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Best Online Creative Writing Classes

Masterclass is our best overall writing course to learn the art of writing

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Creative writing is often focused around writing fiction (but may also include nonfiction), which can feature any type of writing from poems to short stories, novels, and more. Online creative writing classes help you learn how to become a better storyteller, produce completed manuscripts, and publish your work. Since the classes takes place over the internet, you can study anywhere. The best online creative writing classes offer a rich curriculum, provide a good value for the cost, and are taught by experienced professionals.

Here, we've rounded up our top picks for prospective students to learn about creative writing from the comfort of their own homes. Some online courses even offer certifications upon completion to pursue creative writing as a career. Compare top options to find the best price range, topics, and class schedule to help you get started. 

Best Online Creative Writing Classes of 2023

• Best Overall: Neil Gaiman Teaches the Art of Storytelling
• Best for Beginners: Beginning Writer’s Workshop by ed2go
• Best for Certification: Coursera's Creative Writing Specialization by Wesleyan University
• Best Live Class: Creative Writing 101 by Gotham Writers
• Best for Writing Critique: UCLA Extension’s Introduction to Creative Writing
• Best for Creative Non-Fiction: Udemy’s Creative Non-Fiction Writing - You Can’t Make This Stuff Up!
• Best Ivy League Class: Harvard's Fundamentals of Fiction
• Our Top Picks
• Neil Gaiman Teaches the Art of Storytelling
• Beginning Writer’s Workshop by ed2go
• Coursera's Creative Writing Specialization by Wesleyan University
• Creative Writing 101 by Gotham Writers
• UCLA Extension’s Introduction to Creative Writing
• Udemy’s Creative Non-Fiction Writing - You Can’t Make This Stuff Up!
• Harvard's Fundamentals of Fiction
• See More (4)

Final Verdict

• Compare Classes

Can I Teach Myself Creative Writing?

Can you make a living off of creative writing, methodology, best overall : neil gaiman teaches the art of storytelling.

 MasterClass

• Cost: $180 for annual Masterclass membership
• Length: Approximately 5 hours
• Certificate: No

Neil Gaiman Teaches the Art of Storytelling took our top spot because the course has a robust curriculum and is taught by an award-winning author.

Short, engaging videos

Access content from your computer or smartphone

Easy-to-digest video lectures

No instructor feedback

Masterclass subscription required

No student collaboration

We like this class because students learn many creative writing techniques from a world-renowned fiction writer. The course is a series of 19 short video lectures, which include:

• Truth in Fiction
• Sources of Inspiration
• Finding Your Voice
• Dialogue and Character
• Character Case Study
• Worldbuilding
• Dealing with Writer's Block
• The Writer's Responsibilities

As you watch the nearly five hours of content, you'll learn the fundamentals of writing stories (including how to make your story feel real), find unique angles to explore, develop your writing voice, create compelling plots, characters, settings, and dialogue, and edit and improve your work. You’ll also write short stories, understand different writing genres, and learn tips for getting unstuck when you have writer’s block. 

This course of study is self-paced, so you won’t receive any feedback on your writing. You can access the videos on your smartphone or computer.

There are no requirements to enroll. However, you can only access the class if you have a Masterclass subscription, which currently costs $180 for the year. Once you have a Masterclass membership you can take any course offered. If you’re dissatisfied with the learning platform, you can email customer service within 30 days of purchase for a full refund.

Best for Beginners : Beginning Writer’s Workshop by ed2go

• Length: 24 hours

Beginning Writer’s Workshop by ed2go gives new writers the foundational information they need to complete a piece of creative work.

Rich curriculum including various genres, literary techniques, the writing process, and more

Instructor and peer feedback

Budget-friendly

Course access ends after six weeks

Must adhere to a schedule to participate in discussions

Not all course requirements are included in enrollment

We like Beginning Writer’s Workshop because it’s designed to quickly turn a true beginner into a confident writer with a publication-worthy piece. When you finish the six-week, 12-lesson course, you’ll know how to:

• Distinguish between and speak to the different writing genres and subgenres
• Use various literary techniques and devices like similes, metaphors, imagery, etc.
• Develop plots, characters, and other story elements
• Navigate the entire writing process, including pre-writing, drafting, editing, and finalizing a piece
• Peer-edit the creative work of others
• Combat writer’s block
• Go through the publishing process

The class includes 24 hours of instructional content. For the first six weeks, you’ll get access to two new self-paced lessons per week. Lectures include reading material and videos.

There’s also an online discussion board where you can post questions and talk about the lectures. Discussions only remain open for two weeks after a lesson is released. So, while you can study when it fits your schedule, you’ll want to keep up with the work.

The course is facilitated by Carmen Marquez, a journalist, writer, and teacher. They’ll reply to any inquiries you post on the discussion board within 24 to 48 hours. You’ll also have the opportunity to get feedback on your writing from the instructor and other students. 

The class costs $149. A new round of the course begins every month, so you can get started when it’s convenient for you.

Best for Certification : Coursera's Creative Writing Specialization by Wesleyan University

• Cost: $0 or $49 per month to unlock more features
• Length: Approximately 11 hours
• Certificate: Yes

Coursera's Creative Writing Specialization by Wesleyan University is our choice for this category because it offers a certificate upon completion, allowing students to use the knowledge gained for their career path. As a bonus, this class is free, so students can access content from the school at no cost.

Access to free content from a well-regarded school

Self-paced study

Free trial and "audits" allow students to view material before purchasing

No feedback or interaction without a subscription to Coursera

Does not include lessons on literary style

May take up to six months to complete

The course is hosted by Coursera, an online learning platform. Coursera gives you the option to “audit” the class at no charge, allowing you to view all of the included videos and reading materials without subscribing to the platform.

The specialization includes four classes you can audit:

• Creative Writing: The Craft of Plot
• Creative Writing: The Craft of Character
• Creative Writing: The Craft of Setting and Description
• Creative Writing: The Craft of Style
• Capstone: Your Story

Each class features a few hours of content, and you can take them in any order and on your own time.

As you go through the lessons, you’ll learn how to:

• Develop a story with a beginning, middle, and end
• Bring the players in your tale to life
• Create a detailed world with your words
• Refine your piece via the editing process

The course of study has multiple instructors, all with backgrounds in English or creative writing.

If you want a more interactive experience that includes writing assignments, access to a discussion board, or feedback on your work, you’ll have to purchase a Coursera membership for $49 per month. The company offers a seven-day free trial, so you can test it out before buying.

Having full access will also allow you to obtain a certificate of completion once you’ve finished the specialization.

Best Live Class : Creative Writing 101 by Gotham Writers

Gotham Writers

• Cost: $319 plus $25 registration fee
• Length: 18 hours

Creative Writing 101 by Gotham Writers is our best pick for live classes because it features weekly live lectures via Zoom. Students are also offered feedback for their writing while learning about both fiction and nonfiction.

Live, interactive meetings

Writing feedback available

Includes both fiction and nonfiction

Course is somewhat pricey

Registration fee required

No certificate offered upon completion

We like this class since you can learn about creative writing in a fully interactive environment and get your questions answered in real time. The course is designed specifically for newer writers or experienced writers looking for a refresher.

The six-week class meets for three hours a week and features:

• An introduction to creative writing
• A discussion on fiction writing to include types of fiction, components of the genre—such as plot, characters, and point of view—and how to write it
• A discussion on the different types of nonfiction, including narrative nonfiction, memoirs, and personal essays
• Guidance on how to find story ideas, cultivate good writing habits, and get past writer’s block

Between lectures, you’ll also complete writing assignments and get feedback on your work. The course has multiple instructors, all with education and experience in writing.

You must be 18 or older to take the course. The class is offered on various days and times, so you’ll have to look online to see which option fits your schedule.

Creative Writing 101 costs $319 for the online or Zoom classes. The company also charges a $25 registration fee per term, but you might be able to find discounts or promotions to reduce the cost.

Best for Writing Critique : UCLA Extension’s Introduction to Creative Writing

UCLA Extension 

UCLA Extension’s Introduction to Creative Writing is our choice as best for writing critique because the class features small, weekly breakout sessions to workshop student writing.

Small group workshops for detailed feedback

Guest lecturers

Offers lessons on writing in multiple styles

Limite to 12 students; not always available for enrollment

Requires students to be present for 3-hour weekly class

This class allows you to learn from and work closely with instructors, writing experts, and other students. The course is limited to 12 students and is designed to help learners explore creative writing.

The Introduction to Creative Writing course runs for six weeks and meets live over Zoom for three hours weekly. In each class meeting, you’ll start in a breakout session to discuss the writing assignment and how you’re feeling as a writer. Then, you’ll transition into a lecture with a guest expert about topics like fiction, nonfiction, screenwriting, and poetry.

Throughout the class, you’ll:

• Experiment with writing in different styles
• Learn how to critique the work of other writers
• Network with other creatives
• Be inspired to write and learn more about the craft

The course has several different instructors who are all accomplished writers.

Since this is a beginner course, you won’t get graded on the writing you produce. Instead, you’ll be evaluated based on assignment completion, the feedback you provide to your peers, and overall participation.

The course costs $485, and if you need to withdraw, you must do so within two weeks of the start date to receive a refund.

Best for Creative Non-Fiction : Udemy’s Creative Non-Fiction Writing - You Can’t Make This Stuff Up!

• Cost: $19.99
• Length: Approximately 2 hours

Udemy’s Creative Non-Fiction Writing won this category because the class specifically focuses on creative nonfiction. While the class is short, it's also the most affordable on our list, and it's a great introduction to the topic for curious students.

Specific focus on creative nonfiction

Most affordable option for beginner writers

Certificate of completion given

No writing feedback available

Only 2 hours of lectures available

Not in-depth on each topic compared to similar courses

If you’re interested in writing true stories rather than fiction but still want that creative element, you might want to consider creative nonfiction, like personal essays and memoirs. We like this class because it helps you dive into the world of creative nonfiction at a budget-conscious price.

The $19.99 course is self-paced and includes nine modules and 26 video lectures. The modules include:

• What is Creative Nonfiction?
• Writing the Vignette
• Using Sensory Language
• Writing in Scenes
• Using a Plot Diagram
• Making the Personal Universal

During the nearly two hours of lectures, you’ll learn the skills required to write creative nonfiction pieces, such as memoirs and essays, the basic building blocks of storytelling, such as plots, characters, and scenes, and several writing techniques and literary devices. You’ll also learn: 

• How to find your writer’s voice and be more confident
• How to turn your personal experience into a compelling story that will appeal to the masses
• The revision process

Although you won’t get any feedback from your instructor, the class includes writing projects you can complete independently and quizzes to review your learning. To supplement the lectures, you’ll also have access to downloadable resources like templates and graphics.

Your instructor is the creator of the class, Trace Crawford. Crawford has more than 20 years of writing and teaching experience.

You don’t have to meet any particular requirements to take this course. It’s designed for any curious writer. 

In case you’re unhappy with the class, it’s backed by a 30-day money-back guarantee. When you finish the last lecture, you’ll receive a certificate of completion. You’ll also have lifetime access to the content.

Best Ivy League Class : Harvard's Fundamentals of Fiction

• Cost: $3,100
• Length: 5 months

Harvard's Fundamentals of Fiction is designed for intermediate to advanced writers interested in applying their skills to creative fiction. This is not a course for beginners, but rather an in-depth study that concludes with each student finishing their own short story or the first chapter of a novel.

Students learn creative writing from Ivy League professors

Offers formal experience in creative writing

Students will complete their own short story or the first chapter of a novel by course end

Intended for graduate students with strong writing skills

Considerably more expensive than others

Students must enroll in degree program

Harvard's Fundamentals of Fiction course is a great choice for graduate-level students to focus on their creative writing skills. The course covers several topics, including:

• Plot analysis
• Structure analysis
• Fundamentals of character
• Fundamentals of dialogue
• Showing versus telling
• Point of view
• Building a narrative foundation
• Using scene structure to craft stories

The course is split into two sections: Students study plot and structure in various creative writing works, then apply this knowledge in the second half of the course to write their own short story or the first chapter of a novel.

As an Ivy League class, online students receive all the benefits of professor feedback and student collaboration that they'd receive in-class. However, students must enroll with the Harvard Department of Continuing Education to register.

There are countless online creative writing classes available, so it may be hard to choose the best course for you. Investigate any online creative writing class before you enroll to select an option that can help you finish and publish your creative masterpiece.

However, Neil Gaiman Teaches the Art of Storytelling is an excellent place to start your search. The content comes from an award-winning author and is designed to inspire you, help you develop your voice, and teach you new creative writing techniques.

Compare the Best Online Creative Writing Classes

Frequently asked questions, what do you learn in an online creative writing class.

Creative writing classes teach topics like genres of writing, outlining ideas, developing a plot and characters, and storytelling. Specific classes vary from course to course, but many include lessons about editing your work and establishing productive writing habits. The class may also include a peer-critique component to improve your own editing skills by reviewing other writers' work.

Should New Writers Take an Online Creative Writing Class?

New writers can and should take an online creative writing class. Some classes are designed especially for beginners so that learners can get the foundational information that they need. Taking an entry-level class can help you decide if creative writing is right for you and what direction to take as a writer.

How Can an Online Creative Writing Class Help Me Improve My Writing?

An online creative writing class can help you improve your writing in several ways. You'll learn about new literary techniques, refresh your knowledge about writing basics, find your unique voice, overcome writer's block, refine your work, and establish productive habits. An online creative writing class may also include personalized feedback from the instructor to hone your skills further.

How Much Do Online Creative Writing Classes Cost?

Online creative writing classes vary in cost. You can access some courses for free, while others are priced at several hundred dollars or more.

Are Online Creative Writing Classes Worth It?

Depending on your career goals , online creative writing classes can be worth your time, effort, and money. If you’re a hobbyist writer, it probably makes sense to stick with short, budget-friendly courses. But if you’re a writer by trade or would like to become a professional writer, it may be worth investing a more substantial number of hours and dollars into your development.

It's possible to teach yourself the fundamentals of creative writing when it comes to practicing narratives and storytelling, and many writers start without a formal education. However, creative writing classes can help you hone in on skills like developing characters and plots, writing in different styles, editing your work, and more.

Many writers and authors make their living from creative writing. Creative writers may focus on producing books, or they may write poetry, short stories, biographies, and other fictional or non-fictional works. The best creative writing classes can also teach you about submitting your work to publishers to develop a career .

We closely evaluated 10 online creative writing classes before making our selections. We considered the course curriculum, instructor credibility, and value. We also accounted for any unique features.

All of our choices offer a rigorous course of study for a fair price and are designed to help creative writers hone their craft and get ready for publication.

Alexander Spatari / Getty Images

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Ed2Go. " Carmen Marquez ."

Coursera. " Instructors ."

Gotham Writer. " Faculty ."

Udemy. " Trace Crawford Profile ."

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Creative Writing Courses: Best Online Classes for Writers

Hannah Yang

It’s great to be constantly learning and improving as a fiction writer. But going back to school to get a Master’s degree in fine arts just isn’t plausible for most writers. Luckily, there are a ton of great courses you can take online.

How do you know which ones are worth your time and money? We’ve got you covered. Here are some of the best online courses for fiction writers.

17 Best Online Creative Writing Courses

Creative writing courses: faqs, 1. prowritingaid academy.

Brilliant writers aren’t born, they’re made. Writing is a skill that can be developed, just like any other, and ProWritingAid’s brand new learning platform is here to help.

With a ProWritingAid Academy membership, you get a unique combination of:

• Self-paced courses
• Live monthly 30-day writing challenges with daily exercises
• Exclusive live training workshops
• Support, inspiration, and constructive feedback from a community of like-minded students and instructors

Here’s a peek at our course library!

2. The Novelry’s Online Writing Courses

Go from zero to finished novel in one year. The Novelry’s Book in a Year course is a year of complete guidance and support to write your novel and fulfill your ambition to become an author. In it, the team at The Novelry will lead you through the creation of a sound and appealing story idea, then onto writing the novel, then revising and editing your first draft. You will complete and hold in your hands a manuscript to professional standard ready to pitch to literary agents.

Looking for something else? The Novelry has dozens of courses about everything from writing children’s books to pitching to help you get started.

3. Jerry Jenkins’ Your Novel Blueprint

Are you overwhelmed by the prospect of writing a whole book? Jerry Jenkins’ Your Novel Blueprint is the course for you. Jerry has written 195 books and has made the New York Times’ Bestseller list 21 times!

His blueprint isn’t a formula, and it allows for your own style. But it covers everything from overcoming fear, to actually writing, to preparing your elevator pitch. The course is 58 modules long, and you get lifetime access. Plus, you can get access to a mastermind session with Jerry, an exclusive Facebook community, and video feedback on your story idea from the man himself, as well as the first ten pages of your manuscript critiqued by an author he trusts.

It’s pricey because it’s an investment in your career. But when you consider that an MFA costs over $30,000 and one college course might cost you $3,000, it doesn’t seem that bad. It rings in at $1,997. We think it’s totally worth it.

For a taster of Jerry’s expertise, watch the replay of Jerry’s webinar with ProWritingAid all about aggressive self-editing. You’ll pick up some great tips!

4. 100 Day Book by The Write Practice

100 Day Book is an online program that will guide you through the book-writing process. At the end of the 100-day program, you will have a finished book, and you will have internalized a process you can use again and again to write books in the future. Some of the unique features of this program: daily writing inspiration, encouraging feedback from the 100 Day Book community, a dedicated book mentor to help you problem-solve, and a $100 incentive if you meet your weekly deadlines and finish your book. Need we say more?

5. Mark Dawson’s Ads for Authors

Mark Dawson of Self Publishing Formula is a guru of self-publishing. He provides so many great resources to independent authors on everything about the business. It was hard to choose just one of his courses, so we picked the one on the most difficult subject: advertising.

Advertising books and using social media ads isn’t quite like advertising anything else, but Mark has it down to a science. You’ll learn how to actually advertise without breaking the bank and instead secure a good return on your investment.

It’s one of his pricier courses, but if you want to make a living off self-publishing, it’s worth every penny. It’s $849 and he offers monthly payment plans. This class only opens a few times a year, so you can sign up for the waiting list .

6. MasterClass

MasterClass is an amazing site full of classes on all sorts of subjects, taught by the greatest minds in their respective fields. There are several writing courses, and they are all taught by some of the biggest names in fiction.

Margaret Atwood’s is one of the most popular. But you can also learn from crime writer James Patterson, young adult author Judy Blume, fantasy author Neil Gaiman, and TV writer Shonda Rhimes. That’s just a few of them! There are so many more.

You used to be able to purchase individual classes for $99. However, a membership is only $180 a year, and you get access to over 80 classes. Who knows? You might pick up an additional hobby like photography or cooking.

7. Creative Writing: The Craft of Plot

We get it. Money is tight, especially for us starving artists. But that doesn’t mean you can’t learn a ton about writing. Coursera is full of online classes, and The Craft of Plot is a great choice. This course is provided through Wesleyan University, and the reviews are amazing.

In about ten hours’ worth of video modules, you’ll learn everything you need to know about plot structure. This course will teach you how to craft a solid plot for your entire story, as well as structuring and writing powerful scenes.

This isn’t the only free course on Coursera. Wesleyan University offers many more options on different elements of fiction writing.

8. Grammar Lion: A Grammar Refresher

So it’s been a while since you were diagramming sentences and learning about predicates and clauses. Grammar doesn’t have to be a barrier to writing. Sure, there are great programs out there like ProWritingAid to help proofread. But you’ll make fewer mistakes if you actually understand the rules of grammar.

Grammar Lion offers several classes on grammar, including a couple of free ones. But if you need a refresher on all the rules of the English language, this is the course for you . There are explanations and quizzes, and it’s estimated to take twelve weeks to complete. Plus, you get a Grammar Guide—a real person who will answer any questions you have through email.

This course is a must-have for any writer who struggles with grammar. It’s normally $199, but at the time I wrote this article, there was a quarantine special for $79.

9. Curtis Brown Creative

Curtis Brown Creative offers a variety of courses to suit everyone. From writing crime novels, to writing your novel in three months, there are helpful options for every type of writer.

They launched in 2011 with the aim of finding talented writers and helping them to develop and publish their novels. The courses range in price from £125 to almost £2,000, depending on the the number of sessions offered.

10. Mark Dawson’s Self-Publishing 101

Self-Publishing 101 is an extensive course with everything you need to know from the moment you type THE END on your manuscript. It’s a straightforward, easy-to-follow guide that will take all the guesswork out of how to publish your book and to get your indie author career off to the best possible start. Suitable for beginner to intermediate levels, fiction and non-fiction.

11. Lauren Ranalli’s Think Beyond the Book

Marketing is one of the hardest parts of being an author. We’re creatives, not advertising experts! But it’s also necessary. Think Beyond the Book is the course that finally made me stop dreading marketing. Lauren Ranalli is an independent author who made $10,000 in the first three months of publication, and she didn’t even sell on Amazon!

Think Beyond the Book is a monthly membership at $34. That’s because it’s not just one set course. You will get access to all of the modules about different aspects of marketing your book, but Lauren offers new content every month.

The best part of Lauren’s courses is that she gives you specific action steps. The most relevant ones for me were when she broke down how to plan six months of social media content. I was able to plan out three posts a week for six months, and it only took me a couple of hours. I also learned how to establish my brand. Plus, Lauren is incredibly helpful in the exclusive Facebook group.

12. Build Your Author Platform by WritePublishSell

There is nothing worse than doing all the things to have a well-written, edited, fantastic book only to watch it sell only a handful of copies on launch day. The biggest reason for "failure to launch" for authors is not having an author platform—a fan base—that is ready to go when you launch. WritePublishSell’s program, Building Your Author Platform , teaches the steps to creating and growing that fan base.

13. C.S. Lakin’s Emotional Mastery for Fiction Writers

If we don’t succeed in making our readers feel something, we fail. If they don’t feel what we want them to feel, we fail. To be effective writers, we must master the emotional challenge of our stories. It won’t do to hope we will move our readers in some way. It won’t do to hope we get across our characters’ emotions. We have to become masters of emotion.

That’s where C.S. Lakin’s course, Emotional Mastery for Fiction Writers , comes in. Learn how to become an emotion master.

14. Creative Writing Specialization

Coursera’s Creative Writing Specialization covers elements of three major creative writing genres: short story, narrative essay, and memoir . In the course, you’ll master the techniques that good writers use to compose a bracing story, populated with memorable characters in an interesting setting, written in a fresh, descriptive style. You’ll also analyze and evaluate peer writing, as well as drafting and completing a substantial original story in the genre of your choosing. Check it out now!

15. Bookfox’s Two Weeks to Your Best Children’s Book

It seems like there are tons of courses about writing for young adults and adults. But what about those of us who want to write a children’s book?

Two Weeks to Your Best Children’s Book has you covered. This course includes 30 video lessons on everything from the writing process to copyright law. Plus, you can post questions, and the instructor, John Matthew Fox, will answer them personally.

It’s also much more affordable than many courses. It’s only $149, and there is a three-month payment plan option. If you want to break into writing children’s books, this is the class for you.

16. Pandemic University

Pandemic University is a pop-up writing school made for and by locked-down and quarantined writers. Pandemic University offers suites of short and affordable creative writing classes online. By taking their classes, you’re helping support artists who’ve suffered financially during the COVID-19 pandemic. You can purchase courses a la carte on varied topics ranging from demystifying the publishing process to how to write topical satire, to how to read like a writer.

Want to try Pandemic University for yourself? They’ve been generous enough to offer members of the ProWritingAid community 25 percent off using the code PROWA25.

17. Conquer Writer’s Block

What if you could sit down in front of the blank page every day feeling optimistic and full of ideas? What would writing a blog post, article, or book chapter consistently do for your career? What if you had a writing system that helped you achieve all this and so much more?

That’s what Bryan Collins of Become a Writer Today can help you do. His course, Conquer Writer’s Block , gives you the skills you need to conquer the blank page in front of you.

Here are our answers to some common questions about how to pick a creative writing course.

Creative Writing Classes for Adults: How to Choose One

With so many options to consider, you should make sure you’re choosing the best online writing courses for your own goals as a writer. You should ask yourself:

• Is there a specific skill you’d like to learn more about (e.g. plotting, character development, grammar, publishing, marketing, etc.)?
• Do you want a class with set meeting times, or a self-paced class where you can have a flexible schedule?
• Would you prefer a class with a lot of students or fewer students?
• Do you want to receive feedback on your own writing?
• Do you need an instructor who will be available to answer questions?
• How much money are you willing to invest in a writing course?

Knowing the answers to these questions will help you narrow down the list of options. After that, you can read reviews online and see what other students are saying about each course to help you decide which one best suits your needs.

Which Creative Writing Courses Are the Best for Beginners?

There are plenty of online creative writing courses for beginners. If you’re new to writing, ProWritingAid Academy is a fantastic place to start. You get access to writing lessons suitable for all levels, and you can work your way through them as you learn more.

You can also start with a free course on Coursera, like The Craft of Plot . Taking a free class can be a great starting point. Down the line, you can always choose a more advanced course to invest your money in.

Is a Creative Writing Course Worth It?

Creative writing classes are a great fast-track for improving your skills. They can help you hone specific aspects of your writing craft. They’re also a great way to meet other emerging writers so you can learn and grow together.

If you choose the right course for you, an online writing class can be well worth your time and money.

What are your favorite writing courses? Let us know in the comments.

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Hannah Yang is a speculative fiction writer who writes about all things strange and surreal. Her work has appeared in Analog Science Fiction, Apex Magazine, The Dark, and elsewhere, and two of her stories have been finalists for the Locus Award. Her favorite hobbies include watercolor painting, playing guitar, and rock climbing. You can follow her work on hannahyang.com, or subscribe to her newsletter for publication updates.

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Creative Writing

One of the nation's most prestigious open-enrollment creative writing programs..

Whether you're looking to improve your writing for personal fulfillment, want to be published, or are preparing to apply to an MFA program, the Writers' Program can help you achieve your goals. You will find a supportive community of instructors, academic counselors and fellow students to help you on your journey.

We offer a wide range of open-enrollment courses, all of which may be taken individually. A guide on where to get started is provided below.

We also offer a fully customizable 21-unit Certificate in Creative Writing  where you can develop professional creative writing skills in the genre of your choice.

What do you want to create?

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Creative Writing Certificate

Develop your skills in the genre of your choice, including fiction, creative nonfiction, poetry, and more.

This customizable program culminates in a capstone project where you will make significant progress on a polished collection of work.

Taught by a prestigious roster of instructors who are published writers and active professionals, courses can be taken onsite, online, or a combination of both.

Annual Writers Studio

4-day in-person, intensive workshops in Creative Writing & Screenwriting.

Perfect for both aspiring and experienced writers looking for new inspiration.

August 1-4, 2024 Registration opens Monday, February 5

Writers' Program Consultations

If you have a completed draft of a manuscript and need feedback for your work, you may consider a one-on-one consultation with a Writers’ Program instructor.

Consultations give you a full cover-to-cover read of your work, a written evaluation, and a follow-up conversation in person, via phone, or web chat.

Expect more from your education.

MFA, fiction writer, author of the story collection Once Removed (UGA Press) and winner of the Flannery O’Connor Award for Short Fiction. 

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Writers' Program Network of Writers (WP NOW)

Stay immersed in the Writers' Program community. Our optional membership program offers exclusive access to a range of discounts and benefits, including members-only networking, professional development opportunities, and course discounts. 

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British Council India

Creative writing for adults - module i.

Whether you are a scribbler, a secret diarist, or a would-be journalist, come find your unique writing style with British Council’s Creative Writing course - Module I . Two batches have been scheduled. Batch 1 is starting from  Saturday, 22 July 2023 and batch 2 is starting from  Saturday, 29 July 2023.

This course will help you:

• Develop your unique writer’s voice and perspective
• Help your creativity find expression
• Enhance your knowledge of literature
• Help you structure your thoughts
• Develop a critical appreciation of different writing styles

Required English language level:  Above upper-intermediate level (Level B2).

Course duration: 36 hours I 9 weeks I weekend online classes | all the participants will receive a digital certificate upon completion of the course.

Course fee:  INR 10,000 per participant Click here to register

Special offer to British Council library members - 10% discount on the course fee Click here to register

About the Course

Our Creative Writing- Module I course offers the opportunity to learn a variety of techniques to improve your writing process and enhance creativity.

The course content covers plot, characters, dialogue and setting when writing fiction. You will also learn how to travel write and blog, learn to differentiate between news reports and feature articles, be introduced to screenwriting and writing memoirs. You will explore the tools of a poet and learn to write poetry. In addition, you will be introduced to experimental writing and children’s fiction. The syllabus is specifically designed to guide those who wish to write creatively and explore their writing talent to realise their dreams of becoming a writer.

Our experienced teachers will help you find your unique writer’s voice through this enjoyable writing course. You will receive feedback on your writing to help you know your prospects as a future writer. Once you join our Creative Writing course, you will realize that lively and interactive sessions are exactly what you need to begin your journey as a writer.  The course is, however, not aimed at those wishing to improve their academic or technical writing skills.

Schedule for July 2023

Course delivery.

36 hours of learning will happen through online classes and 14 hours of interaction and peer-learning will be facilitated through our online interactive learning platform.

There will be assessments by the teacher during the mid and end of the course

Participants should use laptop/desktop to attend the session. 

• Recording/taking screenshot/photos of the course is strictly prohibited.

Course Fee: INR 10,000 per participant.

Special offer: British Council library members can avail a special discount of 10% on the course fee.

How to ascertain your English language level and register?

Step 1: Ascertain your language level (required English Language level)

The course is open for all. However, English Language level suitable for the course is above upper-intermediate level (B2) and advanced level (C1 and C2).

• You are at Elementary level(A1) if you can say simple things about your day. For example:  I wake up at 7 am every day.
• You are at Pre-intermediate level(A2) if you can communicate in simple and routine tasks on familiar topics and activities. For example: I like exercising early in the morning if I sleep on time. 
• You are an Intermediate level(B1) if you can share your thoughts, opinions, and views. For example:  She must be really tired. She’s worked late every night this week.
• You are at Upper intermediate level(B2) if you can present clear, detailed descriptions on a wide range of subjects related to your field of interest. For example: Unfortunately for him, the situation turned out to be opposite to what he thought it was.
• You are at Advanced level (C1 & C2) if you can present clear, detailed descriptions of complex subjects. For example: Being born and raised in India, I believe her to be the country’s best ambassador in the world.

Step 2 : Once you have ascertained your English language level, please proceed for the course registration.

Course fee: INR 10,000 per participant. Click here   to register.

Special offer to British Council library members - 10% discount on the course fee. Click here  to register.

Terms and Conditions

• Participants must be over 18 years of age.
• Non-refundable fee is payable in full prior to the commencement of course.
• If obliged to cancel the course, the British Council reserves the right to do so without further liability, subject to the return of any fee already paid. 
• The course schedule is subject to change. Participants will be notified the changes, if any.

For any query, please email us at [email protected] .

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Creative Writing courses

Whether you’re looking to develop your own writing skills and editorial practice for your profession or for purely personal interest, our creative writing courses have much to offer you. Choose below from our range of qualifications.

Creative Writing Degrees  Degrees Also known as an undergraduate or bachelors degree. Internationally respected, universally understood. An essential requirement for many high-level jobs. Gain a thorough understanding of your subject – and the tools to investigate, think critically, form reasoned arguments, solve problems and communicate effectively in new contexts. Progress to higher level study, such as a postgraduate diploma or masters degree.

• Credits measure the student workload required for the successful completion of a module or qualification.
• One credit represents about 10 hours of study over the duration of the course.
• You are awarded credits after you have successfully completed a module.
• For example, if you study a 60-credit module and successfully pass it, you will be awarded 60 credits.

How long will it take?

Creative Writing Diplomas  Diplomas Widely recognised qualification. Equivalent to the first two thirds of an honours degree. Enhance your professional and technical skills or extend your knowledge and understanding of a subject. Study for interest or career development. Top up to a full honours degree in just two years.

Creative writing certificates  certificates widely recognised qualification. equivalent to the first third of an honours degree. study for interest or career development. shows that you can study successfully at university level. count it towards further qualifications such as a diphe or honours degree., why study creative writing with the open university.

Since 2003, over 50,000 students have completed one of our critically acclaimed creative writing modules. 

The benefits of studying creative writing with us are:

• Develops your writing skills in several genres including fiction, poetry, life writing and scriptwriting.
• Introduces you to the world of publishing and the requirements of professionally presenting manuscripts.
• Online tutor-group forums enable you to be part of an interactive writing community.
• Module workbooks are widely praised and used by other universities and have attracted worldwide sales.

Careers in Creative Writing

Studying creative writing will equip you with an adaptable set of skills that can give entry to a vast range of occupations. You’ll learn to evaluate and assimilate information in constructing an argument as well as acquiring the skills of creative and critical thinking that are much in demand in the workplace. 

Our range of courses in creative writing can help you start or progress your career as a:

Looking for something other than a qualification?

The majority of our modules can be studied by themselves, on a stand-alone basis. If you later choose to work towards a qualification, you may be able to count your study towards it.

See our full list of Creative Writing modules

All Creative Writing courses

Browse all the Creative Writing courses we offer – certificates, diplomas and degrees.

See our full list of Creative Writing courses

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Diploma of arts and social sciences, art/science collaboration wins waterhouse natural science art prize, associate degree of creative writing, course snapshot, domestic snapshot.

View in availability

2 years full-time; 4 years part-time

Inherent Requirements

Language requirements.

IELTS Overall Score 6.0

Entry Requirements

View full entry requirements

Course abbreviation

AssocDegCreatWrite

Course code

Credit points, equivalent units, indicative fee.

Commonwealth supported

Effective storytelling connects and engages an audience, whether they read, watch or listen, and creative writing skills are highly sought after by industries worldwide.

Take the first step towards making your wordsmithing career a reality by studying with renowned professional writers. This course offers a rich blend of study across fiction and non-fiction, experimental writing, journalism, life writing, poetry, writing for stage and screen, and writing for young adults.

As well as being taught by published writers from the Northern Rivers arts community, you'll benefit from hands-on experience at iconic Australian literary events such as the Byron Writers Festival , and the  Kyogle Writers Festival .

Learn more about this degree in the  creative writing showcase .

Learning outcomes and graduate attributes

Placements, work experience and study hours.

Opportunities exist for writing students to undertake work placements with Northern Rivers Performing Arts (NORPA) (an education partner of our University), the Byron Writers Festival , and the Kyogle Writers Festival.

You can undertake an optional professional placement unit of 70 – 100 hours in an appropriate organisation, developing your knowledge and skills.

Specialisations, majors and minors

While this course has no majors, studies in fiction and non-fiction writing include:

• Experimental writing
• Life writing
• Writing for stage and screen
• Writing for young adults.

Availability

Requirements.

We encourage you to apply for the courses you most want to study. If you are not eligible to enter your chosen course right now, our team will work with you to find the best pathway option.

Before applying, make sure you double check all entry requirements, gather required documentation and review the University’s Rules Relating to Awards , noting any specifics listed below.

Course requirements

To be eligible to receive the Associate Degree of Creative Writing, students must complete the equivalent of 16 units (192 credit points) comprising:

• 15 core units (180 credit points), and
• 1 project unit (12 credit points).

To be eligible to receive the Diploma of Creative Writing, students must complete the equivalent of 8 units (96 credit points), comprising:

• core units (96 credit points).

Entry requirements

English language requirements apply to International applicants and other applicants whose previous study was undertaken in a language other than English. The minimum English language requirements for such applicants for entry to this course are as follows

Language requirements

Course structure.

• Course progressions
• Schedule of Units

Your course progression is in the recommended order you should complete your course in. It is important that you follow this to ensure you meet the course requirements. For further assistance see How to Enrol in Units using My Enrolment.

Students should use course progression information to select units specific to their course and enrol in these units using My Enrolment .

Creative Writing

Second year.

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Undergraduate Course Descriptions Fall 2024

Creative writing, encw 2300 poetry writing (7 sections).

An introductory course in poetry writing, with a primary focus on creating new poems in a workshop setting. Students will study basic poetic terms and techniques and revise and arrange a series of poems for a final portfolio. The course will also have extensive outside reading and non-creative writing requirements.

ENCW 2600 Fiction Writing (6 sections)

An introductory course in fiction writing, with a primary focus on creating short stories in a workshop setting. Students will study basic narrative terms and techniques and revise several short stories for a final portfolio. The course will also have extensive outside reading and non-creative writing requirements.

ENCW 3310-001: Intermediate Poetry Writing I - Virginia (For Poets)

In this intermediate poetry workshop, we’ll explore our intellectual & artistic connections to place, specifically to UVA & the Commonwealth of Virginia. We’ll read recent published works of poetry (+ a little lyric prose!) by writers with ties to the University, Charlottesville, & the region. We’ll also think about & explore the physical space of Grounds as a site for reading, writing, researching, & sharing poems. Students in this course will engage in a regular writing practice and will take seriously the processes of composition, critique, and revision. We’ll spend a significant portion of each class “workshopping” student poems, but we also will devote time to discussing assigned reading and to performing in-class writing exercises. These activities, plus attendance, participation, & a final portfolio, will inform the grading policy.

To apply: send Professor Kiki Petrosino ( [email protected] ) a sample of 4-5 original poems + a cover letter specifying whether you are in any majors, minors, or special concentrations for which this course may be needed/required. Please also specify any other creative writing workshops to which you may be applying. Make sure to send an official request for instructor permission on SIS along with any e-mail requests. Enrollment for returning students begins April 8 & will continue until the section is filled. For full consideration, please apply as soon as possible. Confirmation of your spot in the class may arrive in early summer, but hopefully much sooner.

ENCW 3310-002: Intermediate Poetry Writing I

Encw 3350-001: intermediate nonfiction.

Creative nonfiction invites us to activate our curiosity, examine the texture of our lives, uncover meaning in the chaos of experience, question reality, cultivate empathy and become braver thinkers. Expect to create original work in this class, to receive feedback and to read and discuss essays, memoir, literary journalism, imaginative biography and other forms.

This workshop is for students with some experience of creative writing who have already taken 2000 level ENCW classes. 

Admission by Instructor Permission. Please send a sample of your prose writing (around 5 pages) and a brief statement about why this course interests you to [email protected] . Writing sample not required for APLP and APPW students.

ENCW 3559-001: Hybrid Narratives

Encw 3559-002: audio storytelling, encw 3559-003: storytelling and performance prose.

This oral storytelling course is for students with experience of writing creatively who are interested in writing fiction and other texts to be spoken aloud, embodied and shared with others in real time. Over the semester you will develop original stories, work on putting them ‘up on their feet’ in performance and explore how liveness and orality can challenge, shape and invigorate writing. We will touch upon the oral roots of literature, reading works such as the 1001 Nights and the stories collected by the Brothers Grimm and the texts they have inspired, and we will read, watch and discuss works of fiction, live-art, narrative comedy, spoken word and drama. You may be a fiction writer interested in how spoken stories could attune your ear for language and narrative pattern, or writer and performer interested in marrying those two passions. Performance experience is not a requirement for this class, but a willingness to explore performance in a supportive atmosphere is essential. 

ENCW 3610-001: Intermediate Fiction Writing

Encw 3610-002: intermediate fiction writing, encw 4550-001: post-apocalyptic narratives, encw 4810-001: advanced fiction writing i.

Admission by Instructor Permission. Please send a sample of your prose writing (around 5 pages) and a brief statement about why this course interests you to [email protected] .

ENCW 4820-001: Poetry Program Poetics

Encw 4830-001: advanced poetry writing i.

[To apply: send Professor Kiki Petrosino ( [email protected] ) a sample of 4-5 original poems + a cover letter specifying whether you are in any majors, minors, or special concentrations for which this course may be needed/required. Please also specify any other creative writing workshops to which you may be applying. Make sure to send an official request for instructor permission on SIS along with any e-mail requests. Professor Petrosino will consult with Professor Dungy on permissions. Enrollment for returning students begins April 8 & will continue until the section is filled. For full consideration, please apply as soon as possible. Confirmation of your spot in the class may arrive in early summer.] 

ENCW 5310-001: Advanced Poetry Writing II - Poets' Memoirs

In this advanced course, we'll explore several published memoirs by contemporary poets, reading them alongside their books of poetry. Through discussion, workshop, writing exercises & other coursework, we'll attempt to imagine our way through several related questions: how do poets approach the forms & possibilities of memoir? How might a "poet's memoir" work within & against the constraints or expectations of autobiographical writing?  How does what we think of as a poet's "voice" shift & change when their writing encompasses both verse and prose? And what new connections--among emotions, narratives, mysteries, & astonishments--can we make in our own writing practice, once we witness how poets work across genres? This class will engage a combination of seminar & workshop-style techniques. For a final project, students will compose & revise a group of original poems alongside one or more works of original lyric prose (short essays, memoir, &c). This class is open to graduate & undergraduate students via instructor permission.      

To apply: send Professor Kiki Petrosino ( [email protected] ) a sample of 4-5 original poems + a cover letter specifying whether you are in any programs or special concentrations for which this course may be needed/required. Please also specify any other creative writing workshops to which you may be applying. Make sure to send an official request for instructor permission on SIS along with any e-mail requests. Enrollment for returning students begins April 8 & will continue until the section is filled. For full consideration, please apply as soon as possible. Confirmation of your spot in the class may arrive in early summer, but hopefully much sooner.

ENCW 5610-001: Advanced Fiction Writing II - Ekphrastic Prose Writing

English literature, engl 2500-001: intro to literary studies, engl 2500-002: intro to literary studies, engl 2502-001: four centuries, four texts, four genres.

We will read devote our time together to studying four great masterpieces, works produced over the last four centuries, each in a different genre: a play (William Shakespeare’s King Lear, first staged in 1606); a novel (Jane Austen’s Emma, published in 1816); a poem (T. S. Eliot’s The Waste Land, published in 1922); and a film (Arthur C. Clarke and Stanley Kubrick’s 2001: A Space Odyssey, issued in 1968). We will consider each of these works slowly and carefully. We will also use them as case studies for exploring the strategies that scholars in the disciplines of literature and film criticism have developed to achieve rich understandings of their objects of study. These will include (among other strategies) close reading, source study, comparison of variant editions, and historical contextualization. Our objective is to emerge at the end of the semester with expertise in these four works, and with experience in using different critical strategies to analyze other works in these genres. Requirements: four writing exercises, class participation, final examination

This course serves as a prerequisite for students who wish to major in English. This course also fulfills the College’s second writing requirement.

ENGL 2502-002: Jane Austen Jumps the Shark

Engl 2506-001: introduction to poetry.

How does a written poem on a page—its lines now taken out of their historical contexts, its author no longer around to ask, its time past—manage to mean anything at all when spoken aloud? How do words work, anyway (because, after all, they do work)? This course centers on patient, close reading of poems of the twentieth century, and what’s in them for us in the twenty-first century, by Robert Frost, Elizabeth Bishop, Wallace Stevens, and others. This course satisfies the second writing requirement.

ENGL 2506-003: Contemporary Poetry

In this seminar, we will examine an array of postwar idioms, forms, and movements. While devoting much of our attention to some of the most influential poetry from the second half of the twentieth century, we will also bring ourselves up to date by examining some of the best poems published in recent years by poets of diverse backgrounds. To hone our attention, we will focus on several specific genres, forms, or kinds of poetry, including sonnets, elegies, and poems about the visual arts. The seminar will emphasize the development of skills of close reading, critical thinking, and imaginative, knowledgeable writing about poetry.

ENGL 2506-002: Introduction to Renaissance Poetry

What is poetry? What sets it apart from other modes of writing, thinking, imagining, feeling? What are the distinctive tools at the poet’s disposal? How do these tools work, and how can we describe their workings? Should poetry be plain or intricate, delightful or didactic, passionate or rational, heavenly or human? In this course, we will explore the many Renaissance responses to these questions by reading a selection of sixteenth- and seventeenth-century verse. We will inspect a range of poetic styles and genres, beginning with sonnets by Philip Sidney, William Shakespeare, John Donne, and Mary Wroth. Other poets will include Ben Jonson, Robert Herrick, John Milton, Katherine Philips, Richard Lovelace, Abraham Cowley, and Andrew Marvell. We will move slowly at first, sometimes reading only one poem per class, and will work together to develop the interpretive skills to unpack a poem. This course also aims to help you sharpen your skills as a writer; we will focus in particular on close reading and on logical organization. The first written assignment will be a bulleted list of observations about a sonnet that you will then transform into a structured close reading paper. You will have the opportunity to revise the first paper based on feedback from your instructor and your classmates.

No prior knowledge of poetry, meter, or rhyme is expected. Lovers and despisers of poetry are equally welcome. The only prerequisite is a willingness to read with the utmost attention—and a dictionary.

ENGL 2507-001: Identity, Race, and Religion in Renaissance Drama

How can Hamlet  help us understand the sources of modern beliefs about identity and individuality? What can we learn from Othello  and The Merchant of Venice  about Renaissance understandings of race and religion? In this introduction to the study of dramatic literature, we will study the theater of the English Renaissance in order to help us understand where our modern ideas about identity come from. We live in an era marked by fierce debates about race, religion, nationalism, gender, and sexuality, but these topics were equally pressing (though in different ways) to authors such as Shakespeare and Marlowe, and to their audiences. Our goal is to step outside of ourselves and engage in imaginative time travel, so that we may understand how race, religion, and identity were and are culturally constructed, both in their time, and in our own. As we read, we will ask ourselves:  How do dramatic texts destabilize our understandings of identity categories such as race, religion, and gender? What makes drama distinct in this regard from poetry, or prose? How does theater enable competing interpretations, such that marginalized characters can question orthodoxies and push against dominant narratives? As values and social norms change over time, how have scholars, directors, actors, and other artists responded to, reclaimed, and reinterpreted dramatic texts that contain historical, context-specific manifestations of racism and other prejudices? Throughout the course, we will grapple with these questions and with many others that enable us to consider the value of turning to early modern dramatic texts to understand divergent, complex ideas about selfhood and identity. 

ENGL 2508-003: Nineteenth-Century Speculative Fiction

The nineteenth century was an age of lively experimentation in narrative fiction. In this course we will read a range of texts that depart from conventional realism: Gothic tales, science fiction, stories of ghosts and the supernatural. Likely authors include Mary Shelley, Elizabeth Gaskell, George Eliot, Sheridan Le Fanu, Vernon Lee, Bram Stoker, and H. G. Wells. Like all ENGL 2500 classes, this course is designed to help you read closely, think creatively, and write lucidly about literary and other texts. It fulfills the Second Writing Requirement and counts towards the fulfillment of the Artistic, Interpretive, and Philosophical Inquiry requirement.

ENGL 2508-001: Medical Narratives

This course is designed for prospective English majors as well as students who may one day enter a medical field—and should appeal to all students who love short stories. It explores the history of the American short story from the nineteenth century through our own by focusing specifically on medical themes: ailing and injured bodies and minds; doctors, nurses, and patients; the social construction of disease and madness as well as of health and sanity. It is widely acknowledged today in various fields of medical research and clinical training that the effective and humane practice of medicine requires what has been called “narrative competence”: the ability to recognize and interpret the stories people tell; to attend closely to the details that accumulate to make a larger meaning; to evaluate contradictory and competing hypotheses about meaning; to locate expression within cultural context; and finally to appreciate and respond to any given story for its insight into the human condition. But if these skills are in demand within the medical fields, they also shape the practice of the English major. We will discuss classic stories as well as the work of recent writers.

ENGL 2508-002: The Dystopian Novel

“We live in difficult times, in times of monstrous chimeras and evil dreams and criminal follies,” Joseph Conrad writes, casting the modern era as a bleak one.  This course will survey the genre of dystopian novels.  Dystopias offer apocalyptic visions; they summon aesthetics of disease, speculation, pessimism, horror, and dysfunction to warn against seeing modern developments as benevolent.  In novels, dystopia often takes the form of political and science fiction.  A singular feature of this genre is its questioning of modern state forms, both totalitarian and democratic.  These works also ask us to think about how we live our increasingly technological lives. Do conditions of modern living such as of surveillance, conformity, comfort, militarism, mechanization, mobility, reproductive facticity, incarceration, medicalization, and scientificity lead to better futures? The dire worlds that dystopias imagine starkly suggest that they do not.  Instead, dystopian novels ask that readers contemplate, and even critique, the ethical cost of our acceptance of modern social conditions, the depletion of freedom, autonomy, and humanity.

The seminar will survey major works of dystopian fiction from the late-19thC onward.  Alongside such classics as Wells’  The Island of Dr. Moreau , Orwell’s  1984 , Aldous Huxley’s  Brave New World,  and Atwood’s  A Handmaid’s Tale , we may also read work by Octavia Butler, Kazuo Ishiguro, Ursula LeGuin, Cormac McCarthy, Ling Ma, and others.  Given our experience of the pandemic, we will pay particular attention to the spread of disease and how it is narrated.  The syllabus includes brief readings on utopia, science, satire, feminism, race, capitalism, and modernity.  We will also view a few films and consider other literary genres when relevant. 

ENGL 2599-001: Nature and Romanticism

Engl 2599-002: criticism in the first person.

In this course, we’ll discuss how we know what we know about aesthetic objects like literary texts. What are we claiming when we claim that a work is beautiful? To what extent is such a claim knowledge, and to what extent mere opinion? Our focus will be on the place of first-person experience—the I and what the I knows, sees, and feels--in our aesthetic judgments. We’ll spend about half our time learning to understand Stanley Cavell’s theory of what happens when we claim a work of art is beautiful, with a special focus on what role the first person has in such claims. We’ll spend the other half reading the work of various writers who use the first person prominently in their work. We’ll read critics practicing in the academy as well as critics working as reviewers in the periodical press. Writers we may read include Maggie Nelson, Christina Sharpe, Nathalie Léger, T. J. Clark, D. A. Miller, Elizabeth Hardwick, Cristina Rivera Garza, and others. Students should expect to do a lot of writing. Many assignments will be opportunities to write criticism as a form of creative nonfiction, in the first-person voice.

ENGL 2599-003: The World Wars in European Literature

The First and Second World Wars transformed European culture and challenged poets, novelists, and filmmakers. Why create art in a time a mass violence and upheaval? How could a film, poem, or literary narrative do justice to the raw experience of war? In this course, we will explore a diverse group of responses from authors in Britain, France, and Germany, ranging from the gritty realism of Remarque’s All Quiet on the Western Front to the elegant modernism of Woolf’s Mrs. Dalloway . We will pay equal attention to literary techniques and social identities, examining questions of gender, class, ethnicity, and disability in war literature. The seminar will emphasize close reading, active participation, and analytical writing. Requirements include three essays, an in-class presentation, and weekly discussion questions. Among our main texts will be poems by Wilfred Owen, Siegfried Sassoon, and Paul Celan; novels by Virginia Woolf, Erich Maria Remarque, and Irène Némirovsky; memoirs by Vera Brittain and Elie Wiesel; and films by Jean Renoir and Louis Malle.

ENGL 2599-004: Routes, Writing, Reggae

Engl 2599-005: literatures of the nonhuman.

This course explores ideas of the ‘nonhuman’ in literature. From John Keats’s address to autumn and Franz Kafka’s giant bug, Gregor Samsa, to imagining yourself into another species, ‘alien’ forms of life, and experiments with artificial intelligence, are human and nonhuman distinct categories? Where and how do they overlap, or even merge? The focus will be on developing strategies of close reading and introducing the basics of literary critical analysis through shorter forms in poetry and prose that examine the nonhuman across a range of genres from the nineteenth century to the present. No prior knowledge required. This course fulfills the Second Writing Requirement of 20+ pages of written work. Active class participation, reading responses, shorter pieces of writing, and a final essay.

ENGL 2599-006: Reading Ecology Across Genres

Engl 2599-007: protest literature, engl 2599-008: modern literature and the quest for self.

How does modern literature redefine subjectivity? What does it mean to perform the self? How do race, gender, and class complicate these questions? We will focus on short stories, poetry, and novels from the twentieth century. Authors will include Woolf, Plath, Sexton, Morrison, Heaney, and Berry among others.

ENGL 2599-009: Reading Toni Morrison

Engl 2599-010: diversity of voices in young adult narratives.

This course will survey and explore a range of literature from the 20th and 21st centuries written for or marketed to an adolescent audience. Readings will consist of short stories and novel-length works from multiple genres which will be contextualized within literary history and by critical scholarship.

ENGL 2599-100: Landscapes of Black Education

This course examines how seemingly ordinary spaces and places around us, “landscapes,” are involved in the struggle to democratize education in the United States. It uses the African American experience in this arena to anchor the exploration. We explore how landscape is implicated in the secret prehistory of Black education under enslavement; the promise of public education during Reconstruction; Booker T. Washington’s accommodation during early Jim Crow; black college campus rebellions of the 1920s; the impact of Brown v. Board of Education ; the rise of black studies programs at majority campuses in the 1960s and ‘70s; and the resonance of Jim Crow assumptions affecting education access in our current moment. We also touch on the experience of other marginalized groups. For example, women’s college campuses, such as those of Mount Holyoke and Smith College, were designed to discipline women to accept prescribed

gender roles at the height of the women’s suffrage movement. Armed with this background, on Saturday, Sept. 19, from 11:00 a.m. to 3:00 p.m., there will be a required field trip to the Jefferson School African American Heritage Center and its setting in downtown Charlottesville. This was the site of Charlottesville’s first public elementary and later high school for African Americans. Some of the materials we study include excerpts from the following: Frederick Douglass’ 1845 Narrative , Thomas Jefferson’s Notes on the State of Virginia , Booker T. Washington’s Up from Slavery , W. E. B. Du Bois’s Black Reconstruction in America , Raymond Wolters’ The New Negro on Campus , and James D. Anderson’s The Education of Blacks in the South . Films include Peter Gilbert's With All Deliberate Speed . We’ll explore interpreting historical and contemporary maps, plans, and other design- and planning-related materials to help develop the ability to interrogate landscapes critically. Graded assignments include two midterms, a team research project, a final team project symposium, and an individual critical reflection on the team project. There will be a number of informal in-class and take home exercises connected especially with developing skills in preparation for the midterms, field trip, and final project.

Downtown Charlottesville Field Trip, Saturday, Sept. 19, 11:00 a.m. to 3:00 p.m.

ENGL 3001-100: Hist of Lit in English I

Engl 3220-001: the seventeenth century.

In this course we will study a period marked by two big-name revolutions—the scientific revolution and the political revolution known as the English Civil War—but our task will be to examine the subtler currents of thought that ran beneath these epochal changes. We will focus in particular on vigorous seventeenth-century debates about the origins of knowledge and the purpose of liberty. Seventeenth-century writers put pressure on all the received ways of explaining the human mind, the natural world, and the political regime. They asked whether we should trust political customs, intellectual authorities, or even our own eyes and minds. They wondered whether goodness, greatness, and honor are meaningful ideas or fictions that had long impeded progress toward certain knowledge and secure peace. They debated about the primary aim of political life and what kinds of freedom are desirable and achievable. As we study political and philosophical prose by Francis Bacon, John Milton, and Thomas Hobbes in conversation with poems and plays by Shakespeare, Ben Jonson, John Donne, Robert Herrick, and Andrew Marvell (among others), we will practice reading with the utmost care—and a dictionary by our sides. Our aim will be not only to understand the complexities of these authors’ thought but also to draw out the rich particularities of their language.

ENGL 3271-100: Shakespeare: Comedies and Histories

A survey of the first half of Shakespeare’s dramatic career, focusing in particular on the comedies and history plays. Among the things we’ll be looking at: the intricate relations between desire, disguise and the transformation of identity in plays like The Comedy of Errors , A Midsummer Night’s Dream and As You Like It ; the ways in which various kinds of drama can simultaneously question and reaffirm the status quo; the representation of gender and agency on the comic stage; suggestive connections between comedy and tragedy in Romeo and Juliet ; comedy and history in Henry IV part I (and to a lesser extent in Henry V ); tragedy and history in Richard II ; the pressing of comedy to its limits in The Merchant of Venice and Measure for Measure . Lectures will remain attentive throughout to the power of the Shakespearean wordhoard and also to the relationship between play text and performance.

Course requirements: Regular attendance at lectures; regular attendance at (and lively participation in) discussion sections; two 6-7 page papers, midterm and final exams.

This course fulfills the pre-1700 requirement for the English major.

ENGL 3275-001: History of Drama I

The first third of this course will cover the drama of classical antiquity in translation, beginning with Greek plays by Aeschylus, Sophocles, Euripides, and Aristophanes, then moving from there to the Latin plays of Plautus, Terence, and Seneca.  The next third of the course will consider the kinds of performance that displaced (and in some cases transformed) these pagan traditions after the Christianization of the Roman empire; we will likely read a liturgical drama, a morality play, a saint play, some vernacular Biblical drama and a secular farce.  The final third of the course will cover plays from the Renaissance, focusing particularly on the commercial London stage of Christopher Marlowe and William Shakespeare.     

A major goal of the course will be to answer some of the questions posed by historical period: what does it mean, in the context of this particular genre, to move from antiquity to the Middle Ages to the Renaissance?  How seriously should we take the differences between paganism and Christianity?  What portion of early modern drama derives from classical antiquity, what portion from the Middle Ages, and what portion, if any, is new?  What does it mean to say that drama by the time of Shakespeare had been secularized?

ENGL 3310-001: Eighteenth-Century Women Writers

During the eighteenth century, social, economic, and technological developments in Britain converged to alter the ways in which texts were produced and consumed. The result of these innovations was a print culture that offered women the opportunity to step onto the public stage as professional authors for the first time. Female authors, nevertheless, remained intensely aware of their “delicate situation” within the literary public sphere. They responded to this situation by deploying a variety of authorial strategies that ingeniously combined self-promotion with self-protection in order to legitimize their appearance in print. This class will be particularly interested in examining the relationship between gender and genre in eighteenth-century Britain. Our readings will highlight a series of specific literary forms – drama, poetry, and the novel – each of which implicates gender in distinctive and compelling ways.

Class requirements include frequent discussion thread posts; in-class quizzes; two thesis-driven essays; a poetry annotation assignment; and a “blue book” essay-based final exam.

This course satisfies the 1700-1900 requirement.

ENGL 3380-001: The English Novel I: Run Runaway

Engl 3480-001: the way we live now: the novel in the nineteenth century.

“Novels are in the hands of us all,” wrote Anthony Trollope in 1870, “from the Prime Minister down to the last-appointed scullery maid. We have become a novel-reading nation.” Indeed, over the course of the nineteenth century the novel became the most popular—and profitable—literary genre in Great Britain. Its success was due to many factors, none perhaps more important than the extraordinary sophistication and emotional power with which novelists set out to portray (as the title of one of Trollope’s own novels puts it) “the way we live now.” More than ever before, novelists were committed to recording the visible world in all its abundant detail while also exploring the complex interior lives of individual women and men. They accomplished these feats, moreover, by way of gripping stories full of adventure, love (lust too), betrayal, mystery, and wonder. In this course we will immerse ourselves in a half-dozen or so of the finest examples of the genre, chosen from among such writers as Jane Austen, Charles Dickens, Charlotte Bronte, Emily Bronte, Elizabeth Gaskell, George Eliot, Margaret Oliphant, Thomas Hardy, and Trollope himself. Requirements will likely include bi-weekly email responses, two essays, a midterm, and final exam.

ENGL 3510-001: Feminist Chaucer

Engl 3540-001: romantic poetry, engl 3545-001: us lit and social justice, engl 3560-001: irish plays, movies, and tv, engl 3560-002: u.s. modernisms in word & image.

How does one write something that’s never been thought? Why would an author write in mixed or invented languages? How do visual images respond to written narratives (and vice-versa)? We will discuss a broad range of novels, short fiction, film, photography, and graphic arts composed between 1898 and 1945 and the historical, political, and cultural trends that they were responding to and participating in. This was an extraordinary and tumultuous period of demographic change, artistic invention, economic instability, racialized violence, and political contestation that witnessed mass immigration, migration, and emigration. In paying particular attention to trends of demographic displacement and change within and across national borders, we’ll consider the heady experiments in language and narrative that took place during the first half of the twentieth century. The historical events of this period—framed by the wars of 1898 and World War II—will provide context for the novels we read. 

Some of the broad questions that we’ll track throughout the term include the following. How do these authors define the “modern”? What, for that matter, is a “novel” in twentieth-century U.S. literature?  How did these authors participate (and resist) the process of defining who counted as an “American”? What role did expatriates and immigrants play in the “new” United States of the twentieth century? How did modernists narrate the past? How did trends in technology (mass production, cinema, transportation), science (relativity), and politics influence novelists’ roles within U.S. modernity? How did these authors reconcile the modernist imperative to “make it new” with the histories of the U.S. and the Americas?  What were the new languages of modernity?

ENGL 3570-001: Hemispheric Latinx Literature

Engl 3570-002: american wild.

This course will begin with a look at biblical antecedents and their influence on white colonists encountering landscapes inhabited by native people. From there we’ll move to the literature of westward exploration, and further encounters with indigenous populations and their lands, in selections from the journals of Jefferson-commissioned Lewis and Clark. Then it’s on to the mid-nineteenth pivot toward wildness in the eyes of Romantic beholders, foremost among them Henry David Thoreau, patron saint of the environmental movement. Next comes John Muir, whose vision of wilderness preservation begat the U.S. National Park System. Proceeding to the twentieth-century, we’ll add important voices, such as Aldo Leopold’s and Rachel Carson’s and Rebecca Solnit’s, as the preservation impulse merges with concern about public health and social justice. We’ll complete our tour in the twenty-first century by joining the intensifying conversation, along with Robert Bullard, Alice Walker, Linda Hogan, Carol Finney, Lauret Savoy, J. Drew Lanham, and Garnette Cadogan, about whether the visions of Thoreau, Muir, et al. are exclusively white and male.  

ENGL 3570-003: Narrative Experiment in Contemporary American Fiction: Graphic Novels, Eccentric Narrators, Alternative Histories, Magical Realities

Contemporary American fiction brims with surprises.  It’s not just that an unprecedent diversity of voices is generating a global literature centered upon U.S. territory, but also that this influx of the world’s energies has accelerated the modern and postmodern experimentation with new ways to tell a story.

In this course we will explore the possibilities generated by narrative innovation in a stunning group of contemporary fictions.  We’ll take up the booming genre of the graphic novel, in which the visual dimension bursts open the conventional boundaries of narrative fiction (in texts like Art Spiegelman’s MAUS, Thuy Bui’s The Best We Can Do, and Alison Bechdel’s Fun Home ).  We’ll read novels narrated by outrageous, elusive, sometimes magical voices (in texts like Junot Diaz’s The Brief, Wondrous Life of Oscar Wao , Karen Tei Yamashita’s Through the Arc of the Rain Forest, and Ruman Alaam’s Leave the World Behind). And we’ll consider novels that re-imagine ethnic American histories by means of inventive strategies: magical, multi-vocal, counterfactual, or speculative (in texts like Maxine Hong Kingston’s China Men, Louise Erdrich’s The Night Watchman, Michael Chabon’s The Yiddish Policemen’s Union, Philip Roth’s The Plot Against America, and Jocelyn Nicole Johnson’s “My Monticello”).

Requirements: devoted reading and active participation, multiple online postings, leading of class discussion (in pairs), a short and a long paper.

ENGL 3572-001: Black Protest Narrative

This course studies modern racial protest expressed through African American narrative art (fiction, autobiography, film) from the 1930s to 1980s, focusing on Civil Rights, Black Power, Black Panthers, womanism, and black gay/lesbian liberation movements, and black postmodernism. We explore the media, forms, and theories of modern protest movements, how they shaped and have been shaped by literature and film. What does it mean to lodge a protest in artistic form? Some themes include lynching, segregation, sharecropping, black communism, migration, urbanization, religion, crime and policing, normative and queer sexualities, war and military service, cross-racial coalitions, and the role of the individual in social change. Either directly or indirectly, all of these narratives ask pressing questions about the meaning of American citizenship and racial community under the conditions of racial segregation and the fight for integration or black nationalist autonomy. What does it mean to be “Negro” and American? How should African Americans conduct themselves on the world stage, and which international identifications are most productive? What roles do the press and popular media play in the sustenance and/or erosion of a sense of community both within a racial group and in relation to the country? What are the obligations of oppressed communities to the nation that oppresses them? What role should violence play in working toward liberation? How do intersectional subjectivities like gender, sexuality, religion, class, immigrant status, and color factor into ideologies and strategies of protest? We begin our study with the most famous protest novel, Richard Wright’s Native Son . Then we examine other narratives in this tradition, including works by Angelo Herndon, Ann Petry, James Baldwin, Martin Luther King, Jr., Gwendolyn Brooks, Malcolm X, Huey Newton and Bobby Seale, Audre Lorde, Alice Walker,

Joseph Beam, Marlon Riggs, and William Melvin Kelley. Films include Joseph Mankiewitz’s No Way Out , Melvin Van Peebles’ Sweet Sweetback’s Baadasssss Song and The Watermelon Man , and Marlon Riggs’ Tongues Untied . Written assignments include an in-class midterm, a take-home midterm, a final exam.

ENGL 3790-001: Moving On: Migration in/to US

“Moving On: Migration In/To the U.S.” examines the history of voluntary, coerced, and forced migration in the U.S. Students will trace changing attitudes about migration over time using a variety of cultural products, including videos, books, documentaries, poems, paintings, graphic novels, photographs, fashion, digital humanities, and academic scholarship. Class participation/contribution is the core of this class. Other assessments include reading responses, presentations, papers, and reflective essays. There will be one scheduled test. Students will be required to volunteer 5-10 hours with a migration-related project during the course of the semester.

ENGL 3825-001: Desktop Publishing

Engl 3915-001: point of view journalism.

This course examines the history and practice of “point-of-view” journalism, a controversial but credible alternative to the dominant model of “objectivity” on the part of the news media . Not to be confused with “fake news,” point-of-view journalism has a history as long as the nation’s, from Tom Paine and Benjamin Franklin in the eighteenth century to "muckrakers" like Ida B. Wells Barnett and Ida Tarbell at the end of the nineteenth, and “New Journalism” practitioners like Tom Wolfe, Hunter Thompson, and Barbara Ehrenreich in the twentieth. Twenty-first century point-of-view practitioners include news organizations on the right (Fox News, One America News Network) and left ( Vice , Jacobin , MSNBC, Democracy Now), as well as prominent voices like Ta-Nehisi Coates, Nikole Hannah-Jones, Rebecca Solnit, Jia Tolentino, and Roxane Gay. We will also consider the work of comedians such as Jon Stewart,  Steven Colbert, and John Oliver, who pillory the news (and newsmakers) in order to interpret them.

ENGL 3924-001: Vietnam War in Literature & Film

Engl 4270-001: shakespeare seminar, engl 4500-001: seven ages, seven questions or how to live, what to do.

The course emerges from Jaques’s speech in Shakespeare’s “As You Like It” on the seven ages of human life. We’ll consider childhood and education, erotic love, religion, warfare and courage in war, politics, the quest for wisdom, and old age.  Readings from, among others, Plato, Beauvoir, Freud, Wordsworth, Schopenhauer, and Marx.  Regular writing assignments and a long essay at the end.

ENGL 4500-002: Gothic Forms

Gothic literature burst onto the scene in the eighteenth century with ruined castles, ethereal music, brooding villains and surprisingly sturdy heroines, all performing as metaphors of our deepest fears and fiercest resistances. Throughout the nineteenth and twentieth centuries the gothic continued as a genre of cultural anxiety. This seminar will survey gothic literature through both history and genre: the classic novels, Horace Walpole’s The Castle of Otranto (1764), Matthew Lewis’s The Monk (1797), Mary Shelley’s Frankenstein (1818), Robert Louis Stevenson’s Dr. Jekyll and Mr. Hyde (1886), Shirley Jackson’s The Haunting of Hill House (1959), and Jane Austen’s Northanger Abbey (1818); 18thC German vampire poetry and poems by John Keats, Samuel Taylor Coleridge, Robert Browning, Christina Rossetti, and Sylvia Plath; the plays of Matthew Lewis and Richard Brinsley Peake; and the short stories of Edgar Allan Poe, Charlotte Perkins Gilman, W. W. Jacobs, Richard Matheson, and Stephen King. And we will ask ourselves: What are we afraid of? Active participation, a presentation , weekly short commentaries, one short paper (5-7pp), and one longer research paper (10-12pp).

ENGL 4520-001: House & Garden: Lanyer, Jonson, Marvell Go Cottagecore

Engl 4540-001: jane austen.

An intensive study of the work of Jane Austen. Take this course if you’re new to Austen or already a fan. Take it for Austen’s epigrammatic sentences and love stories, but also for her biting social commentary and (beneath the light, bright surface) her probing of the darker emotions. How do the novels treat such topics as family conflict, first impressions, sexual jealousy, women’s property rights, New World slavery, and the Napoleonic Wars? Why have Austen’s happy endings been accused of haste? In addition to exploring Austen’s formal strategies, thematic concerns, and engagement with the issues of her time, we will touch on her reception in subsequent eras, including a cinematic interpretation or two. Two papers and a final exam. This course satisfies the 1700-1900 requirement.

ENGL 4560-001: Modern Love and US Fiction

Engl 4560-002: contemporary poetry.

In this seminar, we will examine an array of postwar idioms, forms, and movements. While devoting much of our attention to some of the most influential poetry from the second half of the twentieth century, we will also bring ourselves up to date by examining some of the best poems published in recent years by poets of diverse backgrounds. To hone our attention, we will focus on several specific kinds of poetry, including sonnets, elegies, and poems about the visual arts. The seminar will emphasize the development of skills of close reading, critical thinking, and imaginative, knowledgeable writing about poetry.

ENGL 4560-003: Caribbean Sci-Fi and Fantasy

Engl 4560-004: visual fictions: photography and 20th/21st-century us literature.

The emergence of photography in the 19th and early 20th centuries participated in an extraordinary vitality in both visual and literary cultures of the time. The force of new kinds of images and icons was immediate and transformative. Photographs were used in a wide range of ways during this period, from multimedia art forms (collage) to new surveillance methods (mug shots and passport photos) to advertising, journalism, family and personal mementos, among others. This was also the era of mass movements of people (immigration and migration). This course will provide an introduction to the emergence of photography as a popular and artistic medium in the 20th century US, which we will put in dialogue with the literary and cultural movements of realism, modernism, postmodernism, and the as-yet unnamed contemporary. We’ll consider how word-based arts changed—primarily narrative prose and the novel form—in response to the visualities generated by photography.

ENGL 4561-001: Literature and Trauma

How is trauma narrated?  Does literature give wounds a voice that bears witness to injury?  Can imaginative works convey intense personal and collective suffering?  Or is language itself an impediment to the expression of hurt?  Is our understanding of pain cultural?  How do we make the torment of another legible?  How does storytelling distinguish intimate traumas (such as accidents or rape) from vast social damage (war, colonialism)?  This course grapples with such questions.  

Our study of trauma’s relation to literature will consider psychoanalytic ideas of historical and personal trauma reflected in literary works of the modern period.  Our approach will be interdisciplinary, considering how powerful concepts in the hermeneutic of psychoanalysis (repression; repetition compulsion; abjection; misrecognition; lack; affect etc.) have been generated by literary works, as well as challenged and absorbed into them.  Insofar as traumatic experience produces a subjective breach, we will think about how certain forms and styles of literature are more (or less) suited to reflect the rupture.   We will read formative texts of psychoanalysis (Freud; Lacan; Kristeva; Foucault and others) and trauma theory (Caruth; Silverman; Fanon; Scarry).  Aside from Jean Rhys’s Good Morning Midnight , our survey will mainly focus on contemporary global novels that depict trauma such as those by Teju Cole, Alison Bechdel, Cormac McCarthy, and Han Kang among others.

ENGL 4561-002: Literature and Human Rights

Engl 4570-001: toni morrison in the round, engl 4580-001: race, space, culture.

Co-taught by K. Ian Grandison and Marlon Ross, this interdisciplinary seminar examines the spatial implications at work in the theories, practices, and experiences of race, as well as the cultural implications at stake in our apprehensions and conceptions of space. Themes include: 1) the human/nature threshold; 2) public domains/private lives; 3) urban renewal, historic preservation, and the new urbanism; 4) defensible design and the spatial politics of fear; and 5) the cultural ideologies of sustainability. The seminar foregrounds the multidimensionality of space as a physical, perceptual, social, ideological, and discursive phenomenon. This means melding concepts and practices used in the design professions with theories affiliated with race, postcolonial, literary, and cultural studies. We’ll investigate a variety of spaces, actual and discursive, through selected theoretical readings from diverse disciplines (e.g., William Cronon, Patricia Williams, Philip Deloria, Leslie Kanes Weisman, Gloria Anzaldúa, Oscar Newman, Mindy Fullilove); through case studies (e.g., Indian reservations, burial grounds, suburban homes, gay bars, national monuments); and through two mandatory local site visits: to Monticello on Sunday, Sept. 22, from 1 to 5 p.m.; and to downtown Charlottesville on Tuesday, Nov. 12, from 5 to 8:30 p.m. Requirements include a take-home midterm, a final critical reflection paper, and a major team research project and symposium presentation.

Final Symposium schedule: Tuesday, Dec. 10, 6:00-9:00 p.m.

Monticello Field Trip, Sunday, Sept. 22, 12:45 - 5:00 p.m.

Downtown Charlottesville Field Trip, Tuesday, Nov. 12, from 5:00 - 8:30 p.m., meets at 333 W. Main Street (former Inge Grocery Store

ENGL 4901-001: The Bible Part 1 - Hebrew Bible / Old Testament

PLEASE NOTE: Professor John Parker will teach a course focusing on the New Testament in spring 2023. Both courses will read the New Testament gospel of Mark, connecting the semesters, but you do not have to take the fall course as a prerequisite for the spring one.

ENGL 4998-001: Distinguished Majors Program

Engl 5559-001: anne spencer & the harlem renaissance.

This discussion-based seminar will focus on the celebrated woman poet Anne Spencer (1882-1975), part of the Harlem Renaissance while living in segregated Lynchburg, Virginia. Spencer’s lasting presence in 30 published poems, a preserved house and garden museum, and the papers at UVA as well as in Lynchburg inspire a planned exhibition in Harrison-Small Library September 2024, along with a slowly expanding body of critical studies. We can advance Spencer studies together in light of reading her work in relation to some other writers she interacted with and our theoretical questions about race, gender, place, environment, and cultural heritage, with some consideration of digital humanities. Our work will include exploring unpublished archives (Special Collections), taking a field trip to the Anne Spencer House and Garden Museum, attending the exhibit and associated events, reading biographies and criticism, practicing skills of reading and interpreting poetry, writing two essays, experimenting with digital tools. The Library hopes to generate support for digitizing images and manuscripts in the UVA collection of many of her papers, as well as examination of her books also archived here. There is no scholarly edition of her works, and our studies will advance scholarship on the evolution of her multi-faceted writing practice (in used notebooks, on walls; prose segueing into poetry and back again).

ENGL 5810-001: Books as Physical Objects

We know the past chiefly through artifacts that survive, and books are among the most common of these objects. Besides conveying a text, each book also contains evidence of the circumstances of its manufacture.  In considering what questions to ask of these mute objects, this course might be considered the "archaeology of printing"—that is, the identification, description, and interpretation of printed artifacts surviving from the past five centuries, as well as exploration of the critical theory that lies behind such an approach to texts. With attention to production processes, including the operation of the hand press, it will investigate ways of analyzing elements such as paper, typography, illustrations, binding, and organization of the constituent sections of a book.  The course will explore how a text is inevitably affected by the material conditions of its production and how an understanding of the physical processes by which it was formed can aid historical research in a variety of disciplines, not only those that treat verbal texts but also those that deal with printed music and works of visual art.  The class will draw on the holdings of the University Library's Special Collections Department, as well as on its Hinman Collator (an early version of the one at the CIA)

* Open to graduate students and advanced undergraduates.

ENGL 5900-001: Counterpoint Seminar in Teaching Modern Literature - “Teaching Literature with Equity and Justice”

This seminar is about how and why teaching literature matters today. How do secondary school and college instructors teach literature in challenging times? How do teachers make tough decisions about what to teach and why? What responsibility do teachers have to promote equity and justice through the literature they teach and the methods they use? In this course, we will tackle these big questions together as we explore what it means to pursue a career in teaching literature to middle school, high school, or college students. Each week, we will weave together your existing knowledge of literature and your emerging knowledge of pedagogy. You will be introduced to theories of learning-focused, culturally relevant, and culturally responsive pedagogy, and you will put your newfound knowledge into practice as we work step by step through designing your own teaching philosophy and materials.

This course will bring together students who already have experience as classroom instructors, students who are in the process of teaching for the very first time, and students who have yet to step up to the front of a classroom in the role of teacher. We will build on this diversity of experiences, learning together how to bring transformative pedagogies into our present and future classrooms.

Writing and Rhetoric

Enwr 1505 - writing and critical inquiry: the stretch sequence (8 sections).

Offers a two-semester approach to the First Writing Requirement. This sequence allows students to take more time, in smaller sections and with support from the Writing Center, practicing and reinforcing the activities that are central to the first-year writing course. Like ENWR 1510, ENWR 1505-06 approaches writing as a way of generating, representing, and reflecting on critical inquiry. Students contribute to an academic conversation about a specific subject of inquiry and learn to position their ideas and research in relation to the ideas and research of others.  Instructors place student writing at the center of course, encourage students to think on the page, and prepare them to reflect on contemporary forms of expression.  Students read and respond to each other’s writing in class regularly, and they engage in thoughtful reflection on their own rhetorical choices as well as those of peers and published writers.  Additionally, the course requires students to give an oral presentation on their research and to assemble a digital portfolio of their writing.

001 -- Writing about Culture/Society MW 01:00PM-01:50PM (CAB 042) Claire A Chantell   002 -- Writing about Culture/Society MW 02:00PM-03:15PM (CAB 042) Claire Chantell   003 -- Writing about Culture/Society TR 02:00PM-03:15PM (BRN 203) Patricia Sullivan   004 -- Writing about Culture/Society TR 03:30PM-04:45PM (BRN 203) Patricia Sullivan   005 -- Writing about Culture/Society - Literacy Narratives TR 11:00AM-12:15PM (CAB 042) Kate Kostelnik   006 -- Writing about Culture/Society TR 11:00AM-12:15PM (CAB 066) Kate Natishan   007 -- Writing about Culture/Society - Literacy Narratives TR 12:30PM-01:45PM (CAB 042) Kate Kostelnik   008 -- Writing about Culture/Society TR 09:30AM-10:45AM (CAB 066) Kate Natishan

ENWR 1510 - Writing and Critical Inquiry (70+ sections)

Approaches writing as a way of generating, representing, and reflecting on critical inquiry. Students contribute to an academic conversation about a specific subject of inquiry and learn to position their ideas and research in relation to the ideas and research of others.  Instructors place student writing at the center of course, encourage students to think on the page, and prepare them to reflect on contemporary forms of expression.  Students read and respond to each other’s writing in class regularly, and they engage in thoughtful reflection on their own rhetorical choices as well as those of peers and published writers.  Additionally, the course requires students to give an oral presentation on their research and to assemble a digital portfolio of their writing.

001 -- TBA MWF 09:00AM-09:50AM (CAB 064) TBA

002 -- TBA  TR 08:00AM-09:15AM (CAB 056) TBA   003 – Writing & Community Engagement - Walking Charlottesville TR 02:00PM-03:15PM (BRN 312) Kate Stephenson

This seminar will explore the connections between walking, writing, social justice, and activism. There is a long history of walking as a means of igniting thought, creativity, and dialogue that dates back to the meanderings of Socrates and Aristotle and continues through the strolls of the Romantic poets, the city wanderings of the fictional J. Alfred Prufrock and Clarissa Dalloway, and the outdoor hikes of Wendell Berry. But walking isn’t just linked to creativity and conversation; it’s also clearly connected to social justice. Walking to freedom, as depicted in myriad slave narratives and immigration stories, as well as walking for freedom in the form of protest marches, both past and present, are important reminders that our footsteps matter.   In this class, we will consider how walking can be both a solo activity and a means of creating community. By walking together, we will learn about the places and histories around us.  The course will be structured around biweekly walks themed around social justice. All walks and place-based visits will include time for reflective writing.

004 – TBA TR 05:00PM-06:15PM (CAB 211) TBA   005 -- TBA TR 05:00PM-06:15PM (BRN 330) TBA   006 -- Writing about Science & Tech - Writing and Critical Inquiry at UVA MWF 11:00AM-11:50AM (BRN 330) Heidi Nobles   007 -- TBA MWF 09:00AM-09:50AM (BRN 310) TBA   008 -- TBA MWF 09:00AM-09:50AM (CAB 044) TBA   009 -- Writing about Identities MWF 10:00AM-10:50AM (BRN 312) Devin Donovan (Transfer Students ONLY)   010 -- Writing about Science & Tech - Citizen Science TR 09:30AM-10:45AM (BRN 330) Cory Shaman   011 -- TBA  MWF 11:00AM-11:50AM (BRN 310) TBA    012 -- Writing about Culture/Society MWF 10:00AM-10:50AM (BRN 334) Jon D'Errico   014 -- Writing about Culture/Society - Writing About Sports MW 03:30PM-04:45PM (CAB 064) Rhiannon Goad   015 -- TBA MW 03:30PM-04:45PM (BRN 332) TBA   016 -- Writing about Identities - Aliens and Identities TR 09:30AM-10:45AM (CAB 594) Charity Fowler   017 -- Writing about Identities MWF 11:00AM-11:50AM (BRN 312) Devin Donovan (Transfer Students ONLY)   018 -- TBA  MWF 09:00AM-09:50AM (BRN 334) TBA   019 -- TBA TR 05:00PM-06:15PM (BRN 312) TBA   020 -- Writing about Science & Tech  MWF 09:00AM-09:50AM (BRN 330) Eric Rawson   022 -- Multilingual Writers MWF 12:00PM-12:50PM (BRN 332) Davy Tran (Multilingual/international students ONLY)   024 -- Writing about Science & Tech - Writing and Critical Inquiry at UVA MWF 12:00PM-12:50PM (BRN 334) Heidi Nobles   026 -- Writing about Culture/Society - Ideas of Home MW 02:00PM-03:15PM (BRN 332) John Casteen   027 -- Writing about Culture/Society - Ideas of Home MW 05:00PM-06:15PM (CAB 044) John Casteen   028 -- TBA  TR 05:00PM-6:15PM (BRN 332) TBA    029 -- TBA MW 03:30PM-04:45PM (CAB 036) TBA   031 -- TBA MWF 09:00AM-09:50AM (BRN 332) TBA   032 -- TBA TR 09:30AM-10:45AM (BRN 332) TBA   033 -- TBA TR 08:00AM-09:15AM (BRN 310) TBA   034 -- Multilingual Writers MWF 01:00PM-01:50PM (BRN 310) Davy Tran (Multilingual/international students ONLY)   035 -- Writing about Culture/Society MWF 11:00AM-11:50AM (BRN 334) Jon D'Errico   036 -- Writing about Digital Media -  The Art of the Post: Performance in Public Places TR 11:00AM-12:15PM (BRN 332) Dana Little   037 -- TBA MWF 10:00AM-10:50AM (BRN 310) TBA   040 -- Writing about Digital Media TR 11:00AM-12:15PM (BRN 334) Kevin Smith   042 -- TBA MWF 01:00PM-01:50PM (BRN 312) TBA   043 -- Writing about Culture/Society  TR 11:00AM-12:15PM (CAB 187) Sethunya Mokoko   044 -- TBA MWF 10:00AM-10:50AM (BRN 332) TBA   045 -- Writing about Science & Tech  MWF 10:00AM-10:50AM (BRN 330) Eric Rawson   046 -- Writing about Digital Media -  The Art of the Post: Performance in Public Places TR 12:30PM-01:45PM (BRN 332) Dana Little   047 -- Writing about Culture/Society - Writing About Sports MW 02:00PM-03:15PM (BRN 330) Rhiannon Goad 

050 -- Writing about Culture/Society  TR 12:30PM-01:45PM (CAB 056) Sethunya Mokoko   051 -- Writing about Culture/Society TR 05:00PM-06:15PM (CAB 411) Keith Driver (Transfer Students ONLY)   052 -- TBA  TR 08:00AM-09:15AM (CAB 044) TBA   053 -- TBA MWF 09:00AM-09:50AM (CAB 056) TBA   054 -- TBA TR 11:00AM-12:15PM (KER 317) TBA   056 -- TBA TR 08:00AM-09:15AM (BRN 332) TBA   057 -- TBA TR 09:30AM-10:45AM (CAB 064) TBA   058 -- TBA TR 09:30AM-10:45AM (BRN 310) TBA   059 -- TBA MWF 12:00PM-12:50PM (BRN 312) TBA   060 -- TBA MW 03:30PM-04:45PM (CAB 056) TBA   061 -- Writing about Science & Tech TR 11:00AM-12:15PM (BRN 330) Cory Shaman   062 -- TBA TR 02:00PM-03:15PM (BRN 332) TBA   063 -- TBA TR 08:00AM-09:15AM (BRN 334) TBA   064 -- TBA MW 05:00PM-06:15PM (CAB 036) TBA   066 -- TBA TR 03:30PM-04:45PM (BRN 334) TVA   067 -- TBA TR 05:00PM-06:15PM (BRN 334) TBA   068 -- Writing about Identities - Aliens and Identities TR 11:00AM-12:15PM (CAB 183) Charity Fowler   071 -- TBA MW 06:30PM-07:45PM (BRN 310) TBA   072 -- Writing about Digital Media  TR 12:30PM-01:45PM (BRN 334) Kevin Smith   073 -- TBA TR 08:00AM-09:15AM (BRN 330) TBA   074 -- TBA MW 03:30PM-04:45PM (BRN 334) TBA   075 -- TBA TR 12:30PM-01:45PM (BRN 310) TBA   076 -- TBA TR 08:00AM-09:15AM (BRN 312) TBA   077 -- TBA TR 03:30PM-04:45PM (BRN 310) TBA   078 -- TBA TR 06:30PM-07:45PM (BRN 312) TBA   080 -- TBA MW 05:00PM-06:15PM (BRN 334) TBA   081 -- TBA MWF 11:00AM-11:50AM (BRN 332) TBA   082 -- Writing about Culture/Society - Indigenous Rhetorics TR 09:30AM-10:45AM (BRN 312) Sarah Richardson   083 -- TBA MWF 01:00PM-01:50PM (BRN 330) TBA   085 -- TBA TR 09:30AM-10:45AM (BRN 334) TBA   086 -- TBA TR 11:00AM-12:15PM (CAB 115) TBA   087 -- TBA MWF 09:00AM-09:50AM (BRN 312) TBA   088 -- Writing about Culture/Society - Indigenous Rhetorics TR 11:00AM-12:15PM (BRN 312) Sarah Richardson   089 -- TBA MW 03:30PM-04:45PM (CAB 044) TBA   090 -- TBA MW 05:00PM-06:15PM (BRN 332) TBA

091 -- TBA TR 08:00AM-09:15AM (CAB 064) TBA

092 -- TBA TR 05:00PM-06:15AM (KER 317) TBA

ENWR 1520 - Writing and Community Engagement (1 section)

001 -- TR 12:30PM-01:45PM (BRN 312) - Writing about Food Justice Kate Stephenson

Why do we eat what we eat? Do poor people eat more fast food than wealthy people? Why are Cheetos cheaper than cherries? Do you have to be skinny to be hungry? By volunteering at the UVA Student Garden, Morven Kitchen Garden, UVA Community Food Pantry, Loaves and Fishes, or the PVCC Community Garden and using different types of writing, including journal entries, forum posts, peer reviews, and formal papers, we will explore topics like food insecurity, food production, hunger stereotypes, privilege, urban gardening, and community engagement.  

Community engagement courses depend on creating pathways between different kinds of knowledge that enable us to learn with our minds, hearts, and bodies. The classroom is not a place where we find the answer; instead, it is a space for inquiry where process rather than product prevails. We will explore first-hand the ways in which academic conversations—and civic conversations—emphasize questions rather than answers. We will redefine knowledge—where it originates, who creates it, and how it circulates—by seeing the community outside the classroom as a site of knowledge production. 

ENWR 1530 - Writing About the Imagination

MW 01:00PM-01:50PM (MON 130) Kenny Fountain

Discussion Sections: F 9:00AM, 10:00AM, 11:00AM, and 12:00PM.

Imagining and visualizing are key components of perceiving the world, remembering the part, and envisioning new futures. And words play an important role in how we imagine. That is, words make absence things present, bring to mind people, objects, and events remote in time or space, and allow us to conceive of possibilities that do not yet exist. In this First Writing Requirement (FWR) course, we will explore how writers and researchers have investigated the imagination. To do this, we will read work from across several disciplines, from rhetoric and philosophy to cognitive science, history, and literature. As we do this, we will examine how these writers use verbal description, visual imagery, lively storytelling, compelling evidence, and persuasive argument. 

ENWR 2510 - Advanced Writing Seminar (4 sections)

001 -- Writing about Identities -  Writing Regret and Repair MW 03:30PM-04:45PM (BRN 330) Tamika Carey    003 -- Writing about Identities MWF 01:00PM-01:50PM (BRN 332) Devin Donovan   004 -- TBA TR 11:00AM-12:15PM (CAB 594) TBA   006 -- Writing about Science & Technology MWF 12:00PM-12:50PM (BRN 310) Eric Rawson

ENWR 2520 - Special Topics in Writing (4 sections)

003 -- Writing Democratic Rights T 06:00PM-08:30PM (BRN 310) Stephen Parks

Students will study theories of democracy and work with global democratic advocates, as well as students located in internatioanal contexts.

004 -- Writing Human Rights M 06:00PM-08:30PM (BRN 330) Stephen Parks

Students will study theories of human rights and work with global human rights advocates, as well as students located in internatioanal contexts.

008 -- Writing about Medicine MW 05:00PM-06:15PM (BRN 310) Rhiannon Goad

009 -- Community Engagement   TR 02:00PM-03:15PM (BRN 310) Sarah Richardson

010 -- Writing and Games TR 02:00PM-03:15PM (BRN 330) Kate Natishan

ENWR 2640 - Writing as Technology

TR 11:00AM-12:15PM (BRN 203) Patricia Sullivan

This course explores historical, theoretical, and practical conceptions of writing as technology. We will study various writing systems, the relation of writing to speaking and visual media, and the development of writing technologies (manuscript, printing presses, typewriters, hypertext, text messaging, and artificial intelligence). Students will produce written academic and personal essays, but will also experiment with multimedia electronic texts, such as web sites, digital essays/stories, and AI generated texts

ENWR 2700 - News Writing

TR 09:30AM-10:45AM (BRN 203) Kate Sweeney

ENWR 2800 - Public Speaking

001 - The Power of Performance: From TED Talks to TikTok TR 03:30PM-04:45PM (BRN 330) Dana Little

ENWR 3500 - Topics in Advanced Writing & Rhetoric

003 - Race, Rhetoric, and Social Justice TR 03:30PM-04:45PM (CAB 036) Sethunya Mokoko

ENWR 3620 - Writing and Tutoring Across Cultures

TR 03:30PM-04:45PM (BRN 332) Kate Kostelnik

In this course, we'll look at a variety of texts from academic arguments, narratives, and pedagogies, to consider what it means to write, communicate, and learn across cultures. Topics will include contrastive rhetorics, world Englishes, rhetorical listening, and tutoring multilingual writers. A service learning component will require students to volunteer weekly in the community.

ENWR 3640 - Writing with Sound

TR 11:00AM-12:15PM (RTN 152) Steph Ceraso

In this collaborative, project-based course, students will learn to script, design, edit, and produce an original podcast series. In addition to reading about and practicing professional audio storytelling techniques (e.g. interviewing, writing for the ear, sound design), each student will get to work with a team to produce an episode for the podcast series. No experience with digital audio editing is necessary. Beginners welcome!

ENWR 3665 - Writing about the Environment

TR 02:00PM-03:15PM (BRN 334) Cory Shaman

ENWR 3760 - Studies in Cultural Rhetoric

M 06:00PM-08:30PM (BRN 312) Tamika Carey

ENWR 3900 - Career Based Writing and Rhetoric

MW 03:30PM-04:45PM (CAB 068) John T. Casteen IV

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MOU Gymnasium No. 21 Elektrostal

Description of MOU Gymnasium No. 21 Elektrostal

• Location: Elektrostal, Russia
• Students age: from 7 to 18 years old
• School uniform
• Full-time education
• Stages of education: primary, basic and secondary.

Gymnasium No. 21 is located in the town of Elektrostal, Moscow Region. The beginning of the history of this educational institution is considered 1971 - then a secondary school was opened in the building of the gymnasium. Since 2014, gymnasium No. 21 has been included in the list of the best schools in the Moscow Region, has the title of "Smart School", and is the winner of many competitions in the field of education.

Programs and prices, tuition fees in MOU Gymnasium No. 21 Elektrostal

Primary general education (7 - 10 years): study of basic subjects, versatile personality education. In free time, the program includes excursions, festivals and project activities.

Basic general education (11 - 16 years old): a program consisting of basic subjects and preparation for passing the OGE. The program includes the study of two foreign languages - English and German.

Secondary general education (16 - 18 years old): a program includes basic subjects (as an additional one - astronomy) and in-depth study of the disciplines selected for passing the exam.

Grades 10 in the gymnasium are divided into profiles of in-depth study of subjects:

• Socio-economic - learning English, mathematics and economics
• Social and humanitarian - English and Russian languages, social studies.

Accommodation, meals, prices

The gymnasium organizes paid and reduced-price meals.

Reduced price meals (lunch) are received by:

• Students with disabilities
• Students who are under guardianship and not receiving benefits from the guardianship authorities
• Disabled children
• Pupils from large families
• Students with tuberculous intoxication
• Students receiving survivor's pension
• Students with diseases of the digestive organs (Hirschsprung's disease, gastric and duodenal ulcers, cholelithiasis, chronic hepatitis, Crohn's disease), chronic kidney diseases (glomerulonephritis, pyelonephritis), blood diseases and disorders caused by chemical prophylaxis, respiratory diseases (bronchial asthma), diseases of the endocrine system (diabetes mellitus)
• Students from low-income families
• Students from disadvantaged families
• Children in difficult life situations
• Children of participants in the liquidation of the consequences of the accident at the Chernobyl nuclear power plant.

Reduced meals (breakfast) are received by:

• Students in grades 1-4
• Students from large families
• Students receiving a survivor's pension.

To obtain the right to receive preferential meals from the parents / legal representatives of the child, you will need to provide an application completed in the name of the director and documents confirming belonging to one of the categories.

Activities MOU Gymnasium No. 21 Elektrostal

Circles and sections of gymnasium number 21:.

• General physical preparation
• Librarianship.

High school students also participate in:

• Subject Olympiads, including the All-Russian Olympiad for schoolchildren
• Career guidance before leaving school
• Delivery of TRP standards
• Sports and creative activities.
• Qualified teachers (holders of the title "Honored Teacher of the Russian Federation", medals and certificates of honor)
• Additional education in various fields
• Participation in olympiads and competitions
• Career guidance for applicants to universities and colleges.

Facilities and equipment at MOU Gymnasium No. 21 Elektrostal

Studying takes place in a four-story building built in 1970. The school is equipped with:

• Classrooms equipped with everything you need to learn
• Assembly, choreographic and sports halls
• Dining room
• Medical office
• Library with reading room
• Utility and technical rooms
• Sports ground on site.

The entrance is equipped with equipment for visiting the school by persons with disabilities.

Admission dates and extra charges

The academic year begins on September 1, and is divided into quarters.

Holidays between quarters:

• October 30-November 8
• December 28-January 8
• February 22-28 (only for 1 grade)
• March 26-April 2
• May 26/29 - August 31 (depending on the class).

Gymnasium №21 teaches on a five-day basis - from Monday to Friday. Lesson time:

• For 1, 4, 5, 7, 8a, 11 classes - 8: 30-15: 45 (max. 8 lessons)
• For grades 2, 3, 6, 8b, 9, 10 - 8: 15-15: 30 (max. 8 lessons).

Entry requirements, how to apply, what is required to enrol

To enroll in the gymnasium you will need to provide:

• Completed application in electronic or written form
• Parent's / legal representative's passport
• Child's birth certificate
• Certificate of registration of the child at the place of residence or at the place of stay in the assigned territory
• The conclusion and recommendations of the psychological, medical and pedagogical commission and the consent of parents / legal representatives to study according to the adaptive basic general education program (for children with disabilities).

Upon admission to grade 10, additional documents + profile testing may be required.

Institution on the map

Residence permits, citizenship and other services.

• Guardianship services during the studies
• Student supervision

Review about MOU Gymnasium No. 21 Elektrostal

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Moscow, Russia

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• Zheleznodorozhnyy
• Orekhovo-Zuyevo
• Sergiyev Posad
• Podol'sk
• Novo-Peredelkino
• Ryazan'

An Overview of the IELTS

The International English Language Testing System (IELTS) is designed to measure English proficiency for educational, vocational and immigration purposes. The IELTS measures an individual's ability to communicate in English across four areas of language: listening , reading , writing and speaking . The IELTS is administered jointly by the British Council, IDP: IELTS Australia and Cambridge English Language Assessment at over 1,100 test centres and 140 countries. These test centres supervise the local administration of the test and recruit, train and monitor IELTS examiners.

IELTS tests are available on 48 fixed dates each year, usually Saturdays and sometimes Thursdays, and may be offered up to four times a month at any test centre, including Elektrostal' depending on local needs. Go to IELTS test locations to find a test centre in or nearby Elektrostal' and to check for upcoming test dates at your test centre.

Test results are available online 13 days after your test date. You can either receive your Test Report Form by post or collect it from the Test Centre. You will normally only receive one copy of the Test Report Form, though you may ask for a second copy if you are applying to the UK or Canada for immigration purposes - be sure to specify this when you register for IELTS. You may ask for up to 5 copies of your Test Report Form to be sent directly to other organisations, such as universities.

There are no restrictions on re-sitting the IELTS. However, you would need to allow sufficient time to complete the registration procedures again and find a suitable test date.

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The reading, writing and listening practice tests on this website have been designed to resemble the format of the IELTS test as closely as possible. They are not, however, real IELTS tests; they are designed to practise exam technique to help students to face the IELTS test with confidence and to perform to the best of their ability.

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