Writing personal essays phillip lopate poem

Students will undertake an ongoing process of poem revision leading to a final portfolio.

Students will continue to read essays on craft and process by contemporary poets, and they will write at least two papers analyzing the major craft elements of contemporary poets.

Through all these activities—writing their own poems, workshop, revision of their poems, discussion and writing about the craft of contemporary poets—students will gain a more sophisticated understanding, both as critics and practitioners, of the terms and concepts introduced in the 200-level course.

Texts will include recent collections by such contemporary poets as John Ashbery, Lucie Brock-Broido, Mark Doty, Louise Gluck, Marilyn Hacker, Joy Harjo, Li-Young Lee, Harryette Mullen, Michael Palmer, Alberto Rios, and Charles Wright.

As in Intermediate Poetry, the student will write at least a poem a week, will read books by contemporary poets and write craft analyses of at least two collections, will undertake intensive workshop of their poems, and will engage in the ongoing process of poem revision toward production of a final poem portfolio.

Students will read the work of a wide range of contemporary poets, as well as essays by poets on craft and the writing process.

Most importantly, students will be given various prompts and challenges to write their own poems each week, which will be discussed in class-wide workshop as well as in small groups and in conferences with their instructors.

Students will also write one paper, analyzing the major craft elements of a contemporary poet.

Toward semester's end, students will concentrate on matters of revision, and will produce a final portfolio, which will figure significantly in their final grade.

The student will write at least one poem a week, will read 6-8 books of contemporary poetry, and will workshop his/her work and the work of peers.

Readings from published authors are analyzed from a writer’s perspective.

Writing skills necessary for success in fiction writing are identified and honed.

Students complete exercises based on these elements and write at least one complete short story. Terms and concepts learned at the 200-level are used to discuss student fiction as well as, frequently, outside works of literature.

At the professor’s discretion, exercises in craft are sometimes assigned, but overall emphasis shifts to the production of completed stories.

Elements of successful workshop technique are stressed.

We will introduce and review key terms and concepts from 200-level workshops in each genre, and we will read roughly a book each week across the genres of poetry, fiction, and nonfiction, in some combination.

We will deepen our understanding of the elements of craft and the ways in which writers operate within, on the edges of, or in response to literary contexts and traditions.

The 200-level course introduces the student to craft terms and concepts through lecture, exercises, and reading selections.

The workshop method (the sharing and critique of original student work) is introduced in the breakout discussion groups.

Students gain a working knowledge of basic craft terms and concepts such as character, plot, setting, narrative time, dialogue, point-of-view, voice, conflict resolution, and metaphorical language.

The student will gain a working knowledge of these concepts and terms: memoir, personal essay, portrait, travel essay, literary journalism, narrative voice, dialogue, metaphor, image, scene, narrative summary, reflection, and research.

The student will read selected texts and discuss craft elements in works of literary nonfiction.

The student will develop writing skills by doing exercises and writing assignments in several modes of nonfiction writing (i.e., portrait, travel essay, memoir).

The student will review and refine skills developed at the 200-level course.

Course content will include reading of literary nonfiction that demonstrates a range of formal and aesthetic styles; workshop discussion of student works-in-progress; and writing assignments culminating in a portfolio or series of completed essays (or works in the other modes introduced in 201).

The 200-level courses in Fiction, Poetry, and Nonfiction are the gateway courses to the major.

Students must complete a 200-level course in their stated concentration with a C minimum, in addition to a second 200-level course in a concentration of their choice.

Once the required 200-level courses and 215 are complete, students go on to the intermediate and advanced workshops in their chosen concentration.

This 200-level multigenre craft course introduces the student to craft terms and concepts via intensive reading in poetry, fiction, and nonfiction.

This is an intensive reading and lecture course designed to model the ways in which read, foregrounding issues of craft used to form, control, and structure works of art.

Upon finishing the course, a student should be fluent in fictional craft terminology, understand the elements of the short story, have made satisfactory progress in creating a short story, and know the protocol of the workshop technique.

In the advanced workshop, the student is responsible for producing high-quality work and critiquing with expertise, tact, and responsibility the work of others.

Character Sustainable Futures Honors Academic Writing