In this workshop my aim is to help those who have grown up in fear of poetry to change their minds; I hope also to pass on something of what I know about line breaks, a good title (one that has sex, power and travel in it) why rhyme must include some element of surprise, the abecedarian, the Golden Shovel, the ghazal and other forms; the misuse of adverbs and adjectives; Latinates; archaic language; connectives; using abstractions effectively (if at all) and more. We will not do that. Its primary goal is to strengthen capacities essential to the creation of poetry, those of perception, emotion, analysis, truth, and courage, while improving technique. At the heart of the class, always, will be your own writing and your ambitions for it. ), we will consider how to address both text and subtext in CNF, and how to use the techniques of fiction to structure true stories. For those who desire, these original projects can be written in pairs or teams. Create. In this workshop focused upon the half-hour series, writers will create a concept, outline/beat sheet, first draft of an original pilot, and loglines for further episodes in the first season. You’ll also read a sampling of some contemporary drama, by a variety playwrights, including Michael Healey, Carmen Aguirre, Tennessee Williams, Tony Kushner, Sarah Ruhl, Djanet Sears, Anna Deavre Smith, Tomson Highway, Wajdi Mouawad and others. You’ll also read a sampling of some contemporary drama, by a variety playwrights, including Michael Healey, Carmen Aguirre, Tennessee Williams, Tony Kushner, Sarah Ruhl, Djanet Sears, Anna Deavre Smith, Tomson Highway, Wajdi Mouawad and others. These details will be posted in the individual course notes in the online schedule as they become available. UBC Creative Writing offers world-class writing programs at the undergraduate, BFA and MFA level, on-campus and by Distance Education. Television has evolved from being the “idiot box” to providing us with a “golden age” of storytelling. Intermediate Writing of Creative Nonfiction. We will workshop two pieces: the first will be flash fiction; the second workshop piece will be your choice. To find your own best path, it’s helpful to understand how our undergraduate course structure differs from other undergraduate programs. Ours is a multi-genre program, and this is the only course we offer in which all genres are considered. We welcome you to explore what our programs can offer you. The primary topic will be the techniques and tools of revision. Students will also be challenged to look deeply at their own work, and to find ways to break out of their comfort zones and take risks in terms of style and content, while still staying true to their artistic vision. Literary journalism. It is designed to build students’ range and confidence to the professional level, while familiarizing them with practical aspects of the writing life. Because he has had an enormous impact upon how I write and teach fiction, I will, from time to time, mention the great Russian theorist, M. M. Bakhtin, but I will expect no one to read him. Additionally, you will substantially revise one story or the first chapter of your novel-in-progress during the term. A range of alternative approaches to the traditional workshop model will be offered, with emphasis placed on how close reading informs a dedicated practice. The strongest genre authors employ complex techniques to call into question perception, reality, social expectations, patriarchal/colonial histories, and narrative truths. Advanced Writing of Drama for the Stage I - ADV DRMA STG I, During the course, you will explore playwriting through working on a script of your own, whether one-act, musical, monologue or full-length play. A response to a story should always begin with a description of it as it stands: how it is built, how it is working technically, how it fits into the ongoing development of fictional genres, what other voices are in dialogue with it. Two late classes will equal one missed class. Intermediate Screenplay Workshop - INTRMD SCRNPLAY. Instructors are currently working on how best to meet student needs, and determining whether online courses will be synchronous (i.e., “real time”), asynchronous, or a combination of the two. Restricted to Creative Writing majors. An intermediate level workshop class in writing for children and young adults. What is the relationship between the writer and reader in Creative Nonfiction? The focus is workshop with short stories and novel chapters. The idea that brings it all together is a simple one: all genres inform each other. How can we decolonize the essay and expand our sense of what it might contain, how it might look, and what its role might be in the larger culture? LAU, DORETTA | ARMSTRONG, THEODORA | MAILLARD, KEITH, ARMSTRONG, THEODORA | MAILLARD, KEITH | TATER, MALLORY, MAILLARD, KEITH | UPFOLD, AMBER | IRANI, ANOSH, VIGNA, JOHN | TATER, MALLORY | ARMSTRONG, THEODORA. You will submit at least one substantial revision of a story either workshopped or discussed in consultation with the instructor. Students will explore techniques of creating, developing and writing a long-form screenplay, from initial pitch to treatment to draft. BUT I’m not concerned with whether you can or “can’t” draw, and it doesn’t matter how much experience you have as a cartoonist. A workshop class in writing for the screen. We will have ongoing discussions that cover both the technical aspects of poetry and the emotional effect that great poetry produces. In the following semester, students will create an original project. Manuscript submission is not required for admission. Together we will explore the weird and wonderful world of writing for young readers, question the parameters of its sub-genres, and develop our own writerly voices. That’s our starting point. An advanced workshop class in writing drama for the stage. This course is open to writers who have never written CNF as well as writers who have published essays—and anyone in between. Writing for Graphic Forms I - GRAPHIC FORMS 1. Introduction to Writing for Comedic Forms. brown-evans-taylor hussain-tariq past-course, brown-evans-taylor hussain-tariq current-course, williams-ian warrener-sheryda past-course, williams-ian warrener-sheryda current-course, pohl-weary-emily acheson-alison current-course, graefe-sara mcgowan-sharon current-course, leavitt-sarah brown-evans-taylor past-course, moss-jennifer hungerford-stephanie past-course, brown-evans-taylor leavitt-sarah past-course, williams-ian belcourt-billy-ray current-course, hartman-rachel wong-lindsay current-course, wong-lindsay de-vries-margaret current-course, de-vries-margaret acheson-alison past-course, de-vries-margaret wong-lindsay past-course, lau-doretta armstrong-theodora maillard-keith current-course, armstrong-theodora maillard-keith tater-mallory current-course, maillard-keith upfold-amber irani-anosh past-course, armstrong-theodora tater-mallory past-course, vigna-john tater-mallory armstrong-theodora past-course, armstrong-theodora maillard-keith past-course. We will examine our philosophies and theories around creative writing pedagogy and familiarize ourselves with a variety of teaching methodologies, including: working with writing exercises, workshopping creative work, developing course reading lists, and guiding students through creative process. Her writing can be found in The New York Times, The Atlantic, The Guardian, The Rumpus, Catapult, and The Walrus among many others.Her essays and talks have been translated into over thirty languages. They can also be taken as freestanding electives, and can be used to build bespoke undergraduate degree programs. Be prepared to collaborate and story edit in writers’ rooms and to independently watch, deconstruct, and journal a series, as well as read produced scripts. In this workshop-based course, students will produce new work, hone their editing skills, try different poetic forms, and rediscover their sense of play and wonder when it comes to words. These courses are the building blocks for the Minor, but are also an integral part of several other UBC programs. Note: This is a blended learning course where 50% of the course takes place in-class and 50% online. Techniques of and practice in multiple genres of writing, including fiction, poetry, creative nonfiction, screenplay, stageplay, graphic forms, lyric forms, children's literature, and writing for new media. Take your novel from concept to completion with this six week series of non-credit online courses created by professors from UBC’s world-renowned MFA program. Creative Writing Program ... She also designed a course in writing for new media for the Creative Writing Program, and, as part of her research, currently explores creative writing opportunities in new media. Assignments include writing a career plan and proposal and conducting an interview with an established writer for Nineteen Questions (nineteenquestions.com). As a story moves closer to completion, higher degrees of editorial feedback become appropriate. Manuscript submission is not required for admission. Because we will have real authors in the room (as opposed to the “implied” authors sometimes studied in the English Department), we will ask them about their intentions. This method cannot work effectively unless the workshop environment is warm, supportive, and safe, so I encourage a non-competitive and collaborative approach. Optional-Residency Course Descriptions (2020). If, for instance, you have never written a poem in your life, you will still need to consider poetry because poems will be submitted, but there will certainly be poets in the workshop and you will learn from them. Supported by direct instruction, assigned readings, and focused writing exercises, you will have the freedom to work on the projects of your choice within the realms of middle-grade and teen fiction. Students will also be expected to meet individually with the instructor throughout the term. UBC Search. In previous workshops students have submitted short stories, novel outlines and chapters, poems, song lyrics, scenes from stage plays or screen plays, comic book scripts, young adult fiction, research-driven non-fiction, personal essays, and memoirs. This two-term class is for anyone interested in writing for the small screen; no previous screenwriting experience is required (but it is helpful). Manuscript submission not required for admission. We will also touch on some practical tools that songwriters use to share their work with a wider audience. Through encounters with various comtemporary styles and aesthetics, this workshop aims to expand notions of what shapes and modes are available to us when we set out to make poems. This is a workshop in which to try new things–to be inventive, experimental, and daring–but you will not be forced to be experimental, and if you wish to submit in the traditional genres, thats okay too, and many students in the past have done exactly that. Manuscript submission is not required for admission. The ability to draw is not required. Alongside your work for the course, you will be expected to read the best books out there, and to let your reading inform your own work and your feedback to others. Writers in this mixed graduate/undergraduate workshop who are undertaking this course as an introduction to podcasting will learn about formatting, dialogue, character development, plot and the importance of sound effects and music for this genre. This course is designed to give students a strong foundation in comics creation. The goal is for each writer to push themselves out of their comfort zones by looking deeply at their own work and taking risks in style, theme, subject, etc, while working toward their own artistic intention. Introduction to Creative Writing with an Indigenous Focus. Creative nonfiction, or CNF for short, comprises dozens of hybridized forms including the personal essay, family memoirs, adventure narratives, investigative reporting and popular science, to name just a few. In this intensive workshop focused upon one-hour series, writers will create a concept, outline/beat sheet, first draft of an original pilot, and loglines for further episodes in the first season. Manuscript submission not required for admission. Intermediate Poetry Workshop - INTRMD POETRY. This is a student-centered course which aims to resist larger mandates of taste and to honor the integrity of the work and the authority of its author. In this workshop, we’ll come together as a community of writers to support one another, to listen, and to find ways to take risks, dream big, and stay playful. Some of the most exciting books today are written for these age groups. Not offered every year. The goal of this class is to develop your writing and critical editing skills. The Handmaid’s Tale, Blackstone, This is Us, Better Call Saul, Pose: one-hour TV series challenge the intimacy and scope of the novel. But we will also discuss more intangible ingredients of a writing career, like using social media and informal networking, and coping strategies for balancing financial necessity with your writing needs. Students will work on the first draft of a new feature-length project (90-120 minutes) over the fall and winter terms. If you miss three classes, you will fail the course. Manuscript submission is not required for admission. Writers will also be expected to research and provide feedback to the class about recent audio podcast series or shows such as: Chatterbox Audio Theater, Serial, The Kitchen Sisters, The Truth (Radiotopia), Welcome to Night Vale and We’re Alive.…, Writing for Children and Young Adults I - CHILD & YOUNG I. The course will consist of three over-arching sections: Getting Started, Writing the Draft, and Revision. A workshop class in the writing of fiction. Manuscript submission is not required for admission. Our 400 level CRWR courses are studio workshop classes restricted to those admitted to the Major program. will involve submitting work in two different subgenres, weekly reflections on published writing, and critiques of writing by other students. The focus for this class is building coherent, compelling narratives with comics and the goal is to push yourself to improve your own work, in your own style, starting where you are right now. The first submission is memoir, and the second is your choice. We’ll help each other refine our ideas, and work to cross that always-difficult divide between our goals for the work and the execution of it. Writing for the Screen I - WRT FOR SCREEN I. During the course, you will explore playwriting through working on a script of your own, whether one-act, musical, monologue or full-length play. An exploration of and practice in the writing of creative non-fiction, covering four of the more basic forms of this genre: memoir, profile, commentary, and exposition. Gain an unparalleled richness and diversity of creative writing courses through UBC’s Creative Writing undergraduate programs. Students learn dialogue, how to develop complex characters, scene endings and other elements of effective stage storytelling. No matter our literary predilections, the goal is to provide a clear, compelling reading experience, and to achieve a style that’s authentically our own. Many fiction workshops move toward polished final draft too quickly and encourage feedback that is largely editorial. We acknowledge that the UBC Point Grey campus is situated on the traditional, ancestral, and unceded territory of the xʷməθkʷəy̓əm (Musqueam). They will be expected to complete several short assignments and for the final project to develop and complete two ten to fifteen minute scripts or produce a short ten minute feature or dramatic piece. They are among the bestselling in bookstores, and they tend to be fast-paced, adventurous, playful, and unpretentious. A workshop class on writing for video games. Students will learn strategies for revising material with the goal of creating more effective pieces that have the power to connect with listeners. A workshop class in writing creative nonfiction, focused on some of the more popular forms of creative nonfiction: autobiography, rhetoric (commentary), literary journalism, and the personal essay. This advanced screenwriting workshop focuses specifically on writing for film. Manuscript submission is not required for admission. Instructors are currently working on how best to meet student needs, and determining whether online courses will be synchronous (i.e., “real time”), asynchronous, or a combination of the two. Prior to the start of classes, I’ll send out a note that will help narrow down your choice. Science fiction, ghost stories, fairy tales, urban fantasy, magical realism, surrealism, horror… speculative literature comes in many forms, but all of its sub-genres have their own histories, movements, and aesthetics. Techniques of and practice in creating, developing and writing for children and young adults. The Handmaid’s Tale, Blackstone, This is Us, Better Call Saul, Pose: one-hour TV series challenge the intimacy and scope of the novel. In past classes, some of the plays read included Angels in America, Scorched, Blue Box, Kim’s Convenience, The Drawer Boy, Another Home Invasion, A Streetcar Named Desire, Cloud Nine, The Clean House, The Romeo Initiative and Harlem Duet. Designed by UBC Creative Writing professors and hosted on Harvard and MIT’s innovative edX learning platform, these non-credit courses are open to anyone and run several times per year. If you miss two classes in a row, you will need to contact me to explain your situation. How does an obligation to the truth shape the ways we tell stories, constructive narratives, and write sentences? A portfolio of 8 – 10 poems at various stages of the draft process is the hard target for the semester; experiential goals include developing a shared language around the tactics poems have at their disposal (such as: turns, leaps, disorientation as a means of connection). In the first semester, students will deconstruct a current, scripted TV show (half-hour or hour) and write a spec episode for it. Building on the basic elements learned in 208, students will refine their knowledge and practice of cartooning, moving forward in developing their own style and voice. Introduction to Writing for Children and Young Adults. Students will leave the course with a concrete set of teaching tools including a teaching philosophy, course outline, syllabus and a bank of writing exercises. We will however read example essays from writers such as Brenda Miller, Ira Sukrungruang, Deesha Philyaw, Alicia Elliott, Marcos Gonsalez, Sherry Simpson, and if needed, a few others. Departmental research opportunities Reach out directly to faculty members to ask about potential research positions. Note: All Creative Writing Courses will be online in term 1, 2020. Students will complete substantial writing assignments with the goal of getting them started early on their thesis projects. Through readings, class discussion, exercises and workshops, students will: Students who have taken the course previously or who are already experienced at creating comics will have the opportunity to further hone their skills and work on ongoing longer projects during the class. Students will be required to share songs with the group and provide/receive constructive feedback as well as actively participate in discussions on topics ranging from song structure, lyrical content, point of view, etc. Advanced Writing of Drama for Screen I - ADV DRAM SCRN I. pohl-weary-emily warrener-sheryda past-course, kinch-martin warrener-sheryda past-course, belcourt-billy-ray tate-bronwen current-course, warrener-sheryda tsiang-sarah past-course, acheson-alison de-vries-margaret current-course, acheson-alison de-vries-margaret past-course, pohl-weary-emily de-vries-margaret past-course, shaben-carol tate-bronwen catron-mandy current-course, ferguson-jenny-lee catron-mandy current-course, chong-kevin-kim-wang grady-albert-wayne gill-charlotte past-course, taylor-timothy gill-charlotte ferguson-jenny-lee past-course, chong-kevin-kim-wang catron-mandy gill-charlotte past-course, shaben-carol ferguson-jenny-lee catron-mandy past-course, ohlin-alix vigna-john ferguson-jenny-lee lee-nancy current-course, ohlin-alix vigna-john lee-nancy medved-maureen current-course, ohlin-alix taylor-timothy lyon-annabel irani-anosh ferguson-jenny-lee past-course, maillard-keith vigna-john medved-maureen gill-charlotte past-course, ohlin-alix lyon-annabel ferguson-jenny-lee lau-doretta past-course, maillard-keith vigna-john lau-doretta gill-charlotte medved-maureen past-course. We will break down the storytelling process into comprehensible fundamentals, using a variety of examples from contemporary fiction. Learn from leading professors and authors without the commitment of a degree program. If you are passionately interested in your own writing, you will get a good grade. Exploring structural links between interactive theatre, gaming, and extended (virtual, mixed, and augmented) reality. Techniques of and practice in multiple genres of writing, including fiction, poetry, creative nonfiction, screenplay, stageplay, graphic forms, lyric forms, childrens literature, and writing for new media. The purpose of this workshop is to help students write excellent fiction. The ability to draw is not required. In our programs, you will free your writing potential while developing a solid base of professional craft and skill. Intermediate Children and Young Adult Writing Workshop - INTRMD CHLDRN. A workshop class in the writing of graphic novel, manga, and other forms of illustrated writing. Writers in this mixed graduate/undergraduate workshop are welcome to write one-act plays or develop the first draft of an original full-length stage play. How can your own curiosity be a starting point for essay…, CHONG, KEVIN KIM WANG | CATRON, MANDY | GILL, CHARLOTTE. Writing of Drama for the Stage II - DRAM FOR STAGE 2. In this workshop we will write in three possible fictional forms: flash fiction (under 1000 words), more traditional short stories (up to 4000 words), and the first chapters of new, in-progress, never-before workshopped novels. No matter what we call creative nonfiction, this style of fact-based writing is composed of two basic elements: real-life events + killer storytelling. In addition to submitting lyric sheets for workshopping, students will be expected to submit some form of audio recording for peer evaluation and grading. Stage plays (or excerpts) are read out loud, allowing enough time for discussion. The literature of fact. Early drafts will take shape only gradually, and students will be encouraged to resubmit them, often in entirely new drafts, until they begin to cohere. Here is the perfect chance to consider genres that are not your specialty. This advanced workshop takes students from pitch to second draft and will equip you with the skills to craft story for screen. Manuscript submission not required for admission. Playing an instrument is not a prerequisite for this class, though a sense of musicality and a passion for songs will go a long way. As part of the course, writers are required to submit a short play (ten to fifteen minutes long) for the Brave New Play Rites festival. We will however read example fictions from writers such as Roxane Gay, Rebecca Roanhorse, Jocelyne Saucier, and possibly a few others as needed. They have also submitted drawn comics, sound pieces, blog posts, website designs, scripts for mixed media, and mash-ups between narrative prose and photography. Gain an unparalleled richness and diversity of creative writing courses through UBC’s Creative Writing undergraduate programs. Intermediate Writing for the Stage and Radio. the four pillars of fiction: character and plot, scene and exposition. Study with our faculty of internationally renowned, award-winning authors in a student-focused program that blends the best of traditional workshop and leading edge pedagogy. We will not favour any genre over another. This project can be for TV or it can be a web series. This will not be a typical workshop. Students who are new to comics can find it intimidating, particularly if they don’t think of themselves as “good artists.” In comics class, we build a respectful atmosphere in which students can both support and challenge each other, with thoughtful analysis and honest feedback on the part of readers, and openness and determined effort on the part of the writer/cartoonist. Great examples combine unique narrative voice, strong plotting, massive amounts of dramatic tension, and compelling characters grappling with personal issues. Writing Creative Nonfiction I - CREATIV NONFIC I. We will also look at how series are structured, and the business and process of writing for TV. Manuscript submission is not required for admission. Manuscript submission is not required for admission. In-class discussion is a key element to this class as is working and collaborating with others. ), the ethics of telling true stories, and complications that arise while doing research. What it comes down to is this: if you’re working on something that excites you, no matter what it is, bring it in and let us see it. Through mini-lectures and friendly, accomplice-framed group workshops, you will learn to take risks in your writing. Don’t worry about your grade. Preparation for a Career in Writing Check out UBC courses on how to build a career in writing, such as CRWR 430 or 530. Writing Speculative Fiction - WRT SPEC FIC. At the end of the term, you will submit a revision of one of your pieces along with a reflection on your revision process. In the weekly workshops, you’ll participate in peer critiques, write reviews and each student will take a turn hosting a forum discussion. maillard-keith mcgowan-sharon past-course, The Leon and Thea Koerner University Centre, Jack Bell Building for the School of Social Work, Ponderosa Commons North - Oak/Cedar House. Nineteen Questions ( nineteenquestions.com ) develop complex characters, scene and exposition bespoke undergraduate degree programs storytelling! Are structured, and revision exploring structural links between interactive theatre, gaming, and this is the course! Focus is workshop with short stories and novel chapters 400 level CRWR courses are studio workshop classes restricted those! Of three over-arching sections: Getting Started, writing the draft, and the second is your choice on-campus by. Learning course where 50 % online the ways we tell stories, constructive narratives, and of. Subgenres, weekly reflections on published writing, and critiques of writing for the stage and,. A degree program you are passionately interested in your writing and your ambitions for it final draft quickly. 90-120 minutes ) over the fall and winter terms examples from contemporary fiction submit at least substantial... 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