; Gators, Bayous, Jambalaya and Fais Do-Dos: Fieldwork Among Louisiana’s Cajuns). Topics covered may include traditional fiction writing topics, and may also concentrate on experimental forms and trends in contemporary fiction as well as publishing and electronic media.

    Repeatable: Y
    Formerly 59-1401
    Co-requisites CRWR 150 Fiction Workshop: Beginning  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 150 Fiction Workshop: Beginning

    Course is the first one in the core sequence. Students move at their own pace in developing perceptual, technical, and imaginative abilities in fiction writing. No prerequisites, though either Foundations in Creative Writing or Writing and Rhetoric I are helpful.

    Repeatable: N
    Formerly 59-1201
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 155 Poetry Workshop: Beginning

    Through in-class writing exercises, reading of model poems, and discussion of student work, this course encourages students to produce poetry of increasing quality.

    Repeatable: N
    Formerly 59-1500
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 160 Creative Nonfiction Workshop: Beginning

    A beginning class in writing creative nonfiction, a term including many forms, constantly re-imagined, with the personal and lyrical essay at its core. You will boldly combine different elements of shape, texture, and voice to attempt to produce works of literary art, primarily in the essay, and present your work to the rest of the class in a workshop format. You will also begin reading in nonfiction.

    Repeatable: N
    Formerly 59-1700
    WI
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 199 Topics in Creative Writing

    This course is designed to respond to contemporary trends and topical issues in creative writing by focusing on specific topics, genres, and forms relative to the intersection of fiction, poetry, and creative nonfiction writing. Topics may range from the traditional to the experimental (examples: Creative Writing & Performance, Cross-Genre Writing, Creating Hybrid Texts, Creative Writing for New Media, Contemporary Publishing) or focus upon a particular author or theme or purpose in creative work. This course is repeatable, as topics rotate each semester to cover material that is not included in the permanent course offerings.

    Repeatable: Y
    Formerly 59-1105
    Co-requisites CRWR 110 Foundations in Creative Writing  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 215 Freelance Applications of Creative Writing Training

    Course looks at the application of the broad repertoire of creative writing techniques and approaches to writing and freelance tasks found in various businesses and services, including the writing that appears in a variety of publications and media. The student develops writing projects suitable for inclusion in his/her professional portfolios.

    Repeatable: N
    Formerly 59-2101
    Co-requisites CRWR 251 Prose Forms  or CRWR 255 Poetry Workshop: Intermediate  or CRWR 260 Creative Nonfiction Workshop: Intermediate  
    Minimum Credits 3 Maximum Credits 3

  
  

  • CRWR 217 Manuscript Preparation for Writers

    Course teaches students how to prepare final manuscripts. While students will consider the development of manuscript conventions and writing industry standards, they will also compare and contrast how other writers (such as Faulkner, Fitzgerald, and others) have prepared their manuscripts, based on their vision of the final product and its impact on various audiences. Students will learn to give close attention to issues regarding the relationship between story content and the important role of style, punctuation, usage, and the many ways in which the visual appearance and impact of a manuscript’s features (chapters, sections, breaks, etc.) affect not only the way in which the work is received by readers, editors, and publishers, but also how layout/setup affects the manipulation of time, movement, and dramatic impact.

    Repeatable: N
    Formerly 59-2450J
    Co-requisites CRWR 150 Fiction Workshop: Beginning 
    Minimum Credits 2 Maximum Credits 2

  

  • CRWR 220 Craft and Process Seminar in Fiction: Novelists

    Course examines the ways in which novelists read, respond to what they read, and incorporate their reading responses dynamically into their own fiction-writing processes. In addition to their own written responses to reading, students work individually and in small groups researching the reading and writing processes behind selected novels (mainstream and alternative), ranging from the beginnings of the form to the present day. Drawing upon authors’ journals, notebooks, letters, and more public writings, students explore the writing processes of well-known writers and ways in which students’ own responses to reading can nourish and heighten the development of their fiction. Course will survey many of the principal novelists and novels and the development of the genre from its roots to contemporary fiction. Students should be writing fiction, but novel-length material is not required.

    Repeatable: N
    Formerly 59-2301
    Co-requisites   CRWR 250 Fiction Workshop: Intermediate  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 221 Craft and Process Seminar in Fiction: Short Story

    Course encourages development of lively, well-crafted, short fiction by examining reading and writing processes that guide some of the best examples of the form. Students select from a wide range of writers, representing many different voices, backgrounds, subjects, and approaches, to research ways in which writers read, respond to their reading, and use that reading to generate and heighten their short stories. Students write their responses to reading short stories and discuss the relationship of reading to the development of their own fiction.

    Repeatable: N
    Formerly 59-2302
    Co-requisites CRWR 251 Prose Forms  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 222 Craft and Process Seminar in Fiction: Women Writer

    Course researches writing processes of women writers and ways in which their reading and responses to reading play influential roles in the fiction-writing process. Journals and other writings by Virginia Woolf, Zora Neale Hurston, Katherine Anne Porter, Katherine Mansfield, Eudora Welty, Toni Cade Bambara, and others are used as examples of how writers read, write about what they read to develop their fiction, and see their work in relation to other writers’ works. Manuscripts and notes of famous works may be used to show writers’ processes and development. Students’ own fiction writing is also part of the course.

    Repeatable: N
    Formerly 59-2303
    PL
    Co-requisites   CRWR 250 Fiction Workshop: Intermediate  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 223 Craft and Process Seminar in Fiction: Fiction Writers and Censorship

    Course emphasizes research, writing, and discussion of creative processes of successful writers, among them Lawrence, Flaubert, Hurston, Wright, Selby, Joyce, and Burroughs, who have been forced to confront directly forms of censorship or marginalization. Writers must be free to draw on their strongest material and use their best, most authentic, telling voices. However, writers often confront external or internal inhibitions: outright legal challenges, vocal attacks upon certain types of stories, subtle publishing prejudices, or self-censoring.

    Repeatable: N
    Formerly 59-2304
    Co-requisites   CRWR 250 Fiction Workshop: Intermediate  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 233 Researching and Writing Historical Fiction

    Course focuses on the ever-popular genre of historical fiction, which combines the study of research techniques with fictional techniques necessary to produce marketable prose. Through reading, research, and guidance of a historical fiction writer, students produce their own historical fiction. Course fulfills the bibliography and research requirement of the Fiction Writing major.

    Repeatable: N
    Formerly 59-2410
    Co-requisites CRWR 251 Prose Forms  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 234 Advanced Young Adult Fiction

    Course provides students with the opportunity to complete full-length original novellas begun in Young Adult Fiction (55-4301). Emphasis is on deepening understanding of scene, transition, character, and plot development. Rigorous rewriting and revision are key in working toward publishable quality. Students discuss the latest in young adult literature and current trends in publishing.

    Repeatable: N
    Formerly 59-2411
    WI
    Prerequisites CRWR 134 Young Adult Fiction  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 238 Advanced Science Fiction Writing Workshop

    Workshop course builds on the original science fiction class, focusing on writing skills and techniques unique to the genre. Students practice generating story ideas, tempering imagination with logic, thinking in terms of the future and its multiple possibilities, selecting appropriate characters, and constructing plausible plots. Readings include collected short stories of science fiction master Alfred Bester and individual works by Robert Heinlein, C.M. Kornbluth, and others.

    Repeatable: N
    Formerly 59-2416
    Prerequisites CRWR 138 Science Fiction Writing  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 239 Dialects and Fiction Writing

    Course provides students with informed training in listening with a good ear and distinguishing between eye dialect and dialect that is both accurately and artistically rendered, with an understanding of the tradition of dialect writing in fiction. Dialect speech and writing have richly contributed to the breadth, variety, and authenticity of American and English literature. Students keep journals and research the ways in which writers employ dialect in their fiction as well as what they have to say about such uses, while also developing a facility with dialect in their own fiction writing.

    Repeatable: N
    Formerly 59-2430
    PL
    Co-requisites CRWR 251 Prose Forms  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 242 Topics in Nonfiction

    A number and variety of courses are included under the umbrella of nonfiction topics, such as: Journal Writing (writing, reading and discussing nonfiction journals that explore the writer’s life or an aspect of it, such as travel, memories or relationships to art or food. Course also examines ways personal writing can become public writing within genre of creative nonfiction.); Memoir Writing (how to select the most meaningful memories, and how to develop, focus and structure those memories); and the Graphic Memoir (While the emphasis will be on writing, the course will also explore the connection of writing to drawing and how one can enhance the other, such as how the images and language are placed in panels or pages). These courses will revolve and be offered different semesters. Content will vary slightly according to instructors.

    Repeatable: Y
    Formerly 59-2801
    Prerequisites ENGL 112 Writing and Rhetoric II  or ENGL 122 International Writing and Rhetoric II  or CRWR 160 Creative Nonfiction Workshop: Beginning  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 243 Creative Non-Fiction: Journal Writing

    Course offers students structured exploration of journal writing techniques. Students develop journal writing as a powerful means of self-exploration and self-expression. Course also examines ways personal writing can become public writing within genre of creative nonfiction.

    Repeatable: N
    Formerly 59-2802
    WI
    Prerequisites ENGL 112 Writing and Rhetoric II  or ENGL 122 International Writing and Rhetoric II  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 244 Creative Non-Fiction: Writing Theory

    Course is designed for students who are interested in writing critical, academic non-fiction. Content examines how the theorizing of writing by writers and philosophers has changed our perception not only of the act of writing, but also our identities as subjects of language.

    Repeatable: N
    Formerly 59-2803
    WI
    Prerequisites ENGL 112 Writing and Rhetoric II  or ENGL 122 International Writing and Rhetoric II  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 245 Creative Non-Fiction: Writing Memoir

    This course will focus on writing memoir, a sub-genre of Creative Nonfiction. Class will be exposed to a variety of readings and will develop greater understanding and appreciation of memoir as a form of Creative Nonfiction writing. Creative techniques for writing and crafting memoir, including approach and selecting a topic, research, organization, and stylistic and creative concerns, will be explored. Students will also become familiar with how to pursue publishing their work.

    Repeatable: N
    Formerly 59-2804
    WI
    Prerequisites   CRWR 160 Creative Nonfiction Workshop: Beginning  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 246 Creative Nonfiction: Writing Memoir II

    This class will focus on an advanced level of writing memoir as a sub-genre of Creative Nonfiction. This class will build on the level one memoir class, with students expected to expand the range and sophistication of their work. Students will research, re-envision and expand upon theme and form in memoir. Students will read memoirs and develop a critical discourse and understanding of memoir as a narrative form. Students will investigate the various placements of the memoir form in the literary marketplace.

    Repeatable: N
    Formerly 59-2805
    Prerequisites   CRWR 245 Creative Non-Fiction: Writing Memoir  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 247 Creative Non-Fiction: Queer Writings

    This is a creative nonfiction writing workshop developing themes related to gender issues. Students read and write creative nonfiction material focusing on gay, lesbian, bisexual, and transgender material.

    Repeatable: N
    Formerly 59-2806
    WI PL
    Prerequisites ENGL 112 Writing and Rhetoric II  or ENGL 122 International Writing and Rhetoric II  
    Minimum Credits 3 Maximum Credits 3

  
  

  • CRWR 249 Nonfiction Film As Literature

    This class will explore nonfiction films in their relationship to nonfiction literature. What does it mean to speak of films as essays or memoirs or autobiographies What is the relationship between text and image, fact, truth, and composition in films presenting themselves as nonfictional We will also consider some nonfiction literature that invokes and plays off film. Filmmakers such as Ross McElwee, Spike Lee, Erroll Morris, Chris Marker, Barbara Hammer, Su Friedrich, Jonathan Caouette, and Spalding Gray will be considered.

    Repeatable: N
    Formerly 59-2850
    HL
    Prerequisites CRWR 260 Creative Nonfiction Workshop: Intermediate  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 250 Fiction Workshop: Intermediate

    Course is the second workshop in the core curriculum for the Fiction concentration. Course continues the development of perceptual and technical abilities begun in Fiction Writing: Beginning, with a focus that may include, but is not limited to: point of view, structure, and parody of form.

    Repeatable: N
    Formerly 59-2201
    WI
    Prerequisites CRWR 150 Fiction Workshop: Beginning  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 251 Prose Forms

    Course is the third class in the core sequence. Aimed toward producing publishable works, this practical exploration guides students in the production of creative nonfiction, technical, expository, and persuasive writing, thereby exposing students to the kinds of writing generally useful in finding employment in arts and media fields where writing skills are essential to advancement. Course is also designed to heighten students’ sense of forms and structure in preparation for Fiction Writing: Advanced. Strong emphasis is placed on using the identified basic forms in fiction writing and in exposition.

    Repeatable: N
    Formerly 59-2202
    Prerequisites CRWR 250 Fiction Workshop: Intermediate  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 255 Poetry Workshop: Intermediate

    Through in-class writing exercises, the reading of model poems, and discussion of student work, students are encouraged to produce poetry of greater sophistication. Familiarity with work of notable poets is strongly encouraged.

    Repeatable: Y
    Formerly 59-2500
    Prerequisites CRWR 155 Poetry Workshop: Beginning   
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 260 Creative Nonfiction Workshop: Intermediate

    Intermediate class in writing creative nonfiction. This class will build on the introductory workshop, with students expected to expand the range and sophistication of their work. Students will read works of nonfiction and present their work to the rest of the class in a workshop format.

    Repeatable: Y
    Formerly 59-2700
    WI
    Prerequisites     CRWR 160 Creative Nonfiction Workshop: Beginning  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 288 Practice Teaching: Tutor Training

    Course uses a range of pedagogical strategies to train and provide tutors who, concurrent with their training semester, staff the Department of Creative Writing’s Fiction tutoring program. Tutors assist Fiction students who need help with reading and writing skills.

    Repeatable: N
    Formerly 59-3450
    Requirements Permission Required (DP)
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 289 Practice Teaching: Classroom

    Students explore a range of pedagogical strategies in order to prepare to teach the writing of Fiction.

    Repeatable: Y
    Formerly 59-3451
    Prerequisites CRWR 288 Practice Teaching: Tutor Training  
    Requirements Permission Required (DP)
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 315 Creative Writers and Publishing

    Course is designed to give developing creative writers an understanding of the publishing industry, and experience navigating it. Students will write and prepare work for potential publication, familiarize themselves with the literary marketplace and current publishing trends, participate in conversations and interviews with editors, agents, publishers, and other members of the publishing industry and literary community. Assignments will include research, presentations, and opportunities for submission of students’ creative work. Students will undertake, present, and potentially publish in-depth research into literary magazines and journals, as well as independent and major publishing houses. Guest speakers may include bookstore owners, editors, publishers, and published creative writers.

    Repeatable: N
    Formerly 59-3100
    Co-requisites   CRWR 250 Fiction Workshop: Intermediate  or CRWR 255 Poetry Workshop: Intermediate  or CRWR 260 Creative Nonfiction Workshop: Intermediate  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 316 Writer’s Portfolio

    Course combines the study of aesthetics with the study of the business of creative writing. Student writing in class may include (but is not limited to) critical essays on the craft of creative writing; craft commentaries on your own work and on the work of others; interviews with other writers; cover letters; query letters; and research essays on publishing markets. Students will learn about professional presentation for submitting their writing for publication and for evaluation by employers and graduate-admission committees in fields where effective communication, creative problem-solving, critical analysis, editing, and group relationship skills are crucial factors.

    Repeatable: N
    Formerly 59-3150
    Prerequisites   CRWR 250 Fiction Workshop: Intermediate  or  CRWR 255 Poetry Workshop: Intermediate  or  CRWR 260 Creative Nonfiction Workshop: Intermediate  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 320 Craft and Process Seminar in Fiction: Kafka and European Masters

    With a focus on Franz Kafka, this course presents the work of Prague’s most influential writers, paying special attention to how the historical and cultural landscape of Eastern Europe in the 20th century impacted their lives and work, and exploring the myriad ways culture and geography inform creative process. In this course, students will interact with the city of Prague through the lenses of great works such as Kafka’s The Trial, Haceks, outrageous novel Good Soldier Svejk, Kundera’s The Unbearable Lightness of Being and works by Karol Capek and Bohumil Hrabel.

    Repeatable: N
    Formerly 59-3173
    GA
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 325 Craft and Process Seminar in Nonfiction: Form and Theory

    A class in the craft and theory of different forms of creative nonfiction. Students might write autobiographical essays, journals, prose poetry, letters, biographical pieces, and experimental kinds of prose that are hybrids, or invented forms. The class may also focus on a certain kind of nonfiction writing, such as writing queer nonfiction, or the experimental essay. Some of this work will be discussed in the workshop format. Students will also read different theoretical works that discuss the nature of nonfiction literature.

    Repeatable: Y
    Formerly 59-3800
    Prerequisites  CRWR 260 Creative Nonfiction Workshop: Intermediate  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 326 Craft and Process Seminar in Nonfiction

    The Readings in Nonfiction Literature class is designed to explore a variety of subjects in nonfiction, and topics of classes offered might include readings in the essay, twentieth century nonfiction, feminist readings in nonfiction, queer nonfiction, graphic novel memoirs, single or double author courses (Baldwin’s Essays, or Montaigne and Bacon), etc. The class will change from semester to semester. The class will explore what makes a work of nonfiction specific to its genre and how writers establish their voices in nonfiction.

    Repeatable: Y
    Formerly 59-3801
    WI
    Prerequisites   CRWR 160 Creative Nonfiction Workshop: Beginning  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 350 Fiction Workshop: Advanced

    Course is the third workshop in the core sequence for the Fiction concentration. Students intensively explore new fictional possibilities in the writing of short fiction and novels (students also have the option to continue to develop strong writing material from previous classes). Workshop may have an emphasis on a particular craft element of fiction and will stress rewriting and revision. Course is repeatable.

    Repeatable: Y
    Formerly 59-3201
    Prerequisites   CRWR 250 Fiction Workshop: Intermediate  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 351 Advanced Prose Forms

    Course uses a range of pedagogical strategies to advance students’ development of prose forms and publishable creative nonfiction.

    Repeatable: N
    Formerly 59-3202
    Prerequisites CRWR 350 Fiction Workshop: Advanced  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 355 Poetry Workshop: Advanced

    Students are encouraged to write poetry of the very highest quality. Workshop format makes use of in-class writing exercises and discussions of student work. Students become familiar with a wide range of models and formal strategies.

    Repeatable: Y
    Formerly 59-3500
    Prerequisites   CRWR 255 Poetry Workshop: Intermediate   
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 356 Poetics

    Craft and process course combines the writing of poetry by advanced students with the study of theory and poetics. As the result of reading works of criticism as well as poems that have been influenced by such critical inquiry, students are able to examine and articulate their own craft.

    Repeatable: N
    Formerly 59-3601
    WI
    Co-requisites  CRWR 355 Poetry Workshop: Advanced  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 357 Craft and Process Seminar in Poetry

    Rotating topics craft class. Students read literature of specific periods and movements in order to generate poetry (and hybrid writing forms) based on these reading assignments. Craft Seminars that have been offered in past semesters include Poetry Translation, Hybrid Poetics, and Literary College.

    Repeatable: Y
    Formerly 59-3602
    HL
    Prerequisites   CRWR 155 Poetry Workshop: Beginning  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 360 Creative Nonfiction Workshop: Advanced

    An advanced class in writing creative nonfiction. This class will build on the intermediate workshop, with students expected to have attained a certain mastery in the writing of nonfiction. Students will read works of nonfiction and participate in presenting their work to the rest of the class in a workshop format.

    Repeatable: Y
    Formerly 59-3700
    WI
    Prerequisites  CRWR 260 Creative Nonfiction Workshop: Intermediate  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 370 Creative Writing: J-Term in Paris

    Dislocation from the familiar has for centuries played upon the imaginative processes of writers. This J-Session course offers an immersion in the literature, art, history, and culture of another city or country. Students read fiction and nonfiction by noted authors; visit major sites associated with these authors; write journal entries and reading responses; and intensively explore new fictional and creative nonfiction possibilities, as well as having the option of continuing to develop strong writing material from previous classes.

    Repeatable: N
    Formerly 59-3171J
    GA
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 371 Dreams and Creative Writing: Prague

    Mixing medieval with ultra-modern, the surreal and the mythological, the city of Prague has long inspired fantastic and dream-like literature, art, and architecture. In this course, students are invited to tap into the wildly imaginative world of dreams and explore their influence on the work of well-known Czech writers such as Franz Kafka and Gustav Meyrink. With site visits to weird and dreamy locales throughout the city, and through creative prompts and exercises, students will explore first-hand the role of dreams and dream imagery on the creative process.

    Repeatable: N
    Formerly 59-3172
    GA
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 372 Topics in Writing Abroad: Rome

    This J-session course offers an intensive two-week immersion in Rome’s literature, art, history, and culture. Students read fiction, poetry, and nonfiction by noted authors; visit major sites, including the Colosseum, Vatican, Roman Forum, Pompeii, churches, museums and places associated with noted authors; and participate in writing workshops at Lorenzo d’ Medici. Journal entries and reading responses lead to an extended story, essay, or digital project, which may be done in collaboration with students from the Business and Entrepreneurship Department.

    Repeatable: N
    Formerly 59-3170J
    GA
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 415 Literary Magazine Editing

    Course teaches students basic principles of literary magazine editing. This includes the processing and managing of submissions, editorial discussions of submitted material, editorial correspondence (rejections and acceptances), ordering of the final manuscript, and preparation of the electronic manuscript for typesetting.

    Repeatable: N
    Formerly 59-4150
    Requirements Permission Required (DP)
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 416 Literary Magazine Production

    Course teaches students basic principles of magazine production. Students act as editors and assistants for Columbia literary journals, learning the fundamentals of editorial selection, copyediting, proofreading, design, production and distribution.

    Repeatable: N
    Formerly 59-4151
    Requirements Permission Required (DP)
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 450 Fiction Workshop: Thesis

    This capstone course for the Fiction concentration focuses on the writing, revisions, and compilation of a fiction manuscript suitable for submission to publishers and/or submission for graduate school.

    Repeatable: N
    Formerly 59-4290
    Prerequisites CRWR 350 Fiction Workshop: Advanced  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 455 Poetry Workshop: Thesis

    This capstone course for the Poetry concentration focuses on the writing, revisions, and compilation of a chapbook-length poetry manuscript suitable for submission to publishers and/or submission for graduate school.

    Repeatable: N
    Formerly 59-4690
    Prerequisites CRWR 355 Poetry Workshop: Advanced  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 460 Creative Nonfiction Workshop: Thesis

    This capstone course for the Nonfiction concentration focuses on the writing, revisions, and compilation of a nonfiction manuscript suitable for submission to publishers and/or submission for graduate school.

    Repeatable: N
    Formerly 59-4890
    Prerequisites CRWR 360 Creative Nonfiction Workshop: Advanced  
    Minimum Credits 3 Maximum Credits 3

  

  • CRWR 490 Internship: Creative Writing

    Course provides internships to advanced students with an opportunity to gain work experience in an area of concentration or interest while receiving academic credit toward their degrees.

    Repeatable: Y
    Formerly 59-3990
    Requirements Permission Required (DP)
    Minimum Credits 1 Maximum Credits 6

  

  • CRWR 495 Directed Study: Creative Writing

    This course consists of learning activities involving student independence within the context of regular guidance and direction from a faculty advisor. Directed Studies are appropriate for students who wish to explore a subject beyond what is possible in regular courses or for students who wish to engage in a subject or activity not otherwise offered that semester by the College. Directed Studies involve close collaboration with a faculty advisor who will assist in development and design of the project, oversee its progress, evaluate the final results, and submit a grade.

    Repeatable: Y
    Formerly 59-3999
    Requirements Permission Required (DP)
    Minimum Credits 1 Maximum Credits 4

  

  • CRWR 496 Independent Project: Creative Writing

    An independent project is designed by the student, with approval of supervising faculty member, to study an area not available in the curriculum. Prior to registration, student must submit written proposal that outlines the project.

    Repeatable: Y
    Formerly 59-3998
    Requirements Permission Required (DP)
    Minimum Credits 1 Maximum Credits 6

  

  • CRWR 515 Literary Magazine Editing

    Course teaches students basic principles of literary magazine editing. This includes the processing and managing of submissions, editorial discussions of submitted material, editorial correspondence (rejections and acceptances), ordering of the final manuscript, and preparation of the electronic manuscript for typesetting.

    Repeatable: N
    Formerly 59-5150
    Requirements Permission Required (DP)
    Minimum Credits 3 Maximum Credits 3

 

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