Instructor: Anna Joy Springer

This course introduces many of the basic elements of contemporary fiction, including characterization, style, point-of-view, dialogue, theme, and narrative structure. Emphasis will be placed upon writing first from your most unfettered imagination, AND upon sculpting these wild writings into shapely short stories through a variety of creative revision techniques.

Each week we will read both conventional and innovative short stories published (mostly) in the last thirty years, in order to discuss in context the fiction-writing techniques you’ll be practicing in your own writing. We will read 2-3 short stories a week and discuss them analytically.

To explore craft and experimentation, there will weekly brief writing exercises, both in and outside of class, which will help to generate a final short story as the quarter progresses. You will turn in a polished 2-page story every week for group discussion. Therefore, there is a LOT of writing and reading for this course, as well as reading quizzes, a midterm, and a final exam essay. Despite the heavy workload, this course is suitable for pre-majors, minors, and beginning writers.

Writing exercises and drafts will be reviewed in small groups led by undergraduate workshop leaders in order to facilitate your creative revision, revision, and revision process.

You MUST be present for three Wednesday 4:30PM "labs" during the quarter. This lab is really a literary reading by a contemporary author.
► Prerequisite(s): Completion of college writing requirement.

Instructor: Camille Forbes

This course is generally titled “writing nonfiction” but we'll take a focus further,  on what has been called “creative” or “literary” nonfiction. What’s the difference? We’ll use a basic definition. For our purposes, “literary” nonfiction has three central characteristics: it’s based on actual events, people, and places; it’s written with a special focus on language; and it’s written generally with more engagement with the personal (view and experience) than other types of nonfiction writing. For us, creative nonfiction will exclude: journalism, with its focus on accuracy, straightforwardness and objectivity (whether realized or not); academic writing (reports, academic research, and other scholarly writing); and fiction, as invented material, characters, etc. (although we might argue about the details).

This course introduces two forms of literary nonfiction: the interview and the memoir piece. Our focus will be mainly on reading and discussing these forms of nonfiction, although we will cover relevant terms generally related to writing and craft (at times, using fiction to illustrate them—I will make such examples clear). Throughout the quarter, our discussions will serve as a springboard for individual work on the two key assignments in each of the previously-mentioned nonfiction forms.
► Prerequisite(s): Completion of college writing requirement.

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Instructor: Melvyn Freilicher

Students will write 2 complete short stories in drafts. The first draft of story #1 will be critiqued in small peer groups. Your revised version of this story is due finals week. But you can turn it in any time before that for more feedback, then continue to revise it for a final grade. Everyone's first drafts of story #2 will be read and discussed by the whole class: you'll provide written critiques for about half of these papers. We'll be reading a variety of short stories (there are reading quizzes) by Edith Wharton, Jane Bowles, Kenzaburo Oe, Clarice Lispector, Nella larsen, Duo Duo, Yoko Tawada and others.
► Prerequisite(s): LTWR 8A; department approval.

The Magic and The Mundane
Instructor: Melissa Chadburn

This will primarily be a generative writing workshop with an emphasis on stories that feature elements of magic yet remain grounded in the mundane. A generative writing workshop cuts through everyday use of language. It makes the writer beautifully uncomfortable, on the other side of that discomfort the students of this class will find a break-through to the core of what their writing is. The unpracticed bloody heart of it all. This course is not about what you have written but what you will write. A generative class in writing keeps you moving forward. As in any good story it beckons you forward— line by line. This will be our very first attempts of making the unknown known.
► LTWR 100 is a LTEN equivalent course

► Prerequisite(s): LTWR 8A; department approval.

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Instructor: Cristina Rivera-Garza

In this workshop we will explore a range of documentary-writing practices in the Spanish-speaking world (which includes Latin America, Spain and the United States). Readings will include contemporary writers such as poets Sara Uribe, Luis Felipe Fabre and Patricia Binome, fiction writers such as Agustín Fernández Mallo, Patricio Pron, Lina Meruane, and Yussel Dardón, and non-fiction writers such as Bruno Piché and Gabriela Wiener. Based on prompts issued in class, we will use materials from the Archive of Contemporary Poetry as well as personal and/or other community-related documents to write weekly assignments, and to complete a final piece at the end of the quarter. Most readings will be available both in Spanish and English. While guidelines will be written in Spanish, writing exercises may also explore the in-between worlds of Spanish and English. Lectures and workshop sessions may move easily from Spanish into English and viceversa. With credits in Creative Writing and Spanish.

This workshop can be used as an upper division writing workshop for Writing majors or as an upper division Spanish Literature elective for Spanish Literature majors. Students who have completed LTWR 8A or LTSP 50A/B/C are able to waive the remaining prerequisites, please contact for approval.
► Prerequisite(s): LTWR 8A; LTSP 50A or 50B or 50C; department approval.

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Instructor: Ben Doller

Please contact instructor for course description.
► Prerequisite(s): LTWR 8B; departmental approval.

Instructor: Vanessa Place

There is art that uses writing (performance art) and writing that uses art (concrete poetry). There are also art-texts, work that works as both art and writing (Fluxus). From turn of last century Futurism to today’s conceptualism, this third practice has a rich and dynamic history. This course will consider how image and language go together and fall apart, and how framing something as art or as writing changes how we look at art and writing. Students will be expected to read and think in visual and literary terms, and to create work that reflects this thinking.
► Prerequisite(s): LTWR 8A or 8B or 8C; department approval.

A Party of Forms & Practice
Instructor: Feliz Lucia Molina

This class will be a party of forms and practice. What this means is that we will responsibly navigate various forms of writing that is identifiably "experimental". What is "experimental writing'? We will figure out the parameters and limitations for what might constitute certain literary works as experimental. We will even try to define it ourselves. This class will provide you a piñata of forms to hit and run after, blindfolded. There will be 10 different literary forms and styles to digest, some of which include the epistolary, lyric essay, found text/collage or appropriation, conceptual writing practices such as transcription, time-based/durational works, somatic writing exercises, writing as performance art, gleaning inspiration from The Archive for New Poetry at UCSD, and more. We will study one poetic/literary form per week and compose one piece based on that form. During the last week you will develop your own form and practice. A collection of your writings and compositions will be assembled into a chapbook at the end of the semester. This chapbook will serve as a time capsule for what you've written and made in the 10 weeks of the Spring quarter. No books will be assigned. A course packet of carefully curated readings and material will be available at the bookstore. We will view digital material from sources such as UbuWeb, PennSound, Electronic Poetry Center, and others. There will also be a trip to The Archive for New Poetry at the Geisel Library.
► Prerequisite(s): LTWR 8A, 8B, or 8C; department approval.

Instructor: Melvyn Freilicher

Students will work with autobiographical materials in a variety of ways: readings include sections of autobiographies and memoirs, vignettes based on sensory memories, language learning and usage, experiences of travel and dislocation, and emergent social and political awareness. Students will develop one long paper in stages, using the readings as possible models. The second half of the quarter will be taken up with everybody discussing their class members' first drafts: each student will provide written critiques of about half the class, Final, revised drafts will be due finals week. Readings include sections of James Agee's LET US NOW PRAISE FAMOUS MEN, Michael Pollan's THE OMNIVORE'S DILEMMA, Ann Moody's COMING OF AGE IN MISSISSIPPI, Simone de Beauvoir's MEMOIRS OF A DUTIFUL DAUGHTER, LeAlan Jones & Lloyd Newman OUR AMERICA: Life and Death on the South Side of Chicago, pieces by Elias Canetti, from punk zines, and others. There will be reading quizzes.
► Prerequisite(s): LTWR 8A, 8B, or 8C; department approval.

Instructor: Bruna Darini

Please contact instructor for course description.
► Prerequisite(s): LTWR 8C; department approval.

Travel Writing
Instructor: John Granger

In this writing workshop we’ll be reading a number of short travel narratives written by Ryszard Kapuscinski, Rory Stewart, Jules Verne, Charles Baudelaire, Elias Canetti, and lots of other writers.  Classes alternate from workshop (Thursdays) to discussion of the readings, and whatever else arises (Tuesdays).  You’ll be asked to compose twenty pages of new travel writing.  Not from memory: you’ll have to really travel somewhere.  You can travel here.
► Prerequisite(s): LTWR 8C; department approval.

Instructor: John Granger

“Like everything metaphysical the harmony between thought and reality is to be in the grammar of the language” (Wittgenstein).

This course adopts a lecture-workshop format.  An anatomy of grammar in the lectures and discussions (Tuesdays) alternates with workshops (Thursdays) in which students will complete a set of stylistic transformations of some unassuming, page-length composition of their own.  Required texts include Morenberg, Doing Grammar (Oxford); Lanham, A Handlist of Rhetorical Terms, 2nd ed. (UC Press, 1991); Queneau, Exercises in Style (New Directions, 1981).  There will be a final exam on the subject of grammar for half of the grade.
► Prerequisite(s): Department approval.