CREA W1001x and y Beginning Fiction Workshop 3 pts. The beginning workshop in nonfiction is designed for students with little or no experience in writing literary nonfiction. Students are introduced to a range of technical and imaginative concerns through exercises and discussions, and they eventually submit their own writing for the critical analysis of the class. Outside readings supplement and inform the exercises and longer written projects.

CREA W1101x and y Beginning Nonfiction Workshop 3 pts. The beginning workshop in nonfiction is designed for students with little or no experience in writing literary nonfiction. Students are introduced to a range of technical and imaginative concerns through exercises and discussions, and they eventually submit their own writing for the critical analysis of the class. Outside readings supplement and inform the exercises and longer written projects.

CREA W1201x and y Beginning Poetry Workshop 3 pts. The beginning poetry workshop is designed for students who have a serious interest in poetry writing but who lack a significant background in the rudiments of the craft and/or have had little or no previous poetry workshop experience. Students will be assigned weekly writing exercises emphasizing such aspects of verse composition as the poetic line, the image, rhyme and other sound devices, verse forms, repetition, tone, irony, and others. Students will also read an extensive variety of exemplary work in verse, submit brief critical analyses of poems, and critique each other's original work.

CREA W2001x and y Intermediate Fiction Workshop 3 pts. Prerequisites: Professor approval required through writing sample. Please see 612 Lewisohn for submission schedule and guidelines or go to http://www.columbia.edu/cu/writing Intermediate workshops are for students with some experience with creative writing, and whose prior work merits admission to the class (as judged by the professor). Intermediate workshops present a higher creative standard than beginning workshops, and increased expectations to produce finished work. By the end of the semester, each student will have produced at least seventy pages of original fiction. Students are additionally expected to write extensive critiques of the work of their peers.

CREA W2101x and y Intermediate Nonfiction Workshop 3 pts. Prerequisites: Professor approval required through writing sample. Please see 612 Lewisohn for submission schedule and guidelines or go to http://www.columbia.edu/cu/writing The intermediate workshop in nonfiction is designed for students with some experience in writing literary nonfiction. Intermediate workshops present a higher creative standard than beginning workshops and an expectation that students will produce finished work. Outside readings supplement and inform the exercises and longer written projects. By the end of the semester, students will have produced thirty to forty pages of original work in at least two traditions of literary nonfiction.

CREA W2201x and y Intermediate Poetry Workshop 3 pts. Prerequisites: Professor approval required through writing sample. Please see 612 Lewisohn for submission schedule and guidelines or go to http://www.columbia.edu/cu/writing Intermediate poetry workshops are for students with some prior instruction in the rudiments of poetry writing and prior poetry workshop experience. Intermediate poetry workshops pose greater challenges to students and maintain higher critical standards than beginning workshops. Students will be instructed in more complex aspects of the craft, including the poetic persona, the prose poem, the collage, open-field composition, and others. They will also be assigned more challenging verse forms such as the villanelle and also non-European verse forms such as the pantoum. They will read extensively, submit brief critical analyses, and put their instruction into regular practice by composing original work that will be critiqued by their peers. By the end of the semester each student will have assembled a substantial portfolio of finished work.

CREA W3001x and y Advanced Fiction Workshop 3 pts. Prerequisites: Professor approval required through writing sample. Please see 612 Lewisohn for submission schedule and guidelines or go to http://www.columbia.edu/cu/writing Building on the work of the Intermediate Workshop, Advanced Workshops are reserved for the most accomplished creative writing students. A significant body of writing must be produced and revised. Particular attention will be paid to the components of fiction: voice, perspective, characterization, and form. Students will be expected to finish several short stories, executing a total artistic vision on a piece of writing. The critical focus of the class will include an examination of endings and formal wholeness, sustaining narrative arcs, compelling a reader's interest for the duration of the text, and generating a sense of urgency and drama in the work.

CREA W3201x and y Advanced Poetry Workshop 3 pts. Prerequisites: Professor approval required through writing sample. Please see 612 Lewisohn for submission schedule and guidelines or go to http://www.columbia.edu/cu/writing This poetry workshop is reserved for accomplished poetry writers and maintains the highest level of creative and critical expectations. Students will be encouraged to develop their strengths and to cultivate a distinctive poetic vision and voice but must also demonstrate a willingness to broaden their range and experiment with new forms and notions of the poem. A portfolio of poetry will be written and revised with the critical input of the instructor and the workshop.

CREA W3302x and y Fiction Seminar: Approaches to the Short Story 3 pts. Prerequisites: Please see 612 Lewisohn for registration guidelines or go to http://www.columbia.edu/cu/writing The modern short story has gone through many transformations, and the innovations of its practitioners have often pointed the way for prose fiction as a whole. The short story has been seized upon and refreshed by diverse cultures and aesthetic affiliations, so that perhaps the only stable definition of the form remains the famous one advanced by Poe, one of its early masters, as a work of fiction that can be read in one sitting. Still, common elements of the form have emerged over the last century and this course will study them, including Point of View, Plot, Character, Setting and Theme. John Hawkes once famously called these last four elements the "enemies of the novel," and many short story writers have seen them as hindrances as well. Hawkes later recanted, though some writers would still agree with his earlier assessment, and this course will examine the successful strategies of great writers across the spectrum of short story practice, from traditional approaches to more radical solutions, keeping in mind how one period's revolution -Hemingway, for example - becomes a later era's mainstream or "common-sense" storytelling mode. By reading the work of major writers from a writer's perspective, we will examine the myriad techniques employed for what is finally a common goal: to make readers feel. Short writing exercises will help us explore the exhilarating subtleties of these elements and how the effects created by their manipulation or even outright absence power our most compelling fictions.

CREA W3304y Fiction Seminar: Exercises in Style 3 pts. Prerequisites: Please see 612 Lewisohn for registration guidelines or go to http://www.columbia.edu/cu/writing Raymond Queneau, in his book Exercises in Style, demonstrated that a single story, however unassuming, could be told at least ninety-nine different ways. Even though the content never changed, the mood always did: aggressive, mild, indifferent, lyrical, sensitive, technical, indirect, deceitful. If, as fiction writers, one of our pursuits is to stylize various forms of information, and to call the result a story or novel, it is also tempting, and easy, to adopt trends of style without realizing it, and to possibly presume we operate outside of stylistic restrictions and conventions. Some styles become so commonplace that they no longer seem stylistic. V.S. Naipaul remarked in an interview that he was �opposed to style,� yet we can�t exactly summarize his work based on its content. His manner of telling is sophisticated, subtle, shrewdly indirect, and elegant. He is, in short, a stylist. His brilliance might be to presume that this is the only way to �tell� a story, and to consider all other ways �styles.� This course for writers will look at a wide range of prose styles, from conspicuous to subtle ones. We will not only read examples of obviously stylistic prose, but consider as well how the reigning prose norms are themselves stylistic bulwarks, entrenched in the culture for various reasons that might interest us. One project we will undertake, in order to deepen our understanding and approach to style, will be to restylize certain of the passages we read. These short fiction exercises will supplement our weekly readings and will allow us to practice rhetorical tactics, to assess our own deep stylistic instincts, and to possibly dilate the range of locutions available to us as we work.

NOTE: This seminar has a workshop component.

CREA W3308y Seminar: Short Prose Forms 3 pts. Prerequisites: Please see 612 Lewisohn for registration guidelines or go to http://www.columbia.edu/cu/writing The prose poem and its siblings the short short story and the brief personal essay are the wild cards in the writer�s deck; their identities change according to the dealer. We will consider a wide range of forms, approaches, and styles, spanning centuries. In addition to works in English, we will read translations from the French, Spanish, Russian, Italian, Japanese, and Chinese. Seminar discussions will be complemented by frequent writing exercises (inside and outside of class) and some abbreviated workshopping of student pieces. Each student will make one brief classroom presentation.

Authors include: Matsuo Basho, Charles Baudelaire, Thomas Bernhard, Aloysius Bertrand, Jorge Luis Borges, Anne Carson, Gianni Celati, Luis Cernuda, Bernard Cooper, Lydia Davis, Russell Edson, David Ignatow, Max Jacob, Juan Ramon Jimenez, Joseph Joubert, Franz Kafka, Yasunari Kawabata, Etgar Keret, Stephane Mallarme, Czeslaw Milosz, Harryette Mullen, Edgar Allan Poe, Francis Ponge, Arthur Rimbaud, Nathalie Sarraute, Sei Shonagon, Charles Simic, Mark Strand, Luisa Valenzuela, Diane Williams, James Wright, Mikhail Zoshchenko.

CREA W3333y Nonfiction Seminar: Traditions in Nonfiction 3 pts. Prerequisites: Please see 612 Lewisohn for registration guidelines or go to http://www.columbia.edu/cu/writing The seminar provides exposure to the varieties of nonfiction with readings in its principal genres: reportage, criticism and commentary, biography and history, and memoir and the personal essay. A highly plastic medium, nonfiction allows authors to portray real events and experiences through narrative, analysis, polemic or any combination thereof. Free to invent everything but the facts, great practitioners of nonfiction are faithful to reality while writing with a voice and a vision distinctively their own. To show how nonfiction is conceived and constructed, class discussions will emphasize the relationship of content to form and style, techniques for creating plot and character under the factual constraints imposed by nonfiction, the defining characteristics of each author's voice, the author's subjectivity and presence, the role of imagination and emotion, the uses of humor, and the importance of speculation and attitude. Written assignments will be opportunities to experiment in several nonfiction genres and styles.

CREA W3336x and y Translation 3 pts. Prerequisites: Please see 612 Lewisohn for registration guidelines or go to http://www.columbia.edu/cu/writing. Corequisites: You don't have to be bilingual to take this course. Several years of study of another language is enough. This course is open to Undergraduate & Graduate students. In this introductory course to literary translation, students will learn about the art of translating prose and poetry. We will read essays on translation by writers such as Jorge Luis Borges, Vladimir Nabokov, and Anne Carson, and discuss the benefits and drawbacks of different approaches to the craft. Students will present their own translations for discussion and become familiar with a range of perspectives on literary translation that will inform their revision process. We'll also discuss the way works in translation are reviewed and each student will review a recent translation for the end of the semester.

CREA W3351x Poetry Seminar: Approaches to Poetry 3 pts. Prerequisites: Please see 612 Lewisohn for registration guidelines or go to http://www.columbia.edu/cu/writing One advantage of writing poetry within a rich and crowded literary tradition is that there are many poetic tools available out there, stranded where their last practitioners dropped them, some of them perhaps clichéd and overused, yet others all but forgotten or ignored. In this class, students will isolate, describe, analyze, and put to use these many tools, while attempting to refurbish and contemporize them for the new century. Students can expect to imitate and/or subvert various poetic styles, voices, and forms, to invent their own poetic forms and rules, to think in terms of not only specific poetic forms and metrics, but of overall poetic architecture (lineation and diction, repetition and surprise, irony and sincerity, rhyme and soundscape), and finally, to leave those traditions behind and learn to strike out in their own direction, to write -- as poet Frank O'Hara said -- on their own nerve.

CREA W3697x and y Senior Fiction Workshop 4 pts. Prerequisites: Professor approval required through writing sample. Please see 612 Lewisohn for submission schedule and guidelines or go to http://www.columbia.edu/cu/writing This course is restricted to seniors who are majors in creative writing. Enrollment is limited, and is by permission of the professor. The senior workshop offers students the opportunity to work exclusively with classmates who are at the same high level of accomplishment in the major. Students in the senior workshops will produce and revise a new and substantial body of work. In-class critiques and conferences with the professor will be tailored to needs of each student.

CREA W3798y Senior Nonfiction Workshop 4 pts. Prerequisites: Professor approval required through writing sample. Please see 612 Lewisohn for submission schedule and guidelines or go to http://www.columbia.edu/cu/writing This course is restricted to seniors who are majors in creative writing. Enrollment is limited, and is by permission of the professor. The senior workshop offers students the opportunity to work exclusively with classmates who are at the same high level of accomplishment in the major. Students in the senior workshops will produce and revise a new and substantial body of work. In-class critiques and conferences with the professor will be tailored to needs of each student.