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English 0402.301
First-Year Seminar: Kelly Writers House
Julia Bloch R 10:15am-1:15pm
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This first-year seminar is held at Penn’s vibrant literary arts hub, the Kelly Writers House. Meeting each week in this Victorian cottage for a three-hour seminar, attending events together and debriefing about them afterwards, and writing critically and creatively in response to what they experience in the Writers House Arts Café, students will work closely with visiting poets, novelists, journalists, and other writers and artists giving readings, workshops, and colloquia at KWH throughout the semester—in fall 2025, with a particular focus on this year’s programming theme: Truth and Disinformation. Our seminar will serve as a Truth and Disinformation Lab, in which we will explore how the tools of truth-telling, fact-checking, and witnessing in the writing arts offer innovative, broad-reaching solutions to the urgent challenges of living out democratic values in a shifting world. In addition to producing their own critical and creative work, students will collaboratively curate a public-facing literary event. The main objective of this course is to introduce students to the disciplines of English and Creative Writing by centering the living, evolving textures of contemporary writing. This first-year seminar is open to select upper-level students. Interested upper-level students can email blochj@writing.upenn.edu for permission to enroll.
English 3010
Introduction to Creative Writing: Poetry and Fiction
Ahmad Almallah
301 R 1:45pm-4:45pm Add to Cart
302 W 5:15pm-8:15pm Add to Cart
This introductory workshop explores the main tools of writing poetry and fiction! Thematically, we’ll be reading a number of different examples to learn why poets such as Gwendolyn Brooks and Sylvia Plath turn to fiction as a way to revitalize their poetic practice, and why novelists such as Herman Hesse and Herta Müller turn to poetry. And we’ll read writers who work in both genres, such as Zbigniew Herbert and Paul Auster. Students will learn to use the main tools of fiction, such as characterization, dialogue, and description, as well as the forms of poetry, such as sound, image, and enjambment. The workshop also aims at encouraging a philosophical exploration of the border between reality and imagination in the form of writing poems and short fiction pieces.
English 3015.301
Introduction to Creative Writing: Fiction and Journalism
Anna Badkhen T 5:15pm-8:15pm
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This workshop is an introduction to writing short fiction and long-form journalistic writing. We will focus on the main tools of prose writing that are indispensable to both genres, including characterization, dialogue, description, research, and revision. Our resources will be multi-genre—we will look at visual art, music, dance—and global. We will encounter a broad stylistic range of international aesthetic and narrative models, and discuss the narrative responsibility each of them entails. Our guides will likely include Teju Cole, Shailja Patel, Jamil Jan Kochai, Edward P. Jones, Ryszard Kapuscinski, Anne Carson, Ousmane Sembène, Okwui Okpokwasili, Anjali Sachdeva, Binyavanga Wainaina, Emily Raboteau, Isaac Babel. Suitable for beginners or more experienced writers who want to return to fundamentals.
English 3018.301
Introduction to Creative Writing: Memoir and Creative Nonfiction
Taije Silverman TR 3:30pm-5:00pm
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A workshop focused on the way writers combine public and personal narratives to investigate self and world. Through your own prose and the prose of celebrated contemporary essayists (such as JoAnn Beard, Kiese Laymon, Ross Gay, and Tressie McMillan Cottom), you will learn to render events in language that surprises—whether recounting family drama, describing campus protests, or mapping the mating cycle of an octopus onto memories of adolescence. Students will be asked to write (and rewrite) short prose pieces throughout the semester, with slightly longer midterm and final essays that mean to situate a private life in the collective world. All writing in the course will be creative, and both beginners and experienced writers are welcome.
English 3019.301
Introduction to Creative Writing: Sports Narratives
Jamie-Lee Josselyn M 1:45pm-4:45pm
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Sports shape our lives as individuals, as families, and as communities. Whether a runner completing a marathon for charity, a high school hopeful’s quest for a scholarship, or a pro team clinching—or falling short of—a title, the highs and lows of an athletic journey, when combined with literary devices, insightful reflection, and occasionally just the right amount of indulgence, make for stories that teach and inspire. Even those of us who are true amateur athletes, exclusively spectators, or even sports skeptics can tap into the emotions that sports evoke. And as we have seen recently, as well as throughout history, sports provide a crucial platform for social, political, and cultural issues via circumstances both on and off the court, field, or track. A key question we’ll ask throughout the semester is: how can storytelling enable us to leave sports better than we found them?
Over the course of the semester, students in our workshop will compose a personal essay from the perspective of an athlete or fan, a reported piece on an athlete, team, or event, and a short story that centers around athletics. For their final project, students will complete a longer piece in one of these modes, along with a revision of an earlier draft. As students develop their own sports stories, we will be joined by in-class guests and we will read the work of impactful storytellers like Toni Cade Bambara, Roger Angell, John McPhee, Leslie Jamison, Hanif Abdurraqib, Mirin Fader, and Penn’s own Buzz Bissinger, Sam and Max Apple, and Dan McQuade. We will also look to professional athletes whose words and gestures have made an impact like Kathrine Switzer, Mary Cain, Simone Biles, Kevin Love, and Colin Kaepernick. And, of course, we’ll watch Rocky.
English 3020.301
Introduction to Creative Writing: Extreme Noticing
Sam Apple T 5:15pm-8:15pm
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In the words of novelist Alice LaPlante, “our first job as writers” is “to notice.” We all notice the world around as we make our way through each day, but “noticing” as a writer is different. Whether working on fiction, nonfiction, poetry, or any other genre, the writer has to pay attention to the very small, to zoom in on the specific detail or insight that can make even the most mundane moment feel entirely new. Noticing in this way is a skill that, like most skills, is developed with practice. In this class, we’ll practice paying attention to the small with weekly writing prompts and take occasional “noticing excursions” around campus. Along the way, we’ll review student writing as a group and read works by great contemporary noticers, including Karl Ove Knausgaard, Chimamanda Ngozi Adichie, Ben Lerner, and Miranda July. Questions? Contact me at samapple@gmail.com.
English 3023.301
Introduction to Creative Writing: Fantasy and Magical Realism
Abbey Mei Otis M 1:45pm-4:45pm
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This class will use two genres of nonrealist writing as an introduction to the core concepts of writing creative prose. We will read work in fantasy and magical realism across the traditions of surrealism, science fiction, slipstream, Afrofuturism, fairy tales, and speculative memoirs, and we will try our hand at creating our own original work in these forms. Core craft concepts—including characterization, point of view, imagery, embodiment, pacing, scene and structure—form the foundation of our study, essential for all prose writing and particularly works of invented worlds and altered realities. In addition, we will discuss concepts such as world-building, entertainment, escapism, wonder, cognitive estrangement, and the grotesque BOTH as vital forces that inform our relationship to the world, AND as tactics to be cultivated through practice. The literature of the imagination comprises a tradition older, more extensive and more varied than the literary realism that is the focus of so much creative writing study. We will find a place in a long historical tradition of storymaking for magical realism and the fantastic. We will also discuss the role of strangeness and defamiliarization as an essential tool for creating work that is resonant and urgent in the contemporary world. Potential readings include: Toni Morrison, Octavia Butler, Ted Chiang, Louise Erdrich, Carmen Maria Machado, Kelly Link, Julio Cortazar, Ursula Le Guin, Sofia Samatar, the Brothers Grimm. Students can expect to write frequently and workshop writing by their peers in a collaborative setting.
English 3026.401
Introduction to Creative Writing: Writing Real Science
Weike Wang M 10:15am-1:15pm
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In this course, students will read and write fiction and nonfiction with an eye for science research. Most if not all fiction and nonfiction requires some kind of research. Our readings will explore how writers can incorporate knowledge and facts into their prose without compromising craft (the how). While research is ubiquitous to writers, science is rarely found in creative writing without being conflated with science fiction—which this course will touch on, but will not be our main focus. Instead, this course will explore ways to bring real science into our pieces and make them fun, exciting and fresh. We will read fiction, nonfiction and poetry that have been imbued with science either in the content itself or in the methods. Each student will have the opportunity to workshop up to 4 pieces (3-5 pages each). Students do not need a science background for the course, though an interest in science, creative writing and craft will prove helpful. This course is cross-listed with Asian American Studies 1226.
English 3103.301
Leslie Scalapino: Workshop as Marvel
Simone White R 3:30-6:30pm
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When writers read great writing, they want to write. Leslie Scalapino was a poet’s poet, a writer’s writer, who defied genre and shaped new forms to contain her concerns as poetry, memoir, drama, cinema and criticism. This workshop takes the wonder of her art as inspiration. More than that, it takes seriously the idea of a writer — a woman writer, never spoken of in the same sentence as, say, William Carlos Williams, as a key influencer of contemporary US poetry — who changes the whole landscape of what is being written around and after their work. What on earth was she doing? Can we try it? Weekly writing assignments/prompts will focus on exploring forms and operations we identify in our readings. This course is open to graduate students in English as an independent study. Graduate students enrolled in the course will also write a short final paper.
English 3104.401
Poetry Lab
Syd Zolf W 1:45-4:45pm
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There’s a reason Plato banned poets from his utopian Republic: poetry is wild, uncontainable, ungovernable. The poetic is a feral force acting on and in language to upend fixed ideas and categories, ways of thinking and seeing. In the poetry lab, we’ll perform experiments to help you explore and expand your poetic potential. Students are welcome in the workshop no matter what your experience with the poetic has been. You can even be a prose writer or an artist interested in working with the force of the poetic to improve the rhythm, diction, sound, and arrangement of your writing. In this course, you’ll read and respond to a wide range of poetic works, write every week, be workshopped by your peers, and work on a poetic portfolio that is just as wild as you can be. Cross-listed with Gender, Sexuality, and Women’s Studies.
English 3111.301
Experimental Writing: Writing Through the Genius of Yoko Ono
Kenneth Goldsmith R 1:45pm-4:45pm
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Now 92 years old, there have been few cultural figures with the historical impact of visual artist and performer Yoko Ono. Across a career spanning seven decades, she has redefined the fields of music, film, sculpture, writing, and performance. Her message as has been consistently social and political, propelling her onto a stage much bigger than the artworld. As a pioneering feminist Japanese-American artist, her influence and impact has been vast, expanding the definition of who and what an artist can be.
This class will dive into the life, work, and legacy of Ono. Through an in-depth exposure to her artistic and political output, we will take inspiration to create our own written works. Her highly unconventional methods will inspire and awaken the adventurous and avant-garde impulses within ourselves, pushing us to create works of literature that we never could’ve imagined. Along the way, we’ll meet up with her collaborators in the worlds of music, film, literature, and visual art, including John Lennon, The Beatles, Fluxus, Sonic Youth, Andy Warhol, and many others.
English 3200.301
Fiction Workshop: Short Fiction
Sebastian Castillo TR 12:00pm-1:30pm
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This workshop-style class focuses on the pleasures of writing short fiction. Students will read short stories from a wide variety of genres and traditions. They will also generate brand-new stories, discuss short fiction in a critical way, and learn to access the fount of creativity within themselves. No prior creative writing experience is necessary, but students must be willing to participate, revise their work rigorously, take risks, and be generous with themselves and others. Class time will alternate between in-class writing, short lectures, classroom discussions, small-group workshops, and later in the semester, full-class workshops. Some writers whose work we will consider are Lydia Davis, Donald Barthelme, Ling Ma, Jamaica Kincaid, Robert Glück, Kazuo Ishiguro, Roberto Bolaño, Joy Williams, and several others.
English 3202.301
Speculative Fiction
Abbey Mei Otis W 5:15pm-815pm
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This creative writing workshop will explore contemporary traditions within the mode of the speculative and the fantastic—including Western science fiction, magical realism, Afrofuturism, fantasy, horror, slipstream, dystopia, visionary fiction—and investigate the political and cultural landscapes that gave rise to each. We will discuss concepts such as imagination, entertainment, escapism, world-building, cognitive estrangement, and the grotesque BOTH as vital forces that inform and shape our relationship to the world, AND as tactics to be cultivated through practice and deployed by skilled craftspeople. We begin from the position that content is inseparable from aesthetic, that language is as important to the vitality of speculative fiction as to any other mode of writing, and furthermore that all language is political and thus encodes something urgent about the moment from which it emerges. We will particularly examine how genre, low culture, and nonrealism have been used as strategies for subversion and resistance. We will test the hypothesis that all fiction is speculative by writing and workshopping our own original work.
English 3208.301
Advanced Fiction Workshop: Short Fiction
Max Apple T 1:45pm-4:45pm
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The class will be conducted as a seminar. Every student will write four stories during the semester; each story will be discussed by the group. The instructor will, from time to time, suggest works of fiction that he hopes will be illustrative and inspirational but there will be no required books. Attendance and active class participation are essential.
English 3253.401
What If It All Ends Tonight: Nontraditional Writing for Young Adults
candice iloh R 5:15pm-8:15pm
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This workshop-style course explores how to write outside of traditional norms for young adults. We will play with choices we can make, as people or artists, to create tension, heighten emotional stakes, and shift perspective in moments of self-actualization. Through weekly engagement with literature that disrupts so-called classical literary form, we will traverse coming-of-age storytelling that centers curiosity and intention. In this course, we will ask what possibilities lie ahead when we allow a story to lose composure and take an unexpected turn in narrative, thought, or even visual presentation. In addition to practical exercises that build the essential tools of fiction (such as dialogue, characterization, and exposition), we will use pivotal scenes, paragraphs, and sentences from a diversity of authors to discuss writing that elicits an evocative, immersive reader experience. Together, we will learn from provocative, award-winning authors such as Akwaeke Emezi, Erika Sànchez, Ibi Zoboi, Kacen Callendar, Amber McBride, Randy Ribay, Malinda Lo, Jason Reynolds, Sara Farizan, and Elisabet Velasquez. We will close-read others’ work and give each other feedback, working with experimental narratives you create in class, as well as lived experiences that you wish to bring into the room. At the end of the semester, class will culminate with a 2,500-word final project that has been taken through the workshop process. All students will have the opportunity to meet two acclaimed published authors and a senior editor from Penguin Random House.
English 3308.301
Cooking with Words
Gabrielle Hamilton T 1:45pm-4:45pm
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This writing workshop, taught by eminent New York Times Magazine food columnist and restaurateur Gabrielle Hamilton, will be devoted to the topic of food, although it is not, strictly speaking, a course on food writing. Instead, we will read a manageable and engaging syllabus of writers who have used food in their work—writers who may include John Berger, KD Lang, and Ogden Nash—and then craft our own original writing about non-food topics through food. Have you ever spent the night in jail and eaten the bologna sandwich and warm half-pint of milk they leave for you in the holding cell? Let’s go at that story through the bologna sandwich. Ever ended a friendship over the way they spoke to the waitress who delivered the food? Hidden your lunch at school so no one would tease you about what was in your lunchbox? Overspent on a bottle of wine to prove to the clerk you “knew what you were doing”? We’ll use the food story as the catalyst for the larger story, with a focus on getting the “weight” and the “freight” of each aspect of the story just right.
English 3350.301
Long-Form Reported Nonfiction
Buzz Bissinger R 5:15pm-8:15pm and F 1:45pm-4:45pm (every other week)
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This workshop in narrative nonfiction emphasizes the tools of good storytelling: creating a narrative spine, building a dramatic plot, character development, scene-setting, and use of quotes without compromise of facts. Students must be willing to do reportage, since narrative nonfiction cannot exist without it. There will be heavy concentration on writing assignments and workshopping. We will also read the best and brightest of nonfiction by authors such as Katharine Boo, Lillian Ross, Gay Talese, David Foster Wallace, Truman Capote, John Hersey, and JR Moehringer, and Penn’s own Buzz Bissinger. The course will be challenging but decidedly unstuffy with ample give and take, offered in a style that is unorthodox, distinct, and brimming with passion. This course is taught by Buzz Bissinger, the author of several bestsellers including Friday Night Lights, a longtime contributor to Vanity Fair, and winner of the Pulitzer Prize. Students who have taken this course have gone on to work at such publications as the New York Times, the Washington Post, Bloomberg, Forbes, and Fortune.
The course will meet every other week on Thursday evenings, 5:15-8:15pm, and Friday afternoons, 1:45-4:45pm, on the following dates: August 28, 29; September 11, 12, 25, 26; October 16, 17, 30, 31; November 13, 14; December 4, 5. Professor Bissinger will be available for one-on-one discussions and always available by email.
English 3411.301
Writing about the Arts and Popular Culture
Anthony DeCurtis R 1:45pm-4:45pm
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This is a workshop-oriented course that will concentrate on all aspects of writing about artistic endeavor, including criticism, reviews, profiles, interviews and essays. For the purposes of this class, the arts will be interpreted broadly, and students will be able—and, in fact, encouraged—to choose to write about both the fine arts and popular culture, from music, movies and TV to fashion, sports and comedy. Students will be writing short essays throughout the course, but the main focus will be a 3,000-word piece about an artist or arts organization in Philadelphia (or another location approved by the instructor) that will involve reporting, interviews and research. Potential subjects can run the full range from a local band to a museum, from a theater group to a designer, from a photographer to a sculptor.
English 3417.301
Political Journalism
Dick Polman W 1:45pm-4:45pm
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Ben Bradlee, the late legendary editor of The Washington Post, said that political journalism is “the first rough draft of history” — an opportunity to report and write about the tumultuous civic life of this nation as it unfolds in real time. Accordingly, in this course, we’ll spend much of our time feeding off the news during a time of arguably unprecedented turbulence — for our politics and certainly for journalism.
Political journalists are tasked as never before with making smart judgments, supporting their analyses with empirical reportage, and communicating those judgments in clear language. They must cut through the clutter and engage the reader — smartly and often entertainingly — in a climate where fact-based journalism itself is in crisis. The dictionary definition of “truth” is under relentless assault. Legacy gatekeepers like the Washington Post and the New York Times are being profoundly — often adversely — affected, and many credentialed journalists are seeking out independent platforms like Substack.
Key questions for this course: (1) Is traditionally objective “both sides” journalism up to the task of watchdogging the newsmakers in an era when democracy itself is under serious threat? (2) Is it feasible to provide “balanced” coverage of the two major parties — when many members of one party are openly working to undermine democracy? (3) Given the rising popularity — and perhaps predominance — of “alternative” partisan media, is the audience/readership for fact-based journalism shrinking, and if so, how should fact-based journalists respond to that?
This course could not be more timely. Only true “junkies” of national politics — those who follow the news closely, and those who aspire to write about it — are likely to love this course. Students who are passionate about writing and politics will track the national news week by week, and write posts that will be workshopped in class.
At a time when Americans are more awash in political news (real and rumored) than ever, the goal of this course is to help students master the craft of writing clear, responsible, incisive, substantive, and engaging analysis — and backing it up with factual research/reporting. The hope is that students can live off the news and develop their “earned voice” via effective writing, reporting, thinking, and communication.
English 3504.401
Across Forms: Art and Writing
Syd Zolf & Sharon Hayes T 1:45pm-4:45pm
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What if a poem spoke from inside a photograph? What if a sculpture unfurled a manifesto? What if a story wasn’t just like a dance, but was a dance—or a key component of a video, drawing, performance, or painting? Many artists employ writing in their practices, but may not look at the texts they create as writing. And many writers have practices that go beyond the page and deserve attention as art. In this course, which is open to all students interested in art and writing, regardless of experience, students will develop multiple creative projects that integrate the forms, materials, and concerns of both art and writing. As a class we will employ critique and workshop, pedagogic methodologies from art and writing respectively, to support and interrogate cross-pollinations between writing and art practices. We will also study a field of artists and writers who are working with intersections between art and writing to create dynamic new ways of seeing, reading, and experiencing. Cross-listed with Fine Arts. Permission to enroll is required; please email a short description of your interest in the class to zolfr@writing.upenn.edu.
English 3600
Screenwriting Workshop
401 Kathy DeMarco Van Cleve M 12:00-3:00pm Add to Cart
402 Scott Burkhardt W 1:45pm-4:45pm Add to Cart
403 Scott Burkhardt W 5:15pm-8:15pm Add to Cart
This is a workshop-style course for those who have thought they had a terrific idea for a movie but didn't know where to begin. The class will focus on learning the basic tenets of classical dramatic structure and how this (ideally) will serve as the backbone for the screenplay of the aforementioned terrific idea. Each student should, by the end of the semester, have at least thirty pages of a screenplay completed. Classic and not-so-classic screenplays will be required reading for every class, and students will also become acquainted with how the business of selling and producing one's screenplay actually happens. Cross-listed with Cinema & Media Studies.
English 3601.401
Advanced Screenwriting
Kathy DeMarco Van Cleve W 1:45pm-4:45pm
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This is a workshop-style course for students who have completed a screenwriting class, or have a draft of a screenplay they wish to improve. Classes will consist of discussing student's work, as well as discussing relevant themes of the movie business and examining classic films and why they work as well as they do. Classic and not-so-classic screenplays will be required reading for every class in addition to some potentially useful texts like What Makes Sammy Run? Cross-listed with Cinema & Media Studies.
English 3603.401
Writing for Television
Scott Burkhardt R 5:15pm-8:15pm
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This is a workshop-style course for those who have an interest in writing for television. The course will consist of two parts: First, students will develop premise lines, beat sheets and outlines for an episode of an existing television show. Second, students will develop their own idea for a television series which will culminate in the writing of the first 30 pages of an original television pilot. Cross-listed with Cinema & Media Studies.
English 3606.401
Experimental Playwriting
Brooke O'Harra MW 12:00pm-1:30pm
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In this course, students will write for theater and performance. Writers in the class will take cues from myriad experimental playwrights and performance artists who have challenged conventional ideas of what a script should look and sound like. Students will be asked to challenge how narrative is constructed, how characters are built, and what a setting can be. This class will push beyond the formal structures of the well-made play script and address how writers explore and reinvent form and language as a means for radical change in the field of performance. Some playwrights we will read include Gertrude Stein, Suzan-Lori Parks, Maria Irene Fornes, Robert O’Hara, Bryna Turner, Amina Henry, Kristen Kosmas, and Toshiki Okada. This class is ideal for playwrights, performers, screenwriters, and writers of experimental fiction.
English 3675.401
Inner Outer Space Travel Writing: A Creative Writing Workshop
Ricardo Bracho R 3:30pm-6:30pm
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Inner Outer Space Travel Writing is a creative writing workshop focused on writing work within the science fiction/speculative fiction/alternative futurities, science/land/travel writing, and creative-critical nonfiction traditions. Students will work within a variety of genres, with an emphasis on the essay, the short story, screen/tele-play, play, blog and performance. Students will read recommended texts from within their particular interests, and the course will culminate in both a public performance and dissemination/publication via another media platform (zine, website, podcast, etc). All levels of experience, from none/first-time writer to published writers, are encouraged to register for the course.
MLA COURSES
English 9001
Fiction Workshop
Stephanie Feldman T 5:15pm-8:15pm Online course
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This course will investigate craft elements such as characterization, voice, world-building, conflict/tension, plot and narrative structure. How do we use these craft fundamentals in our own writing? When, if ever, do we disregard them? In our examination of craft tools, we’ll read and analyze contemporary fiction written by authors such as Adam Johnson, Kelly Link, Jhumpa Lahiri, Yiyun Li, Karen Russell, Sofia Samatar, and George Saunders. In addition to reading and analysis, this course will feature intensive group workshops during which we share and discuss our works-in-progress with one another. This course will encourage students to write freely and to experiment with style, structure and content; it is open to writers of all levels of experience, including beginners.
English 9003
Storytelling in Fiction and Creative Nonfiction
Kathryn "Kitsi" Watterson W 5:15pm-8:15pm In-person course
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Storytelling is an art form that can be applied to many endeavors in life. This class is designed to help students shape the stories they want to tell--stories that come from the experiences and imagination of the individual writer. During the semester, we will be inspired by a wide range of writers, including James Baldwin, Jeanette Winterson, Ta-Nehisi Coates, John McPhee, Chimamanda Ngozi Adichie, Radcliffe Hall, Lorna Goodison, Toni Morrison and Gabriel Garcia Marquez. The books, stories, and essays we read and discuss will offer opportunities to talk about powerful writing that explores themes such as love, war, racism, poverty, freedom, death, and the resilience of the human spirit. Turning a personal lens on individual stories can take storytellers and their listeners to a new level of understanding of our shared human experience. The more personal a story, the more intimately told, the more universal it becomes. In addition to in-class exercises that help participants tap into and visualize what they are writing, students will be asked to free write for 10-15 minutes daily. Prompts will help generate creative responses to assigned books, essays, stories, films and speakers, and students will work in teams to lead and participate in workshop discussions and contribute to peer review. Any questions about this class can be sent to me at kwatters@sas.upenn.edu.
English 9011
Screenwriting
Zachary Vickers M 5:15pm-8:15pm Online course
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This workshop-style course will introduce students to the fundamentals of screenwriting, including classical dramatic structure, formatting, and various storytelling strategies. Writing exercises, discussions, readings and short film screenings will further students’ understanding in developing scripts that are both sound in narrative and conducive to a visual medium. Students will draft an original short film script, approximately 10 pages in length, that will be workshopped by peers who will provide feedback that reflects proficiency in the previous class discussions and lectures.