Creative Writing Modules
All modules are 4 credits each unless otherwise specified.
To do modules individually, rather than completing a whole program, visit the School of the Creative Arts.
WR500 Mimesis of Texts I
In this module, students read Aristotle’s Poetics and assimilate his basic theory of mimesis. Composition practice involves a strict mimesis of texts. Students choose texts for mimesis; however, these texts must be mentor-approved. Through mimicking syntax, style, expository, and poetic techniques, students isolate lessons of craft, which they later analyze. This basic technique empowers students to learn writing from humanity’s greatest writers.
WR510 Mimesis of Texts II
Mastering basic mimesis is an important technique, but it is in no way final, for we set out not to copy the past but to learn from it. During this second module, students learn to leap to gleaning lessons of mimesis more holistically, rather than using the process of strict tracing of Mimesis, Part 1. However, finally we ask writers to break the mold of mimesis, and while holding on only to the spirit of the original, create an entirely new form.
WR515 Outline and Description
Over the course of a month, students outline a major work in a genre of choice. This work is usually the student’s thesis in embryo. Students complete both skeletal and more detailed, descriptive outlines, encompassing several different needs and audiences. While certain outlines form basic maps for composition, particular types of outlines are required to query agents and obtain publishers. In addition, this module celebrates the rhetorical mode of description and challenges students to take it to new heights.
WR520 The Poetics of Ordinary Things
In this poetry module, students glean their inspiration from the
ordinary things in life and get extraordinary results. They consider Pablo
Neruda’s Odes, poems that deal only with ordinary things. They look,
in depth, at the methods that Neruda used for exalting the ordinary and creating
art that is accessible and universal.
WR521 The Poetics of Forbidden Speech
In this poetry module, students write and transcend forbidden speech, forbidden
territory. This is a module that is meant to help students find the words
to say what has not been said before. This module is for very daring poets:
those who are willing to write bravely and a little dangerously.
WR523 Poetry: Spiritual Sublimity and Wellness
How do words affect our
health? How are words, spirit, and health connected in a great cosmic picture?
This module is applicable to writers of all genres.
WR525 Scenes I
WR526 Scenes II
At least one module of scene-writing is suggested for fiction writers.
Students outline four key scenes, using their current work. The goal is to
develop these scenes holistically, using vivid descriptive detail, with attention
to how these scenes form the backbone of plot. Part II is dedicated to studying
scenes within the realm of world short story.
WR528 Plot I
WR529 Plot 2
Even if one chooses to go beyond traditional notions of plot, it
is very important to know what plot is, in the first place. During the 20th
century, plot became an almost optional device in certain schools of fiction.
Yet, as the 21st century has taken hold, readers appear to want traditional
stories that make common sense. Traditional and revolutionary fiction writers,
in order to be taken seriously, should spend significant time and effort
in the boot camp of “plot.” Part 2 is dedicated to studying plot
within the realm of the world short story.
WR530 The Stuff of Life: Using the Subject Matter of One’s
Life in Composition
One’s life and memory offer the student a personal gold mine.
Writer Julia Cameron explores this theory in her book The Vein of Gold.
Students will undertake numerous exercises in Cameron’s texts. They
will also be encouraged to develop their own journal-keeping techniques,
serving as catalysts to develop art in their chosen genres. The ethics of
using the subject matter of one’s life will also be explored, in depth.
WR531 Characterisation I: Poetry
WR532 Characterisation II: Fiction
Although this module is of primary interest to fiction writers, poets, who
are interested in the dramatic monologue and the persona poem, may also find
this module of significant importance. Students complete significant readings
in the craft of fiction, focusing on how to create "real" multi-dimensional
characters. Students are encouraged to avoid stereotypical characterisation,
as they complete four major assignments, infusing their unique manuscripts
with a sense of "personhood." The goal of this module is to create
characters that transcend the rigors of time. Poets are asked to consider the
complex characterisation at work in Shakespeare's complete Sonnets.
WR538 Narration and Story Development
While this module would seem to be of unique interest to fiction writers, it actually defies any genre limitations. Students working in all genres can explore the importance of creating individualized narrative voices. Literature may seem to consist of several dozen master plots. Given this constant, we encourage students to master traditional plots, while at the same time testing the boundaries of experimental possibilities. Both traditional and avant-garde, this module challenges student to master the principal paradoxes of postmodern writing.
WR540 Dreams and the Inner Writer
A single event in literary history inspired this module. Nobel writer, Gabriel Garcia Marquez, has claimed that he dreamed his entire revolutionary novel, One Hundred Years of Solitude in one night. Less dramatically, writers have looked to their dreams for inspiration from the beginning of the human literary quest. In this module, students complete in depth readings of Freud and Jung, focusing on their research into dreaming. They learn the language of archetypes, interpret their own dreams, and use what they discover to write new, insightful works.
WR542 Writing with a Sense of Humour
Quality humour is difficult to write; perhaps that is why cheap and insulting
humour abounds in print and on the air waves. Aristotle wrote sharply and
without any humour about comedy in The Poetics. For him, comedy was the stuff
of the low-born, the stupid, the rabble. However, even writers of his own
time would challenge this argument, not logically, but rather, existentially.
It is no new thing: humans, when faced with the burdens of existence turn
to laughter for strength. This is a module for students who wish to respond
to Aristotle and his comedic legacy.
WR545 Creativity: Theory and Practice
What makes us creative and what keeps us that way? Many theories of creativity now exist. We encourage students to explore an array of them in this module ranging from the academic / literary to those that lean upon psychology, and even human physiology for answers. Writers first explore the bicameral nature of the brain and come to understand how we need both the right and left brains working in concert to write well.
WR550 Thematic Composition
Since many literary books today are composed and marketed thematically,
this module explores writing for an audience that searches for thematic continuity.
During the course of this module, students will chose four thematic areas
of composition. Possible areas could be family, self-actualisation, ethnicity,
race, gender, nature, ecology, politics, etc….
WR560 Writing for a World Audience
This module might be called Mimesis, Part 3, since students apply mastered mimetic techniques to isolating and extracting lessons of craft from Nobel Prize winning authors. We ask several key questions in this module: “What are the main characteristics of a successful world writer? Why should we aspire to write for global audiences? How can we, as writers, overcome obstacles put in our way by politics, geography, or ethnicity? Students choose their Nobel texts with mentor approval and attempt to answer these questions.
WR563 Finding One’s Voice, the Journey of a Lifetime
Although all modules deal with this goal, this module focuses on
creating literature, which while honoring literary traditions, may also transcend
them. Subjects dealt with in this module include writing dangerously, writing
without teachers, and writing on the cutting edge for personal and human
evolution. Consider the old-fashioned tradition of sealing a letter with
hot wax and one’s individual seal or signet. No one else can write
like you. Your true words are as individual as your fingerprints. While you
have studied the craft of the masters, this module is your opportunity to
find, without ambiguity, your voice. Another goal of this module is to provide
you and all students with the tools to continue to hone this voice throughout
a lifetime of writing, and to discover the shades and tones of one’s
voice. One criticism of academic creative writing programs is that they
produce clone writing. Good writing should be anything but this! One metaphor
may be constructed along these lines: while rooted in a very old tree (let’s
call it the tree of life or literature), the fruit produced, is like no other
on earth. We graft ourselves to this tree, and become branches of it. Biodiversity
is fundamentally necessary for the survival of our ecology. Literary diversity
serves a similar purpose. It moves art forward, and encourages readers to
rend the shackles of a post literate society, making that unfortunate label
and stage in human history, a temporary one.
WR565 Poetry: A Study of Emily Dickinson
Students explore the complete
poems of Emily Dickinson, with emphasis on the lesser known poems, many of
which
hold still unexplored mysteries about this American icon.
WR580 The Mythopoesis of Food
While this module may be of greatest interest
to food writers, let us not forget about all the great novels that have taught
us to look at nourishment with new eyes. These novels include Like Water
for Chocolate and Chocolat. Some recipes are included.
WR582 The Mythopoesis of Clothing
This unique module is of great interest
for anyone who would like to write a novel about fashion. What kinds of messages
do our clothes speak about ourselves? Are we fashion victims? Do we have
a choice about what we wear? Poets may want to use this module to compile
a chapbook about clothing.
WR585 Mythopoesis for Creative Writers
The eighth core module in this program is perhaps the most challenging. Writers do core readings in mythopoesis and complete additional deep readings in classical fairy tales. The complete critical analyses and write four brief works inspired by mythopoetic discoveries. Since Hollywood is constantly in search of new screenplays in which traditional heroes’ journeys are updated, students complete four brief film treatments that can in theory be marketed.
WR601 Writing the One Act Play
Students compose a unique one act play
as a final project in this module.
WR602 Writing the One Act Historical Play
Best taken after “Writing
the One Act Play,” this module stresses historical accuracy and data
verification when dealing with historical subjects.
WR610 Fiction Writing Lessons: A Survey of Modern Scottish Writers
A selection
of contemporary Scottish fiction, drama, and poetry for students who are
interested in a multi-genre experience that
explores the soul of Scotland today.
WR611 Fiction Writing Lessons: Nick Hornby
Students examine a selection
of Hornby’s novels including High Fidelity and About a Boy, while extract
their own lessons about how to write hip fiction from their explorations
of Hornby’s craft.
WR612 Fiction Writing Lessons: C.S. Lewis, The Chronicles of Narnia
Students
examine Lewis’ Christian allegories and their messages to children.
WR614 Fiction Writing Lessons: Tolkein
This module covers
The Lord of the Rings Trilogy and is for students who wish to write high
fantasy.
WR615 Fiction Writing Lessons: Tolkein II
The Ph.D. module covers the The
Lord of the Rings Trilogy, The Hobbit, and The Simarillion. Students should
write four short stories, deriving lessons from Tolkein’s craft.
WR616 Fiction Writing Lessons: Angela Carter: Short Stories
Students in this module examine Burning Your Boats and Other Stories,
as well as other short fictions from Carter. This module is ideal for students
who wish to study transformational fairy tales or stories of English magical
realism.
WR617 Fiction Writing Lessons: Paolo Coelho
Explore Coelho’s
stunningly successful The Alchemist and two additional novels.
WR618 Fiction Writing Lessons: The Canterbury Tales
Analyse these
tales, and then write your own New York, London, or Wherever Tales.
WR619 Fiction Writing Lessons: Arthur C. Clarke
Clarke’s science
fiction is both mystical and visionary. Extract lessons from Clarke’s
craft and apply them to your own writing.
WR620 Fiction Writing Lessons: Sir Arthur Conan Doyle
For those
who would like Sherlock Holmes to guide them through the craft of mystery,
this
module
is a canonical experience.
WR621 Fiction Writing Lessons: Oscar Wilde
A Picture of Dorian Grey is
the lynchpin of this module. Students write short stories or poetry in response
to Wilde.
WR622 Fiction Writing Lessons: George MacDonald
Discover MacDonald’s
neglected classics Lilith and Phantastes. An examination of MacDonald’s
unique fairy tale writing style is also possible.
WR623 Fiction Writing Lessons: Virginia Woolf
Delve into Woolf’s
gender-bending novel of magical realism, Orlando, and other more widely read
works. This
module emphasizes Woolf’s gift for panoramic writing.
WR624 Fiction Writing Lessons: Aldous Huxley
Where will unbridled technology take
the world? Examine Huxley’s classic Brave New World. Write your own
tales of futurism today. Has technology already created a dystopia? Students
are encouraged do their own extensive research in futurism and should examine
the current theories of posthumanism.
WR639 The Shadow Metaphors of Frankenstein and Dracula
The primary texts
for this module are Mary Shelley’s Frankenstein and Bram Stoker’s
Dracula. Students explore shadow metaphors in relation to these novels and
their own writing.
WR640 Developmental Creative Writing
This module is open to writers
of all genres who are beginning to write and wish to explore developmental
writing,
particularly in fiction and poetry.
WR643 Creative Writing as Philosophy
Write to discover your own creative
writing philosophy. Take the first steps in documenting your aesthetic philosophy,
the force within your art.
WR670 Modern and Postmodern Poetry Translation: From the Spanish
Student who wish to work with Dr. Jacketti on this module, should contact
her at least two months in advance. Students choose poetry for translation;
however, Dr. Jacketti must approve the selections. Poetry should be contemporary
and unrhymed. Dr. Jacketti is particularly interested in the poetry of
Latin America.
WR671 Modern and Postmodern Poetry Translation: From the French
Students
who wish to work with Dr. Jacketti on this module, should contact her at
least two months in advance. Students choose poetry for translation; however,
Dr. Jacketti must approve the selections. Poetry should be contemporary and
unrhymed.
WR672 The Poetry of Jorge Luis Borges
Not everyone knows that Borges
was a poet of note. Indeed, the Borges’ poetry has been somewhat eclipsed
by his fictive labyrinth weavings. This module makes an interesting contrast
for students who have explored Borges’ fictions and been influenced
by them. His poetry is far more direct and accessible.
WR690 Writing the Very Short Short Story
Write a flurry of short stories
within a month, perhaps even one a day. All stories must be one thousand
words of less.
WR691 The Craft of Short Writing: Lessons from O Henry
Study forty-one
short stories of this master of the very short story. Apply lessons of craft
gleaned
from your study to your own short stories.
WR700 Assembling the Book: Thesis Writing and Assembly -
20 credits(MA)/30 credits(MFA)/40 credits(PhD)
All writers leave this program having written a book. The purpose of this
module is to assemble the book, which includes editing and proofreading. Finally
student and mentor discuss marketing techniques. This includes the tough business
of querying editors and finding an agent for one’s work.