@ 3 PM
The writers voice of central new york.
The YMCA's Writer's Voice, including the Downtown Writers Center and Writers Voice Online, is the CNY region's only community center for the literary arts. It hosts a wide variety of programs and events for wordsmiths and bookworms, creative writing workshops, readings by established and emerging poets and writers, and much more.
Learn more about DWC Membership
340 Montgomery Street Syracuse, NY 13202
For Workshops:
Tim Carter Arts Branch Program Director (315) 474.6851, ext. 380
For Young Authors Academy & Numberless Dreams:
Georgia Popoff Workshops Coordinator (315) 474.6851, ext. 380
For other Writers Voice and DWC programs and activities:
Phil Memmer District Executive Director (315) 474.6851, ext.328
Programs of the YMCA's Writers Voice and Downtown Writers Center are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.
This project was made possible with funds from the County of Onondaga through the Marketing for Economic Development Program administered by CNY Arts.
This program is made possible by American Rescue Plan Act (ARPA) funding from the City of Syracuse Arts & Culture Recovery Fund Program, a regrant program of the City of Syracuse administered by CNY Arts.
There is no shortage of writing opportunities at York College, a place where you’ll find creativity and inspiration in abundance. Our award-winning literary magazine, Story , and the student-run literary and arts magazine, The York Review , give you immediate hands-on experience at your fingertips. You can soak in the wisdom and creativity of visiting writers, or submit to our Bob Hoffman writing competition.
And our creative writing workshops put you in control of your education and creative development. As urban studies theorist Richard Florida said, “Wherever creativity goes — and, by extension, wherever talent goes — innovation and economic growth are sure to follow.” Creative writing is available as a minor; professional writing majors can choose creative writing in fiction or poetry as a writing track.
The York Review is the department's student-run literary journal. Published usually in the spring, the magazine is a juried collection of student writing. Students can submit works for publication and can apply to serve on the editorial board. You can see the most recent edition below or on Issuu .
Story magazine, winner of the CLMP Firecracker Award for Best Debut Magazine , is a "double-sided print annual devoted to the complex and diverse world of narrative" that takes submissions from a diverse collection of contributors ( Submissions are accepted during a set period each year). Faculty produce the magazine with the assistance of students. Volume 3 of the literary magazine is available for purchase.
The Rough Draft is an hour long podcast dedicated to exploring the creative minds of the literary and artistic community at York College of Pennsylvania and beyond it, providing you with interviews with published authors, brilliant student work, and discussions surrounding anything creative or writerly. You can find the podcast on the York Review website.
Subscribe: iTunes | Android
2024-2025 undergraduate catalog.
NOW OPEN: Creative Writing Program - FW24 Application for Admission • The above deadline only applies to students who have completed AP/CWR 2600 in FW23 and prior. • Students currently enrolled in SU24 AP/CWR 2600 will apply in August 2024.
Creative Writing is a delayed-entry Honours BA program and may be pursued as a single major, double major or minor.
Students who wish to apply for admission to the program are strongly advised to take one of the following courses among their first 30 University credits:
AP/EN 1001 3.0 - An Introduction to Literary Study AP/EN 1002 3.0 - Intertextualities AP/EN 1006 3.0 - Writer's Introduction to Literary Forms AP/CLRT 1953 6.0 - Canadian Writers in Person AP/EN 1700 9.0 - Writing: Process and Practice
Students may enrol in the Faculty of Liberal Arts & Professional Studies in Honours or in the Fine Arts Studies Program.
Students who are in the Faculty of Fine Arts should plan a course of studies with the approval of both the Creative Writing and Fine Arts program. If you are registered in the Faculty of Fine Arts you will be expected to meet the requirements of the Fine Arts Studies Program.
Students who wish to pursue a major or minor degree in Creative Writing are required to complete AP/CWR 2600 6.00: Introduction to Creative Writing . After successfully completing AP/CWR 2600 6.00, they must submit a 15-20 page portfolio of poetry and prose fiction as well as the Application form (please see below).
Alternatively, students may apply for full admission after completing their first 48 credits but before completion of their first 78 credits, by presenting a portfolio containing work in both poetry and prose fiction as evidence of writing experience equivalent to that provided by AP/CWR 2600 6.00 Introduction to Creative Writing. This portfolio will be evaluated by the Creative Writing Coordinator and admissions decisions will be made at the Coordinator’s sole discretion.
For admission to CWR 2600, please know that seats become available first to English majors entering their second year of study. After several days, the seats will be opened to all interested students entering their second or higher year. If you've been unable to enrol, please try again (but don't wait too long. The course typically fills and students have to be turned away).
Majors and minors in the program must review their degree checklists with the program secretary between mid-March and early April each year. Students must submit their completed checklists before their appointment.
Third- and fourth-year core courses in Creative Writing are open only to majors/minors in the Creative Writing Program. Occasionally students other than majors/minors in Creative Writing may enrol in the program's core courses. Students who are not majors/minors wishing to enrol in Creative Writing courses should submit a transcript, application form (below), and 15-20 page portfolio to the Coordinator for permission.
Application for Upper-Level Workshop Courses as a Non-Major/Minor
Postgraduate Course
Unleash your creative potential and pursue your passion for writing.
Taught by award-winning authors with specialisms in fiction, poetry, non-fiction and scriptwriting, this course is a fantastic opportunity for you to learn the craft of creative writing and explore the theory behind it.
Course location York campus
2:2 honours degree in a related subject
Sample of creative writing
UK 2024-25 £8,000 full time --> full time
International 2024-25 £11,300 full time --> full time
Abi Curtis, Professor of Creative Writing, introduces us to Creative Writing at York St John University.
Join our thriving literary community and grow your creative potential. You will develop your skills as a writer and explore the theory and practice of writing in the contemporary world through taught modules, independent study, writing and research.
Through this course you will develop transferable skills, work on a publication and complete your own final project. You will work on a longer portfolio in depth, supervised by a dedicated member of staff.
You may write in any form on any given module. You will be encouraged to be open minded and flexible in choosing different styles of writing. There are also modules designed to enhance your employability. These are ideal if you have an interest in either running groups for writers or learning about how to operate in the publishing industry.
The portfolio project is an opportunity for independent and in-depth development of a writing project, supervised by a writer on the team, and supported by 3 workshops, spread throughout the year.
Your experience on the course will be enhanced by further opportunities including:
You will be able to take part in one-to-one sessions with your tutors throughout each semester. The final assignment is independently led and is a chance to invest in a project of your choice.
How you will study.
You can study this postgraduate course full time or part time. This allows you to fit your studies around other commitments.
If you choose to study full time the course will take 1 year to complete. You will study:
If you choose to study part time the course will take 2 years to complete. The modules will be split over both of those years.
You can find out which modules are available in each term in the Course Specifications .
Credits: 30
Compulsory module
On this module, you will gain an understanding and examine the key concepts of creative writing in an academic environment. You can explore your writing practice and engage with ideas of creativity and authorship. You will develop drafting, group work-shopping and editing skills and discover how to reflect on your work and write critical commentaries.
Here you will engage with the written voice in your work and the work of others. You will deconstruct the idea of the writer’s voice and consider practical issues relating to the expression of voice on the page. In addition, you can study creative language in a cultural context, the use of speech and the voice, while examining the importance of speech-like forms in published work and your own writing.
You will critically analyse examples of voice across fiction and non-fiction genres, including poetry, prose and scripts, and consider, through these, the performative nature of language.
Optional module
On this module, you will consider wider contexts for your writing, such as working with vulnerable groups, schools and hospitals. You will explore how to get published across different mediums, working with other practitioners and writing in various contexts. You will have the opportunity to meet industry professionals, from agents and publishers to facilitators and collaborators. This is an opportunity for you to explore possible routes for employability.
Optional module
On this module, you will analyse environmental concerns across multiple fiction an non-fiction genres. You will produce your original work in response to a variety of environments, thinking in both critical and creative terms. Areas for study include:
You will will build upon the skills developed on Critical Approaches to Creative Writing, whilst developing your verbal presentation skills.
On this module you will explore a range of texts which might be thought of as 'speculative', texts which ask 'what if?' and explore possible worlds. Such texts might include science fiction, fantasy, climate change fictions, and political dystopias. Through this you will discover the power of writing to imagine the world differently.
Since Freud's 1919 essay exploring why some texts and experiences give us a weird, unfamiliar yet familiar feeling, writers and artists have been fascinated with the concept of the uncanny. In this module you will explore the origins of the term and delve into contemporary texts that unsettle us, while also writing your own uncanny pieces of writing. Genres which may be explored include folk horror, ghost stories and contemporary spooky tales.
Credits: 60
Compulsory module
This is your opportunity to develop a professional portfolio of creative writing, while conducting research to support your work. The portfolio may consist a collection of works, be a continuous work or an extract from a larger piece. Through 1 to 1 supervisions, you will develop, discuss and perfect your portfolio. Your supervisor will support you in your project research.
Teaching and learning.
The year is organised across 3 terms: autumn, spring and summer, with the MA starting in the final week of September. There will be 1 module per term for part time and 2 modules per term for full time students. Sessions are typically taught from 6.00pm to 8.00pm on Tuesday or Wednesday evenings.
Sessions are taught in small groups run by an expert member of the writing team. In these groups, you will share your work, whilst taking part in writing exercised that have been designed to inspire your creativity. You will also learn how to edit and perfect your work and prepare for submission or dissemination.
Our teaching draws on both our research and professional experience. This means your learning is informed by the most current thinking in the subject area. You can find out more about our research and backgrounds by visiting our staff pages .
You will be assessed on portfolios of original creative writing. The creative text will be in response to the concepts, ideas and themes explored in the module. Your portfolio will also contain a reflective document, in which you discuss your creative process and inspirations.
In each case, you will be supported with formative activities helping you to develop these skills, and your writing practice, in order to produce your best work in terms of both creative output and reflective discourse. From semester 2, modules have an oral presentation component. Here you will pitch your written creative work and develop your verbal presentation skills.
Throughout the course, you will have multiple opportunities for one to one formative feedback sessions with your academic tutor.
Qualifications.
2:2 honours degree in a related subject See full entry requirements including GCSEs
If your degree is in an unrelated subject, but you can provide evidence of relevant professional experience, your application may still be considered.
If you are an international student you will need to show that your qualifications match our entry requirements.
Information about international qualifications and entry requirements can be found on our International pages.
If English is not your first language you will need to show that you have English Language competence at IELTS level 6.0 (with no skill below 5.5) or equivalent.
International entry requirements
For entry onto this course, you will also need:
If you do not have traditional qualifications, you might be able to provide evidence of professional experience in the subject as an alternative way to meet the entry requirements. This is called Accreditation of Prior Experiential Learning (APEL). Appropriate references and records of employment would need to be presented to support your case for admission.
Our terms and conditions, policies and procedures contain important information about studying at York St John University. You can read them on our Admissions page .
Uk 2024 - 2025 entry.
The tuition fee for 2024 entry to this postgraduate course is:
These costs apply to all UK, Jersey, Guernsey and Isle of Man students.
Postgraduate loans are available to help you pay for your master’s course. Find out more about funding your postgraduate studies.
Funding opportunities
These costs apply to all students living outside the UK.
Due to immigration laws, if you are an international student on a student visa, you must study full time. For more information about visa requirements and short-term study visas, please visit the International Visa and Immigration pages.
Find out more about funding your postgraduate studies.
International Fees and Funding
UK 2024-25 £8,000 full time --> full time
If you are alumni of York St John University we have scholarships available to help you continue your studies.
Scholarships for alumni
Course-related costs.
While studying for your degree, there may be additional costs related to your course. This may include purchasing personal equipment and stationery, books and optional field trips.
View our accommodation pages for detailed information on accommodation and living costs.
Where could creative writing take you.
By developing your writing and creative process, you will be well positions to enter into a various careers. Your skills in critical analysis, working to deadlines and both independent and collaborative work will can be applied in industries such as:
There is also the option of continuing with your academic studies and heading down the route towards a PhD in a specific area of creative writing research.
Far fewer people have postgraduate degrees than undergraduate qualifications. This gives you something extra to set yourself apart in a competitive graduate job market. Those with a postgraduate qualification will earn an average of £6,500 a year more than those with only an undergraduate degree. (Department For Education Graduate Labour Market Report 2022).
Our careers service, LaunchPad, provides career support tailored to your ambitions. Through this service you can access:
This support does not end when you graduate. You can access our expert career advice for the rest of your life. We will help you gain the experience and confidence you need to succeed.
For postgraduate degrees you must apply directly to York St John University using the links below. This will take you to the application form you need to fill out for this specific course.
To complete the online application form you will need to create login details.
Please contact 2 referees before submitting your application. An automated request for a reference will be emailed to them as soon as you submit. Your application will not be reviewed until both references are in place.
Course highlights
Read Beyond the Walls – our creative writing blog, and check out the York Centre for Writing for information and opportunities related to the course.
Creative Writing blog York Centre for Writing
Your course will be enhanced by regular visits from contemporary writers. Visiting writers have included award-winning novelist Kate Atkinson, poet and broadcaster Ian McMillan and many more.
York St John University maintains links with the regional literary community through events such as York Literature Festival.
York Literature Festival
In addition to regular supervisions, you can meet one to one with an industry professional, such as an agent or editor.
Our alumni from this course include many success stories and award winners.
Student success stories
Amy Creative Writing
--> The generous support from my tutors really helped me to make the leap when it came to submitting my stories, something I had no idea how to do before. I had little confidence in my writing before my MA and found showing my work to anyone else absolutely terrifying. The tutors gave me a huge boost in self-belief, and encouraged to take my writing seriously. I really feel like my writing transformed during the MA thanks to this nurturing and guidance.
Get in touch, discover more courses.
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York St John University
Lord Mayor’s Walk
01904 624 624
York St John London Campus
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1 Clove Crescent
01904 876 944
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A writing room: the new marketplace of writer classes, retreats, and collectives.
A Writing Room is one of the fast-growing writer collectives. The four co-founders (left to right): ... [+] Reese Zecchin, Director of Production; Jacob Nordby, Director of Writer Development; A. Ashe, Creative Director; Claire Giovino, Community Director.
The past decade has brought an explosion in the number of books published each year in the United States (an estimated three to four million annually). In turn, this explosion is bringing a growing and evolving marketplace of writer classes, retreats and collectives. It is a marketplace creating new jobs and entrepreneurship opportunities—both for mainstream tech, marketing and managerial workers, as well as for writer/artist denizens of America’s bohemia.
The number of book sales in the United States remains healthy, though it has leveled off in the past four years. In 2020, 756.82 million book unit sales were made in the US alone. This number climbed to 837.66 million in 2021, before falling slightly to 787.65 million units in 2022 and 767.36 million units in 2023.
What has changed dramatically has been the number of books published. Steve Piersanti of Berrett-Koehler Publishers estimates that three million books were published in the US, up 10 times from the number only 16 years ago . Other estimates put the number of published books annually at closer to four million .
The main driver of this growth in books published has been self-publishing. According to Bowker , which provides tools for self-publishing, an estimated 2.3 million books were self-published in 2021. Up through the 1990s (now the distant past in publishing), writers of all types of books, fiction and nonfiction, were dependent on convincing publishing houses to publish their work. As the technology for self-publishing and print on demand grew in the early 2000s, writers could publish on their own, and a very large number of Americans began to do so.
Fueling growth also is the level of affluence and discretionary income that an increasing segment of American society is reaching. For centuries, theorists across the political spectrum have envisioned a society, freed from basic economic needs, pursuing creative activities, with writing as a primary activity. In The German Ideology , Karl Marx could write about the economy of abundance in which individuals pursue writing as one of a series of daily activities—hunt in the morning, fish in the afternoon, write criticism in the evening. John Maynard Keynes in a 1930 essay, “ Economic Possibilities for Our Grandchildren” , envisions a time a hundred years forward (2030) in which writing is no longer the province of the upper classes. Contemporary theorists on the future of work, such as John Tamny, similarly see a blooming of creative and artistic activities by the average citizen.
Best 5% interest savings accounts of 2024, a writing room, and the emerging marketplace of writer training.
A marketplace of writing coaches, classes and retreats expanded throughout the late twentieth century and first years of the twentieth century. Published authors and even recently-minted graduates of MFA programs hung out shingles for individual coaching and small classes. Colleges expanded their writing programs and certifications, and writer retreats multiplied. Co-working and literary event spaces were established in major cities ( The Writers Room in New York, The Writers Grotto in San Francisco). But the marketplace continued to bump up against geographic and logistical limitations.
Then, along the came the internet, and its evolution.
Today, hundreds of businesses throughout the country offer assistance to aspiring writers. Many continue to offer some in-person assistance through coaching, classes or retreats. But as in other fields, the internet has allowed for a nationwide (worldwide) reach that these businesses are taking advantage of to scale. The major pre-internet writer assistance companies, such as The Writers Studio , added online courses and instruction, and the early internet-based companies from the 1990s, such as Writers.com (a pioneer in the internet field), steadily expanded their offerings. New enterprises are springing up on a regular basis, including the writer collectives.
A Writing Room is one of the fastest growing of the writer collectives, and its suite of services illustrate the how the field is evolving.
A Writing Room has its roots in the writing classes that novelist Anne Lamott had been teaching for some years, and her interest by the early 2020s in creating a larger on-going community of writers. Lamott connected with a team of four entrepreneurs who had experience with previous start-ups and expertise in online tools. In early 2023 they set out to develop A Writing Room.
Novelist Anne Lamott, one of the partners in A Writing Room.
A Writing Room launched in June 2023, and followed a few months later with an inaugural writers retreat in Santa Fe, New Mexico. Though hastily arranged, the retreat attracted more than 400 in person attendees and over 1600 attendees online. In the first half of 2024, the company set up a membership structure of monthly and annual memberships. Within months, over 550 writers had joined.
The products that members can access are aimed in part at teaching the craft of writing. In a recent author discussion (with close to 400 participants joining online) Lamott discussed the craft of writing with novelist Donna Levin . Both started publishing in the 1980s. They noted how much publishing and the role of the writer have changed, but emphasized the fundamentals that have remained over their forty years, related to craft and the responsibility of the writer: the daily commitment, the careful development of plot and characters, the numerous rewrites (as many as you think you need, and one more).
A Writing Room offers a series of on-demand courses, online discussions with authors and publishing professionals, and daily writing prompts, built around writing as craft. It further offers instruction on the paths to and options for publication, building a following of readers.
At its center, A Writing Room is about being part of a community of writers, giving and receiving regular feedback from other members, as well as feedback from writing mentors and coaches. In an interview earlier this year, Lamott explained:
The great myth about writing is that it's an entirely solitary activity. This really isn't true. Every book I've ever written has been with a lot of help from my community. I wouldn't be the writer I am today — and wouldn't even want to write — without people to share the process and finished work. Writing is a process, but it doesn't have to (and really shouldn't be) done in total isolation.
The writing process can feel overwhelming. It often does for me. Believe me, a trusted writing friend is a secret to life.
Other emerging writing collectives also emphasize community and cooperation. Levin underscored this point in the recent online discussion: “Writing can be such an isolated activity, and to some extent needs to be. You want to seek out a community that can give you the support you need and also the honest feedback.”
The founders of A Writing Room know that the marketplace for writer assistance is fast changing, and they need to be quick to adapt to increased competition. Already, several developments are driving change in the field:
· The entrance of major online education companies (i.e. Masters Class , Coursera, Udemy ).
· Faculty recruitment of writers with built-in audiences of sizable twitter and other social media followings.
· Partnerships with the major publishers and agencies, who hold out the promise of publication to participants of the classes, retreats and collectives.
· Specializations by race and ethnicity, gender, geography and genre.
· Market segmentation, and attention to higher income consumers.
A number of these developments reflect the changes in the broader publishing world and are likely to continue. Overall, the marketplace itself will be expanding, as publishing technology advances, along with discretionary income.
The jobs being generated by this new marketplace are a mix of tech, administrative, and writing coach positions. At A Writing Room, recent hires include a community liaison, video editor, customer support, and a “beta reader” providing feedback to writers on their drafts. The hiring process is sweeping up into jobs not only workers who have been in the regular economy, but also residents of America’s bohemia: writers and artists who previously were outside of (and often scornful of) the market system. What can be better than that.
In his 2023 book, The Novel, Who Needs It , Joseph Epstein, former editor of American Scholar , offers a paean to fiction as above all other intellectual endeavors that seek to understand human behavior. But what he says of fiction is true of other writing (memoir, history, even forms of self-help) that arouses the mind.
Yes, there are way too many books published each year, and yes only a very small percentage of writers will earn any significant income from their writing. But who knows what individual book will succeed commercially or critically, or add to our shared knowledge or wisdom. And really, why not encourage the craft of writing. How much does America benefit from most of the paper-pushing, meetings and e-mails that now pass for work in our economy of affluence.
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Summer 2023, english 792.s01 topics: gothic film, sharon smith.
Horace Walpole’s 1764 novella "The Castle of Otranto " established many of the conventions we associate with Gothic narrative: distressed heroes and heroines pursued by tyrannical villains; gloomy estates with dark corridors, secret passageways, and mysterious chambers; haunting dreams, troubling prophecies, and disturbing premonitions; abduction, imprisonment, and murder; and, of course, a varied assortment of corpses, apparitions, and “monsters.” These conventions infiltrated cinema early in its history, establishing Gothic film as a significant genre that continues to engage audiences in the present day. Like their literary predecessors, these films explore the darker side of family, marriage, gender, and sexuality, often revealing the power dynamics that shape them. As they do so, they demonstrate how the true horrors of human existence often have less to do with inexplicable supernatural phenomena than with the horrific realities of life. Among these realities is our inability to escape a past that relentlessly haunts the present and that must be confronted before it can be left behind. During this five-week online course, we will watch films that engage Gothic conventions and concerns and will read a selection of criticism focusing on the films we watch. Films may include Alfred Hitchcock’s Rebecca , Stanley Kubrick’s "The Shining," Tim Burton’s "Edward Scissorhands," Georgina Lightning’s "Older Than America," Ana Lily Amirpour's "A Girl Walks Home Alone at Night," Jennifer Kent’s "The Babadook," Jordan Peele’s "Get Out," Rian Johnson’s "Knives Out," and Jane Campion’s "The Power of the Dog."
On Campus: Mondays 3-5:50 p.m.
This course focuses on the theory and practice of professional editing in the field of English studies. Our readings will consider questions relating to authorship, textuality, and the role of the editor in journal, book, and web publishing. In addition to exploring contemporary debates in scholarly editing, we will consider how editorial decisions (such as introductory essays, appendices, footnotes, illustrations, and textual sources) shape meaning across various editions of a work. You will learn how to build style sheets, ensure error-free copy, and manage editorial projects while gaining hands-on experience with a top-tier academic journal. Assignments include a course blog, two edited articles, a textual history essay, and a final project for which you will use your research and editing skills to create an anthology of nineteenth-century short stories.
REQUIRED TEXTS
Steven wingate.
Students will learn the fundamentals of screenwriting: good format, believable and imaginative stories, solid characterization, and well-turned narrative arcs. The class will read outstanding screenplays as craft examples, adapt a literary work to learn format, then draft, workshop, revise, and expand original scripts or adaptations. At the end of the course, students should have either a complete and polished first act of a feature script they can complete on their own time, or a fully-realized script for a short film or series episode. While we will not focus on “making it” in Hollywood, we will cover the basics of how the film industry works and what that means for writers who want to see their work onscreen.
On Campus: Thursdays 1-3:50 p.m.
This course will provide you with a foundation in the pedagogies and theories (and their attendant histories) of writing instruction, a foundation that will prepare you to teach your own writing courses at SDSU and elsewhere. As you will discover through our course, though, writing instruction does not come with any prescribed set of “best” practices. Rather, writing pedagogies stem from and continue to evolve because of various and largely unsettled conversations about what constitutes effective writing and effective writing instruction. Part of becoming a practicing writing instructor, then, is studying these conversations to develop a sense of what “good writing” and “effective writing instruction” might mean for you in our particular program and how you might adapt that understanding to different programs and contexts.
As we read about, discuss, and research writing instruction, we will address a variety of practical and theoretical topics. The practical focus will allow us to attend to topics relevant to your immediate classroom practices: designing a curriculum and various types of assignments, delivering the course content, and assessing student work, among others. Our theoretical topics will begin to reveal the underpinnings of these various practical matters, including their historical, rhetorical, social, and political contexts. In other words, we will investigate the praxis—the dialogic interaction of practice and theory—of writing pedagogy. As a result, this course aims to prepare you not only as a writing teacher but also as a nascent writing studies/writing pedagogy scholar.
At the end of this course, you should be able to engage effectively in the classroom practices described above and participate in academic conversations about writing pedagogy, both orally and in writing. Assessment of these outcomes will be based primarily on the various writing assignments you submit and to a smaller degree on your participation in class discussions and activities.
On Campus: Tuesdays 3-5:50 p.m.
This course examines representations of race in literature of the long eighteenth century, considering how these representations were used to both rationalize and critique colonization and transatlantic slavery. Though we’ll consider texts written from the perspective of the colonizing culture, a significant portion of the course will focus on voices from multiple historical, geographical, and generic contexts that push back against and fill gaps within colonial narratives. Engaging a “presentist” approach to the study of eighteenth-century texts, we’ll discuss how twenty-first-century Americans are currently living “in the wake”—to use Christina Sharpe’s phrase—of colonization and slavery, as can be seen in the movements for and reactions against ending systemic racial violence, teaching Black and Indigenous histories, reforming the prison system, and returning stolen Indigenous lands. Literary texts will include Aphra Behn’s "Oroonoko," Daniel Defoe’s "Robinson Crusoe, The Woman of Colour," Olaudah Equiano’s "Interesting Narrative," Mary Prince’s "Autobiography," and a variety of shorter texts that engage with subject matter related to colonization, indigeneity, enslavement, abolition, and rebellion. We will also consider the work of more recent authors and scholars, including Robert Hayden, Toni Morrison, Saidiya Hartman, Christina Sharpe and Layli Long Soldier.
Amber jensen, m.a., m.f.a..
In this course, we will explore how contemporary poetry and creative nonfiction build upon traditional models but also continue to innovate and blur genre distinctions. We will draw from theoretical texts "How to Read (and Write About) Poetry, Second Edition " by Susan Holbrook and "The Next American Essay (A New History of the Essay) " by John D’Agata and read individual poems and essays, as well as complete collections and memoirs, including (selections subject to change): Kaleb Ray Cadrilli’s "Water I Won’t Touch," Tyree Daye’s Cardinal, Christine Stewart’s "The Poet & The Architect," Joy Harjo’s "Crazy Brave," and Mary Alice Haug’s "Out of Loneliness." Our rhetorical reading of these texts will focus on the relationship between text and context, examining how these works reflect and impact the world they are produced and consumed in, what we bring to our reading of these texts and what these texts offer to us.
IMAGES
VIDEO
COMMENTS
Each year we showcase the work of favorite literary journals, new and established published authors, and the work of our own students and teachers. Students invite their families and friends to these events, which helps us introduce The Writers Studio to the larger community. For more information, please call us at (212) 255-7075 or visit us on ...
The Gotham WritersChildren's LitConferenceSep 28-29. Each Gotham class puts you in a community of writers, and we also offer ways to join the writing community beyond our classes. Writing is a solo act, but it's helpful, even necessary, to connect with fellow writers.
23 Best Creative Writing Classes in New York Showing 23 courses that match your search. Over-50 Memoir Workshop (McElwain) The Writers Studio Add to shortlist. This six-week online workshop is open to all writers over the age of 50 who are interested in writing their memoir. Each week we'll do close readings of memoirs written by writers over ...
Book now. 4. Fiction Writing Level 1: 10 Week Workshop. If you are interested in flexing your creative muscles, you can enroll in an introductory fiction and poetry workshop to start looking for ...
Creative Writing Summer Long Courses. Monday 15 April 2024: How to Write a Page-Turner: Finding and Keeping Narrative Tension - with Sue Cooper MA (2-4pm, 3 weeks, £30), Online course.; Summer Saturday Courses. Saturday 22 June 2024: A Beginners Guide to Writing a Novel - with Sue Cooper MA (10am-4.30pm, 1 week, £52), University of York Campus, Classroom-based course.
For over three decades The Writers Studio has been helping students become stronger, more resourceful writers — with more craft at their disposal, more knowledge of what makes a piece of creative writing satisfying to a reader, and more access to the full range of their emotions and imagination. We have developed our own teaching method ...
Several institutions in NYC offer in-person creative writing classes, including the Writer's Studio in the West Village, the 92nd Street Y, and the New York International Screenplay Awards. For those who prefer a virtual learning environment, online creative writing classes are available through Santa Monica College and the Writing Pad in Los ...
Creative Writing (2022 - 2024) In addition to the on-campus creative writing courses offered throughout the year, special January term and summer programs offer students a chance to study intensively and generate new writing in Florence, New York, and Paris. CRWRI-UA 815 Formerly Creative Writing: Introduction to Fiction and Poetry.
Welcome to The Writer's Rock! Our sliding-scale programs are available both in-person and online, and are open to all writers over the age of 18, regardless of writing experience. Join us for a multi-week workshop, a one-day class, or a one-on-one with an instructor who'll help your writing become the best version of itself.
Summer Academy enables students to dive deep into a course of study, sharpening skills for their academic and professional futures. Each course is carefully designed to suit student interests and encourage intellectual curiosity. Be immersed in genres of the sprawling creative writing market and learn how to read, analyze, discuss and critique ...
Join us at Creative York to try something new, expand your skills and knowledge of writing, as well as make meaningful connections with others! ... voices and published more than 50 books over 5 years and included a mentorship program for young writers and creative writing classes hosted by venues such as DreamWrights, Creative York, and the ...
Writing Classes and Workshops. ... Creative writing school for adults at all skill levels across eight genres, founded in the Bay-Area in 1999 and now also online. ... New York, NY Wide range of multi-modal creative writing courses that includes lectures, exercises, and workshopping to help writers learn to tell their stories better. ...
Highly recommended!". — Daniel Ali. "Jay's class is the perfect place to workshop an essay, short story, screenplay, or anything in between. You can't leave this class without learning at least one new thing about writing, regardless of your writing background or how long you've been pushing the pen.
Creative York is an arts organization that offers arts education, gallery experiences, and outreach programs to Downtown York, PA and surrounding areas. ... "We love Creative York! With art camps and classes for all ages, gallery exhibits and installations, team building activities, community outreach for young and old, and so much more led ...
The NYU Creative Writing Program. is among the most distinguished programs in the country and is a leading national center for the study of writing and literature. Learn More. ... Lillian Vernon Creative Writers House 58 West 10th Street New York, NY 10011 Get Directions Faculty Spotlight. Sharon Olds. Sharon Olds is a previous director of the ...
NY Writers Coalition 80 Hanson Place, Suite 604 Brooklyn, NY 11217 Phone:(718) 398-2883 Email:[email protected]
Adult Writing Workshop Series. Join us for an 8 week writing workshop every Wednesday from 1pm to 3pm beginning May 8th and ending on June 26th with a reading scheduled for July 3rd. Professional writer, Ellen Aug Lytle will teach the free writing method where you will learn how to turn memories, events and ideas into poetry, stories and memoirs.
The Creative Writing cohorts at York are always small. This allows for more individualized feedback from professors and peers on your writing, and fosters greater personal growth as a writer. ... something that isn't explored in most English classes where various literary theories and external perspectives are placed on texts. — Ekraz Singh ...
Get in touch with us! 340 Montgomery Street. Syracuse, NY 13202. For Workshops: Tim Carter. Arts Branch Program Director. (315) 474.6851, ext. 380. For Young Authors Academy & Numberless Dreams: Georgia Popoff.
Creative writing is available as a minor; professional writing majors can choose creative writing in fiction or poetry as a writing track. The York Review's literary and art magazine, including this 2014 piece by York College art alumni Dillon Samuelson, showcases the incredible works of York College's creative community. Insightful writing.
To study creative writing at Columbia University's School of the Arts, in New York City, is to join a distinguished group of writers who arrived at a prestigious university in the nation's literary capital to explore the deep artistic power of language. J.D. Salinger enrolled in a short story course here in 1939. Federico Garcia Lorca wrote Poet in New York while he was a student at Columbia.
NOW OPEN: Creative Writing Program - FW24 Application for Admission. • The above deadline only applies to students who have completed AP/CWR 2600 in FW23 and prior. • Students currently enrolled in SU24 AP/CWR 2600 will apply in August 2024. Creative Writing is a delayed-entry Honours BA program and may be pursued as a single major, double ...
Postgraduate events. Taught by award-winning authors with specialisms in fiction, poetry, non-fiction and scriptwriting, this course is a fantastic opportunity for you to learn the craft of creative writing and explore the theory behind it. York campus. Duration - 1 year full time, 2 years part time. Start date - September 2024, September 2025.
The creative writing seminars are modeled on the courses offered by the graduate Writing Division of The School of the Arts, and provide the intellectual ballast that informs and deepens the work of the creative writing student. Students in the creative writing seminars read a book each week and engage in round-table discussions about the ...
A: You will be eligible for all classes, though preference will sometimes be given to majors. You must submit a writing sample for workshops at the intermediate level or above. Q: Will Barnard Creative Writing courses count toward the new major? A: The Barnard Playwriting workshop may be counted as your out-of-genre workshop. It is best to ...
A Writing Room has its roots in the writing classes that novelist Anne Lamott had been teaching for some years, and her interest by the early 2020s in creating a larger on-going community of ...
Summer 2023English 792.S01 Topics: Gothic FilmSharon SmithOnlineHorace Walpole's 1764 novella "The Castle of Otranto" established many of the conventions we associate with Gothic narrative: distressed heroes and heroines pursued by tyrannical villains; gloomy estates with dark corridors, secret passageways, and mysterious chambers; haunting dreams, troubling prophecies, and disturbing ...
Minor in Creative Writing Creative Writing Minor Advising Worksheet Requirements for catalog years 2020 and later Updated 2024.06.12 TOTAL UNITS REQUIRED FOR MINOR: 20 • 9 units for the minor, including at least 6 upper-division units, must be taken in residence at Sacramento State. • Creative Writing minors must earn a grade of C- or higher