INTRODUCTORY WORKSHOPS
This popular introductory workshop offers an exciting introduction to the basic elements of poetry and fiction, with in-class writing, take-home reading and writing assignments, and substantive discussions of craft. The course is structured as a workshop, which means that students receive feedback from their instructor and their fellow writers in a roundtable setting, and should be prepared to offer their classmates responses to their work. 4 points.


CRWRI-UA.815 Creative Writing: Introduction to Fiction & Poetry

Section 001, Wallace Ludel, MW 9:30-10:45am
Section 002, Ryan Ouimet, MW 12:30-1:45pm
Section 003, Madeleine Mori, MW 11:00am-12:15am
Section 004, Tim Glencross, MW 8:00am-9:15pm
Section 005, Matthew Chow, MW 2:00-3:15pm
Section 006, Hallie Newton, TR 9:30-10:45am
Section 007, John Maher, TR 12:30-1:45pm
Section 008, Claire Martin, TR 2:00-3:15pm
Section 009, Maggie Millner, TR 11:00am-12:15pm
Section 010, Rachel Mannheimer, TR 9:30-10:45am
Section 011, Joanna Milstein, MW 12:30-1:45pm
Section 012, Kathryn Bockino, TR 12:30-1:45pm 
Section 013, Yuxi Lin, TR 8:00-9:15am
Section 014, Eleanor Wright, TR 9:30-10:45am
Secton 015, Leigh Sugar, TR 12:30-1:45pm
Section 016, Wilson Ding, TR 3:30-4:45pm
Section 017, Ben Blumstein, MW 9:30-10:45am
Section 018, Scott Gannis, MW 9:30-10:45am
Section 019, Amir Ahmadi, TR 12:30-1:45pm
Section 020, Azzure Alexander, TR 9:30-10:45am
Section 021, Emma Kruse, TR 2:00-3:15pm
Section 023, Angelo Nikolopoulos, MW 4:55-6:10pm


Click here for information about the Creative Writing Program's course offerings abroad at NYU's Accra, Buenos Aires, London, and Sydney sites.                                                                       

 

INTERMEDIATE WORKSHOPS
The intermediate workshops offer budding prose writers and poets an opportunity to continue their pursuit of writing through workshops that focus on a specific genre. The workshops also integrate in-depth craft discussions and extensive outside reading to deepen students’ understanding of the genre and broaden their knowledge of the evolution of literary forms and techniques.

Prerequisite for fiction: CRWRI-UA 815, OR CRWRI-UA 9815, OR CRWRI-UA.816, OR CRWRI-UA 818/819, OR CRWRI-UA 9818/9819, OR CRWRI-UA 9828/9829, OR CRWRI-UA 860, OR COSEM-UA 118 or equivalent. Prerequisite for poetry: CRWRI-UA 815, OR CRWRI-UA 9815, OR CRWRI-UA.817, OR CRWRI-UA 818/819, OR CRWRI-UA 9818/9819, OR CRWRI-UA 9828/9829, OR CRWRI-UA.870, OR FRSEM-UA 388 or equivalent. Prerequisite for creative nonfiction: CRWRI-UA 815, OR CRWRI-UA 9815, OR CRWRI-UA 818/819, OR CRWRI-UA 9818/9819, OR CRWRI-UA 9828/9829, OR CRWRI-UA 825, OR CRWRI-UA.880 or equivalent. 4 points.


CRWRI-UA.816.001 Intermediate Fiction Workshop
George Foy, M 12:30-3:15pm
The workshop model combines some teaching by a writer—who for better or worse in this case at least knows something about the writing life through having lived it since he was in his early 20s—with the absolute best way to perfect your work, i.e., by doing it—writing, writing, writing. The course's philosophy is based on the premise that when a writer picks up a pen or opens a laptop to start a piece of fiction, he or she breaks connection with "normal" time and space to enter a storyworld in which anything is possible. Such a world, if well constructed, will like other complex systems start to generate and follow its own rules and acquire independent life. Too often writers are prevented from taking advantage of this freedom by straitjacket expectations ("write what you know," for example) or fear of failure. In this class the idea is to blow fear away, and use any technique or even deep trauma as long as it works to create living characters inhabiting a believable world, described in prose that takes wing and a voice that is recognizably yours. To that end students will submit at least 2 full-length short stories over the term's course; they will also complete writing exercises and "flash" stories, in class and on-assignment, every week. Readings are assigned throughout term, and readers' reports are due in the middle and at the end of term. Readings in the past have included Amy Hempel, Bolaño, Tobias Wolff,  Winterson, Chekhov, Neruda, Ngugi wa Thiongo and Lydia Davis. We will of course discuss traditional issues in writing, such as elements of craft (point of view, tone, dialogue and so forth) and ways to nurture and sustain, on the nuts and bolts plane, your writing practice. But we will also explore non-linear stories, illustrated narrative, fiction as street theater, prose poems, and other topics too numerous and amusing to list in a course catalog.

CRWRI-UA.816.002 Intermediate Fiction Workshop
Elizabeth Gaffney, T 6:20-9:05pm
Our goals are: to learn the writers process through studying a dozen masters of the form, write a page of new prose every day and, drawing from those pages, to create and revise a new short story. In this class: we will write—in class and out. We will read short stories—yours and those of a dozen renowned short story writers. We will analyze the writer's process—both yours and that of our writers, through reading—and occasionally conducting—interviews.


CRWRI-UA.816.003 Intermediate Fiction Workshop
Mitchell S. Jackson, M 12:30-3:15pm
In this fiction workshop, we will work to deepen your understanding of the elements of fiction including voice, point of view, setting, characterization, pacing, tone, plot development, dialogue, etc. We will also work to improve your ability to read as a writer as well as develop / improve the skills necessary to revise your work and critique the work of others. We will also complete writing exercises to assist in exploring a range of strategies, impulses, and ideas.

 

CRWRI-UA.816.004 Intermediate Fiction Workshop 
Mira Jacob, R 4:55-7:30pm
Remember that last story or book you really loved? Well, there was a reason for it. Sure, it was compelling and original and all of that, but beyond that, it had a ticking plot, or a compelling narrator, or such fluid pacing that you could not help but fall into the spell that readers of fiction have for centuries. So let's go back into that story. Let's take it apart and see what you can glean from it and use for your own. Nothing is quite as fun as learning from the best, right? This is a course for those interested in getting actual nut-and-bolts knowledge about writing fiction. We will discuss basic elements -- like character, plot development, voice, point of view, pacing, and structure, and read everyone from Junot Diaz and Katherine Mansfield to get a grip on our own craft. Come prepared to read carefully and write boldly.

 

CRWRI-UA.816.005 Intermediate Fiction Workshop
Jess Row, F 11:00am-1:45pm
This course is an intensive introduction to fiction as an art form, where we focus on the conventions of story-making (point of view, time sequence, causation, characterization) and how those conventions can be manipulated, violated, inverted, or tossed out entirely. We will spend about half our time on assigned readings and experiments, and half as a workshop focused on your independent writing. Our readings will range from familiar and relatively accessible texts (Lorrie Moore, Edward P. Jones) to works that challenge and undermine our understanding of fiction as a genre (Mary Ruefle, Clarice Lispector, Theresa Hak-kyung Cha).

 

CRWRI-UA.816.008 Intermediate Fiction Workshop 
Mohammed Nassehu Ali, T 12:30-3:15pm
In this intermediate fiction workshop, the primary focus will be on your writing. Most of the class time will be dedicated to discussing your work and exchanging critiques and ideas on how to improve a draft and also your writing skills in general. Through in/out-of-class writing, primary text and assigned readings, class discussions and presentations, we will examine the structure of the short story and the novel, as well as the basic elements of fiction such as characterization, dialogue, plot, theme, and viewpoint. Additionally, we will be taking an in-depth look at form and style, the role of humor in fiction, and lastly, the fundamental grammar and language of fiction writing. The secondary focus of this workshop will be on you, the writer. George Orwell once wrote that, "There are four great motives for writing," which he listed as sheer egoism, aesthetic enthusiasm, historical impulse, and political purpose. In 1980, another writer of lesser fame than Orwell, Arturo Vivante, also wrote: "One writes fiction in order to know." Using the above quotations as springboard for a class symposium, we will be asking ourselves two questions: (1) Why do we write? and (2) Why fiction in particular? During the first two weeks students will be encouraged to carry out a personal analysis of what motivates, inspires, or informs their writing. The goal of this exercise is to assist students in their continued effort to develop an original voice, language, and style that are unique to their personal aesthetics. And finally the fun part: we will discuss the use of eavesdropping as a writing tool. In my opinion, eavesdropping is the surest means for writers to put their fingers on the pulse of their contemporary environment. Some may disagree and may even think of this "art" as unethical. This and other topics will keep us busy and engaged throughout the semester.

 

CRWRI-UA.817.001 Intermediate Poetry Workshop
Geoffrey Nutter, M 9:30am-12:15pm
The making of poems offers us freedom--the freedom to experiment with form, experiment with language, experiment with self and consciousness, and push these experiments to extremes in order to create experiences and bring them to a consummation. It invites us to build worlds and move through these worlds--and to understand something new about the world we live in, broadening its possibilities and offering alternatives. Basho was a great poet and teacher of poetry in 17th century Japan. He urged poets to try to identify closely with the things of the world, to feel a direct sympathy with them to the point of inhabiting them through imaginative projection. Language is the point of physical identity between the self and the world, observer and the observed (whether the thing observed is something in the objective world we move through, or something in the objective world of the imagination {yes, itself an objective world})--which is where the idea of precision becomes so important. But language is also, of course, how we discover what we observe. We move through language toward discovery--not the other way around. In this Workshop you will read several recent exciting volumes of poetry. We will also see how our own writing relates to this work and how we can learn from it. We will do many, many in-class writing exercises that will introduce you to different ways of moving through language toward discovery. You will leave with your knowledge of prosody, form, currents of poetry throughout history, and most importantly your own body of work considerably broadened and deepened. And of course, a significant amount of time will be spent each class focusing on and critiquing poems written by students. We will look at student work closely and with an eye not only to improving each poem but also always keeping in mind the exciting prospect of the Next Poem. I also hope we can come away with an awareness of something that John Dewey expressed so beautifully: that poems "do not seem to come from the self, because they issue from a self not consciously known."

 

CRWRI-UA.817.002 Intermediate Poetry Workshop
Adam Fitzgerald, R 12:00pm-3:15pm
Course Description Forthcoming

 

CRWRI-UA.817.003 Intermediate Poetry Workshop
Sharon Mesmer, R 4:55-7:40pm
Is it possible to write, as Clarice Lispector suggests, both "squalidly and structurally"?  I say yes.  Both ends of the trajectory are possible ... and necessary, really, in order to produce surprisingly inventive writing.  In this workshop, we will explore and exploit the fertile (oftentimes untouched) mud of our imaginations through a series of five writing exercises paired with model texts, each utilizing a different prose form into which even the muddiest, most inchoate and problematic ideas, images and language can be flowed.  (Occasionally I will use my own work to show you how I approached these forms . . . I never give assignments that I myself haven't tried!)  We will discuss the visible and invisible architectures of these model texts, and how you can deploy those architectures for your own purposes. Are you an absolute beginner? an uncertain experimenter?  a bitter literary world veteran?  Doesn't matter.  The assignments + model texts can be used by anyone at any level of proficiency.  Additionally, having a varied mix of voices is important, as Bitter Literary World Veteran can always learn something from Absolute Beginner about (as Jack Kerouac said) being "submissive to everything, open, listening."  Together we'll read, write, discuss, dissect, experiment and create.  Our objectives?  1.)  To read, learn about, and be inspired by, the writings of others, including our fellow classmates; and 2.) to produce five fully alive pieces of prose that you would feel confident submitting to magazines (if that's your goal) or just proud to have written.  

 

CRWRI-UA.817.004 Intermediate Poetry Workshop
Matthew Rohrer, M 11:00am-1:45pm

This course will thrust students headlong into the dark cobwebby interiors of the modern poem.  We’ll look closely at how modern poems became modern, looking at several revolutions in thinking about what poems are --- beginning in England in 1798, coming to Walt Whitman’s and Emily Dickinson’s America in the 1850s, stopping in Harlem in the 1920s and ending up online.  We’ll look at how modern poems are actually put together, considering such elemental concerns as image, voice, structure, etc.  And we’ll also write our own poems, sometimes with these examples as our models. Students will leave this course with a deeper understanding of the lineage of the modern poem and what makes the modern poem go. And combined with the generous and critical attentions of the workshop, students will come to the same understanding of their own work.

 

CRWRI-UA.825.001 Intermediate Creative Nonfiction Workshop
Maria Laurino, R 11:00am-1:45pm
How do we create essays and memoir that move beyond the personal “I” to a universal eye? In this writing and reading workshop, we will explore the strategies of creative nonfiction, examining the roles of memory, reporting, and research in developing personal narratives. We will focus on creating concise, shapely, and texturally rich essays and memoir. The participatory classroom setting will allow us, in Michel de Montaigne’s words, to “reserve a back shop all our own”—a supportive, creative environment in which students participate in classroom exercises, write and revise their narratives, and critically discuss the work of essayists and memoirists, including Montaigne, George Orwell, Joan Didion, Patricia Hampl, Zadie Smith, Rebecca Solnit, Jonathan Lethem, and Geoff Dyer.

 

 

ADVANCED WORKSHOPS
Advanced workshops provide emerging writers with the opportunity to hone their individual voice and experiment with different aesthetical strategies in a genre-specific workshop taught by an eminent writer in the field. The workshops focus on innovative revision techniques, the development of a sustainable writing process, and the broadening of students’ literary knowledge of classical and contemporary masters. Each advanced workshop has a distinct emphasis and area of exploration—students are advised to pay close attention to the course descriptions, which are available online prior to registration.

Prerequisite for fiction: CRWRI-UA 816, OR CRWRI-UA 818, OR CRWRI-UA 9818, OR CRWRI-UA 9828, OR CRWRI-UA 820, OR CRWRI-UA 860 or equivalent. Prerequisite for poetry: CRWRI-UA 817, OR CRWRI-UA 819, OR CRWRI-UA 9819, OR CRWRI-UA 9829, OR CRWRI-UA 830, OR CRWRI-UA 870 or equivalent. Prerequisite for creative nonfiction: CRWRI-UA 825, OR CRWRI-UA 850, OR CRWRI-UA 880 or equivalent. 4 points.

 

CRWRI-UA.820.001 Advanced Fiction Workshop

Irini Spanidou, M 6:30-9:15pm
The emphasis of this course is on the discovery, encouragement and development of each student's individual voice. The aim is to facilitate the clarity and momentum of their writing so their stories may gain a cohesive form without being forced into formulaic "perfection" of style or structure. Students will submit three stories or chapters of a novel during the course of the semester. (I will be meeting with them to discuss their work one-on-one the week after each of their submissions is workshopped.)

CRWRI-UA.820.004 Advanced Fiction Workshop
Charles Bock, W 4:55-7:40pm
Class is divided into lectures, exercises, and workshop. Lots of time will be spent on technical stuff, how characters work, the way in which a story develops, language, structure, etc. Weekly lectures start things off with an emphasis on craft, craft, craft. We'll build from the basics (because you can't break rules without knowing why you need to break them, and this requires knowing rules). We'll do exercises related to the lectures. Then workshops for the second half of the class. Workshops are structured so every student will comment on a story, and participation is a big part of a class. We care about improving stories and why they work and how they can be improved; we care about supporting our fellow students in their creative ventures and being daring and moving into uncharted narrative territories; however, please know, whether you like something matters to me not at all. In fact, during workshop, if someone says, "I liked..." the student (or teacher) will be responsible for bringing cupcakes to the next session (elements of a story either work or they don't work, we understand them or we don't, whereas all children blindly like a nice, sweet treat). If you don't care for this rule, or any of my other rules, I understand; there are other amazing teachers at NYU. Of course, we'll have weekly reading assignments--short stories, mostly from contemporary authors. There will be weekly one page assignments based on something from a lecture and/or short story. If I feel that students are not reading their homework assignments, I will quiz you and your grades will reflect the results. Students also will be chained to one novel for the entirety of the term, and will write occasional short essays on the various aspects of their novel (how action x was developed through the novel, the character trait that reminded me of y from my own life...). When you come out from the other side of this thrilling little amusement park ride, the matter inside your fused together skull is going to have a better understanding of how fiction works.

CRWRI-UA.830.001 Advanced Poetry Workshop 
Rachel Zucker, W 9:30am-12:15pm
Course Description Forthcoming

CRWRI-UA.830.002 Advanced Poetry Workshop
Robert Fitterman
, T 3:30-6:15pm
New Poetry, New Media: Contemporary poetry today is pressing to articulate its place among a new digital language that is often defined by new media art, net art, and new writing experiments that mirror the language-based technologies of the day. In other words, poetry is advancing to keep with the times, and these advances occur through many types of expressions, including the innovation of new poetic forms and strategies (e.g. is your texting thread a poem? can it be? can you make a love poem out of Ok Cupid messages?) Contemporary poetry is experiencing enormous activity, where new poetic strategies are being introduced and recycled in order to speak to a new generation of thinkers and culture-makers. In this class, we will study some of these new poetry strategies and use contemporary and historic examples to model some of our writing experiments on, such as: sampling, procedural writing, mixed media, visual (concrete) texts, collaboration, erasure, appropriation, constraint, etc. The course also requires that you present your writing 2-3 times during the semester, participate in a collaborative project, and turn in a small "book" of your writing at the end of the term.

CRWRI-UA.830.003 Advanced Poetry Workshop
Miranda Field, T 11:00am-1:45pm
This course is designed to plunge students head-first into the world of contemporary poetry. Besides workshopping each others' poems, students will read a different book of contemporary poetry each week, and present it to the class. We will discuss the book as writers, not literature students; we'll want to figure out what each poet is doing, how he or she does it, and how we can do that. Writing exercises derived from the readings will help us get into the poets' heads. This is an advanced course, and students will be expected to do all of the reading, participate in the discussions, and generally contribute towards that elusive thing which is a workshop environment that is constructive and critical and ultimately generative for everyone. The goal of the course is for students to engage with the work of their peers and their contemporaries in a critical and hungry manner which will lead to a greater understanding of how their own poetry is working.

CRWRI-UA.850.001 Advanced Creative Nonfiction Workshop
Craig Morgan Teicher, M 4:55-7:40pm

Creative nonfiction has become a heaven for writers interested in how traditional genres intersect: Eula Biss uses the suggestive juxtapositions of poetry to make issue-based arguments; Hilton Als uses personal memoir to bring his book criticism to life; Lawrence Weschler and Matthea Harvey use photographs as counterpoints to their prose and poetry.  In this course, students will write and workshop three nonfiction pieces that bend genre rules, studying the works of these and other writers to develop a fluency with innovative cross-genre nonfiction.

 

 


MASTER CLASSES
These advanced workshops and craft seminars—taught by acclaimed poets and prose writers—are open to select NYU undergraduates. Master classes are limited to 12 students and provide intensive mentoring and guidance for serious and talented undergraduate writers. Each Master Class has a distinct emphasis and area of exploration—students are advised to pay close attention to the course descriptions, which are available online prior to registration.

Prerequisite for fiction: CRWRI-UA 815, OR CRWRI-UA 9815, OR CRWRI-UA 816, OR CRWRI-UA 818/819, OR CRWRI-UA 9818/9819, OR CRWRI-UA 9828/9829, OR CRWRI-UA 820, OR CRWRI-UA 860 or equivalent. Prerequisite for poetry: CRWRI-UA 815, OR CRWRI-UA 9815, OR CRWRI-UA 817, OR CRWRI-UA 818/819, OR CRWRI-UA 9818/9819, OR CRWRI-UA 9828/9829, OR CRWRI-UA 830, OR CRWRI-UA 870, OR FRSEM-388, or equivalent. Prerequisite for creative nonfiction:CRWRI-UA 815, OR CRWRI-UA 9815, OR CRWRI-UA 818/819, OR CRWRI-UA 9818/9819, OR CRWRI-UA 9828/9829, OR CRWRI-UA 825, OR CRWRI-UA 850, OR CRWRI-UA 880 or equivalent. Recommended prerequisite: CRWRI-UA 820 (for fiction), CRWRI-UA 830 (for poetry), or CRWRI-UA 850 (for creative nonfiction). Application required. 4 points.


CRWRI-UA.860.001 Master Class in Fiction
Emily Barton, M 12:30-3:10pm
Course Description Forthcoming

CRWRI-UA.870.001 Master Class in Poetry
Rachel Zucker, M 11:00am-1:40pm
Course description forthcoming.

CRWRI-UA.880.001 Master Class in Creative Nonfiction
Saïd Sayrafiezadeh, T 12:30-3:10pm
What makes prose into “literary nonfiction”? How do different genres and forms—from the memoir to the profile to the podcast—enable us to tell different kinds of stories, and why? We’ll be asking these questions over the course of the semester as both writers and readers, as we familiarize ourselves with a range of literary forms and look at how technology is shaping nonfiction stories today. This is a nonfiction writing workshop for committed and ambitious writers who have already taken lower level workshops and who want to develop and push their skills. We’ll be delving deeply into discussions about point of view, sentence-making, form, characterization, tone, and story arc. Because being good writers means being good readers, we’ll also be reading and discussing a wide range of literary nonfiction, looking at pieces by writers such as Joan Didion, Eula Biss, Ralph Ellison, and much more. Throughout the semester we'll be visited by guests who are practicing journalists and essayists.