Writing

Intermediate workshops are for students with some experience with creative writing, and whose prior work merits admission to the class (as judged by the professor). Intermediate workshops present a higher creative standard than beginning workshops, and increased expectations to produce finished work. By the end of the semester, each student will have produced at least seventy pages of original fiction. Students are additionally expected to write extensive critiques of the work of their peers. Please visit https://arts.columbia.edu/writing/undergraduate for information about registration procedures.

Intermediate workshops are for students with some experience with creative writing, and whose prior work merits admission to the class (as judged by the professor). Intermediate workshops present a higher creative standard than beginning workshops, and increased expectations to produce finished work. By the end of the semester, each student will have produced at least seventy pages of original fiction. Students are additionally expected to write extensive critiques of the work of their peers. Please visit https://arts.columbia.edu/writing/undergraduate for information about registration procedures.

The intermediate workshop in nonfiction is designed for students with some experience in writing literary nonfiction. Intermediate workshops present a higher creative standard than beginning workshops and an expectation that students will produce finished work. Outside readings supplement and inform the exercises and longer written projects. By the end of the semester, students will have produced thirty to forty pages of original work in at least two traditions of literary nonfiction. Please visit https://arts.columbia.edu/writing/undergraduate for information about registration procedures.

Intermediate poetry workshops are for students with some prior instruction in the rudiments of poetry writing and prior poetry workshop experience. Intermediate poetry workshops pose greater challenges to students and maintain higher critical standards than beginning workshops. Students will be instructed in more complex aspects of the craft, including the poetic persona, the prose poem, the collage, open-field composition, and others. They will also be assigned more challenging verse forms such as the villanelle and also non-European verse forms such as the pantoum. They will read extensively, submit brief critical analyses, and put their instruction into regular practice by composing original work that will be critiqued by their peers. By the end of the semester each student will have assembled a substantial portfolio of finished work. Please visit https://arts.columbia.edu/writing/undergraduate for information about registration procedures.

Our writing often appears primarily as a product of cognitive faculties, and we easily overlook the profound influence our bodies exert on our thoughts and, consequently, our writing. Our perception of language itself is tied to how we perceive our physical selves. We can understand our bodies materially, as intricate structures of bone, muscle, and cells, or kinesthetically, through movement, force, and tone, intertwined with a spectrum of sensations like pain and pleasure, which intersect with our psychological and emotional landscapes. Through a series of movement exercises, readings, and writing assignments, this seminar delves into the profound impact a deeper understanding of our bodies and their movement can have on our writing, and conversely, how writing can influence our bodily experiences. Using various artistic mediums such as dance, film, literature, and fine arts, we aim to enhance our ability to articulate and write the body's presence and movement through space and time. Students from all concentrations are encouraged to join.

Building on the work of the Intermediate Workshop, Advanced Workshops are reserved for the most accomplished creative writing students. A significant body of writing must be produced and revised. Particular attention will be paid to the components of fiction: voice, perspective, characterization, and form. Students will be expected to finish several short stories, executing a total artistic vision on a piece of writing. The critical focus of the class will include an examination of endings and formal wholeness, sustaining narrative arcs, compelling a reader's interest for the duration of the text, and generating a sense of urgency and drama in the work. Please visit https://arts.columbia.edu/writing/undergraduate for information about registration procedures.

Building on the work of the Intermediate Workshop, Advanced Workshops are reserved for the most accomplished creative writing students. A significant body of writing must be produced and revised. Particular attention will be paid to the components of fiction: voice, perspective, characterization, and form. Students will be expected to finish several short stories, executing a total artistic vision on a piece of writing. The critical focus of the class will include an examination of endings and formal wholeness, sustaining narrative arcs, compelling a reader's interest for the duration of the text, and generating a sense of urgency and drama in the work. Please visit https://arts.columbia.edu/writing/undergraduate for information about registration procedures.

Seniors who are majors in creative writing are given priority for this course. Enrollment is limited, and is by permission of the professor. The senior workshop offers students the opportunity to work exclusively with classmates who are at the same high level of accomplishment in the major. Students in the senior workshops will produce and revise a new and substantial body of work. In-class critiques and conferences with the professor will be tailored to needs of each student. Please visit https://arts.columbia.edu/writing/undergraduate for information about registration procedures.

What does it mean to be original? How do we differentiate plagiarism from pastiche, appropriation from homage? And how do we build on pre-existing traditions while simultaneously creating work that reflects our own unique experiences of the world?

In a 2007 essay for Harper’s magazine, Jonathan Lethem countered critic Harold Bloom’s theory of “the anxiety of influence” by proposing, instead, an “ecstasy of influence”; Lethem suggested that writers embrace rather than reject the unavoidable imprints of their literary forbearers. Beginning with Lethem’s essay—which, itself, is composed entirely of borrowed (or “sampled”) text—this class will consider the nature of literary influence, and its role in the development of voice.

Each week, students will read from pairings of older stories and novel excerpts with contemporary work that falls within the same artistic lineage. In doing so, we’ll track the movement of stylistic, structural, and thematic approaches to fiction across time, and think about the different ways that stories and novels can converse with one another. We will also consider the influence of other artistic mediums—music, visual art, film and television—on various texts. Students will then write their own original short pieces modeled after the readings. Just as musicians cover songs, we will “cover” texts,  adding our own interpretive imprints.

Seniors who are majors in creative writing are given priority for this course. Enrollment is limited, and is by permission of the professor. The senior workshop offers students the opportunity to work exclusively with classmates who are at the same high level of accomplishment in the major. Students in the senior workshops will produce and revise a new and substantial body of work. In-class critiques and conferences with the professor will be tailored to needs of each student. Please visit https://arts.columbia.edu/writing/undergraduate for information about registration procedures.

Prerequisites: No prerequisites. Department approval NOT required. 

This course will introduce students to writing about visual art. We will take our models from art history and contemporary art discourse, and students will be prompted to write with and about current art exhibitions and events throughout the city. The modes of art writing we will encounter include: the practice of ekphrasis (poems which describe or derive their inspiration from a work of art); writers such as John Ashbery, Gary Indiana, Eileen Myles, and others who for periods of their life held positions as art critics while composing poetry and works of fiction; writers such as Etel Adnan, Susan Howe, and Renee Gladman who have produced literature and works of art in equal measure. We will also look at artists who have written essays and poetry throughout their careers such as Robert Smithson, Glenn Ligon, Gregg Bordowitz, Moyra Davey, and Hannah Black, and consider both the visual qualities of writing and the ways that visual artists have used writing in their work. Lastly, we will consider what it means to write through a “milieu” of visual artists, such as those associated with the New York School and Moscow Conceptualism. Throughout the course students will produce original works and complete a final writing project that enriches, complicates, and departs from their own interests and preoccupations.

In this seminar, we will target nonfiction that tells stories about lives: profiles, memoirs, and biographies. We will examine how the practice of this kind of nonfiction, and ideas about it, have evolved over the past 150 years. Along the way, we will ask questions about these nonfiction forms: How do reporters, memoirists, biographers, and critics make sense of their subjects? How do they create work as rich as the best novels and short stories? Can criticism explicate the inner life of a human subject? What roles do voice, point-of-view, character, dialogue, and plot—the traditional elements of fiction—play? Along the way, we’ll engage in issues of identity and race, memory and self, real persons and invented characters and we’ll get glimpses of such key publications as The Atlantic Monthly, The New Yorker, Esquire, Harper’s, and The New York Review of Books. Some writers we will consider: Frederick Douglass, Louisa May Alcott, Walt Whitman, Henry Adams, Joseph Mitchell, Lillian Ross, James Agee, John Hersey, Edmund Wilson, Gore Vidal, Gay Talese, James Baldwin, Vladimir Nabokov, Janet Malcolm, Robert Caro, Joyce Carol Oates, Toni Morrison, Joan Didion, and Henry Louis Gates Jr. The course regularly welcomes guest speakers.

This poetry workshop is reserved for accomplished poetry writers and maintains the highest level of creative and critical expectations. Students will be encouraged to develop their strengths and to cultivate a distinctive poetic vision and voice but must also demonstrate a willingness to broaden their range and experiment with new forms and notions of the poem. A portfolio of poetry will be written and revised with the critical input of the instructor and the workshop. Please visit https://arts.columbia.edu/writing/undergraduate for information about registration procedures.

“There are things / We live among ‘and to see them / Is to know ourselves.’”

George Oppen, “Of Being Numerous”

In this class we will read poetry like writers that inhabit an imperiled planet, understanding our poems as being in direct conversation both with the environment as well as writers past and present with similar concerns and techniques. Given the imminent ecological crises we are facing, the poems we read will center themes of place, ecology, interspecies dependence, the role of humans in the destruction of the planet, and the “necropastoral” (to borrow a term from Joyelle McSweeney), among others. We will read works by poets and writers such as (but not limited to) John Ashbery, Harryette Mullen, Asiya Wadud, Wendy Xu, Ross Gay, Simone Kearney, Kim Hyesoon, Marcella Durand, Arthur Rimbaud, Geoffrey G. O’Brien, Muriel Rukeyser, George Oppen, Terrance Hayes, Juliana Spahr, and W.S. Merwin—reading several full collections as well as individual poems and essays by scholars in the field.

Through close readings, in-class exercises, discussions, and creative/critical writings, we will invest in and investigate facets of the dynamic lyric that is aware of its environs (sound, image, line), while also exploring traditional poetic forms like the Haibun, ode, prose poem, and elegy. Additionally, we will seek inspiration in outside mediums such as film, visual art, and music, as well as, of course, the natural world. As a class, we will explore the highly individual nature of writing processes and talk about building writing practices that are generative as well as sustainable.

The lyric has often been conceived of as timeless in its content and inwardly-directed in its mode of address, yet so many poems with lasting claim on our attention point unmistakably outward, addressing the particulars of their times.  This course will examine the ways in which an array of 21st poets have embraced, indicted, and anatomized their cultural and historical contexts, diagnosing society’s ailments, indulging in its obsessions, and sharing its concerns.  Engaging with such topics as race, class, war, death, trauma, feminism, pop culture and sexuality, how do poets adapt poetic form to provide meaningful and relevant insights without losing them to beauty, ambiguity, and music?  How is pop star Rihanna a vehicle for discussing feminism and isolation?  What does it mean to write about Black masculinity after Ferguson?  In a time when poetry’s cultural relevancy is continually debated in academia and in the media, how can today’s poets use their art to hold a mirror to modern living?  This class will explore how writers address present-day topics in light of their own subjectivity, how their works reflect larger cultural trends and currents, and how critics as well as poets themselves have reflected on poetry’s, and the poet’s, changing social role.  In studying how these writers complicate traditional notions of what poetry should and shouldn’t do, both in terms of content and of form, students will investigate their own writing practices, fortify their poetic voices, and create new works that engage directly and confidently with the world in which they are written.

The science fiction writer Ursula K. Le Guin, in her sly, radical manifesto of sorts “Carrier Bag Theory of Fiction,” proposes an idea of the “bottle as hero”: instead of conflict serving as our central organizing theory for narrative, she suggests that “the natural, proper, fitting shape of the novel might be that of a sack, a bag.” In other words: a container. These containers needn’t only apply to novels, I contend, but many types of literary narratives, whether they are classified as fiction, nonfiction, poetry, or some hybrid of forms.

With this in mind, the generative cross-genre craft seminar Stories within Stories aims to uncover beautiful and practical approaches to gathering small narratives into a larger, cohesive whole. Readings will include Svetlana Alexievich’s devastating novels in voices, Percival Everett’s incendiary novel-within-a-novel Erasure, Ted Chiang’s mesmerizing historical fantasy, Robin Wall Kimmerer’s braided essays of restoration, Nâzım Hikmet’s epic in verse Human Landscapes from My Country, Renee Gladman’s cross-disciplinary approaches to writing and drawing, Yevgenia Belorusets’s dispatches from Ukraine, Edward Gauvin’s identity-memoir-in-contributors’ bios, Saidiya Hartman’s speculative histories, Gary Indiana’s gleefully acerbic roman à clef Do Everything in the Dark, Alejandro Zambra’s standardized test-inspired literature, W. G. Sebald’s saturnine essay-fiction, and Lisa Hsiao Chen’s meld of biography and autobiography, as well as fiction and nonfiction by Clarice Lispector, Vauhini Vara, Eileen Myles, Olga Tokarczuk, and Julie Hecht, among other texts. 

In addition, we will also read essays on craft and storytelling by Le Guin, Gladman, Zambra, Lydia Davis, Walter Benjamin, Garielle Lutz, Ben Mauk, and more. What we learn in this course we will apply to our own work, which will consist of regular creative writing responses drawn from the readings and a creative final project. Students will also learn to keep a daily journal of writing.

CROSS-GENRE SEMINAR

CROSS-GENRE SEMINAR

CROSS-GENRE SEMINAR

CROSS-GENRE SEMINAR

CROSS-GENRE SEMINAR

CROSS-GENRE SEMINAR

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TRANSLATION SEMINAR

TRANSLATION SEMINAR

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NONFICTION LECTURE

POETRY LECTURE

Research Arts for MFA Writing Program - Students Must Have Completed 60 Points to Register

Interenship for MFA Writing Research Arts Students