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Program in Expository Writing

MA in Writing Program, Fiction and Nonfiction

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Scott Fitzgerald's major short stories in the s and s. We'll analyze Fitzgerald's commitment to exploring the tension between two opposing intellectual movements: We'll trace Fitzgerald's mercurial loyalty to each movement: In "May Day" he even embraced both movements equally—testimony to his belief that "the test of a first-rate intelligence is the ability to hold two opposed ideas in mind at the same time and still retain the ability to function".

Did Fitzgerald ultimately advocate one school of thought over the other? Or, did he intend simply to stage the debate between them? Study in the reading and writing of short narrative with focus on basic technique: Students will write weekly sketches, present story analyses in class, and workshop one finished story. A study of the fundamentals and strategies of poetry writing.

This course combines analysis and discussion of traditional models of poetry with workshop critiques of student poems and student conferences with the instructor. A first course in nonfiction writing, emphasizing how facts can be woven into narrative forms to portray verifiable, rather than imagined, people and events.

Students read and discuss model works, then write frequent papers to refine their own style. Introduction to Dramatic Writing: This course will look at the screenplay as both a literary text and blue-print for production. Several classic screenplays will be analyzed. Students will then embark on their own scripts. We will intensively focus on character development, creating "believable" cinematic dialogue, plot development, conflict, pacing, dramatic foreshadowing, the element of surprise, text and subtext, and visual story-telling.

Students will learn professional screenplay format and write an page screenplay that will be read in class and critiqued. This seminar will explore the stage play across a variety of styles, tones and genres. The final goal of the class will be for each playwright to compose a ten-minute one-act play by the end of the summer session.

Students will have their plays read aloud in class and each will be closely analyzed. Writing about Science I: This course is designed to teach students the skills of daily news reporting, with a focus on covering science news.

Students will learn how turn scientific discoveries into lively and engaging prose for the general public, interview sources, and pitch stories to news organizations. The skills taught are applicable to all areas of journalism, not just science journalism. Please note that a brief writing test is required for this course this may be waived for Writing Seminars students. To schedule this test, please contact the instructor at dgrimm5 jhu. In this course we will trace the lineages of familiar poetic symbols, or tropes, that have occurred centrally and with regularity in literary history.

We will investigate how they evolve with time and reveal changing styles and sensibilities from author to author and age to age. The future is the next poem you will write as the assignment for each of the symbols we read.

Science as a Social Activity. Using the political and economic milieu of science and technology as a context for our writing, we will study how social factors such as government, money, secrecy, and ethics affect the conduct and public presentation of scientific and medical research.

Controversies from 20th century history as well as current events will be discussed. Writing assignments to satisfy the W requirement will consist of short papers derived from classroom topics.

Learn reporting through analysis of famous and infamous work by contemporary journalists such as Janet Malcolm, Michael Finkel, Sarah Corbett and Seymour Hersch. Students will use readings to understand concepts central to news and feature writing, including libel, fair use, balanced reporting, and appropriate sourcing. They will then head out to find and write their own stories about local issues using best practices learned in class.

A Survey of Poetry Writing. In this lecture-based course, students will build their knowledge of the history of poetry writing in English through a chronological exploration of the poetic line. This course will serve as a foundation for future studies in the writing and reading of poetry. It is highly recommended that students take this course in their sophomore year, followed by Jean McGarry's "Survey of Fiction Writing" course in Spring Writing Seminars Majors Only Prerequisites: Once Upon a Time.

Writing Seminars majors only. Students will explore public health issues in Baltimore and then write about them first in short pieces, and then in longer, polished works. Students will study the initiative and its historical context; examine data sets; explore where and how the initiative intersects with public health practitioners and advocacy groups at the neighborhood level; and write what they learn in different formats, including essays, breaking news, and substance analysis.

Our central text will be Thoreau's "Walden". Most of our readings will be American, though we will read excerpts from Lucretius and Darwin. We will examine various ways in which the natural world has been depicted in nonfiction, fiction, and poetry. Students will write critical papers on nature writers as well as to do creative nature writing of their own.

Our authors may include: A consideration of not just the obvious point-of-view choices writers face - first person or third?

Students will write and workshop their own short stories. An intermediate workshop focusing on the question of how to make fictional worlds feel real. We'll read 19th, 20th, and 21st century short fiction by authors such as Anton Chekhov, Jhumpa Lahiri, Junot Diaz, and Alice Munro, focusing particularly on how authors make the lives on the page feel three-dimensional.

Students will write stories and exercises, including exercises that involve exploring Baltimore in order to observe and write about the city in which we live. Students need to have completed a level Writing Seminars course. Learn the practice of arts journalism, from reviewing to conducting interviews and writing profiles.

In class, students will study the work of some of the best writers in this field, pitch story ideas, report and write, and then discuss their pieces in a workshop setting. Instruction will include journalistic ethics, plagiarism, libel law, and use of social media. Students can expect class visits from established journalists. Writing Seminars Majors only Instructor s: Students will learn about writing op-eds, reviews and feature articles, analyzing a broad range of examples and producing their own work in each category.

The course will place a particular emphasis on op-ed-writing as a valuable skill to possess on any career path. This course explores the crucial role sound plays in the power of poetry, from early roots in oral traditions to contemporary contexts. Through readings, discussion, academic reflection, and creative exercises, participants will explore a range of sound techniques in their own poems and in the poems of others.

The study of exposition and argument in literary prose, with exposure to journalistic practices. Instructor will assign topics on which students write essays and subsequently discuss in class and critique for style, grammar, coherence, and effectiveness.

Writing about Science II: This course is designed to teach students the skills of long-form narrative journalism, with a focus on covering science news. Skills taught apply to all areas of journalism, not just science journalism, and include how to compose scenes, create three-dimensional characters, create narrative tension, and conduct on-site reporting.

The primary writing assignment will be a 3,word feature piece that is pitched, reported, and workshopped throughout the course of the class. Students who have not taken this course will need to complete a short writing test may be waived for Writing Seminars students and obtain the permission of the instructor to enroll. This workshop will focus intensely on student writing, and on reading stories with a strong narrative voice, the kinds of stories in which the reader can hear the narrator speaking, where the voice gets stuck in the reader's mind, where the story feels like an invasion of the narrator's private thoughts, or is a retelling of the tale for some invisible public, or is the quiet, clear prose of a diarist, journaling into the void.

An intermediate fiction workshop focusing on the question of place. We'll read 19th, 20th, and 21st century short fiction including some set in Baltimore in which setting strongly affects plot. While we'll talk about each story holistically, we'll also spend time discussing how authors make the physical world feel three-dimensional, and how place can lean on--even change--what happens in a story.

The study of plot, with questions, both practical and theoretical, inevitably raised by the short story form. A study of fictional persons in works by Fitzgerald, Joyce, W. Students write sketches and compose at least one complete story. In the early s popular writers began to compress novel-like narrations into much shorter forms. By the s what we recognize today as the short story had emerged. In this course we will trace the development of the form from its earliest stirrings in the tales of ETA Hoffmann through the Russians Pushkin, Gogol, and Turgenev, to its apotheosis in the stories of Chekhov and Wharton.

Critical responses will be creative, using short sketches to experiment with the techniques, some adopted others rejected, and constraints experienced by writers along the way. A look at some non-realistic methods, in stories and novels, for dealing with the "real world. Students will write one page exercises and short stories.

Students need to have completed a level Writing Seminars class. An intensive workshop focusing on methodology: The screenplay Chinatown will be used as a basic text. A consideration of the short-short story. Students will weekly present in the short-short story form.

We will read the following anthologies: We will look at a variety of ways in which dialogue furthers artistic ends. We will ask questions like: When is dialogue best expressed directly? When is it best summarized? How does dialogue-heavy short fiction differ from a play?

When can dialogue stand on its own, and when does it require an author's explanation or interpretation? Students will write both creative and expository papers. Nonfiction in the Post-Factual Era. When facts are widely ignored or mistrusted in public discourse, what happens to nonfiction as a genre?

We will consider the current state of various political and scientific debates, examine historical precedents, and search for practical solutions in nonfiction writing. Students will write sketches and stories, in a class organized around readings in classic texts of wilderness encounter.

It deals with rhyme, meter, traditional forms, and ad hoc forms of students' own making. Whether you are a poet, novelist, song writer, science writer, or dramatist, this course will help you master lines and sentences even better.

The course builds on the information and techniques encountered in Poetic Forms I, and uses them in reading and imitating a range of contemporary poets Instructor s: Need to have completed a - level Writing Seminars' class.

Emphasis in writing scenes-the building blocks of fiction-units of action, units of dialogue. Readings will include the stories of Chekhov, Cheever, Hemingway, and Carver. Students will write and workshop their own life stories of substantial length.

Scientists, engineers and physicians create and define risks. The public perceives these risks and decides what is acceptable. We will study the psychology and politics of risk communication between experts and laymen.

The Poet as Observer. A workshop course with readings and writing assignments that emphasize the artistic value of the outward gaze. Students will keep a daily journal of observations, and over the semester will develop those observations into at least 10 new poems. This course will explore the dramatic mode of poetry, from the plays of the Greeks and Shakespeare to the lyric poems of Hardy, Yeats, Frost, Brooks, Hecht, and others.

Weekly writing assignments, suggested by the readings, will include character monologues, dialogue, conflict, and other aspects of the dramatic lyric.

Student poems will be discussed in a workshop format. An Acting Workshop for Writers. This hands-on performance workshop, combining literary and theatrical practice, will look closely at what makes a performance or reading compelling, clear, and resonant.

Through textual analysis, vocal technique, and group discussion, students will create a pliant and powerful reading style to best serve their work. The course includes regular writing assignments in poetry and fiction and weekly performance and group discussion. Tall Tales and Short on Narrative Poetry. Tall Tales and Short: This course will examine narrative poems—from Homer to the present, both long and short—with an eye toward how they function formally and generically.

Students will adapt an array age-old storytelling techniques for their own poems. There will be weekly writing assignments in poetry and group discussion of student writing. An exploration of poetic process as ongoing discourse within and across generations. Readings, writing assignments, and in-class workshop of student poems will encourage and enable course participants to join the conversation themselves. What is a lyric poem in the 21st Century? What causes such a thing?

What does it sound like? What is it good for? By reading lyric poems written over the last years in English, and by writing our own original work we will find some answers to these questions. This class will have a special emphasis on Free Verse and the particular challenges and joys of such a poem. This workshop aims to generate new work and to cultivate skills necessary for a writer. Many of the finest modern and contemporary poets were also groundbreaking dramatists, including Goethe, Yeats, Eliot, Millay, Cummings, Brecht, and Walcott.

Taking these writers' poetic dramas as models, students will explore the elements of playwriting - plot, character, rhythm, etc. Speeches, scenes, and short plays will be read aloud in class and considered in a workshop setting.

The capstone course in poetry writing. Consideration of various poetic models in discussion, some assigned writing, primarily workshop of student poems. Students will usually complete a "collection" poems. The capstone course in writing fiction, primarily devoted to workshop of student stories. Some assignments, some discussion of literary models, two or three completed student stories with revisions.

Completion of Intermediate Fiction is required for admission. Modern European novellas, with a new author and book each week. Hard-Boiled Fiction and Film Noir. Cross-listed with Film and Media Studies. An examination of the fiction of three American modernist masters in the context of the early 20th century movement in the verbal and visual arts. Not a workshop course.

Between sex and death the body has a varied wild life in American poetry. In a survey of contemporary work this seminar will consider the life of the body, its relationship to the imagination and the kaleidoscopic world of the senses.

Reading erotic poems, elegies, poems of sickness and health, and of age and youth, we will find an intimate politics of the body. Students will read and respond critically to American poems written over the last fourty years. An examination of the poetry of Eliot, Crane and Stevens in the context of the modernist movement in the verbal and visual arts.

Juniors and seniors majors are given preference. Classes will be devoted to writing and collective editing of factual work of significant length and ambition, including essays, journalistic reports, histories, and biographies.

Twentieth-century novellas, with a new author and book each week. What can and has been accomplished by American fiction writers in fewer than pages? Readings in Contemporary Fiction: Coetzee, Delillo, Freudenberger, Johnson.

The central concern of this course is to read, study, think about, and discuss several novels and short story collections, paying special attention to the voice and structural techniques these authors have invented to create compelling works. Class reads the writings of scientists to explore what their words would have meant to them and their readers. A study of the short story cycle as a literary form. Early Auden and his Contemporaries. This is not a workshop course, but students will have the opportunity to respond artistically as well as analytically to the course readings.

A study of the novella as a literary form. The Stories and Letters of Anton Chekhov. We will read the major long and short stories of Chekhov, along with selected letters written in the full course of his lifetime.

Juniors and Seniors only. Poetry of Ireland Since A close study of twentieth- and twenty-first-century Irish poetry. Course readings will include work by W.

Lives of the Poets. Lives of the Poets: Hecht, Merrill, Sexton, Plath. This course examines important intersections between the life and the work in the poems and memoirs of four, biographically interconnected poets. Poems treating subjects of depression and mental illness Hecht, Sexton, Plath , the terror of war Hecht , the depredations of disease Merrill , and suicide Sexton, Plath , find their sources in these poets fascinating—and, to varying degrees, troubled—lives.

Origins of the Short Story. This course will trace the development of the short story beginning with its tentative emergence from the shadow of the novel, through the early commercial period triggered by the invention of inexpensive newsprint, and to its full maturation at the turn of the 20th century. Innovators of the Short Story. In this class, we'll look at particularly influential writers who've had a lasting effect on the form of the short story, reshaping it through their own idiosyncratic vision.

The Mind in Motion: The Rhetoric of Poetry. This course examines how argument and formal thought shape poetry. Through class discussion about readings ranging from Donne to Dickinson to contemporary poets, and through critical and creative exercises, students will explore poems that reveal not only feeling and observation, but also the architecture of the analytical mind at work.

A writer's survey of the medieval romance and of the subsequent poetry that it inspired. This is nota workshop course, but students will have the opportunity to respond artistically as well as analytically to the course readings. Readings include novels, stories, and diaries. Creating the Poetry Chapbook. Students will build on previous work in the major by completing a project of sustained length, depth, and cohesion pages in their final semester.

The course will include independent creative and critical work, peer review and discussion, and meetings with the instructor. Application only; Advanced Poetry prerequisite. In this Community-Based Learning course, students will explore poetry of social and political engagement in partnership with high-school age writers from Writers in Baltimore Schools. Participants will put learning into practice by organizing community conversation, reflection, and collaboration.

Participation in some events outside of class time will be required. Caribbean history is reflected in the literature of emigration and collapse of empire.

We'll study novels by Naipaul, Rhys, and other 20th century authors. Examples will include The Tempest and W. Writing Seminars Majors only Prerequisites: Narrative Strategies of Jane Austen. We will read the major novels with the aim of detecting the chief patterns and devices the author uses to make the familiar and ubiquitous marriage plot suspenseful and gripping.

International voices will combine the workshopping of poems by students with a study of contemporary poems written by black British writers and British writers in dialect, African-American writers, Caribbean writers, and Indian and South African poets who are writing in English. The study of broad themes and subjects will be combined with a particular appreciation of linguistic and acoustic matters - which means among other things that time will be spent listening to and evaluating recordings of the poets concerned.

In this workshop course, students will translate a foreign-language poet of their choice and learn to place their approach to translating within the appropriate historical and theoretical contexts. Fiction writers writing about nonfiction writers: The Art of Fiction: Given the significant differences between their aims and styles as novelists - James the great investigator of the interior life, and Stevenson the equally great exponent of the adventure story - it's somewhat surprising to find the two men were good friends who admired one another's work.

This course will use their friendship as a starting point to explore their novels in general, while paying particular attention to their narrative techniques; the novels under discussion will include Daisy Miller, Turn of the Screw, Portrait of a Lady, Treasure Island, Dr Jekyll and Mr Hyde, and Kidnapped.

Students will also be asked to create original work that both responds to and takes off from their reading of these books. In this Community-Based Learning course, students will explore theatre and areas of social concern in partnership with high-school age writers from Writers in Baltimore Schools.

We will read essays that have the texture and imagination of a short story; stories that are closer to poems, journalists who use the tools common to fiction, and novelists whose work straddles the line between autobiography and fiction. Our reading for the semester will be based around broad, thematic concerns. Students will be expected to write short, critical responses to the readings as well as generate a substantial body of creative text. At the end of the semester, students will submit a portfolio that includes one extended work of creative writing, along with a critical essay.

Exploring Baltimore Through Poetry. Students in this course will write poems based on an exploration of Baltimore itself: Course readings will include work by Baltimore authors past and present; other readings, drawn from further afield, will take up the question of what it means to explore a city. Ordinarily no more than one independent study course may be counted among the eight Writing Seminars courses presented for graduation.

It covers many aspects of the operation of a metropolitan newspaper or magazine or TV station. Restricted to Graduate Students. Can you say Bildungsroman? We will examine a number of classic and contemporary coming-of-age novels. Students will compose their own: This course will look at the ways in which poetry finds words to express moments of vision and self-forgetting. Ranging from the Elizabethans to the present day, it will begin by looking at poetic manifestos by Sidney and Shelley among others , and explore the ways in which they require poetry to engage with what cannot easily be put into words, then go on to consider: Eliot, and Seamus Heaney will be among those poets discussed.

Workshop time will be divided equally between critical discussion, and the presentation of original work by students. Intensive seminar, at a professional level, in writing factual prose about science for the general reader.

Students find, research, and structure their own stories. Discussion and critique of fiction manuscripts by students enrolled in the M. Discussion and critique of fiction manuscripts by students enrolled in the MFA program. Discussion and critique of poetry manuscripts by students enrolled in the M. Discussion and critique of poetry manuscripts by students enrolled in the MFA program. A study of three major poets English, Irish, American who each introduced signature tones, techniques, and themes in modern poetry.

Graduate Readings in Pedagogy: Teaching Fiction and Poetry. Readings in selected works of American, English, and European poetry and short fiction. Course required by all graduate students in fiction and poetry.

Form and Free Verse. A practical study of prosody rooted in the formalist tradition and continuing into theories of free verse. Eliot, Charles Olson, and Denise Levertov. A study of form through three poets especially concerned with formal variety as a complement to, and manifestation of, theme and voice.

Whitman, Dickinson, and Hopkins. This course focuses on three poets whose individual relationships with form, inspiration, and innovation continue to shed light on the poetic process. Keats, the War Poets, and Larkin. Based on a close reading of major texts, this course will look at the ways in which Romantic and port-Romantic British poetry deals with the passage of time, how it creates elegiac structures, and how it records various kinds of loss: Students will be encouraged to respond creatively, as well as critically.

Restricted to graduate students in the MFA program. Five from the Fifties. We will examine five American writiers who were emerging or thriving in the middle of the 20th century: We will read short stories by all five, as well as the following novels: Poetry and the Environment.

Our reading courses are craft-based, meaning we study literature for what we can learn from it as writers as well as what it represents in terms of culture and art. To apply, go to our online application page. Writing Program at Johns Hopkins University. Reminder for Baltimore students, alumni and faculty: R-House tonight for drinks and talk about writing. See More See Less. House - the launchpad for Baltimore's most exciting chefs. Cheryl Somers Aubin 1 hr Hi: I was so honored to have my book, The Survivor Tree: Here are some pictures that explain it better.

Also, I was happy to be interviewed by Westwood one radio stations yesterday as well as the local Rockville Centre newspaper. Congrats on making the list! Top 10 Colleges for Writers As it looks like Hurricane Florence's stormy remnants will be hitting DC and DC officials have declared a state of emergency, we are going to cancel our Thursday, networking event at the Big Hunt.

We are hoping to re-schedule for the following Thursday, Sept. For now, it looks like we are still good for Friday, Sept. In honor of the day: I also taught writing and literature for a couple of years through Marist College at a correctional facility while living in upstate New York.

Julia is one of the "Undiscovered Voice" fellows selected by the Center in and will be reading new work.

Home - The Writer's Center. Writing Program at Johns Hopkins University 8 hours ago. House - the launchpad for Baltimore's most exciting chefs r. College Magazine 2 days ago.

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Professors James Arthur and David Yezzi were among thirty-two early career faculty members who were selected to receive Johns Hopkins Catalyst Awards. These experts represent two dozen distinct fields, including otolaryngology, economics, civil engineering, mathematics, the .

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The Writing Seminars offers a Master of Fine Arts (M.F.A.) in fiction and poetry. Students admitted to the M.F.A. program enroll in two years of course work and produce a substantial manuscript in the form of a novel or collection of fiction or poetry.

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Books and research tools for creative writers. Several databases allow you to search for book reviews, author interviews, and more.. You can also search for the book review sections of major newspapers or special book review periodicals, such as. Johns Hopkins University was, in , among the first major academic institutions in the United States to create a degree for writers. The department of the Writing Seminars, distinguished by plus years of teaching by prominent American writers, is characterized by the quality of its faculty, small classes, and a broad liberal arts curriculum as part of the major.

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Founded in , the Johns Hopkins Writing Seminars is an academic program offering undergraduate and graduate degrees in writing in the Zanvyl Krieger School of Arts & Sciences at Johns Hopkins University. It is the second-oldest creative writing program in the United States. The Writing Seminars department office is in Gilman Hall on the Homewood campus. The department offers an undergraduate major and an MFA in Fiction and Poetry. The department offers an undergraduate major and an MFA in Fiction and Poetry.