Courses

Introduction to Creative Writing is designed to guide students into the craft of creative nonfiction and fiction prose or poetry. The primary goal is to experiment with various forms of creative writing and to produce at least one polished work. The course uses peer feedback and workshops in the development of creative writing projects.

Creative writing in the 21st century is no longer bound to the printed page; it exists in many forms, across many media. This course introduces students to multi-media creative writing through generative writing techniques, specifically focusing on language as the basic building block of writing. Exercises in reading, writing, workshop, and revision will teach students techniques to manipulate language, construct narrative through non-linear approaches, and generate ideas for particular media through linguistic play. Students will learn elements of craft specific to particular forms and media. Class workshops will provide the opportunity to give and receive feedback as well as participate in collaborative creation. Students will produce creative work for digital and location-based distribution as well as for live performance, therefore highlighting the diversity of physical and virtual media where 21st-century creative writing takes place.

In this course students will focus on reading and analyzing storytelling as a literary practice. It introduces the basic elements of narrative and story, acknowledging these as a primary way that we organize information and communicate our experiences, whether in fictional or real-world domains. The course explores defining characters of narrative expression and storytelling: story arcs, conflict, transformation, plot, and structural relationships among characters and also between author, text, and audience/reader. Exploring influential commentary on “story” and considering significant differences between oral, print, and digital storytelling methods, the course invites students to consider how the foundations of storytelling have evolved over time, and how new techniques continue to emerge in the present day.

This course examines the history, aesthetics and style of Japanese animation. The course provides a vocabulary for the analysis of anime as well as the critical and analytical skills for interpreting anime as an art form. This course will develop students' skills in viewing, analyzing, interpreting and evaluating the art of anime. Students will learn to analyze important series and films, and connect anime with contemporary and historical trends in Japan. Emphasis will be placed on the analysis of works by major directors and studios.

This course introduces students to the field of adaptation studies and explores the changes that occur as particular texts such as print, radio, theatre, television, film, and videogames move between various cultural forms and amongst different cultural contexts. The course focuses upon works that have been disseminated in more than one medium.

Who studies game studies? Writing in games can often be hit or miss, so relying on an established story can provide support and allows the medium to evolve to cover more interesting stories than the typical mass-offering affairs. Still, literature and games are fundamentally different media- and as such these differences must be accounted for when mapping literature onto video games. Will game studies ever be as highly regarded as is critical scholarship on, say, literature? Can a video game possess substantial literary merit? Can a video game offer the same depth of characters and insight into the human condition as a novel? Do video games invite the player to do the same things that works of great literature invite the reader to do: identify with the characters, invite him to judge them and quarrel with them, and to experience their joys and sufferings as the reader’s own? In this course we will have these conversations and then go beyond. We will examine works that have visually evocative and varied settings; narratives that make readers wonder what is going to happen next; and a rapidly changing culture that prompts even more questions than it answers.

This course introduces the basic elements of narrative, reflecting on key concepts in narrative theory such as – story and plot, narration and focalization, characterization, storyspace, and worldmaking – to enhance your understanding of how stories work and your ability to understand how such storytelling strategies convey their meaning and themes. After an initial exploration of storytelling traditions emerging from oral myth and short stories in print, we expand our inquiries into what a narrative is and what it can do by considering what happens to storytelling in graphic novels, digital games, and in recent electronic literature. Reflecting on competing definitions and varieties of narrative, the course raises the overarching question of why how we access, read, write, and circulate stories as a culture matters. Expect to read stories in a variety of media, to review basic concepts and conversations drawn from narrative theory, and to creatively experiment with the storytelling strategies we are analyzing in class. No familiarity with specific print, digital, or visual media necessary, though a willingness to read and reflect on stories in various media and to analyze their cultural significance will be essential.

A transmedia storyworld is a shared universe in which its settings, characters, objects, events, and histories are featured in one or more narratives across many different media, including print fiction, films, television episodes, comics/ graphic novels, and games. This course will focus on the construction of large-scale transmedia storyworlds and how such storyworlds expand in size and detail over time. Students will trace narrative arcs as deployed through different media and consider the strengths and limitations of each medium in terms of adding to knowledge about the transmedia storyworld. The course will also analyze the differences and similarities between transmedia narratives, adaptation, and other forms of serial storytelling; the multi-authored nature of transmedia storyworlds; commercial aspects of transmedia storyworlds; and creative work produced by and for fan communities.

This course focuses on the collaboration construction of fictional worlds. Students will learn to think critically about features of fictional worlds, such as the social, political, and economic structures that influence daily life for the characters who inhabit that world. Students will also participate in extensive character development exercises, and then write short fiction from these characters’ perspectives describing the challenges they face in these worlds. Students will critique each other’s fiction and submit revised work. Each class will include considerations of sophisticated fictional worlds in print and in other media and discuss world building features relevant to teach.

This course is for students who want to explore the techniques of a single genre of creative writing and add to their skills as a creative writer. Through reading and discussion, students will see their own writing in a larger context. Reading/reflection and writing/revision will be emphasized all semester. The focus will be on the creation of creative works and the learning of stylistic and craft techniques. Ongoing work will be discussed with peer editors, which will not only help students rethink their work but teach them to become better editors. Group critiques will provide the opportunity to give and receive helpful feedback. Each class will rely extensively on the creative writing workshop model, and will focus on a specific genre of print-based creative writing. The course may be taken up to three times for a total of 9 credit hours, as long as the topics are different.

This course is for students who want to practice and explore the vast and varied history, craft, and techniques of queer and transgender creative writing. Through reading and discussion, students will contextualize their own writing in a vital lineage and in the contemporary moment. We will read, analyze, reflect, generate, write, edit, and revise throughout the semester. We will create a polished body of creative works by honing those stylistic and craft techniques general to the field and specific to queer and transgender writers. Peer editors and group critiques will provide regular feedback, which will aid in the refinement of each writer’s own work and improve their capacity for supporting a creative work from germinating idea to final draft. Each class will rely extensively on the creative writing workshop model, and will survey the rich variety of genres, styles, forms, and philosophical approaches that QT literature takes.

This course explores the interaction between narrative, environment, and game mechanics in immersive VR experiences. Immersive storytelling is evolving quickly, but current experiences exhibit several types of interaction-narrative structures within a continuum ranging from films to first person shooters. In this class, students will analyze VR experiences to learn current methods of immersive storytelling and then apply these concepts to design and build VR experiences through worldbuilding, interaction mechanics, content, and art.

This course is for students who want to explore the techniques of a single genre of creative writing and have already completed a creative writing workshop. Through reading and discussion, they will see their own writing in a larger context, culminating in a substantial body of work ready for publication. Reading/reflection and writing/revision will be emphasized all semester. The focus will be on the creation of creative works and the learning of stylistic and craft techniques. Ongoing work will be discussed with peer editors, which will not only help students rethink their work but teach them to become better editors. Group critiques will provide the opportunity to give and receive helpful feedback. Each class will rely extensively on the creative writing workshop model, and will focus on a specific genre of print-based creative writing. The course can be repeated up to three times, for 9 semester credit hours, as long the topics are different.

This course is for students who have completed a college level writing course creative writing workshop and want to explore in-depth a literary genre or add to their skills as a creative writer whether interested in poetry, fiction, non-fiction, or a combination of genresa specific topic within creative writing. The focus will be on the creation of a significant piece of writing for a final project. In addition to planning and producing a single, sustained creative work, students will complete other exercises and assignments in order to experiment with other genresa variety of writing techniques. Through reading and discussion they will see their own writing in a larger context. Weekly Regular class critiques will provide the opportunity to give and receive helpful feedback.

This course is for students who have completed a creative writing workshop and want to explore how games and rules can be used to produce unique and unpredictable narratives. Projects will include individual writing exercises, collaborative writing practice, and critiques of peer writing. Students will examine how different game mechanics produce different kinds of narratives and may be encouraged to develop their own game-based writing projects. Through the reading and discussion of other narrative media, students will learn the affordances and limitations of game-based storytelling systems.

This course introduces students to the principles and practices of gathering, evaluating, investigating, and presenting information to general audiences. Rights and responsibilities of the press will be analyzed. Although special emphasis will be given to writing and reporting for print publications, other media will be addressed. Special attention will be given to the qualities of writing, especially organization, accuracy, completeness, brevity, and readability. Assignments must conform to Associated Press style.

Community Journalism emphasizes the local aspects of news, and teaches students how to identify “community” beyond a region and a neighborhood. A co-taught course with Photojournalism faculty in the College of Art and Design, Community Journalism sharpens students’ reporting skills, and guides them in constructing a reporting project as a complete journalistic package, with visual, artistic and written storytelling components in concert with each other. The final project will be a reported (written) piece with corresponding photographs and multimedia.

The course introduces students to the role of communication, information, and media in social change messaging, particularly in the areas of activism and public advocacy. It takes a critical approach toward understanding the role of communication and communication technologies in the creation and dissemination of messages geared towards social change in a variety of mediated contexts. Students will review relevant theoretical frameworks that commonly inform the study and practice of activism and public advocacy, as well as analyze specific examples and case studies contemporarily, as well as select examples at moments of profound activism since the Civil Rights era of the 20th Century. Students will analyze various forms of activism and examine the role of communication in each. Finally, through the design of a social change communication campaign proposal, students will apply strategic communication approaches that will respond to a social issue that may be local, national or global.

Rhetoric of Race Relations examines the history of the struggle for freedom and equality for blacks in American society. This course traces the history and rhetoric of key spokespersons from the pre-Civil War period to the 20th century as evidenced in texts of selected public speeches and reactions to them.

This course examines the relationship between gender and media communication with specific attention to how gender affects choices in mass media and social media practices. Students explore how gender, sexual orientation, sexuality and social roles, affect media coverage, portrayals, production and reception. They consider issues of authorship, spectatorship (audience), and the ways in which various media content (film, television, print journalism, advertising, social media) enables, facilitates, and challenges these social constructions in society. The course covers communication theories and scholarship as it applies to gender and media, methods of media analysis, and topics of current interest.

Opinion Media teaches students how to craft persuasive personal essays, commentary and op-eds, and get them published on news sites, in trade magazines, in newspapers and on influencer blogs. By drawing upon the ethical deployment of evidence, including argument, anecdote and statistical data, student authors will learn how to become influencers and thought leaders through the deployment of the written word and multimedia texts, including writing scripts, and producing video, for their own social media channels. This course is ideally suited for those seeking to sharpen their persuasive writing skills to sell their ideas, vision, expertise and life experience to a targeted media audience.

This course provides students with a comprehensive understanding of digital storytelling through an analysis of current trends as well as by utilizing hands-on workshop experiences. Students will develop skills such as content strategy, digital storytelling best practices, content production, and audience analysis. Students in the course will develop critical skills to conceptualize, develop and execute an effective digital storytelling project.

The course focuses on how traditionally feminine and domestic handcrafts have been thrust into the public sphere for social activist work in a highly visual manner. Students will examine, from both intellectual and practical perspectives, large-scale examples of craft activism both within the U.S. and internationally, focusing on the connections to political movements and how craft is made politically visual. The role of craft as an organizing force, typically enacted by women and gender minorities in situations of physical and personal vulnerability, will be investigated through readings centered on the historical ties of craft to activism and social reform in the U.S. For example, students will study the role of handwork in the Suffragist and Abolitionist movements and in the American Revolution with women’s use of “homespun” cloth. Attention will also be paid to the NAMES Project AIDS Memorial Quilt in the late 20th century. Expanding beyond the U.S., the course will analyze how craft can transform into a narrative of personal or communal identity and an ethnicity-preserving tool through case studies such as those from Chile (Arpilleras), Laos (Hmong story cloths), Argentina (Mothers of the Plaza de Mayo kerchiefs), India (Khadi cloth), England (Greenwich Commons Women’s Peace Camp and quilts), and Myanmar (street crochet for Democracy). Close attention will also be paid to the role of handcraft as a rallying force in organizing efforts relating to current issues such as reproductive justice, women’s rights, racial justice, LGBTQIA+ rights, climate and environmental justice, and to how craft activist campaigns are organized and disseminated through social media. During the course, students will work at transforming a contemporary social issue they care about into the theme of their own final project to be unveiled by the end of the semester.