Exploring structural links between interactive theatre, gaming, and extended (virtual, mixed, and augmented) reality. Many fiction writers take this workshop to help them with dialogue and story structure. Assumes a greater level of experience in writing drama for the stage than CRWR 407. In this workshop, we will be looking at various sub-genres of CNF, including memoir, lyric essay, literary journalism, and personal essay through a selected reading list. I will also often discuss the three-act structure employed by screenwriters. While the emphasis is on your own writing, regular attendance and spirited participation are essential. Writing Creative Nonfiction I - CREATIV NONFIC I. What is the relationship between the writer and reader in Creative Nonfiction? Techniques of and practice in writing for lyric forms, including song lyrics, lyrical narratives, and libretti. The festival is held annually in March in a theatre venue off-campus. This course is open to all graduate levels, and CNF experience is not required. During the course, you will explore playwriting through working on a script of your own, whether one-act, musical, monologue or full-length play. Departmental research opportunities Reach out directly to faculty members to ask about potential research positions. Advanced writing of speculative fiction, including fantasy, science fiction, magical realism, horror, folk tales, and weird stories. You can find options in our undergraduate programming allowing you to explore and write fiction, poetry, creative nonfiction, writing for children and young adults, scripts for TV, film, stage, radio, web and videogames, comics, songwriting, and more, all while building a solid and progressive foundation in craft and technique. Introduction to Writing for Graphic Forms. Assignments include writing a career plan and proposal and conducting an interview with an established writer for Nineteen Questions (nineteenquestions.com). An exploration of and practice in writing for the screen, focusing on how a writer employs the technical elements of the craft of screenwriting. In this workshop, we’ll come together as a community of writers to support one another, to listen, and to find ways to take risks, dream big, and stay playful. No other writing program in the world offers as many genres of writing instruction. This intermediate seminar in writing for children and young adults is open to all students with the CRWR 303 prereq EXCEPT CRWR Majors. This workshop is called ‘craft’ because it’s about making things well. Advanced Writing of Poetry I - ADV POETRY I. How can we decolonize the essay and expand our sense of what it might contain, how it might look, and what its role might be in the larger culture? Techniques of and practice in creating, developing, and writing the graphic novel, manga, and other forms of illustrated writing. We will also look at how series are structured, and the business and process of writing for TV. Students learn dialogue, how to develop complex characters, scene endings and other elements of effective stage storytelling. But we will also discuss more intangible ingredients of a writing career, like using social media and informal networking, and coping strategies for balancing financial necessity with your writing needs. As a story moves closer to completion, higher degrees of editorial feedback become appropriate. Workshopping is the cornerstone of UBC’s creative writing programs and a profoundly effective part of a writer’s development. A workshop class in writing creative nonfiction, focused on some of the more popular forms of creative nonfiction: autobiography, rhetoric (commentary), literary journalism, and the personal essay. Assignments will include writing exercises, portfolios, and producing your own poetic form. We will break down the storytelling process into comprehensible fundamentals, using a variety of examples from contemporary fiction. This is a student-centered course which aims to resist larger mandates of taste and to honor the integrity of the work and the authority of its author. No matter what we call creative nonfiction, this style of fact-based writing is composed of two basic elements: real-life events + killer storytelling. Intermediate Writing for the Stage and Radio. No matter our literary predilections, the goal is to provide a clear, compelling reading experience, and to achieve a style that’s authentically our own. will involve submitting work in two different subgenres, weekly reflections on published writing, and critiques of writing by other students. The writing of work for children and young adults in various forms using a combination of workshopping and online modules. The course will consist of three over-arching sections: Getting Started, Writing the Draft, and Revision. Find your voice. If you miss two classes in a row, you will need to contact me to explain your situation. In this workshop we will write in three possible fictional forms: flash fiction (under 1000 words), more traditional short stories (up to 4000 words), and the first chapters of new, in-progress, never-before workshopped novels. Your stories are our main texts. At the heart of the class, always, will be your own writing and your ambitions for it. This is a workshop-based course on writing for middle-grade (MG) and young adults (YA). These courses are the building blocks for the Minor, but are also an integral part of several other UBC programs. Manuscript submission is not required for admission. This course will include readings, discussions and a series of writing and drawing exercises and assignments. the four pillars of fiction: character and plot, scene and exposition. Don’t worry about your grade. Feedback at this stage should be designed to encourage the author and spark creativity. Note: All Creative Writing Courses will be online in term 1, 2020. Through mini-lectures and friendly, accomplice-framed group workshops, you will learn to take risks in your writing. Through encounters with various comtemporary styles and aesthetics, this workshop aims to expand notions of what shapes and modes are available to us when we set out to make poems. Throughout this workshop, students will learn how to pitch a script, write a treatment and create first and second drafts of a screenplay. We will however read example fictions from writers such as Roxane Gay, Rebecca Roanhorse, Jocelyne Saucier, and possibly a few others as needed. In this workshop-based course, you will be asked to submit two substantial pieces of writing (which can both be from the same project, but must be new, never workshopped before), and you will have the opportunity to be a peer editor once. UBC Search. Narrative nonfiction. In this intensive workshop focused upon one-hour series, writers will create a concept, outline/beat sheet, first draft of an original pilot, and loglines for further episodes in the first season. Create. Manuscript submission not required for admission. The first submission is memoir, and the second is your choice. In addition to submitting lyric sheets for workshopping, students will be expected to submit some form of audio recording for peer evaluation and grading. Emphasis on reading examples from the subgenres and peer feedback. In order to accomplish these goals, a number of artistic and personal interventions will be necessary. The Handmaid’s Tale, Blackstone, This is Us, Better Call Saul, Pose: one-hour TV series challenge the intimacy and scope of the novel. This weekly writing workshop and discussion class (be prepared to read a lot!) As part of the course, writers are required to submit a short play (ten to fifteen minutes long) for the Brave New Play Rites festival. This method cannot work effectively unless the workshop environment is warm, supportive, and safe, so I encourage a non-competitive and collaborative approach. All 200 and 300 level CRWR courses are open-enrolment. Writing for New Media I - WRT NEW MEDIA 1. Students will leave the course with a concrete set of teaching tools including a teaching philosophy, course outline, syllabus and a bank of writing exercises. An exploration of and practice in the writing of creative nonfiction, focusing on how a writer employs the technical elements of the craft of creative nonfiction. Manuscript submission is not required for admission. Students who are new to comics can find it intimidating, particularly if they don’t think of themselves as “good artists.” In comics class, we build a respectful atmosphere in which students can both support and challenge each other, with thoughtful analysis and honest feedback on the part of readers, and openness and determined effort on the part of the writer/cartoonist. Intermediate Poetry Workshop - INTRMD POETRY. Introduction to Writing for Comedic Forms. Original stories only please; no adaptations, as this goes beyond the scope of the course. An examination of and practice in creative writing in comedic forms, including stand-up, sketch, film, new media, and text. Shows from specialty channels (like HBO) or streaming services (like Netflix or Amazon, as long as the show is on-going) are just as welcome as regular network TV. Other topics include the perils of workshop, how to support diversity in the classroom, how to mediate sensitive topics and deal with difficult classroom situations, and finally, how to find work. A workshop class exploring the words that accompany music in varied forms including pop, art, musical theatre, and opera. Manuscript submission not required for admission. Teaching Creative Writing - TEACH CR WRIT. Students will work on the first draft of a new feature-length project (90-120 minutes) over the fall and winter terms. Assigned readings will serve as the source for craft discussions around subgenre, theme, plotting and world-building techniques. Writers will also be expected to research and provide feedback to the class about recent audio podcast series or shows such as: Chatterbox Audio Theater, Serial, The Kitchen Sisters, The Truth (Radiotopia), Welcome to Night Vale and We’re Alive.…, Writing for Children and Young Adults I - CHILD & YOUNG I. Over the course of the semester, you’ll workshop two fiction submissions in a collegial, supportive setting. Writers in this mixed graduate/undergraduate workshop who are undertaking this course as an introduction to podcasting will learn about formatting, dialogue, character development, plot and the importance of sound effects and music for this genre. A workshop class in the writing of fiction. In addition to submitting lyric sheets for workshopping, students will be expected to submit some form of audio recording for peer evaluation and grading. Because we will have real authors in the room (as opposed to the “implied” authors sometimes studied in the English Department), we will ask them about their intentions. An advanced workshop class in writing for new media. Many fiction workshops move toward polished final draft too quickly and encourage feedback that is largely editorial. We will explore craft topics such as how to build an effective song structure, how to use elements like point of view, humour, rhyme, and other poetic devices in a song lyric, and how to develop strategies for writing effective verses, and choruses. Assigned reading will consist primarily of thesis novels published by graduates of our program. In one of the oldest and most established academic Creative Writing Programs in the world, you can learn across a uniquely broad range of taught genres, guided by faculty and instructors who are working, published and award-winning writers themselves. We will also touch on some practical tools that songwriters use to share their work with a wider audience. These details will be posted in the individual course notes in the online schedule as they become available. The literature of fact. This hands-on practical course introduces students to the rewards and potential challenges of teaching creative writing. How can your own curiosity be a starting point for essay…, CHONG, KEVIN KIM WANG | CATRON, MANDY | GILL, CHARLOTTE. Imagine. Through supplementary lectures and workshops we will cover: You’ll workshop two nonfiction submissions in a collegial, supportive setting. Because he has had an enormous impact upon how I write and teach fiction, I will, from time to time, mention the great Russian theorist, M. M. Bakhtin, but I will expect no one to read him. We will work on story, plot, dialogue, character development, theme and many other elements involved in the stage play form. Exploration of and practice in writing for podcast. Writing for Graphic Forms I - GRAPHIC FORMS 1. An intermediate level workshop class in writing for children and young adults. Introduction to Writing for Children and Young Adults. Overall, a minimum of eighty (80) pages should be completed. Television has evolved from being the “idiot box” to providing us with a “golden age” of storytelling. Students will be graded on attendance/participation, occasional in-class presentations, and assignments handed to the instructor only. Because participation is a crucial component of the workshop, you will give critical and tactfully honest feedback to the other participants about their writing. Manuscript submission is not required for admission. We will explore character development, scene work, plot, story, visual language, dialogue, and more. Be prepared to collaborate and story edit in writers’ rooms and to independently watch, deconstruct, and journal a series, as well as read produced scripts. maillard-keith mcgowan-sharon past-course, The Leon and Thea Koerner University Centre, Jack Bell Building for the School of Social Work, Ponderosa Commons North - Oak/Cedar House. The program leads to a Bachelor of Fine Arts in Creative Writing or a joint degree with another department, in which Creative Writing serves as half of the Double Major. How does an obligation to the truth shape the ways we tell stories, constructive narratives, and write sentences? Before class starts, I recommend students read a few recent TV scripts on-line to get a sense of how they look and feel. Regular attendance and participation in the workshop are essential for it to succeed. A range of alternative approaches to the traditional workshop model will be offered, with emphasis placed on how close reading informs a dedicated practice. Manuscript submission not required for admission. Note: All Creative Writing Courses will be online in term 1, 2020. Lectures will be interspersed with guest speakers–writers who have taken different paths on their careers, and have found different ways to make a living. If you are passionately interested in your own writing, you will get a good grade. An exploration of and practice in writing for new media, including podcasting, blogging, and writing for websites, games, and online environments. Advanced Writing for Children I - ADV WRIT CHILD I. Students learn dialogue, how to develop complex characters, scene endings and other elements of effective stage storytelling. This will give you the skills necessary to create and enhance your own writing long after you have completed this workshop. Throughout the term, you will engage in regular discussions about writing for young readers, receive feedback from me and your peers on three pieces of writing, and prepare weekly feedback for others. Through readings, class discussion, exercises and workshops, students will: Advanced Writing of Fiction I - ADV WRT FICTN I, OHLIN, ALIX | VIGNA, JOHN | FERGUSON, JENNY LEE | LEE, NANCY, OHLIN, ALIX | VIGNA, JOHN | LEE, NANCY | MEDVED, MAUREEN, OHLIN, ALIX | TAYLOR, TIMOTHY | LYON, ANNABEL | IRANI, ANOSH | FERGUSON, JENNY LEE, MAILLARD, KEITH | VIGNA, JOHN | MEDVED, MAUREEN | GILL, CHARLOTTE, OHLIN, ALIX | LYON, ANNABEL | FERGUSON, JENNY LEE | LAU, DORETTA. The strongest genre authors employ complex techniques to call into question perception, reality, social expectations, patriarchal/colonial histories, and narrative truths. Manuscript submission not required for admission. In the weekly workshops, you’ll participate in peer critiques, write reviews and each student will take a turn hosting a forum discussion. Its primary goal is to strengthen capacities essential to the creation of poetry, those of perception, emotion, analysis, truth, and courage, while improving technique. Advanced Writing for New Media I - ADVWR NEWMEDIA I. Manuscript submission is not required for admission. ), the ethics of telling true stories, and complications that arise while doing research. An exploration of and practice in the writing of creative non-fiction, covering four of the more basic forms of this genre: memoir, profile, commentary, and exposition. You can earn a Bachelor of Fine Arts (BFA) degree with our Major, enhance your undergraduate degree with our Minor in Creative Writing, or take individual courses to support your educational, career and personal goals. Studio work is required, and some plays may be given a live stage production in Brave New Play Rites (adjudication process involved). This is a workshop in which to try new things–to be inventive, experimental, and daring–but you will not be forced to be experimental, and if you wish to submit in the traditional genres, thats okay too, and many students in the past have done exactly that. The class will include substantial conversations about craft and assigned readings—both fiction and essays about writing. Manuscript submission is not required for admission. At the end of the term, you will submit a revision of one of your pieces along with a reflection on your revision process. In our programs, you will free your writing potential while developing a solid base of professional craft and skill. This course will introduce you to a variety of techniques to help you strengthen your songwriting craft. The focus is on creating compelling narratives by combining words and images: you don’t need any previous drawing or writing experience. Manuscript submission is not required for admission. Writing for Lyric Forms I - LYRIC FORMS 1. Manuscript submission is not required for admission. If you miss three classes, you will fail the course. Gain an unparalleled richness and diversity of creative writing courses through UBC’s Creative Writing undergraduate programs. Interdisciplinary Projects - INTRDIS PROJECTS. BUT I’m not concerned with whether you can or “can’t” draw, and it doesn’t matter how much experience you have as a cartoonist. Manuscript submission is not required for admission. MAILLARD, KEITH | VIGNA, JOHN | LAU, DORETTA | GILL, CHARLOTTE | MEDVED, MAUREEN. A workshop class in writing for Children and Young Adults. UBC Creative Writing offers world-class writing programs at the undergraduate, BFA and MFA level, on-campus and by Distance Education. Produced screenplays and films will be our texts, and we will examine and discuss some of these. The purpose of this course is to get students thinking about the novel thesis from the beginning of their degree and to give them a jump-start on the writing of the thesis. We will look at four kinds of CNF, styles you might find in places like The Walrus, The Atlantic, or Longreads. Techniques of and practice in multiple genres of writing, including fiction, poetry, creative nonfiction, screenplay, stageplay, graphic forms, lyric forms, children's literature, and writing for new media. What is the relationship between the writer and reader in Creative Nonfiction? In our time together we will consider a few big questions: How does an obligation to the truth shape the ways we tell stories, constructive narratives, and write sentences? Workshop-based class focused on writing speculative fiction, including fantasy, science fiction, and horror; emphasis on reading various genres and peer feedback. A workshop class in writing for the screen. Supported by direct instruction, assigned readings, and focused writing exercises, you will have the freedom to work on the projects of your choice within the realms of middle-grade and teen fiction. I expect discussion of each others’ projects to be thoughtful and merciful. Credit will be granted for only one of CRWR 430 or CRWR 530. Origin, theory and practice of interactive story forms. During this workshop, I will expect you to complete a minimum of 25 pages and write a treatment and two short screenplays or, depending on your experience and interest, you may write part of a feature-length screenplay. Class will consist of short craft lectures and group discussion about the various aspects of writing and the sustained writing life. Writing Speculative Fiction - WRT SPEC FIC. A workshop class in the writing of poetry. Playing an instrument is not a prerequisite for this class, though a sense of musicality and a passion for songs will go a long way. A portfolio of 8 – 10 poems at various stages of the draft process is the hard target for the semester; experiential goals include developing a shared language around the tactics poems have at their disposal (such as: turns, leaps, disorientation as a means of connection). To find your own best path, it’s helpful to understand how our undergraduate course structure differs from other undergraduate programs. We will examine our philosophies and theories around creative writing pedagogy and familiarize ourselves with a variety of teaching methodologies, including: working with writing exercises, workshopping creative work, developing course reading lists, and guiding students through creative process. The focus for this class is building coherent, compelling narratives with comics and the goal is to push yourself to improve your own work, in your own style, starting where you are right now. We acknowledge that the UBC Point Grey campus is situated on the traditional, ancestral, and unceded territory of the xʷməθkʷəy̓əm (Musqueam). An exploration of the writing of fiction, focusing on how a writer employs the technical elements of the craft of fiction. Some of the most exciting books today are written for these age groups. In previous workshops students have submitted short stories, novel outlines and chapters, poems, song lyrics, scenes from stage plays or screen plays, comic book scripts, young adult fiction, research-driven non-fiction, personal essays, and memoirs. Together we will explore the weird and wonderful world of writing for young readers, question the parameters of its sub-genres, and develop our own writerly voices. Notes on Craft will address a new poetic form each week. Science fiction, ghost stories, fairy tales, urban fantasy, magical realism, surrealism, horror… speculative literature comes in many forms, but all of its sub-genres have their own histories, movements, and aesthetics. Studio work is required. In the following semester, students will create an original project. Writers in this mixed graduate/undergraduate workshop are welcome to write one-act plays or develop the first draft of an original full-length stage play. We acknowledge that the UBC Point Grey campus is situated on the traditional, ancestral, and unceded territory of the xʷməθkʷəy̓əm (Musqueam). We will have ongoing discussions that cover both the technical aspects of poetry and the emotional effect that great poetry produces. This graduate course reengineers the workshop as more than a site of correction but one of production, exploration, and experiment. Writing exercises and prompts will be posted, also. Manuscript submission not required for admission. Be prepared to collaborate and story edit in writers’ rooms and to independently watch, deconstruct, and journal a series, as well as read produced scripts. The ability to draw is not required. Learn from leading professors and authors without the commitment of a degree program. Fleabag, Kim’s Convenience, BoJack Horseman, Atlanta, GLOW, Barry, Jann: Peak TV’s parade of unique and diverse half-hours continues. Note: This is a blended learning course where 50% of the course takes place in-class and 50% online. This two-term class is for anyone interested in writing for the small screen; no previous screenwriting experience is required (but it is helpful). This term we will wade into the sometimes messy, always vulnerable, and often political world of the personal essay. An exploration of practice in the writing of the one-act stage play and short radio drama, focusing on how a writer employs the technical elements of the craft of these dramatic genres. Our comprehensive undergraduate curriculum makes the range of our teaching available to all students. The ability to draw is not required. But like all forms of writing, comics can be closely examined and analyzed, and we can identify the key elements that make them work. Comics studied in class will include a selection of graphic novels, memoirs, comic strips, web comics, manga and more, from the 17th century to 2016, from a diverse range of cartoonists. Acquire an understanding of the elements of comics writing, drawing, composition, etc and how they work together; Learn about the history and present practice of comics, and be exposed to a wide range of comics by diverse cartoonists; Become familiar with key theoretical approaches to the form and acquire tools to analyze their own and others’ work; an intro to four CNF forms: memoir, the personal essay, the biographical profile and the short feature article. Creative Writing Program ... She also designed a course in writing for new media for the Creative Writing Program, and, as part of her research, currently explores creative writing opportunities in new media. pohl-weary-emily warrener-sheryda past-course, kinch-martin warrener-sheryda past-course, belcourt-billy-ray tate-bronwen current-course, warrener-sheryda tsiang-sarah past-course, acheson-alison de-vries-margaret current-course, acheson-alison de-vries-margaret past-course, pohl-weary-emily de-vries-margaret past-course, shaben-carol tate-bronwen catron-mandy current-course, ferguson-jenny-lee catron-mandy current-course, chong-kevin-kim-wang grady-albert-wayne gill-charlotte past-course, taylor-timothy gill-charlotte ferguson-jenny-lee past-course, chong-kevin-kim-wang catron-mandy gill-charlotte past-course, shaben-carol ferguson-jenny-lee catron-mandy past-course, ohlin-alix vigna-john ferguson-jenny-lee lee-nancy current-course, ohlin-alix vigna-john lee-nancy medved-maureen current-course, ohlin-alix taylor-timothy lyon-annabel irani-anosh ferguson-jenny-lee past-course, maillard-keith vigna-john medved-maureen gill-charlotte past-course, ohlin-alix lyon-annabel ferguson-jenny-lee lau-doretta past-course, maillard-keith vigna-john lau-doretta gill-charlotte medved-maureen past-course.

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