Graduate (MFA) and Undergraduate (BFA) Courses

MFA COURSES SPRING 2008

CRW 530-001  WRITERS WEEK 2008, MESSER
February 25 - 29           1 credit
This symposium will bring several writers to campus for a week-long mix of workshops, panel talks, readings and manuscript conferences.  You will be free to attend events without registering; only registered students will receive a manuscript conference.  Writers will be announced.

CRW 530-002  PLAYWRITING & SCREENWRITING, BUTTINO
T 3:30-6:15
Texts: Rollo May, The Courage to Create; Christopher Vogler, The Writer’s Journey; Syd Field, Screenplay and Michael Tierno’s    Aristotle’s Poetics for Screenwriters. This course is designed to demonstrate, through lecture, readings and screenings, the basic structure of writing for the stage and screen.  The course encourages reflection on the creative process itself and the necessity of writing in particular formats.  The emphasis throughout will be the student’s work and the development of a short play and short screenplay.

CRW 542-002  POETRY WRITING WORKSHOP, WHITE
T 6:30-9:15
As with most poetry workshops, the focus will be on active peer review, revision, and completing a portfolio of original new poems at the end of the semester. Our reading list will feature representative collections of poetry by American poets such as Sylvia Plath, Mark Strand, Larry Levis, Robert Hass, Sharon Olds, and others. Our dialogue will focus on how these representative contemporary poets have evolved over time. This should help enlighten and embolden the MFA poet seeking to refine and/or re-invent his/her craft.

CRW 542-003  POETRY WRITING WORKSHOP, A. VAN JORDAN
W 12-3      Jan 16 - February 13        1 credit

CRW 544-001  FICTION WRITING WORKSHOP, SIEGEL
T 6:30-9:15            
A workshop focused on the reading and discussion of participants’ work. Equal emphasis will be placed on matters of craft and process.  MFA students may repeat for credit without limit.

CRW 544-002  FICTION WRITING WORKSHOP, ELIZABETH KOSTOVA
W 12-3,        March 24 - April 18       1 credit

CRW 544-003  FICTION WRITING WORKSHOP, EDGERTON
W 6:30-9:15
The instructor serves in the roles of teacher and editor.  Among class activities --in addition to the workshopping of stories, book chapters, and story plans (“story plan” will be explained in class)-- will be: 1) lecture, discussion of scene, point of view, and story “form”; 2) critiques of published stories; and 3) translations of dramatic scenes to a reader’s theater format (to be explained in class) and consequent dramatic presentations. In general, the student in this class approaches fiction writing as writer, reader, critic, and translator.  Students will periodically turn in stories in progress and will keep a folder (journal) of short assignments given from time to time as well as one-page critiques of each story that is workshopped.  Certain activities may be added or subtracted as the class unfolds. MFA students may repeat for credit without limit.

CRW 547-001  FORMS OF FICTION, LEE
M 3:30-6:15

CRW 550-001  GRADUATE WORKSHOP IN CREATIVE NONFICTION, GERARD
M 3:30-6:15
This workshop will focus on fact-based writing, including personal narrative, reportorial essay, and writing that combines both approaches. The primary text will be student manuscripts, which may be stand-alone short pieces or chapters from a long work. We will explore structure, tone, narrative stance, sequencing, and the art of both doing research and incorporating it artfully into the writing. We will look at exemplars of the genre on electronic reserve, as well as craft essays on Brevity.com.

CRW 580-001  SPECIAL STUDIES IN CREATIVE WRITING:  EDITING FACT & FICTION, SULLIVAN W 3:30-5:15    2 credits
For students interested in the editing of books and magazines, as well as for aspiring writers who want to know more about the experience of being edited. The course will consider ways in which a developed understanding of the editorial mind might contribute to or hinder a writer's command of his or her own craft. Graduate students in the course have the opportunity to edit manuscripts (each others’, or a collaborative larger project) with the aim of publication. May be repeated for credit under different subtitles.

CRW 580-002  SPECIAL STUDIES IN CREATIVE WRITING: BOOKBUILDING, SMITH
TH 3:30-5:15    2 credits
Designed for students who are interested in a career in book design and production, as well as for writers who want to be better informed about working with designers, this course offers intensive hands-on training in both the craft of bookmaking and desktop publishing technologies. To prepare students with the technical skills, this course will involve an introduction to principles of effective graphic design; training in software programs for typesetting, page layout, and image manipulation; and an overview of printing and bookmaking technologies, past, present, and future. Students produce a progressively more complex series of design projects, including a type specimen, a handmade zine or broadside, and culminating in a limited-edition chapbook of their own work. Throughout the semester, students will learn to create finished works of art that show attention to detail and creativity within all phases from design to production. Graduate students in the course prepare a presentation on some aspect of book design or production. May be repeated for credit under different subtitles.

CRW 580-003  SPECIAL STUDIES IN CREATIVE WRITING:  PUBLISHING PRACTICUM, SMITH  
T 3:30-6:15     3 credits
Prerequisite: Any other course in the publishing sequence, and permission of instructor. A maximum of six selected students form the nucleus of the Publishing Laboratory editorial staff, with responsibility for proposing, editing, designing, and marketing viable book projects. Publications of the Pub Lab include the 50th anniversary reprint of The Hatterasman; Noor (A Novel); Backyard Carolina; Show & Tell; and others. The imprint staff meets for 1.5 hours weekly and works independently in and outside the Lab for approximately 4 hours weekly. Participants must complete a brief application and are selected by faculty committee. May be repeated for credit under different subtitles.

CRW 580-004  MAGAZINE PRACTICUM, GESSNER
M 6:30-9:15        3 credits
This is a practical course in the publication of our national literary journal, Ecotone.  The course work will consist of reading submissions, writing up submission reports, and becoming part of an editorial team that will put out an issue of the magazine.  We will concern ourselves with the practical business of running a magazine, including editorial, marketing, and sales.  Early in the term will divide up into smaller teams, but everyone will be responsible for reading at least two manuscripts a week.  May be repeated for credit under different subtitles.

CRW 580-006  HUMAN ANATOMY AND PHYSIOLOGY FOR WRITERS, SATTERLIE
M W, 2:00-3:15          Jan. 23 - Feb. 20         1 credit
Description:  The form and function of the human body is sometimes misrepresented by writers. Used properly, anatomy and physiology can be useful tools in enhancing emotion, sensation, and reaction in real or fictional characters. Common misconceptions and useful concepts will be examined through examination of literature examples and with writing exercises.

CRW 580-007  BALD HEAD WRITING RETREAT: TEACHING THE WRITING WORKSHOP, GESSNER D.
T 3:30-6:15    3 credits
This class will be both a workshop and a class on teaching the writing workshop, culminating with students team-teaching workshops during the weekend of the Bald Head Island Creative Writing Retreat. During the six meetings before the Retreat, students will take turns leading workshops and be coached in techniques of teaching a workshop class. Students will also write for the course, having one piece workshopped each. The focus of the course will be on preparing for the Retreat weekend. During that weekend, students will attend readings and craft seminars, go on guided hikes through the maritime forest, and read the work of Retreat participants. On the final day of the Retreat, students will team-teach a workshop of participants. By instructor permission only.

CRW 580-008  SPECIAL STUDIES IN CRW: POPULAR VS. LITERARY FICTION, BRENNER
T 3:30-6:15
In this course we will explore, question, and generally torment the notion of an easily definable line of demarcation between literary and popular (commercial, mass-market) fiction.  While some novels seem firmly and comfortably ensconced in one camp or the other, we will read some others which, in recent years, have inspired debate, gossip, and controversy over the meaning and purpose of literature.  We will also read some cultural commentary (essays from Harper’s and New York Times) addressing such phenomena as Oprah's Book Club, “chick lit,” and the role of mass media in the  alleged decline of the literary novel.  Students will question, define, revise,  reinforce, and articulate their own understanding of what makes a work of fiction “literary.” Assignments will include a short oral presentation on one of the assigned books, and a longer final written project.  Reading list will include the following:  Melissa Bank’s The Girl’s Guide To Hunting and Fishing; Stephen King’s Carrie and On Writing: A Memoir of the Craft;  Helen Fielding’s Bridget Jones’s Diary; Sue Miller’s While I Was Gone; Derek Nikitas’s Pyres;  Jacqueline Susann’s Once Is Not Enough and Valley of the Dolls; Donna Tartt’s The Secret History.

English Graduate courses

BFA COURSES SPRING 2008
(day, time, and location available on SeaNet)

CRW 201  INTRO. TO CREATIVE WRITING, MESSER, HUDSON, KAUFFMAN, ROBON, SWEENEY, BJORKLUND, BOND, BUETER, WEATHERS, CONRAD, HARRIS-GERSHON
Introduction to the principles of techniques of creative writing aimed at developing the creative process.  Includes lectures, reading and writing exercise in poetry, fiction and creative nonfiction.

CRW 202-002  EXPLORATIONS CREATIVE PROCESS, ADAMS
Exploration of the invention process beyond creative writing in areas such as music, architecture, technology, etc.  Includes lectures, films, readings and brainstorming exercises.

CRW 207-001,-002  FICTION WRITING, SLACKS
We will be reading and writing character-based, conflict-driven fiction.  Focus will be the critical reading of short stories and applying what you learn to your own writing.  Reading is intensive at the beginning of the semester with workshops at the end.  A good beginning-writer class.

CRW 207-003  FICTION WRITING, CONRAD

CRW 207-004  FICTION WRITING, KAUFFMAN
Text: The Vintage Book of Contemporary American Short Stories, edited by Tobias Wolff. The ultimate goal in this course will be the creation of original, interesting, vibrant, energetic, and artistic literary short stories. To achieve this lofty goal we will employ a variety of means. Firstly, we will read. From the reading of contemporary published short stories, through analysis and thoughtful discussion, we will determine important skills and conventions practiced by accomplished authors. The second step will be to apply these techniques and conventions to our own original writing. We will write in this class. We will write short out-of-class exercises, we will write short in-class exercises, we will write criticisms (less creative, but very helpful for your growth as an artist), and we will write a longer short story (10-20 pp). This brings us to the third step in the process: revision. We will “workshop” our short stories to determine their individual strengths and weaknesses. Then we will edit, rewrite, revise, and resubmit the piece as a polished, finished, interesting, vibrant, energetic, and artistic literary short story.

CRW 208-001  POETRY WRITING, ROBON
Texts: Addonizio and Laux, The Poet's Companion; Best American Poetry 2007; Natasha Trethewey's Native Guard. This course is designed as an introduction to writing poetry--no experience required. The emphasis will be learning and discussing different tools and techniques that poets use, as well as learning about different types of poems. Students will read a wide variety of contemporary poetry and are expected to come away from this class with an understanding of the type of poems that are being written today. The last several weeks of class will be devoted to exploring the workshop setting, allowing students the opportunity to share their work with classmates and receive constructive feedback. Requirements are extensive reading, writing poems (sometimes based on assignments), participation in classroom discussions and exercises, written and oral participation in workshops, a short analysis paper or presentation due near the end of the semester, and a final portfolio consisting of revisions of previously turned in poems.

CRW 208-002  POETRY WRITING, HUDSON
Prerequisite: ENG 101 or 103 or consent of instructor. Instruction in writing poetry, including critical evaluation by instructor and class of students’ original works. Students also critique and relate to their own work the poetry of relevant professional authors. The required text for this course is Legitimate Dangers: American Poets of the New Century. In addition to the practice of discussed poetic craft elements, students will select a mentor from the poetry anthology and present to the class their impressions of the work of their selected poet.

CRW 208-003  POETRY WRITING, WEATHERS
Texts: A book of Luminous Things, Cseslaw Milosz; The New Bread Loaf Anthology of Contemporary American Poetry, Collier and Plumly; Ariel: The Restored Edition, Plath. This course is designed as an introduction to contemporary poetry, both American and international. The focus will be evenly divided between generating your own original poetry, and reading poetry by respected and established poets. Emphasis will include analyzing craft, and written weekly responses to readings, in addition to writing your own poems. Class discussions about poetics will be the driving force behind improving your level of writing, with less emphasis on in-class workshops. Regular student conferences with instructor will provide a detailed feedback process.

CRW 208-004  POETRY WRITING, BUETER
This course will be concerned with the reading and critiquing of contemporary poetry and of student poetry. The ultimate goal is for each student to develop a poetic voice that is important to themselves and to a greater audience. In working towards this goal, an ability to closely read and intelligently discuss a poem will also be developed; these tools are crucial to becoming dynamic writers. Course requirements will include several poems, reading responses, a presentation, and a final portfolio.

CRW 209-001  CREATIVE NONFICTION, BJORKLUND
This course will introduce you to some of the terms, concepts, and styles within the broad category, and rich tradition that is classified as nonfiction.  You will read and respond to essays from the classical era to the present, including profiles, literary journalism, and memoir. As a class, and in smaller groups, you will discuss works by numerous authors in terms of content, creative process, and intended audience.  You will practice writing various forms of nonfiction, and you will learn to workshop and critique each other's work as an engaged community.  This course places great weight on collaboration and participation in group work.  Required Texts:  The Art of the Personal Essay-- Phillip Lopate, and Me Talk Pretty One Day--David Sedaris.

CRW 209-002  CREATIVE NONFICTION, BOND
Texts: Lee Gutkind, In Fact; Philip Gerard, Creative Nonfiction; Patricia O’Conner, Woe Is I (2nd edition). This is a reading- and writing-intensive course designed to introduce serious writers to the genre of creative nonfiction. You don’t need any prior experience to do well in this class; you do need a willingness to learn and a spirit of determination in your approach to writing. We will read a variety of texts selected to give you a taste of the many different ways in which people write creative nonfiction. In the first part of the semester, we will write short assigned pieces, and in the second part we will workshop two longer works by each student. As writers, our tools are words, so throughout the semester we will also consider written English grammar. Requirements include at-home writing exercises, active participation in class discussions and workshops, two finished pieces of creative nonfiction, and written responses to other students’ work.

CRW 209-003  CREATIVE NONFICTION, SWEENEY
Texts: The Bullfighter Checks her Makeup-Orlean, Coursepack. As an introduction to the writing of Creative Nonfiction, the ultimate goal of this course is to help each student find his or her own unique, creative voice. Toward that end, each week students will read and discuss a rich variety of published essays and respond to each work in writing. This way, students will become acquainted with three types of contemporary nonfiction: the memoir, literary journalism and the lyric essay. The student will try his own hand at all three forms and will workshop his writing in class. Full engagement is expected in every step of this process: Aside from written assignments throughout the semester, requirements for the course include thoughtful participation in class discussion, written responses to published work and to the writing of your peers, and a final portfolio consisting of two polished, revised essays.

CRW 209-004  CREATIVE NONFICTION, HARRIS-GERSHON
Texts: Eggers, A Heartbreaking Work of Staggering Genius; Krakauer, Into the Wild. This course is an introduction to writing creative nonfiction, and will begin with an examination of contemporary writing across the three main "flavors" of creative nonfiction: memoir, creative reportage and lyric essay. This reading will be in conjunction with writing opportunities meant to give you artistic license to attempt (and surpass) that which you see in the work of others. The emphasis during the latter half of the semester will be workshop sessions in which students’ work becomes “the text.”  Requirements include written response to the work of your peers, oral participation in workshops, and completion of a portfolio consisting of final revisions of two essays.

CRW 210-001  WRITING FOR DIGITAL MEDIA, BASS
Instruction in writing narrative as a foundation for digital-arts projects, such as animated shorts, video games, and other interactive content such as Web pages. The goals for writing for an animated short will include treatment, script format, 3-act narrative structure, and character development in brief but with a visual emphasis.  Discussion of non-linear narrative, content, form, etc.  Students will write toward specific projects—Web or flash pages, games, or animation. Students will research contemporary projects (commercially released games, animations, Web pages, etc.) to discuss the aspects of writing involved. Critical evaluation by instructor and class of students’ original works. An attendance policy will be enforced. Class participation is essential. (Note: This course counts toward the BFA degree in creative writing and toward the Computer Science Department’s minor in digital arts.)

CRW 303-001  FORMS OF POETRY, COX
A study of practical poetics focusing on free verse prosody against a background of traditional metrical prosody, as well a decade by decade look at 20th century American poetry and its influences.  Format:  seminar, close reading and discussion,  exercises.  Texts: A Profile of  Twentieth-Century American Poetry;  numerous essay handouts in class.

CRW 306-001  FORMS OF FICTION, BASS
Prerequisite: ENG 101 or 103. This course will examine the techniques and aesthetics of fiction writing in the long and short form: novels, short stories, and other forms. The course will include writing assignments in some of the forms we study. There will be quizzes on the readings. An attendance policy will be enforced. Several textbooks, including Sudden Fiction International (Shapard and Thomas, eds.).

CRW 306-002  FORMS OF FICTION, SIEGEL
This course is an exploration of the short story form in all its amazing variety. We will read, write about and discuss stories with an eye to issues of craft, looking at how they are put together and how they work. The ultimate aim is to learn how to read like a writer. Required text: The Story and Its Writer, 7th Edition, Charters, ed.

CRW 307-001  INTERMEDIATE FICTION WRITING, BENDER
This course is a workshop format. We will write two new stories and critique them, read published stories and do in class exercises. Prerequisite: CRW 207. 

CRW 307-002  INTERMEDIATE FICTION WRITING, SIEGEL
Students will produce original fiction; critique the work of fellow students; and read and discuss published stories. Emphasis will be on building an awareness of story structure, and on exploring the nature of scene--the purpose scene serves in fiction and the ways in which scenes can be created and used in a narrative. CRW 207 required. Required text: The Story and Its Writer, 7th Ed., Charters, ed.

CRW 308-001  INTERMEDIATE POETRY, ADAMS
Pre-requisite—CRW 208.  Texts: Emerson, Late Wife; Levine, Breath; Lindsay, Lamb; Trethewey, Native Guard. This course is intended for poets who have acquired a basic knowledge of the craft and who now wish to hone their skills. The majority of class time will be spent workshopping student work, but we will also read and discuss four collections of contemporary poetry (listed above).  Requirements include journal responses to each of these collections, as well as written responses to the work of peers.  Final portfolio will consist of an analytical introduction and revisions of workshopped poems.

CRW 309-001  INTERMED CREATIVE NONFICTION, BASS
This course will build on the foundation of CRW 209. We will emphasize research and the writer’s participation in nonfiction stories, and we will use workshop critiques to examine the writing craft. Students will share their work with the class and comment on the work of others. You will be expected to photocopy your stories for class workshops. Besides writing and research, student work will include writing exercises and readings of long and short nonfiction. The course will include quizzes on the reading assignments and extensive revision of student work—including a final portfolio. Class participation is essential. An attendance policy will be enforced. Four textbooks: Fargo Rock City, by Chuck Klosterman; The Golden Spruce, by John Valliant, American Ground, by William Langewiesche, and Revenge of the Donut Boys, by Mike Sager. (Prerequisite: CRW 209—no exceptions.)

CRW 315-001  SPECIAL STUDIES IN CRW: POPULAR VS. LITERARY FICTION, BRENNER
In this course we will explore, question, and generally torment the notion of an easily definable line of demarcation between literary and popular (commercial, mass-market) fiction.  While some novels seem firmly and comfortably ensconced in one camp or the other, we will read some others which, in recent years, have inspired debate, gossip, and controversy over the meaning and purpose of literature.  We will also read some cultural commentary (essays from Harper’s and New York Times) addressing such phenomena as Oprah's Book Club, “chick lit,” and the role of mass media in the  alleged decline of the literary novel.  Students will question, define, revise, reinforce, and articulate their own understanding of what makes a work of fiction “literary.” Assignments will include a short oral presentation on one of the assigned books, and a longer final written project.  Reading list will include the following:  Melissa Bank’s The Girl’s Guide To Hunting and Fishing; Stephen King’s Carrie and On Writing: A Memoir of the Craft;  Helen Fielding’s Bridget Jones’s Diary; Sue Miller’s While I Was Gone; Derek Nikitas’s Pyres;  Jacqueline Susann’s Once Is Not Enough and Valley of the Dolls; Donna Tartt’s The Secret History.

CRW 315-002  TOPICS CREATIVE WRITING: FROM HERE TO THERE--THE PROCESS OF TURNING PERSONAL EXPERIENCE INTO FICTION, BENDER
In this class, we'll be exploring the process of transforming material from life into art. We'll be reading excerpts from The Journals of John Cheever and some of his short stories; Paula Fox's memoir Borrowed Finery and her novel, The Widow's Children; and we'll read The Orchid Thief by Susan Orlean watch the movie "Adaptation." We'll be keeping personal journals during the class and taking some material from that journal to turn into a short story we'll workshop in class. We may also do short exercises during class in which we work on transforming experience into art.  

CRW 315-003  LYRICAL NARRATIVES: PROSE BY POETS, COX
An exploration of lyrical and narrative influences in the poetry and prose of such writers as Robert Penn Warren,  Denis Johnson, Mark Strand, Raymond Carver, Margaret Atwood, Richard Blessing, Tess Gallagher, Stephen Dobyns, Jim Harrison and Fred Chappell.   We will compare their poetry and prose to study how proficiency in one genre might enhance another.  Students will also experiment with practical attempts to adapt their own writing from one genre to another.

CRW 318-001  SCREENWRITING I:  INTRODUCTION, HULSE

CRW 318-002  SCREENWRITING I:  INTRODUCTION, MONAHAN
This course is designed to introduce students to the basic elements of screenwriting format, craft, technique and narrative structure. Students will write three drafts of an original short (10-20 pages) script. All students will complete a series of exercises designed to develop various skills (character, structure, format, transitions, scenes, dialogue, etc.) and aid in the development of their script.

CRW 318-003  SCREENWRITING I: INTRODUCTION TO SCREENWRITING, HACKLER
Theory and practice of writing scripts for motion pictures, with an emphasis on the fundamentals of narrative structure.  Students write original scripts, including a short screenplay for possible use in FST 495. cross-listed with Film Studies

CRW 320-001  WRITERS WEEK 2007, MESSER
This symposium will bring several writers to campus for a week-long mix of workshops, panel talks, readings and manuscript conferences.  You will be free to attend events without registering; only registered students will receive a manuscript conference.  Writers will be announced. 

CRW 320-002  THE ART OF THE PERSONAL ESSAY, DEGRAMONT
Our own private stories can be the most powerful avenue to public truths. This class will teach students how to combine their own experience with research to create an essay that is both personal and meaningful to general readers. We will study and write the personal essay, using workshops, journal-keeping, and research as a means to creating work with larger and more socially relevant implications. CRW 320 counts as an additional workshop course or as a CRW elective for the BFA degree, as a CRW elective for the Creative Writing minor.

CRW 322-001  EDITING FACT & FICTION, SULLIVAN (2 CR.)
For students interested in the editing of books and magazines, as well as for aspiring writers who want to know more about the experience of being edited. The course will consider ways in which a developed understanding of the editorial mind might contribute to or hinder a writer's command of his or her own craft.  **Limited to CRW majors only.**

CRW 323-001  BOOKBUILDING, SMITH (2 CR.)
Designed for students who are interested in a career in book design and production, as well as for writers who want to be better informed about working with designers, this course offers intensive hands-on training in both the craft of bookmaking and desktop publishing technologies. To prepare students with the technical skills, this course will involve an introduction to principles of effective graphic design; training in software programs for typesetting, page layout, and image manipulation; and an overview of printing and bookmaking technologies, past, present, and future. Students produce a progressively more complex series of design projects, including a type specimen, a handmade zine or broadside, and culminating in a limited-edition chapbook of their own work. Throughout the semester, students will learn to create finished works of art that show attention to detail and creativity within all phases from design to production.

CRW 418-001, 23010, SCREENWRITING II: FEATURE FILM, LINEHAN
Screenwriting II.  Writing the feature film screenplay.  Workshop-based course in developing and outlining a feature film script.  Students will complete the first act of a screenplay - 30 pages.

CRW 460-001  PUBLISHING PRACTICUM, SMITH (3 CR.)
Prerequisite: Any other course in the publishing sequence, and permission of instructor.
Selected students support the work of the Publishing Laboratory, with responsibility for editing, designing, and producing books and other publications. Publications of the Pub Lab include The Hatterasman; Noor (A Novel); Backyard Carolina; Show & Tell; and others. Undergraduate practicum students work 6 to 9 hours weekly in the Lab, under faculty supervision. Participants are selected by permission of instructor.

CRW 496-001  SENIOR SEMINAR IN WRITING, WHITE
The senior seminar in poetry is the capstone course for the BFA poetry sequence. We will write no new poems for this course; you should have already produced enough material for your thesis. The primary goal of the seminar is to develop and complete the thesis collection through extensive conferences with me, and through peer review in class. Other topics to be covered will include editing and revision, investigating career goals and graduate school possibilities for BFA students, publication, and presenting your work in public. In addition to revising, workshopping, and completing their thesis in this course, each student will give a public reading during the semester as part of the BFA requirements.

CRW 496-002  SENIOR SEMINAR IN WRITING, LEE
Prerequisite:  Senior standing and CRW 407, 408 or 409 or consent of instructor.  Seminar addressing issues of the profession, including preparing a manuscript for submission to publishers, publishing, public oral presentation of creative work, advanced study, the writing life, ethics, and employment.  Senior thesis in printed form and public reading required. May be taken once for credit.  Required of majors.