creative writing douglas college

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Douglas 360°

Posted on July 21, 2021 by douglascollegeblog

Poet, prosaist, professor: Amber Dawn guides writing students through the art of creating in crisis

By Zach Siddiqui, Communications Coordinator  

Last year, Amber Dawn was one of many authors whose book launches were complicated by a global upheaval. Though her latest poetry collection, My Art is Killing Me and Other Poems , did hit shelves, its promotion was quickly stifled as the world scrambled to adapt to COVID–19. What remained stronger than ever, though, was her dedication to the Creative Writing students under her wing at Douglas College during the pandemic. 

“I feel very honoured to be teaching creative writing,” Amber Dawn says. “We can’t really be launching a lot of books. There aren’t public gatherings, so we can’t publicly gather to appreciate literature. But it’s a wonderful time to be creating something.” 

The rhythm of adversity

Amber Dawn juggles author credits in poetry, fiction and memoir, along with experience in editing anthologies. Her debut work, the award-winning Sub Rosa , is known for its adept exploration of sex work through speculative fiction. My Art is Killing Me is her latest of several texts since then , deals with the pain that artists face in making their art, especially through the lens of the behind-the-scenes struggles in the publishing industry. 

At a time when many creatives are grappling with stressful transformations in their fields, the themes of her latest work may be more poignant than ever. In Amber Dawn’s eyes, the pandemic – and its aftermath – could be a moment for writers like her students to blossom under hardship. 

“Some of our favourite artists throughout time have created liminal or outstanding works during crisis,” she explains. “I try to remind my students of that. While many of us are managing crisis, the other side of that is that we’re in touch with ourselves. 

“Imagination and possibility are working at an all–time high, and it’s such a treat to be reading what they’re working on.” 

Read more: Creative Writing instructor transforms short story into whimsical, yet poignant, graphic novel

Putting pen to paper

Amber Dawn’s creative roots lie in the Downtown Eastside, where she started taking free community writing classes in her early 20s. After spending time in writing groups and developing an interest in slam poetry, she enrolled in courses at Douglas, where she was already studying in the Stagecraft and Event Technology Diploma Program . 

“It was a really accessible place for me to start, and I gained a lot of skills,” she explains. Soon after that, she transferred to UBC’s creative writing program, completing her undergrad and graduate studies there. During this time, she began to design and teach courses at Douglas as an adjunct professor. She debuted as an official member of the department in September 2019.   

While Amber Dawn is an established author, she brings little discussion of her poems or stories into her classroom. To her, everything hinges on making space for her students and what they themselves create.    

“I want to feel to them like a clean slate,” she explains. “So that all of the focus is on them and what they want to do.” 

Read more: English Instructor “brews dissent” in new book on craft beer and medievalism

Write and repeat

Amber Dawn teaches introductory and second-year classes in poetry, memoir and fiction, particularly speculative fiction and short stories. For students interested in pursuing creative writing long-term, her advice can be summed up in one word: practice.   

“Someone might have a certain charisma or uniqueness about them the first time they’re in their very first play. But to become a professional actor, you have to train, and train, and train. Same with music, with any of the art forms: practice is key.    

“So for students starting out in creative writing, I would say, let yourself be a beginner. Honour the newness of the craft. Know that through practice and through taking more classes, you’re going to see your craft improve and mature. Have patience with yourself.” 

As much as Amber Dawn’s own content factors little into her syllabus, there are still lessons she feels her students, current and prospective, can take from her journey as an author.   

“I worked very hard,” she says. “I worked for 10 years. I was writing actively and taking classes actively for a decade before I published my first book. 

 “And I believe in my students at the same level as I believed in myself at the time.”   

For more information about the Creative Writing Program, visit the Douglas College website.

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 Category: Academia      Tags: Amber Dawn , author , Community , COVID-19 , creative writing , downtown eastside , fiction , instructor , memoir , metro vancouver , poetry , Stories , writing

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Douglas College

Coquitlam, british columbia, canada, creative writing at douglas college at new westminster.

The Associate of Arts Degree with Specialization in Creative Writing provides students with theory and practice in writing poetry, plays, fiction, children's literature and personal narrative. Students may further specialize in one of the genres by taking advanced courses. The workshop method of teaching allows students to develop the critical thinking skills needed for revising their own work, as well as the interpersonal skills necessary to participate in upper level and graduate level workshops in university.

Students enrolled in this program may be eligible for a Co-operative Education designation. Co-operative Education involves alternating full-time academic and work terms. For information contact the Co-operative Education Office.

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"My passion for serving young people was turned into a career with Douglas. My work now is primarily to help young people help themselves. It's so inspiring to walk alongside them as they overcome their struggles."

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"My journey started at Douglas. It was challenging because I had to maintain high grades in order to get into UBC, but it was worth it because the courses at Douglas prepared me for upper-level courses at university. Douglas helped me build the foundation of my degree." MAKI MURAI Commerce and Business University Transfer graduate 

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BE CREATIVE AND EXPLORE A VARIETY OF CULTURES

Faculty of Language, Literature and Performing Arts

Why study Creative and Performing Arts at Douglas College?

University transfer Many of our courses and credentials are readily transferable to universities in British Columbia as well as other institutions throughout North America and around the world.

Join a vibrant community Attend readings with Literature Alive, weekly concerts with Arts at One, performances by our theatre students, stagecraft students and music programs, as well as exhibitions at our Amelia Douglas Gallery.

Practical experience Many of our programs offer plenty of practical experience along with industry-standard skills in critical thinking, communication and presentation/performance skills, all necessary for today’s workplace or stage.

Interested in Language, Literature and Performing Arts?

Reach people and cultures that you never thought possible,  all through the faculty of Language, Literature and Performing Arts.  You’ll build the core skills needed in every industry such as communication, presentation and writing. Choose from programs in Music, Intercultural and International Studies, Theatre, Creative Writing, Stagecraft and Event Technology, Modern Languages, Communications and more.

Interested? Join us for an information session to learn more.

Interested attend an info session and learn everything about your program of choice. meet your future instructors and get all your questions answered..

Creative Writing

Canada / new westminster.

• Level : Undergraduate
• Institution : Douglas College
• Deadline for application : 31 Jan 2022
• Registration Fee : CAD100
• Tuition Fee : CAD9,180 / Per Semester
• Duration : 4 Semesters
• Language Requirements : International Certificate in English at B2 level or Online English Test,University's own English Language Placement Exam

Description

The Associate of Arts Degree with Specialization in Creative Writing provides students with theory and practice in writing poetry, plays, fiction, children's literature and personal narrative. Students may further specialize in one of the genres by taking advanced courses. The workshop method of teaching allows students to develop the critical thinking skills needed for revising their own work, as well as the interpersonal skills necessary to participate in upper level and graduate level workshops in university.

General Requirements

-High school graduation OR minimum 17 years of age by the end of the first month of studies in the semester of entry to Douglas College; and -Minimum overall grade average of 60% (or equivalent) in the final year of high school; and -Minimum final grade of “C” or 60% (or equivalent) in Grade 11 Mathematics or equivalent for most programs

Language Requirements

-TOEFL(iBT): Overall score of 83. -ILAC: University Pathway 3.3 Level 16 completion with satisfactory attendance. -Duolingo: Minimum overall score of 110. -IELTS(Academic Module): Overall score of 6.5.

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Club | General Interest

DSU Creative Writing Club

The DSU Creative Writing Club is dedicated to creating a space for students to practice creative writing together. We will experiment with a wide variety of genres including songs, scriptwriting, comedy, sci-fi, and short stories. This space is also intended for sharing and workshopping our creative writing. We look forward to connecting with our local writing community by exploring writing-related events in the lower mainland together, such as the Vancouver Writer’s Festival, and Vancouver Slam Poetry Nights.

The purpose of the clubs is to:

• Hold a space that allows for writers to come together and work on writing prompts that are provided by club members.
• Share an opportunity for writers to workshop pieces voluntarily submitted by fellow club members.
• Explore creative writing events that occur throughout the year in the local Vancouver area such as Vancouvers Writer’s Festival or Vancouver Slam Poetry nights.
• Hold a space that allows for writers of all levels to explore a variety of genres and forms that fall under creative writing (Poetry, songs, scripts, short stories, memoirs, etc).

Club Executives:

• Nicole Wylie: Club Facilitator
• Jenny Garcha: Club Facilitator
• Sophia Srepfler: Club Treasurer

Club Information

Location New Westminster

President Nicole Wylie

Email [email protected]

JOIN THE DSU CREATIVE WRITING CLUB HERE:

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Fall 2024 Semester

Undergraduate courses.

Composition courses that offer many sections (ENGL 101, 201, 277 and 379) are not listed on this schedule unless they are tailored to specific thematic content or particularly appropriate for specific programs and majors.

• 100-200 level

ENGL 151.S01: Introduction to English Studies

Tuesday and Thursday, 11 a.m.-12:15 p.m.

Sharon Smith

ENGL 151 serves as an introduction to both the English major and the discipline of English studies. In this class, you will develop the thinking, reading, writing and research practices that define both the major and the discipline. Much of the semester will be devoted to honing your literary analysis skills, and we will study and discuss texts from several different genres—poetry, short fiction, the novel, drama and film—as well as some literary criticism. As we do so, we will explore the language of the discipline, and you will learn a variety of key literary terms and concepts. In addition, you will develop your skills as both a writer and researcher within the discipline of English.

ENGL 201.ST1 Composition II: The Mind/Body Connection

In this section of English 201, students will use research and writing to learn more about problems that are important to them and articulate ways to address those problems. The course will focus specifically on issues related to the mind, the body and the relationship between them. The topics we will discuss during the course will include the correlation between social media and body image; the efficacy of sex education programs; the degree to which beliefs about race and gender influence school dress codes; and the unique mental and physical challenges faced by college students today. In this course, you will be learning about different approaches to argumentation, analyzing the arguments of others and constructing your own arguments. At the same time, you will be honing your skills as a researcher and developing your abilities as a persuasive and effective writer.

ENGL 201.S10 Composition II: Environmental Writing   

Monday/Wednesday/Friday 1-1:50 p.m.

Gwen Horsley

English 201 will help students develop the ability to think critically and analytically and to write effectively for other university courses and careers. This course will provide opportunities to develop analytical skills that will help students become critical readers and effective writers. Specifically, in this class, students will:

• Focus on the relationships between world environments, land, animals and humankind.
• Read various essays by environmental, conservational and regional authors.
• Produce student writings. 

Students will improve their writing skills by reading essays and applying techniques they witness in others’ work and those learned in class. This class is also a course in logical and creative thought. Students will write about humankind’s place in the world and our influence on the land and animals, places that hold special meaning to them or have influenced their lives and stories of their own families and their places and passions in the world. Students will practice writing in an informed and persuasive manner, in language that engages and enlivens readers by using vivid verbs and avoiding unnecessary passives, nominalizations and expletive constructions.

Students will prepare writing assignments based on readings and discussions of essays included in "Literature and the Environment " and other sources. They may use "The St. Martin’s Handbook," as well as other sources, to review grammar, punctuation, mechanics and usage as needed.

ENGL 201.13 Composition II: Writing the Environment

Tuesday and Thursday 9:30-10:45 a.m.

Paul Baggett

For generations, environmentalists have relied on the power of prose to change the minds and habits of their contemporaries. In the wake of fires, floods, storms and droughts, environmental writing has gained a new sense of urgency, with authors joining activists in their efforts to educate the public about the grim realities of climate change. But do they make a difference? Have reports of present and future disasters so saturated our airwaves that we no longer hear them? How do writers make us care about the planet amidst all the noise? In this course, students will examine the various rhetorical strategies employed by some of today’s leading environmental writers and filmmakers. And while analyzing their different arguments, students also will strengthen their own strategies of argumentation as they research and develop essays that explore a range of environmental concerns.

ENGL 201 Composition II: Food Writing

S17 Tuesday and Thursday 12:30-1:45 p.m.

S18 Tuesday and Thursday 2-3:15 p.m.

Jodi Andrews

In this composition class, students will critically analyze essays about food, food systems and environments, food cultures, the intersections of personal choice, market forces and policy and the values underneath these forces. Students will learn to better read like writers, noting authors’ purpose, audience organizational moves, sentence-level punctuation and diction. We will read a variety of essays including research-intensive arguments and personal narratives which intersect with one of our most primal needs as humans: food consumption. Students will rhetorically analyze texts, conduct advanced research, reflect on the writing process and write essays utilizing intentional rhetorical strategies. Through doing this work, students will practice the writing moves valued in every discipline: argument, evidence, concision, engaging prose and the essential research skills for the 21st century.

ENGL 221.S01 British Literature I

Michael S. Nagy

English 221 is a survey of early British literature from its inception in the Old English period with works such as "Beowulf" and the “Battle of Maldon,” through the Middle Ages and the incomparable writings of Geoffrey Chaucer and the Gawain - poet, to the Renaissance and beyond. Students will explore the historical and cultural contexts in which all assigned reading materials were written, and they will bring that information to bear on class discussion. Likely themes that this class will cover include heroism, humor, honor, religion, heresy and moral relativity. Students will write one research paper in this class and sit for two formal exams: a midterm covering everything up to that point in the semester, and a comprehensive final. Probable texts include the following:

• The Norton Anthology of English Literature: The Middle Ages. Ed. Alfred David, M. H. Abrams, and Stephen Greenblatt. 9th ed. New York: W. W. Norton & Company, 2012.
• The Norton Anthology of English Literature: The Sixteenth Century and Early Seventeenth Century. Ed. George M. Logan, Stephen Greenblatt, Barbara K Lewalski, and M. H. Abrams. 9th ed. New York: W. W. Norton & Company, 2012.
• The Norton Anthology of English Literature: The Restoration and the Eighteenth Century. Ed. George M. Logan, Stephen Greenblatt, Barbara K Lewalski, and M. H. Abrams. 9th ed. New York: W. W. Norton & Company, 2012.
• Gibaldi, Joseph. The MLA Handbook for Writers of Research Papers. 6th ed. New York: The Modern Language Association of America, 2003.
• Any Standard College Dictionary.

ENGL 240.S01 Juvenile Literature Elementary-5th Grade

Monday, Wednesday and Friday noon-12:50 p.m.

April Myrick

A survey of the history of literature written for children and adolescents, and a consideration of the various types of juvenile literature. Text selection will focus on the themes of imagination and breaking boundaries.

ENGL 240.ST1 Juvenile Literature Elementary-5th Grade

Randi Anderson

In English 240 students will develop the skills to interpret and evaluate various genres of literature for juvenile readers. This particular section will focus on various works of literature at approximately the K-5 grade level. We will read a large range of works that fall into this category, as well as information on the history, development and genre of juvenile literature.

Readings for this course include classical works such as "Hatchet," "Little Women", "The Lion, the Witch and the Wardrobe" and "Brown Girl Dreaming," as well as newer works like "Storm in the Barn," "Anne Frank’s Diary: A Graphic Adaptation," "Lumberjanes," and a variety of picture books. These readings will be paired with chapters from "Reading Children’s Literature: A Critical Introduction " to help develop understanding of various genres, themes and concepts that are both related to juvenile literature and also present in our readings.

In addition to exposing students to various genres of writing (poetry, historical fiction, non-fiction, fantasy, picture books, graphic novels, etc.) this course will also allow students to engage in a discussion of larger themes present in these works such as censorship, race and gender. Students’ understanding of these works and concepts will be developed through readings, research, discussion posts, exams and writing assignments designed to get students to practice analyzing poetry, picture books, informational books and transitional/easy readers.

ENGL 241.S01: American Literature I

Tuesday and Thursday 12:30-1:45 p.m.

This course provides a broad, historical survey of American literature from the early colonial period to the Civil War. Ranging across historical periods and literary genres—including early accounts of contact and discovery, narratives of captivity and slavery, poetry of revolution, essays on gender equality and stories of industrial exploitation—this class examines how subjects such as colonialism, nationhood, religion, slavery, westward expansion, race, gender and democracy continue to influence how Americans see themselves and their society.

Required Texts

• The Norton Anthology of American Literature: Package 1, Volumes A and B Beginnings to 1865, Ninth Edition. (ISBN 978-0-393-26454-8)

ENGL 283.S01 Introduction to Creative Writing

Steven Wingate

Students will explore the various forms of creative writing (fiction, nonfiction and poetry) not one at a time in a survey format—as if there were decisive walls of separation between then—but as intensely related genres that share much of their creative DNA. Through close reading and work on personal texts, students will address the decisions that writers in any genre must face on voice, rhetorical position, relationship to audience, etc. Students will produce and revise portfolios of original creative work developed from prompts and research. This course fulfills the same SGR #2 requirements ENGL 201; note that the course will involve a research project. Successful completion of ENGL 101 (including by test or dual credit) is a prerequisite.

ENGL 283.S02 Introduction to Creative Writing

Jodilyn Andrews

This course introduces students to the craft of writing, with readings and practice in at least two genres (including fiction, poetry and drama).

ENGL 283.ST1 Introduction to Creative Writing

Amber Jensen, M.A., M.F.A.

This course explores creative writing as a way of encountering the world, research as a component of the creative writing process, elements of craft and their rhetorical effect and drafting, workshop and revision as integral parts of writing polished literary creative work. Student writers will engage in the research practices that inform the writing of literature and in the composing strategies and writing process writers use to create literary texts. Through their reading and writing of fiction, poetry and creative nonfiction, students will learn about craft elements, find examples of those craft elements in published works and apply these elements in their own creative work, developed through weekly writing activities, small group and large group workshop and conferences with the instructor. Work will be submitted, along with a learning reflection and revision plan in each genre and will then be revised and submitted as a final portfolio at the end of the semester to demonstrate continued growth in the creation of polished literary writing.

• 300-400 level

ENGL 424.S01 Language Arts Methods grades 7-12  

Tuesday 6-8:50 p.m.

Danielle Harms

Techniques, materials and resources for teaching English language and literature to middle and secondary school students. Required of students in the English education option.

AIS/ENGL 447.S01: American Indian Literature of the Present 

Thursdays 3-6 p.m.

This course introduces students to contemporary works by authors from various Indigenous nations. Students examine these works to enhance their historical understanding of Indigenous peoples, discover the variety of literary forms used by those who identify as Indigenous writers, and consider the cultural and political significance of these varieties of expression. Topics and questions to be explored include:

• Genre: What makes Indigenous literature indigenous?
• Political and Cultural Sovereignty: Why have an emphasis on tribal specificity and calls for “literary separatism” emerged in recent decades, and what are some of the critical conversations surrounding such particularized perspectives?
• Gender and Sexuality: What are the intersecting concerns of Indigenous Studies and Women, Gender and Sexuality Studies, and how might these research fields inform one another?
• Trans-Indigeneity: What might we learn by comparing works across different Indigenous traditions, and what challenges do such comparisons present?
• Aesthetics: How do Indigenous writers understand the dynamics between tradition and creativity?
• Visual Forms: What questions or concerns do visual representations (television and film) by or about Indigenous peoples present?

Possible Texts

• Akiwenzie-Damm, Kateri and Josie Douglas (eds), Skins: Contemporary Indigenous Writing. IAD Press, 2000. (978-1864650327)
• Erdrich, Louise, The Sentence. Harper, 2021 (978-0062671127)
• Harjo, Joy, Poet Warrior: A Memoir. Norton, 2021 (978-0393248524)
• Harjo, Sterlin and Taika Waititi, Reservation Dogs (selected episodes)
• Talty, Morgan. Night of the Living Rez, 2022, Tin House (978-1953534187)
• Wall Kimmerer, Robin. Braiding Sweet Grass, Milkweed Editions (978-1571313560)
• Wilson, Diane. The Seed Keeper: A Novel. Milkweed Editions (978-1571311375)
• Critical essays by Alexie, Allen, Cohen, Cox, King, Kroeber, Ortiz, Piatote, Ross and Sexton, Smith, Taylor, Teuton, Treuer, Vizenor, and Womack.

ENGL 472.S01: Film Criticism

Tuesdays 2-4:50 p.m.

Jason McEntee

Do you have an appreciation for, and enjoy watching, movies? Do you want to study movies in a genre-oriented format (such as those we typically call the Western, the screwball comedy, the science fiction or the crime/gangster, to name a few)? Do you want to explore the different critical approaches for talking and writing about movies (such as auteur, feminist, genre or reception)?

In this class, you will examine movies through viewing and defining different genres while, at the same time, studying and utilizing different styles of film criticism. You will share your discoveries in both class discussions and short writings. The final project will be a formal written piece of film criticism based on our work throughout the semester. The course satisfies requirements and electives for all English majors and minors, including both the Film Studies and Professional Writing minors. (Note: Viewing of movies outside of class required and may require rental and/or streaming service fees.)

ENGL 476.ST1: Fiction

In this workshop-based creative writing course, students will develop original fiction based on strong attention to the fundamentals of literary storytelling: full-bodied characters, robust story lines, palpable environments and unique voices. We will pay particular attention to process awareness, to the integrity of the sentence, and to authors' commitments to their characters and the places in which their stories unfold. Some workshop experience is helpful, as student peer critique will be an important element of the class.

ENGL 479.01 Capstone: The Gothic

Wednesday 3-5:50 p.m.

With the publication of Horace Walpole’s "The Castle of Otranto " in 1764, the Gothic officially came into being. Dark tales of physical violence and psychological terror, the Gothic incorporates elements such as distressed heroes and heroines pursued by tyrannical villains; gloomy estates with dark corridors, secret passageways and mysterious chambers; haunting dreams, troubling prophecies and disturbing premonitions; abduction, imprisonment and murder; and a varied assortment of corpses, apparitions and “monsters.” In this course, we will trace the development of Gothic literature—and some film—from the eighteenth-century to the present time. As we do so, we will consider how the Gothic engages philosophical beliefs about the beautiful and sublime; shapes psychological understandings of human beings’ encounters with horror, terror, the fantastic and the uncanny; and intervenes in the social and historical contexts in which it was written. We’ll consider, for example, how the Gothic undermines ideals related to domesticity and marriage through representations of domestic abuse, toxicity and gaslighting. In addition, we’ll discuss Gothic texts that center the injustices of slavery and racism. As many Gothic texts suggest, the true horrors of human existence often have less to do with inexplicable supernatural phenomena than with the realities of the world in which we live. 

ENGL 485.S01: Undergraduate Writing Center Learning Assistants 

Flexible Scheduling

Nathan Serfling

Since their beginnings in the 1920s and 30s, writing centers have come to serve numerous functions: as hubs for writing across the curriculum initiatives, sites to develop and deliver workshops and resource centers for faculty as well as students, among other functions. But the primary function of writing centers has necessarily and rightfully remained the tutoring of student writers. This course will immerse you in that function in two parts. During the first four weeks, you will explore writing center praxis—that is, the dialogic interplay of theory and practice related to writing center work. This part of the course will orient you to writing center history, key theoretical tenets and practical aspects of writing center tutoring. Once we have developed and practiced this foundation, you will begin work in the writing center as a tutor, responsible for assisting a wide variety of student clients with numerous writing tasks. Through this work, you will learn to actively engage with student clients in the revision of a text, respond to different student needs and abilities, work with a variety of writing tasks and rhetorical situations, and develop a richer sense of writing as a complex and negotiated social process.

Graduate Courses

Engl 572.s01: film criticism, engl 576.st1 fiction.

In this workshop-based creative writing course, students will develop original fiction based on strong attention to the fundamentals of literary storytelling: full-bodied characters, robust story lines, palpable environments and unique voices. We will pay particular attention to process awareness, to the integrity of the sentence and to authors' commitments to their characters and the places in which their stories unfold. Some workshop experience is helpful, as student peer critique will be an important element of the class.

ENGL 605.S01 Seminar in Teaching Composition

Thursdays 1-3:50 p.m.

This course will provide you with a foundation in the pedagogies and theories (and their attendant histories) of writing instruction, a foundation that will prepare you to teach your own writing courses at SDSU and elsewhere. As you will discover through our course, though, writing instruction does not come with any prescribed set of “best” practices. Rather, writing pedagogies stem from and continue to evolve because of various and largely unsettled conversations about what constitutes effective writing and effective writing instruction. Part of becoming a practicing writing instructor, then, is studying these conversations to develop a sense of what “good writing” and “effective writing instruction” might mean for you in our particular program and how you might adapt that understanding to different programs and contexts.

As we read about, discuss and research writing instruction, we will address a variety of practical and theoretical topics. The practical focus will allow us to attend to topics relevant to your immediate classroom practices: designing a curriculum and various types of assignments, delivering the course content and assessing student work, among others. Our theoretical topics will begin to reveal the underpinnings of these various practical matters, including their historical, rhetorical, social and political contexts. In other words, we will investigate the praxis—the dialogic interaction of practice and theory—of writing pedagogy. As a result, this course aims to prepare you not only as a writing teacher but also as a nascent writing studies/writing pedagogy scholar.

At the end of this course, you should be able to engage effectively in the classroom practices described above and participate in academic conversations about writing pedagogy, both orally and in writing. Assessment of these outcomes will be based primarily on the various writing assignments you submit and to a smaller degree on your participation in class discussions and activities.

ENGL 726.S01: The New Woman, 1880–1900s 

Thursdays 3–5:50 p.m.

Katherine Malone

This course explores the rise of the New Woman at the end of the nineteenth century. The label New Woman referred to independent women who rebelled against social conventions. Often depicted riding bicycles, smoking cigarettes and wearing masculine clothing, these early feminists challenged gender roles and sought broader opportunities for women’s employment and self-determination. We will read provocative fiction and nonfiction by New Women writers and their critics, including authors such as Sarah Grand, Mona Caird, George Egerton, Amy Levy, Ella Hepworth Dixon, Grant Allen and George Gissing. We will analyze these exciting texts through a range of critical lenses and within the historical context of imperialism, scientific and technological innovation, the growth of the periodical press and discourse about race, class and gender. In addition to writing an argumentative seminar paper, students will complete short research assignments and lead discussion.

ENGL 792.ST1 Women in War: Female Authors and Characters in Contemporary War Lit

In this course, we will explore the voices of female authors and characters in contemporary literature of war. Drawing from various literary theories, our readings and discussion will explore the contributions of these voices to the evolving literature of war through archetypal and feminist criticism. We will read a variety of short works (both theoretical and creative) and complete works such as (selections subject to change): "Eyes Right" by Tracy Crow, "Plenty of Time When We Get Home" by Kayla Williams, "You Know When the Men are Gone" by Siobhan Fallon, "Still, Come Home" by Katie Schultz and "The Fine Art of Camouflage" by Lauren Johnson.

• Creative Writing at St. Olaf College
• Our Three Majors

The Creative Writing Major

Scaffolded for breadth and depth, the creative writing major at St. Olaf emphasizes the study of literary craft to empower a student to read literature like a writer to create texts of their own. To learn about the major’s degree requirements, please visit the academic catalog .

Off-Campus Study

St. Olaf College sponsors off-campus study at The University of East Anglia, which specializes in creative writing and film studies with an emphasis on professional development. St. Olaf students have attended writing conferences such as Writers in Paradise sponsored by Eckerd College in St. Petersburg, Florida and the Iowa Summer Writing Festival .

Campus Writing Opportunities

St. Olaf College offers students several co-curricular opportunities for writing, publishing, and/or publicly reading their work:

• St. Olaf Messenger , campus newspaper
• The Quarry, literary magazine publishing student and alumni work
• The Reed , interdisciplinary journal publishing creative writing, literary criticism, and philosophical essays related to existentialism

Students also take part in writing-focused internships with the Northfield News and publishing houses in Minnesota and New York.

The English Department holds annual contests in creative nonfiction, fiction, and poetry to recognize student work. Nationally recognized writers who have served as final judges are Todd Boss, Greg Bills, Paul Bogard, Mary Rose O’Reilly, Michael Kleber-Diggs, and torrin a. greathouse . The department also nominates student writing for the American Colleges of the Midwest’s Nick Adams Short Story Contest and The Associated Writing Programs Intro Journals Awards.

Distinguished Visiting Writers

The English Department is proud to host The Claire Gilbert Marty Visiting Writers Series and The Marilyn Nelson Visiting Poet Series . Notable writers from around the world have enriched St. Olaf students’ knowledge of contemporary literature through guest readings and other author events. Some past visitors include Paul Auster, Charles Baxter, Paul Bogard, Lynn Emanuel, Sam Hamill, Christopher Howell, Siri Hustvedt, Douglas Kearney, Kim Ki-Taek, Gerry LaFemina, Ed Bok Lee, Philip Lopate, Dennis Maloney, Susan McCabe, Benjamin Percy, Bao Phi, Nahid Rachlin, A.E. Stallings, Rodrigo Toscano, Derek Walcott, Kao Kalia Yang, and more.

Alumni Achievements

St. Olaf creative writing alumni have gone on to win national fellowships and grants such as the Wallace Stegner and National Endowment for the Arts; release books with publishers like Harper Collins, Penguin, and W.W. Norton and Co.; edit manuscripts at Tin House and Milkweed Editions; support community programming at The Playwright’s Center and The Loft Literary Center; attend top-ranked MFA programs at Columbia University, Hollins University, New York University, University of Washington, among others; and feature at literary festivals across North America, Europe, and Asia.

Applying to Graduate Programs in Creative Writing

Creative writing at St. Olaf College— opening up worlds within and beyond!

Writing Song Lyrics

Faculty Language, Literature & Performing Arts Department Creative Writing Course Code CRWR 1234 Credits 3.00 Semester Length 15 weeks Max Class Size 20 Method(s) Of Instruction Tutorial

Typically Offered To be determined

Course Content

• Students' own song lyric manuscripts and recordings will form the bulk of the course content.
• The history and evolution of songwriting will be studied, providing a foundation for students' own creative work.
• An exploration of different songwriting genres will be spread out across the duration of the course. This contextual material will complement the craft-oriented topics explored each week.
• Craft-oriented topics will include key aspects of song structure, literary devices, meter and rhyme.
• The published work of songwriters across a range of genres will offer perspective on various challenges of craft and form.
• Texts and videos on the art of songwriting, including artist interviews, will also feature in the course.

Classes will be conducted in the traditional creative-writing workshop format, in which students receive direction from their instructor and participate in exchanging constructive criticism with their peers.

The following may be combined with the workshop:

• lectures and discussions
• small group work
• assigned readings and class presentations
• in-class exercises

Several creative assignments submitted for workshopping  will constitute up to 40% of the final grade. These may include:

• a song written in 4/4 time or 3/4 time
• a ballad written in a minor key
• a song about/inspired by a place
• a song written in third-person POV
• a song written as a letter or other type of document
• a suite of songs connected by a theme, character or place. 

In-class exercises , constituting 20% of the final grade, may include work such as: 

• a verse and chorus written in 4/4 time
• a verse and chorus written in 3/4 time
• a series of verses written on a theme.

These in-class exercises will encourage students to explore different aspects of the songwriting process. 

An essay on a song or series of songs by an established artist will form at least  15% of the final grade.

Class participation will constitute up to 25% of the course grade. Participation includes contributions to workshops, written and verbal responses to other students' work, ability to process constructive criticism, and support in developing a constructive class atmosphere.

Students are required to attend 80% of the workshops. A student missing more than 20% of the workshops for any reason will receive a zero in Class Participation. 

General Objectives

The student will become familiar with the poetic and narrative elements of song lyrics. The student will use these elements in constructing work that will be presented for class discussion.

Specific Objectives

 Successful students will be able to

Pre-writing:

• Prepare for creating their own material by studying key aspects of song structure, including verse, chorus and bridge.
• Acquaint themselves with some musical fundamentals of songwriting, including pitch and rhythm aspects, while focusing primarily on the lyric element of songs studied.
• Consider personal experience and learn how this experience can be used in writing songs.
• Identify a variety of modern and traditional forms and learn to use these forms in their song lyrics.
• Experiment with aspects of song structure including verse, chorus and bridge.
• Employ literary aspects such as character, setting, imagery, narrative arc and point-of-view in their song lyrics.
• Develop writing habits consistent with the production of quality written work.
• Produce readable, listenable and well-structured song lyrics.
• Adapt and use the narrative and poetic techniques discovered in published song lyrics.
• Develop the critical skills necessary to judge the effectiveness of written work.

• Recognize the value of revision as an essential writing process.
• Evaluate critical suggestions from instructor and peers, and incorporate them judiciously into the revised songs.

Textbooks and Materials to be purchased by students.

The following are examples of suggested texts. Instructors may assign recent editions of textbooks such as: 

• A book that explores the craft and life of songwriters, such as  Tunesmith: Inside the Art of Songwriting.  Webb, Jimmy. (New York: Hachette Books, 1998).
• A text of interviews with songwriters, such as  More Songwriters on Songwriting.  Ed. Zollo, Paul. (Boston: Da Capo Press, 2016).

Prerequisites

Any College entrance Language Proficiency Requirement with the exceptions of the Douglas College Course Options in ELLA or ENGU and the assessments listed below. These require the specified higher standard for entry into CMNS, CRWR and ENGL courses. • a minimum grade of C- in ELLA 0460 , or a minimum grade of C- in both ELLA 0465 and 0475, OR • a minimum grade of C- in ENGU 0450 or ENGU 0455 or ENGU 0490 , OR • Mastery in ELLA 0330 and any two of ELLA 0310 , 0320, or 0340, OR • TOEFL overall score of 83 with a minimum of 21 in Writing, OR • IELTS overall score of 6.5 with no band below 6.0; for individual bands below 6.0:        • if in Speaking, ELLA 0210 required        • if in Reading or Listening, ELLA 0220 required        • if in Writing, ELLA 0230 and ELLA 0240 required OR • CLB score of 8, OR • CEFR level B2+, OR • CAEL minimum overall and essay score of 70 (computer or paper based), OR • recognized equivalent or exemption.

Corequisites

Courses listed here must be completed either prior to or simultaneously with this course:

• No corequisite courses

Equivalencies

Courses listed here are equivalent to this course and cannot be taken for further credit:

• No equivalency courses

Course Guidelines

Course Guidelines for previous years are viewable by selecting the version desired. If you took this course and do not see a listing for the starting semester / year of the course, consider the previous version as the applicable version.

Course Transfers

These are for current course guidelines only. For a full list of archived courses please see https://www.bctransferguide.ca

Course Offerings