Creative Writing (CRWRI-GA)

Discussion of students? own work. Students are expected to bring in a new poem each week. They may be asked to memorize several great poems of their choosing. Regularly scheduled conferences with the instructor.

Discussion of students? own work. Students are expected to bring in a new poem each week. They may be asked to memorize several great Discussion of students? own work. Students are expected to bring in a new poem each week. They may be asked to memorize several great poems of their choosing. Regularly scheduled conferences with the instructor.

Regular submission and discussion and analysis of student work in one or more fictional modes (short story, short novel, novel), with examination of relevant readings illustrating point of view, plot, setting, characterization, dialogue, and aspects of style. Regularly scheduled conferences with the instructor.

Regular submission and discussion and analysis of student work in one or more fictional modes (short story, short novel, novel), with examination of relevant readings illustrating point of view, plot, setting, characterization, dialogue, and aspects of style. Regularly scheduled conferences with the instructor.

Creative Nonfiction from the point of view of the writer. Study and analysis of major examples of the essay to disclose the technical choices confronted by their authors. Consideration of subject matter and its formulation; techniques of characterization; point of view; reflexivity and the author’s relation to their material; structure of the narrative; and questions of rhythm, style, tone, and atmosphere. Complemented by the study of critical works.

Regular submission, discussion, and analysis of student work in one or more nonfictional modes (lyric essay, personal essay, narrative nonfiction, memoir, etc), with examination of relevant readings illustrating point of view, characterization, dialogue, and aspects of style. Regularly scheduled conferences with the instructor.

Poetry from the point of view of the writer. Discussion of ways of producing rhythm in language; formal and free verse; metaphor; the humanizing conventions; syntax; the line; revision; and so on. Students may be asked to memorize poems.

Poetry from the point of view of the writer. Discussion of ways of producing rhythm in language; formal and free verse; metaphor; the humanizing conventions; syntax; the line; revision; and so on. Students may be asked to memorize poems.

Study and analysis of major examples of the novel, novella, and short story to disclose the technical choices confronted by their authors. Consideration of theme and its formulation; choice of protagonists and minor characters; techniques of characterization; point of view; reflexivity and the author?s relation to his or her material; structure of the narrative; deployment of symbol and image clusters; and questions of rhythm, style, tone, and atmosphere. Complemented by the study of critical works.

Designed specifically for the graduate fiction writer and for those who are interested in exploring the short story form. Through an analysis of the short fiction of the major writers, the course provides students with a greater understanding of how these writers employ the basic elements of fiction in fashioning their stories. This analysis in turn increases students? own proficiency as writers.

Designed to take the place of a Craft seminar, the independent study allows MFA candidates to work one-on-one with select faculty to address an element of craft that is not addressed in the department's regular course offerings. Enrollment is subject to departmental approval.