English 100-01, 02 - Academic Writing Strategies - Roger Farr
These sections of English 100 are required for those in the first-year of the Creative Writing Program. Our main concern will be to experiment with the “artistic proofs” of classical rhetoric: ethos (credibility), logos (reason), and pathos (feeling). This we will do by working with a range of persuasive modes and genres, including the manifesto, the personal essay, and the research essay. MLA style and documentation will be taught. Grammar and other mechanical issues will be tackled individually and in revising workshops. From time to time we will also pause to consider those other, more philosophical issues with which writers in universities often struggle, issues such as language and power, rules and rule-breaking, time and space (i.e. “deadlines”), photocopiers, Translink, and, of course, gratuitous use of gerundive modifying phrases. By December, you will have accumulated a generous portfolio of writing of which you will feel proud, and which may or may not impress your family and friends.
Required Texts:
• Hacker, Diana. The Canadian Writer’s Reference Guide. Any edition.
• Pakasaar, Helga, and Jenny Penberthy, eds., “Moodyville,” spec. iss. of The Capilano Review. 3.8 (2009).
• Other readings available in-class and/or on-line.
English 190-01 - Creative Writing I - Reg Johanson
This course introduces students to fiction and poetry through reading and writing in both forms. Students learn to become critical of their own work and that of others. Students write a variety of assignments intended to open up the horizon of their writing to innovation and experimentation. Students also attend the Open Text reading series. English 190 is a required course for the Associate of Arts Degree in Creative Writing. Students who take this course may also be interested in Academic Writing Strategies- Creative Writing Seminar, also a required course for the Degree program students.
Required Text:
• Jerome Stern, ed. Microfictions. (1996)
English 190-02 - Creative Writing I - Kim Minkus
In this course we will experiment with writing forms in order to push and extend our relationship with language. There will be in-class writing experiments, impromptu story generating, readings, performances and discussions. We will look at a variety of genres with a focus on the experimental including young adult fiction, fiction, poetry and criticism. Reading is a must for this course. The best writers are the best readers. Be prepared to do both. A variety of workshop methods will also be employed so that we can, as a group, engage effectively with each other’s writing.
English 191-01 - Creative Writing II - Crystal Hurdle
When is a poem really a story? When should you leave a draft alone? Through in-class writing, weekly homework assignments, and personal projects, you will write up a storm in a number of genres. You’ll be introduced to professional writers, from Lorna Crozier to bp Nichol, from Thomas King to Gabriel Garcia Márquez, to visiting writers at the Open Text and Kinder Text Reading Series, as well as to the work of your colleagues, in aid of developing your style, articulating your voice.
Required Texts:
• Gary Geddes, ed. 20th-Century Poetry & Poetics
• Gary Geddes, ed. The Art of Short Fiction
• And assorted recommended texts to kick-start your imagination
English 225-01 - Directed Internship – English - Roger Farr
Open to students who are formally registered in Creative Writing, CultureNet or the English Concentration, ENGLISH 225 provides 75 hours of directed study experience in the “creative industries” – especially those fields associated with the production, promotion, delivery and/or study of print and literary culture. Students put existing critical, editorial, and writing skills into practice while interning with local publishers, magazines, journals, cultural organizations, and media outlets. Limited to 10 students per term. Information about the application procedure is available on the English Department website, or by contacting the instructor.
Required Texts:
• Readings available from the instructor.
English 291-01 - Creative Writing: Narrative Fiction - Roger Farr
English 291 is an intensive course in the writing of narrative prose and scripts. We begin with a series of experiments revolving around the so-called “elements of fiction”: dialogue, character, plot, setting, style, etc. We then reconsider these elements in the light of a number of contemporary practices, including appropriation, ekphrasis, minimalism, and "docu-fiction". In all cases, risk will be encouraged, possibly at the expense of greatness. Several guest writers will join us to talk about their work. We will also attend some readings and performances, including a festival of “neo-benshi” (google it), which will draw on work produced in our class. By December, you will have accumulated a generous portfolio of writing of which you will feel proud, and which may or may not impress your family and friends.
Required Texts:
• Brown, Andy. I Can See You Being Invisible. Montreal, DC, 2003.
• Burnham, Clint. Smoke Show. Vancouver: Arsenal, 2007.
• Turner, Michael. 8 x 10. Toronto: Doubleday, 2009.
• West Coast Line. Special issue on fiction.
• Other material available from the instructor.
~
Showing posts with label creative writing courses. Show all posts
Showing posts with label creative writing courses. Show all posts
Thursday, July 15, 2010
Friday, November 20, 2009
Creative Writing Courses: Spring 2010
Here’s what’s on deck for Spring 2010:
English 103-06 - Studies in Contemporary Literature - Roger Farr
(Mixed Mode-North Vancouver)
The aim of these mixed-mode sections of ENGL 103, which meet on-line every other week, is to put students into contact with some of the writers, texts, practices, and movements that compose “the contemporary.” We will read a novel, some very short stories (“micro fictions”), some poetry, and a graphic novel. You will develop your critical awareness of language and contemporary culture through a number of writing projects, and through participation in discussion forums and in-class activities. You will also have the option of completing one assignment as a "ficto-critical" project; that is, a project which involves combining "creative" with "critical" writing, if you are so inclined.
Required Text:
• Farr, Roger (Ed.) Open Text: Canadian Poetry in the 21st Century. Vol. II. North Vancouver, BC: CUE, 2009.
• Fiorentino, Jon Paul. Stripmalling. Toronto, ON: ECW, 2009.
• Stern, Jerome, ed. Microfictions. New York, NY: Norton, 1996.
• Stone, Anne. Delible. London, ON: Insomniac, 2007.
• other readings available in class and on-line.
English 190-01 - Creative Writing I - Reg Johanson
This course introduces students to fiction and poetry through reading and writing. Students learn to become critical of their own work and that of others. Students write a variety of assignments intended to open up the horizon of their writing to innovation and experimentation. Students also attend the Open Text reading series. English 190 is a required course for the Associate of Arts Degree in Creative Writing. Students who take this course may also be interested in Academic Writing Strategies- Creative Writing Seminar, also a required course for the Degree program students.
Required Text:
• Six Cities. The Capilano Review. Series 2 No. 47, Fall 2005.
English 191-01 - Creative Writing II - Crystal Hurdle
When is a poem really a story? When should you leave a draft alone? Through in-class writing, weekly homework assignments, and personal projects, you will write up a storm in a number of genres. You’ll be introduced to professional writers, from Lorna Crozier to bp Nichol, from Thomas King to Gabriel Garcia Márquez, to visiting writers at the Open Text and Kinder Text Reading Series, as well as to the work of your colleagues, in aid of developing your style, articulating your voice.
Required Texts:
• Gary Geddes, ed. 20th-Century Poetry & Poetics
• Gary Geddes, ed. The Art of Short Fiction
English 191-02 - Creative Writing II - Ryan Knighton
In English 191 we will continue to develop our skills as writers by asking how writing can be made, not what it might mean. Specifically, we will further engage with questions of poetry, microfiction, and so-called creative non-fiction, as directed by their form and history. Our workshops are neither roundtable editing sessions, nor, worse, copyediting boot camps. Rather, we will share draft examples of our own work in order to further our discussions, to expose new questions, and to seek the effects of craft. Some case examples from published works will be provided in class, but our own writing will serve as the primary texts. So will Stephen king’s memoir, On Writing, which is pretty damned fine. By the final class, students should have at least one reworked submission of writing ready for a magazine or periodical. To that end we will survey some of the nuts-and-bolts of pitching and publishing, too.
Required Text:
• King, S. On Writing (most recent edition)
English 203-01 - Canadian Literature - Sheila Ross
This course examines a selection of engaging contemporary Canadian narratives, introducing students to important critical and cultural issues about the Canadian colonialist past and multicultural present. Especially important is the related problem of literary representation, and each of these works in its own way compels us to ask, “What kind of story-telling is going on here?” We first examine two unusual biographies that draw us into the Canadian colonialist past: Chester Brown’s comic strip Louis Riel, and Rudy Wiebe’s provocative, “co-authored” Stolen life. This paves the way for a look at Thomas King’s short story collection One Good Story, That One, which invokes First Nations oral traditions and whose humour is entirely subversive. Similarly, Alice Munro’s Open Secrets seems intent on reminding us of a number of assumptions we have about how stories should behave and the kinds of truth they ought to disclose. The course considers two novels about immigrant experiences, very different except for this: each central character commits an act of audacious story-telling in order to dispel the silences that surround loss and longing (Yan Martel’s Life of Pi and Dionne Brand’s What We All Long For). Secondary material on authors, works and critical issues will be provided as the course proceeds.
Required Texts:
• Chester Brown, Louis Riel (1999)
• Rudy Wiebe and Yvonne Johnson, Stolen Life (1998)
• Thomas King, One Good Story, That One (1999)
• Alice Munro, Open Secrets (1995)
• Yann Martel, Life of Pi (2002)
• Dionne Brand, What We All Long For (2005)
English 207-01 - Literary Theory and Criticism - Ian Cresswell
This course is intended to introduce students to a variety of critical thinkers and literary schools within the western tradition. Starting with Classical notions of the nature and function of poetry, we move on (through an examination of Kantian aesthetics) to examine Aestheticism, with particular reference to Wilde's The Picture of Dorian Gray. Edgar Allan Poe's "The Purloined Letter" will take us into the world of psychoanalytical criticism, and specifically the work of Freud and Lacan. We will go on to explore Structuralism, Russian Formalism, Deconstruction and Marxism, with particular reference to Kundera's The Unbearable Lightness of Being. Finally, we will read Shakespeare's King Lear, having regard to the aforementioned theories.
Required Texts:
• Wilde, Oscar. The Picture of Dorian Gray. Edition in bookstore.
• Kundera. Milan. The Unbearable lightness of Being. Edition in bookstore.
• Shakespeare, William. King Lear. Edition in bookstore.
• Dictionary of Critical Theory. Edition in bookstore.
English 217-01 - Literature on the Edge - Reg Johanson
The Graphic Novel: Comix and History
This course explores how the comix genre brings its traditional emphasis on satire, parody, and political commentary to bear on history and autobiography. Our reading list offers examples of the genre that highlight its subversive, anti-authoritarian posture, as well as its neurotic, paranoid darkness. We also watch several films for context and reference.
Required Texts:
• Mccloud, Scott. Understanding Comics: The Invisible Art. Harper Perennial: New York, 1994.
• Herge. TinTin and the Blue Lotus. Little, Brown and Co.: Boston, 1984.
• Speigelman, Art. The Complete Maus: A Survivors Tale. Pantheon: New York, 1997.
• Sacco, Joe. Palestine. Fantagraphics: Seattle, 2006.
• Satrapi, Marjan. Persepolis. Pantheon: New York, 2003.
• Satrapi, Marjan. Embroideries. Pantheon: New York, 2006.
• Brown, Chester. Louis Riel: A Comic Strip Biography. Drawn and Quarterly: Montreal 2006.
• Moore, Allen and David Lloyd. V for Vendetta. DC Comics: New York, 1989.
English 218-01 - The Art of Children's Literature – Roger Farr
This course examines writing for, about, and by children. From Robin Hood and Runaway Bunny to the latest issue of Stone Soup -- a magazine featuring writing and art by people under thirteen years of age --, we will survey a number of classic and contemporary works, with a focus on the complex interaction between attachment, authority, and autonomy. We will also read a short text that challenges the notion of ‘childhood’ itself, by making the radical argument that it is society that must adapt to the needs of children, not the other way around. With this challenge in mind we will consider the infamous case of “The Wild Boy of Aveyron,” a feral child found living in the woods in France in 1797. The story of his capture and attempted domestication reveals much about societal attitudes toward children – and “childishness -- in the West.
Required Texts:
• Children in Society: A Libertarian Critique
• The Norton Anthology of Children’s Literature
• The Wild Boy
• Songs of Innocence and Experience
• Runaway Bunny
• Stone Soup
English 290-01 - Creative Writing: Letter and Line - Reg Johanson
This course focuses on “documentary” poetry and poetics. Our starting point is Kaia Sand’s challenge, “why leave journalism to journalists, news to news services?”. We study the various ways in which poets can use, co-opt, subvert, and challenge the media, the ways in which we can “document” contemporary issues and struggles, and how our work can respond to a “social command”. Students also attend the Open Text reading series. English 290 is a required course for the Associate of Arts Degree in Creative Writing. Students who take this course may also be interested in Academic Writing Strategies—Creative Writing Seminar, also a required course for Degree program students.
Required Text:
• Six Cities. The Capilano Review. Series 2 No. 47, Fall 2005.
English 292-01 - Creative Writing: Children's Literature - Crystal Hurdle
Experience an intensive workshop in writing literature for children of various ages. Examine and practice the art of writing for children by exploring a range of different strategies and techniques: identify narrative structure, myth, character development, levels of diction, voice, etc. Discover voices and forms for your writing and express your ideas in styles appropriate for children’s interests at different ages, from picture books and nonsense rhymes for children to young adult novels in verse. In developing your own projects, become a successor to J. K. Rowling!
Required Texts:
• Sarah Ellis’ From Reader to Writer
• Deborah Ellis’ The Breadwinnner
• William New’s Dream Helmet
• Pamela Porter’s The Crazy Man
• Print Pack with assorted readings
~
English 103-06 - Studies in Contemporary Literature - Roger Farr
(Mixed Mode-North Vancouver)
The aim of these mixed-mode sections of ENGL 103, which meet on-line every other week, is to put students into contact with some of the writers, texts, practices, and movements that compose “the contemporary.” We will read a novel, some very short stories (“micro fictions”), some poetry, and a graphic novel. You will develop your critical awareness of language and contemporary culture through a number of writing projects, and through participation in discussion forums and in-class activities. You will also have the option of completing one assignment as a "ficto-critical" project; that is, a project which involves combining "creative" with "critical" writing, if you are so inclined.
Required Text:
• Farr, Roger (Ed.) Open Text: Canadian Poetry in the 21st Century. Vol. II. North Vancouver, BC: CUE, 2009.
• Fiorentino, Jon Paul. Stripmalling. Toronto, ON: ECW, 2009.
• Stern, Jerome, ed. Microfictions. New York, NY: Norton, 1996.
• Stone, Anne. Delible. London, ON: Insomniac, 2007.
• other readings available in class and on-line.
English 190-01 - Creative Writing I - Reg Johanson
This course introduces students to fiction and poetry through reading and writing. Students learn to become critical of their own work and that of others. Students write a variety of assignments intended to open up the horizon of their writing to innovation and experimentation. Students also attend the Open Text reading series. English 190 is a required course for the Associate of Arts Degree in Creative Writing. Students who take this course may also be interested in Academic Writing Strategies- Creative Writing Seminar, also a required course for the Degree program students.
Required Text:
• Six Cities. The Capilano Review. Series 2 No. 47, Fall 2005.
English 191-01 - Creative Writing II - Crystal Hurdle
When is a poem really a story? When should you leave a draft alone? Through in-class writing, weekly homework assignments, and personal projects, you will write up a storm in a number of genres. You’ll be introduced to professional writers, from Lorna Crozier to bp Nichol, from Thomas King to Gabriel Garcia Márquez, to visiting writers at the Open Text and Kinder Text Reading Series, as well as to the work of your colleagues, in aid of developing your style, articulating your voice.
Required Texts:
• Gary Geddes, ed. 20th-Century Poetry & Poetics
• Gary Geddes, ed. The Art of Short Fiction
English 191-02 - Creative Writing II - Ryan Knighton
In English 191 we will continue to develop our skills as writers by asking how writing can be made, not what it might mean. Specifically, we will further engage with questions of poetry, microfiction, and so-called creative non-fiction, as directed by their form and history. Our workshops are neither roundtable editing sessions, nor, worse, copyediting boot camps. Rather, we will share draft examples of our own work in order to further our discussions, to expose new questions, and to seek the effects of craft. Some case examples from published works will be provided in class, but our own writing will serve as the primary texts. So will Stephen king’s memoir, On Writing, which is pretty damned fine. By the final class, students should have at least one reworked submission of writing ready for a magazine or periodical. To that end we will survey some of the nuts-and-bolts of pitching and publishing, too.
Required Text:
• King, S. On Writing (most recent edition)
English 203-01 - Canadian Literature - Sheila Ross
This course examines a selection of engaging contemporary Canadian narratives, introducing students to important critical and cultural issues about the Canadian colonialist past and multicultural present. Especially important is the related problem of literary representation, and each of these works in its own way compels us to ask, “What kind of story-telling is going on here?” We first examine two unusual biographies that draw us into the Canadian colonialist past: Chester Brown’s comic strip Louis Riel, and Rudy Wiebe’s provocative, “co-authored” Stolen life. This paves the way for a look at Thomas King’s short story collection One Good Story, That One, which invokes First Nations oral traditions and whose humour is entirely subversive. Similarly, Alice Munro’s Open Secrets seems intent on reminding us of a number of assumptions we have about how stories should behave and the kinds of truth they ought to disclose. The course considers two novels about immigrant experiences, very different except for this: each central character commits an act of audacious story-telling in order to dispel the silences that surround loss and longing (Yan Martel’s Life of Pi and Dionne Brand’s What We All Long For). Secondary material on authors, works and critical issues will be provided as the course proceeds.
Required Texts:
• Chester Brown, Louis Riel (1999)
• Rudy Wiebe and Yvonne Johnson, Stolen Life (1998)
• Thomas King, One Good Story, That One (1999)
• Alice Munro, Open Secrets (1995)
• Yann Martel, Life of Pi (2002)
• Dionne Brand, What We All Long For (2005)
English 207-01 - Literary Theory and Criticism - Ian Cresswell
This course is intended to introduce students to a variety of critical thinkers and literary schools within the western tradition. Starting with Classical notions of the nature and function of poetry, we move on (through an examination of Kantian aesthetics) to examine Aestheticism, with particular reference to Wilde's The Picture of Dorian Gray. Edgar Allan Poe's "The Purloined Letter" will take us into the world of psychoanalytical criticism, and specifically the work of Freud and Lacan. We will go on to explore Structuralism, Russian Formalism, Deconstruction and Marxism, with particular reference to Kundera's The Unbearable Lightness of Being. Finally, we will read Shakespeare's King Lear, having regard to the aforementioned theories.
Required Texts:
• Wilde, Oscar. The Picture of Dorian Gray. Edition in bookstore.
• Kundera. Milan. The Unbearable lightness of Being. Edition in bookstore.
• Shakespeare, William. King Lear. Edition in bookstore.
• Dictionary of Critical Theory. Edition in bookstore.
English 217-01 - Literature on the Edge - Reg Johanson
The Graphic Novel: Comix and History
This course explores how the comix genre brings its traditional emphasis on satire, parody, and political commentary to bear on history and autobiography. Our reading list offers examples of the genre that highlight its subversive, anti-authoritarian posture, as well as its neurotic, paranoid darkness. We also watch several films for context and reference.
Required Texts:
• Mccloud, Scott. Understanding Comics: The Invisible Art. Harper Perennial: New York, 1994.
• Herge. TinTin and the Blue Lotus. Little, Brown and Co.: Boston, 1984.
• Speigelman, Art. The Complete Maus: A Survivors Tale. Pantheon: New York, 1997.
• Sacco, Joe. Palestine. Fantagraphics: Seattle, 2006.
• Satrapi, Marjan. Persepolis. Pantheon: New York, 2003.
• Satrapi, Marjan. Embroideries. Pantheon: New York, 2006.
• Brown, Chester. Louis Riel: A Comic Strip Biography. Drawn and Quarterly: Montreal 2006.
• Moore, Allen and David Lloyd. V for Vendetta. DC Comics: New York, 1989.
English 218-01 - The Art of Children's Literature – Roger Farr
This course examines writing for, about, and by children. From Robin Hood and Runaway Bunny to the latest issue of Stone Soup -- a magazine featuring writing and art by people under thirteen years of age --, we will survey a number of classic and contemporary works, with a focus on the complex interaction between attachment, authority, and autonomy. We will also read a short text that challenges the notion of ‘childhood’ itself, by making the radical argument that it is society that must adapt to the needs of children, not the other way around. With this challenge in mind we will consider the infamous case of “The Wild Boy of Aveyron,” a feral child found living in the woods in France in 1797. The story of his capture and attempted domestication reveals much about societal attitudes toward children – and “childishness -- in the West.
Required Texts:
• Children in Society: A Libertarian Critique
• The Norton Anthology of Children’s Literature
• The Wild Boy
• Songs of Innocence and Experience
• Runaway Bunny
• Stone Soup
English 290-01 - Creative Writing: Letter and Line - Reg Johanson
This course focuses on “documentary” poetry and poetics. Our starting point is Kaia Sand’s challenge, “why leave journalism to journalists, news to news services?”. We study the various ways in which poets can use, co-opt, subvert, and challenge the media, the ways in which we can “document” contemporary issues and struggles, and how our work can respond to a “social command”. Students also attend the Open Text reading series. English 290 is a required course for the Associate of Arts Degree in Creative Writing. Students who take this course may also be interested in Academic Writing Strategies—Creative Writing Seminar, also a required course for Degree program students.
Required Text:
• Six Cities. The Capilano Review. Series 2 No. 47, Fall 2005.
English 292-01 - Creative Writing: Children's Literature - Crystal Hurdle
Experience an intensive workshop in writing literature for children of various ages. Examine and practice the art of writing for children by exploring a range of different strategies and techniques: identify narrative structure, myth, character development, levels of diction, voice, etc. Discover voices and forms for your writing and express your ideas in styles appropriate for children’s interests at different ages, from picture books and nonsense rhymes for children to young adult novels in verse. In developing your own projects, become a successor to J. K. Rowling!
Required Texts:
• Sarah Ellis’ From Reader to Writer
• Deborah Ellis’ The Breadwinnner
• William New’s Dream Helmet
• Pamela Porter’s The Crazy Man
• Print Pack with assorted readings
~
Monday, June 15, 2009
Creative Writing Courses: Fall 2009
Here's what's on deck for Fall 2009 – note the new program courses ENGL 100 and 103: these are required for all incoming students in the Creative Writing Program.
English 100-01 – Academic Writing Strategies (Roger Farr)
This section of English 100 is designed specifically for Creative Writing students and is a required course for those in the Creative Writing Program. It introduces the genres and strategies – or, as we will come to know them, “the moves” – used by creative writers working in academic situations and contexts, focusing on expository and argumentative forms such as book reviews, research essays, and artist statements, as well as related, literary forms like photo-essays, creative non-fiction, and manifestos. In all cases, the course will emphasize the importance of solid research skills in both critical and creative writing. As for our reading, this will include student work, and a selection of contemporary literary journals and magazines, including several on-line publications. We will also attend readings and talks by writers visiting the campus as part of the Open Text Reading Series. By the end of the course, students will more imaginative in their critical writing, and their creative work will be more critically informed.
Required Texts:
• Graff, Gerald, and Cathy Birkenstein. They Say, I Say: The Moves that Matter in Academic Writing. New York, NY: Norton, 2006.
• Hacker, Diana. The Canadian Writer’s Reference Guide. 5th ed. NY: Bedford/St. Martins, 2004.
• Recent issues of The Capilano Review, West Coast Line, Matrix, and Geist.
• Other materials available in-class and/or on-line.
English 103-01 – Studies in Contemporary Literature (Roger Farr)
This section of English 103 is designed specifically for Creative Writing students and is a required course for those in the Creative Writing Program. The goal of the course is to put students into contact with some of the writers, texts, practices, and movements that compose “the contemporary.” What is “the contemporary,” you ask? We will only be reading work published within the last two years. Additionally, we will attend readings by writers visiting the campus as part of the Open Text Reading Series, who will present and talk about their current work. Finally, we will follow the lead of “the contemporary” by adopting an experimental, investigative attitude towards our writing assignments, which will require both critical and creative responses to the material we encounter.
Required Texts:
• Belford, Ken. lan(d)guage: a sequence of poetics. Halfmoon Bay, BC: Caitlan, 2008.
• Boykoff, Jules, and Kaia Sand. Landscapes of Dissent: Guerilla Poetry and Public Space. Long Beach, CA: Palm, 2008.
• Carr, Amanda. A Rose Concordance. Toronto, ON: Book Thug, 2009.
• Farr, Roger (Ed.) Open Text: Canadian Poetry in the 21st Century. North Vancouver, BC: CUE, 2008/09.
• Fiorentino, Jon Paul. Stripmalling. Toronto, ON: ECW, 2009.
• Stone, Anne. Delible. London, ON: Insomniac, 2007.
• other readings available in class and on-line.
Engl 190-01/02 – Creative Writing I (Reg Johanson)
This course introduces students to fiction and poetry through reading and writing. Students learn to become critical of their own work and that of others. Students write a variety of assignments intended to open up the horizon of their writing to innovation and experimentation. Students also attend the Open Text reading series. English 190 is a required course for the Associate of Arts Degree in Creative Writing. Students who take this course may also be interested in Academic Writing Strategies- Creative Writing Seminar, also a required course for the Degree program students.
ENGL 190-03 – Creative Writing I (Roger Farr)
Required Texts:
• Farr, Roger (Ed.) Open Text: Canadian Poetry in the 21st Century. Vol. I & II. North Vancouver, BC: CUE, 2008.
• Stern, Jerome, ed. Microfictions. New York, NY: Norton, 1996.
• Recent issues of The Capilano Review, West Coast Line, Matrix, and Geist.
• Other materials available in-class and/or on-line.
English 191-01 – Creative Writing II (Crystal Hurdle)
When is a poem really a story? When should you leave a draft alone? Through in-class writing, weekly homework assignments, and personal projects, you will write up a storm in a number of genres. You’ll be introduced to professional writers, from Lorna Crozier to bp Nichol, from Thomas King to Gabriel Garcia Márquez, to visiting writers at the Open Text and Kinder Text Reading Series, as well as to the work of your colleagues, in aid of developing your style, articulating your voice.
Texts:
* Gary Geddes, ed. 20th-Century Poetry & Poetics
* Gary Geddes, ed. The Art of Short Fiction
* And assorted recommended texts to kick-start your imagination
Engl 291 – 01/02 Narrative and Fiction (Reg Johanson)
This course will focus on “biotext”, a hybrid prose form which combines fiction, autobiography, memoir, history, found texts and prose poetry. Students also attend the Open Text reading series. English 291 is a required course for the Associate of Arts Degree in Creative Writing. Students who take this course may also be interested in Academic Writing Strategies—Creative Writing Seminar, also a required course for Degree program students.
For more information contact:
Roger Farr, Creative Writing Convener
~
English 100-01 – Academic Writing Strategies (Roger Farr)
This section of English 100 is designed specifically for Creative Writing students and is a required course for those in the Creative Writing Program. It introduces the genres and strategies – or, as we will come to know them, “the moves” – used by creative writers working in academic situations and contexts, focusing on expository and argumentative forms such as book reviews, research essays, and artist statements, as well as related, literary forms like photo-essays, creative non-fiction, and manifestos. In all cases, the course will emphasize the importance of solid research skills in both critical and creative writing. As for our reading, this will include student work, and a selection of contemporary literary journals and magazines, including several on-line publications. We will also attend readings and talks by writers visiting the campus as part of the Open Text Reading Series. By the end of the course, students will more imaginative in their critical writing, and their creative work will be more critically informed.
Required Texts:
• Graff, Gerald, and Cathy Birkenstein. They Say, I Say: The Moves that Matter in Academic Writing. New York, NY: Norton, 2006.
• Hacker, Diana. The Canadian Writer’s Reference Guide. 5th ed. NY: Bedford/St. Martins, 2004.
• Recent issues of The Capilano Review, West Coast Line, Matrix, and Geist.
• Other materials available in-class and/or on-line.
English 103-01 – Studies in Contemporary Literature (Roger Farr)
This section of English 103 is designed specifically for Creative Writing students and is a required course for those in the Creative Writing Program. The goal of the course is to put students into contact with some of the writers, texts, practices, and movements that compose “the contemporary.” What is “the contemporary,” you ask? We will only be reading work published within the last two years. Additionally, we will attend readings by writers visiting the campus as part of the Open Text Reading Series, who will present and talk about their current work. Finally, we will follow the lead of “the contemporary” by adopting an experimental, investigative attitude towards our writing assignments, which will require both critical and creative responses to the material we encounter.
Required Texts:
• Belford, Ken. lan(d)guage: a sequence of poetics. Halfmoon Bay, BC: Caitlan, 2008.
• Boykoff, Jules, and Kaia Sand. Landscapes of Dissent: Guerilla Poetry and Public Space. Long Beach, CA: Palm, 2008.
• Carr, Amanda. A Rose Concordance. Toronto, ON: Book Thug, 2009.
• Farr, Roger (Ed.) Open Text: Canadian Poetry in the 21st Century. North Vancouver, BC: CUE, 2008/09.
• Fiorentino, Jon Paul. Stripmalling. Toronto, ON: ECW, 2009.
• Stone, Anne. Delible. London, ON: Insomniac, 2007.
• other readings available in class and on-line.
Engl 190-01/02 – Creative Writing I (Reg Johanson)
This course introduces students to fiction and poetry through reading and writing. Students learn to become critical of their own work and that of others. Students write a variety of assignments intended to open up the horizon of their writing to innovation and experimentation. Students also attend the Open Text reading series. English 190 is a required course for the Associate of Arts Degree in Creative Writing. Students who take this course may also be interested in Academic Writing Strategies- Creative Writing Seminar, also a required course for the Degree program students.
ENGL 190-03 – Creative Writing I (Roger Farr)
This mixed-mode course meets in person on alternating Thursday evenings. The other weeks we meet in cyberspace. Other than that, it's business as usual: ENGL 190 is a forum where students can develop their writing, and their thinking about writing, through guided experimentation with language. You will work in a variety of modes and genres, including creative non-fiction, short stories, very very short stories, poems, serial poems, and writing for performance (radio/podcast scripts). As for reading, we will consider each other’s work, as well as work appearing in current literary journals and magazines, to see what other writers are up to. By the end of the course, you will have a generous portfolio of writing of which you will feel proud, and which may or may not impress your friends and family.
Required Texts:
• Farr, Roger (Ed.) Open Text: Canadian Poetry in the 21st Century. Vol. I & II. North Vancouver, BC: CUE, 2008.
• Stern, Jerome, ed. Microfictions. New York, NY: Norton, 1996.
• Recent issues of The Capilano Review, West Coast Line, Matrix, and Geist.
• Other materials available in-class and/or on-line.
English 191-01 – Creative Writing II (Crystal Hurdle)
When is a poem really a story? When should you leave a draft alone? Through in-class writing, weekly homework assignments, and personal projects, you will write up a storm in a number of genres. You’ll be introduced to professional writers, from Lorna Crozier to bp Nichol, from Thomas King to Gabriel Garcia Márquez, to visiting writers at the Open Text and Kinder Text Reading Series, as well as to the work of your colleagues, in aid of developing your style, articulating your voice.
Texts:
* Gary Geddes, ed. 20th-Century Poetry & Poetics
* Gary Geddes, ed. The Art of Short Fiction
* And assorted recommended texts to kick-start your imagination
Engl 291 – 01/02 Narrative and Fiction (Reg Johanson)
This course will focus on “biotext”, a hybrid prose form which combines fiction, autobiography, memoir, history, found texts and prose poetry. Students also attend the Open Text reading series. English 291 is a required course for the Associate of Arts Degree in Creative Writing. Students who take this course may also be interested in Academic Writing Strategies—Creative Writing Seminar, also a required course for Degree program students.
For more information contact:
Roger Farr, Creative Writing Convener
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Friday, November 14, 2008
Creative Writing at Capilano University - SPRING 2009
English 100-14 & 15 Academic Writing Strategies (for Creative Writing)– Reg Johanson
This section of English 100 is designed specifically for Creative Writing students and is a required course for students in the Creative Writing Degree program. It meets for 90 minutes once a week for the fall and spring semesters. This composition class will introduce the genres and strategies that are required of creative writers working in academic situations and contexts with a focus on expository and persuasive forms such as research essays, book reviews, paratext (blurbs, bios, acknowledgements), project descriptions and grant proposals. In addition to each others work, our reading will include a survey of contemporary literary journals. These journals will provide the raw data for the year's study. What can we say about the practices, values and concerns of these "discursive communities"?
Required Texts:
A variety of literary journals, TBA.
Course pack available in bookstore.
English 190-01 Creative Writing I – Reg Johanson
This course introduces students to the cunning of fiction and poetry through reading and writing. Students learn to become critical of their own work and that of others. Students write a variety of assignments intended to open up the horizon of their writing to innovation and experimentation and are encouraged to leave the past behind. Students also attend the Open Text reading series. English 190 is a required course for the Associate of Arts Degree in Creative Writing. Students who take this course may also be interested in Academic Writing Strategies- Creative Writing Seminar, also a required course for the Degree program students.
Required Texts:
TBA
English 191-01 & 02 Creative Writing II – Ryan Knighton
In English 191 we will continue to develop our skills as writers by asking how writing can be made, not what it might mean. Specifically, we will further engage with questions of poetry, microfiction, and so-called creative non-fiction, as directed by their form and history. Our workshops, however, are neither roundtable editing sessions, nor, worse, copyediting boot camps. Rather, we will share draft examples of our own work in order to further our discussions, to expose new questions, and to seek the effects of craft. Some case examples from published works may be provided in class, but our own writing will serve as the primary texts. So will Stephen king’s memoir, On Writing, which is pretty damned fine. By the final class, students should have at least one reworked submission of writing ready for a magazine or periodical. To that end, we will survey some of the nuts-and-bolts of pitching and publishing, too.
Required Texts:
King, Stephen. On Writing. S&S.
English 290-01 Creative Writing: Letter and Line – Reg Johanson
This course focuses on “documentary” poetry and poetics. Our starting point is Kaia Sand’s challenge, “why leave journalism to journalists, news to news services?”. We study the various ways in which poets can use, co-opt, subvert, and challenge the media, the ways in which we can “document” contemporary issues and struggles, and how our work can respond to a “social command”.
Required Texts:
TBA
English 292-01 Creative Writing: Children’s Literature – Crystal Hurdle
Experience an intensive workshop in writing literature for children of various ages. Examine and practice the art of writing for children by exploring a range of different strategies and techniques: identify narrative structure, myth, character development, levels of diction, voice, etc. Discover voices and forms for your writing and express your ideas in styles appropriate for children’s interests at different ages, from picture books and nonsense rhymes for children to young adult novels in verse. In developing your own projects, become a successor to J. K. Rowling!
Required Texts:
Ellis, Sarah From Reader to Writer
Ellis, Deborah. The Breadwinnner
New, William. Dream Helmet
Porter, Pamela. The Crazy Man
Print Pack with assorted readings
Wednesday, June 4, 2008
Writing is a Social Act!
Capilano University's New Creative Writing Program Now Accepting Applications for Fall 2008.
While creative writing classes are open to all University Transfer students, Capilano is now offering a unique Associate Arts Degree in Creative Writing. The program is designed for students interested in studying both contemporary literature and creative writing, with the aim of acquiring first and second year English and creative writing transfer credits.
View the Associate of Arts Degree - Creative Writing Program.
Beyond the classroom
Classroom instruction can be helpful for a writer, but we believe good writing is also the result of contact with a lively writing community. With this in mind, we are pleased to host the Open Text Reading Series, support a student publication (The Liar), as well as scholarships, awards, and internships with The Capilano Review.
Courses
Course desciptions for all creative writing courses are available in the online calendar.
Prerequisites
Currently there are no special entry requirements to the CRWR Program. However, all program students must take English 100 Academic Writing Skills (for Creative Writing), a course on research methods and critical thinking designed specifically for creative writers who are also writing in academic situations. In Fall 2008, this course will be offered as English 100, Section 14 or 15. Students must also take any section of English 190.
Contact
For more information about the program, contact the Creative Writing Convener, Reg Johanson
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Friday, October 19, 2007
Creative Writing at Capilano: Spring 2008
Spring 2008 Creative Writing Courses will be registering soon -- here is some course information:
English 191-01 Creative Writing II - Crystal Hurdle
When is a poem really a story? When should you leave a draft alone? Through in-class writing, weekly homework assignments, and personal projects, you will write up a storm in a number of genres. You’ll be introduced to professional writers, from Lorna Crozier to bp Nichol, from Thomas King to Gabriel Garcia Márquez, all in aid of developing your own style.
Required Texts:
- Gary Geddes, ed. 20th-Century Poetry & Poetics
- Gary Geddes, ed. The Art of Short Fiction
- The Capilano College issue of TCR (Winter/Spring 2007)
===============
English 191-02 Creative Writing II - Ryan Knighton
In English 191 we will continue to develop our skills by asking how writing can be made, not what it might mean. Specifically, we will further engage with questions of poetry, microfiction, and so-called creative non-fiction, as directed by their form and history. Our workshops, however, are neither roundtable editing sessions, nor, worse, copyediting boot camps. Rather, we will share draft examples of our own work in order to further our discussions, to expose new questions, and to seek the effects of craft. Some case examples from published works may be provided in class, but our own writing will serve as the primary texts. So will Stephen King’s memoir, On Writing, which is pretty damned fine. By the final class, students should have at least one reworked submission of writing ready for a magazine or periodical. To that end we will survey some of the nuts-and-bolts of pitching and publishing, too.
===============
English 191-03 Creative Writing II - Reg Johanson
This course will focus on poetry and fiction. Our interests in fiction will be on the sub-genre of “biofiction.” Our interests in poetry will be very broad, including the sonnet, the “social,” documentary forms, aleatorics, and work inspired by “language” poetics. We will also be attending the OpenText reading series sponsored by the College and the Canada Council. We will read as much as we write, finding out what we can about the work and methods of the writers we read.
Required Texts:
- Wah, Fred. Diamond Grill.
- Farr, Roger. Surplus.
- The Capilano College issue of TCR (Winter/Spring 2007)
===============
English 290-01 - Creative Writing (Poetry) – Roger Farr
Poetry and Poetics of the Small Press: The small press revolutionized poetry in the second half of the twentieth century by shifting attention away from an earlier obsession with “the well-wrought urn, or “the perfect poem,” and focusing instead on the poem as the interface between a writer’s process, the process of print production, and a literary community. In this spirit, ENGL 290 will give students practice in both the writing of poetry and in small press production, in both print and digital forms. Thus, in addition to our class discussions and practice with poetic forms and techniques, we will consider the material and visual aspects of poetry: the page, the book, fonts, layout, paper, the fold, etc., and how these aspects contribute to our sense of what a poem is, or can be. We will attend readings by poets visiting the campus as part of the Open Text Series and discuss their work with them; and, to familiarize ourselves with the printing process, we will tour a print-shop which uses the latest “print on demand” technology to produce small runs of high-quality books. Finally, if we can muster sufficient resources, we might experiment with this technology by publishing a collection of our own poems in book form.
Required Texts:
- Farr, Roger ed. The Open Text Reader: Fall 2007.
- Other small-press texts will be available from the instructor in-class.
Monday, September 3, 2007
Capilano Creative Writing Program Kick-Off!
Pat's Pub, 403 E. Hastings
Tuesday Sept. 18th
8:00 pm
Please join past, present, and future students of Capilano College for an open-mic reading to celebrate the new Associate of Arts Degree in Creative Writing. All past and present Capilano creative writing students and faculty are invited to sign up to read.
To sign up, or for more information, contact Reg Johanson:
E: <rjohanso@capcollege.bc.ca>
T: 604. 986. 1911 (2428)
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The Associate of Arts degree with a Creative Writing Concentration combines instruction and practice in both creative and critical writing, hosts the Open Text Reading Series, supports a student magazine (The Liar), and provides internships, scholarships, bursaries, and awards. Students who complete the program obtain first and second-year transfer credit in both English and Creative Writing, allowing them to major or minor in either subject should they decide to transfer to university.
Check out: <http://www.capcollege.bc.ca/programs/english/creative-writing.html>
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