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Contacts | Major in Creative Writing | Program Requirements | Optional BA Thesis | Program Honors | Summary of Requirements | Advising | Courses Outside the Department Taken for Program Credit | Double Majors in English Language and Literature and Creative Writing | Grading | Sample Plan of Study for the Major | Minor in English and Creative Writing | Summary of Requirements for the Minor Program in English and Creative Writing | Minor to Major | Sample Plan of Study for the Minor | Enrolling in Creative Writing Courses | Faculty and Visiting Lecturers | Creative Writing Courses

Department Website: http://creativewriting.uchicago.edu

The Program in Creative Writing takes a comprehensive approach to the study of contemporary literature, criticism, and theory from a writer’s perspective. In our courses, students work with established poets and prose writers to explore the fundamental practices of creative writing. The program is committed to interdisciplinary inquiry, academic rigor, and study of the elements of creative writing that underlie all genres.

The Program in Creative Writing offers workshops and seminars in poetry, fiction, and nonfiction, as well as a number of translation workshops. The major seminars—including technical seminars and fundamentals in creative writing—are designed to build a critical and aesthetic foundation for students working in each genre. Students can pursue their creative writing interests within the formal requirements of the major or through a minor in English and Creative Writing. (The minor is open to undergraduate students not majoring in English language and literature.) Students who do not wish to pursue a formal degree plan in creative writing will have access to courses that satisfy the general education requirement in the arts and open-entry "beginning" workshops. Our workshops and technical seminars are cross-listed with graduate numbers and are open to students in the graduate and professional schools.

Major in Creative Writing

Students who graduate with a bachelor of arts in creative writing will be skilled writers in a major literary genre and have a theoretically informed understanding of the aesthetic, historical, social, and political context of a range of contemporary writing. Students in the major will focus their studies in fiction, poetry, or nonfiction.

The organization of the major recognizes the value of workshop courses but incorporates that model into a comprehensive educational architecture. The creative writing major furthers students’ knowledge of historical and contemporary literary practice, introduces them to aesthetic and literary theory, sharpens their critical attention, and fosters their creative enthusiasm. Students are prepared to succeed in a range of fields within the public and private sectors through a multi-faceted, forward-thinking pedagogy centered on peer critique and craft.

Program Requirements

The Program in Creative Writing requires a total of 12 courses (1200 units) as described below. Students planning to complete the major must meet with the director of undergraduate studies or the student affairs administrator to file a major worksheet by the end of Autumn Quarter of their third year.

Students contemplating a major or minor in creative writing may choose to take one or two creative writing courses toward the general education requirement in the arts. These courses will not count toward major requirements, but they offer an opportunity for students to consider the program while satisfying a general education requirement. See  Enrolling in Creative Writing Courses  for additional details.

Primary Genre

Students are asked to declare a primary genre track either when they first declare the major or immediately following completion of the Fundamentals course. The primary genre track options include Fiction, Nonfiction, and Poetry. Students should complete a beginning workshop, two technical seminars, an advanced workshop, and one literary genre course. Students may also complete an optional thesis workshop within the primary genre. Students may change the genre track at any time by notifying the Director of Undergraduate Studies.

One (1) Fundamentals in Creative Writing Course  CRWR 17000 to CRWR 17999

Fundamentals in Creative Writing is a cross-genre, one-quarter seminar taken by all students in the major and minor. Every section of the course focuses on a current debate relevant to all forms of literary practice, such as mimesis, empathy, and testimony. This course introduces students to a group of core texts from each major literary genre. Fundamentals courses are restricted to students who have declared the major or minor, as they aim to develop cohort solidarity, promote a culture of articulate exchange, and induct students into a reflection on practice that will serve their artistic and professional development. Majors should take Fundamentals in Creative Writing and Beginning Workshop before enrolling in an Advanced Workshop. 

One (1) Beginning Workshop Fiction: CRWR 10206; Poetry: CRWR 10306; Nonfiction: CRWR 10406

Students in the major must complete one beginning workshop in the student’s primary genre. Successful completion of a beginning workshop is a prerequisite for enrollment in an advanced workshop in the same genre. Students may enroll in more than one beginning workshop. However, students who complete a beginning workshop in one genre and then complete a beginning workshop in another genre may count only the beginning workshop in their primary genre towards the major. Beginning workshops are intended for students who may or may not have previous writing experience, but are interested in gaining experience in a particular genre. These workshops focus on the fundamentals of craft and feature workshops of student writing.

Two (2) Technical Seminars Fiction: CRWR 20200 to CRWR 20299; Poetry: CRWR 20301 to CRWR 20399; Nonfiction: CRWR 20400 to CRWR 20499; Hybrid: CRWR 20701 to CRWR 20799

Students in the major must take two technical seminars in their primary genre (fiction, poetry, or nonfiction); during some quarters, the program may also offer hybrid technical seminars. Majors may petition to substitute one technical seminar in their primary genre with a technical seminar in a different genre, or with a hybrid technical seminar. Students should reach out to the director of undergraduate studies or student affairs administrator with questions on this petition process or hybrid technical seminars. 

The aim of technical seminars is to expand students’ technical resources through analysis of contemporary literature and practice-based training in elements of craft. Students submit papers that address technical questions, chiefly with reference to contemporary texts. For example, poetry students may write on “the line,” where fiction students write on “point of view.” Technical seminars may also count as electives in the minor.

Two (2) Advanced Workshops Fiction: CRWR 22100 to CRWR 22299; Poetry: CRWR 23100 to CRWR 23299; Nonfiction: CRWR 24001 to CRWR 24199; Hybrid: CRWR 27300 to 27499

Students in the major must complete two advanced workshops, at least one of which must be in the student’s primary genre. Majors may petition to substitute one advanced workshop in their primary genre with a hybrid advanced workshop when applicable. Students should reach out to the director of undergraduate studies or student affairs administrator with questions on this petition process or hybrid advanced workshops.

The advanced workshop is a critical pedagogical instrument of creative writing as an academic discipline. Workshop practice relies on a mutual exchange and understanding dedicated to improving students’ writing, rather than unconditional approval. Critique is the core value and activity of the workshop, and students will practice it under the guidance of the workshop instructor. Although advanced workshops begin with attention to exemplary texts, they typically focus on original student work. 

Four (4) Literature Requirements

Creative writing majors are required to take four literature courses offered by other departments. These courses can be focused on the literature of any language, but one must focus on the student’s primary genre; one must center on literary theory; one must involve the study of literature written before the twentieth century; and the final one can be any general literature course. 

The literary genre course should serve as an introduction to key texts and debates in the history of the student’s chosen genre. This requirement can be met by an English language and literature course or a comparable course in another department. Courses such as  ENGL 10403  Genre Fundamentals: Poetry: Rhythm and Myth,  CMST 27207 Film Criticism , or  ENGL 11004  History of the Novel may be eligible. 

The director of undergraduate studies will offer guidance and approve all qualifying courses. Specific courses that satisfy the distribution element of this requirement will be listed at  creativewriting.uchicago.edu . A literature course can potentially satisfy more than one requirement, e.g., both theory and literary genre, but a student can only use the course to fulfill one of the requirements.

Two (2) Background Electives

Students should take two courses outside of the Program in Creative Writing to support their creative projects or theses. Depending on a student's interests, elective courses can be offered by programs ranging from cinema and media studies to biological sciences. One creative writing translation workshop may also be approved as a background elective. Students may not use the same course to fulfill a background elective and a literature requirement. 

Optional BA Thesis

Students have the option to complete a BA thesis/project in their fourth year and should declare intent by the end of Winter Quarter of their third year. Majors who complete a BA thesis/project and meet GPA requirements are eligible for consideration for honors. In Spring Quarter of the third year, students who opt into the BA thesis/project will be assigned a writing and research advisor who will mentor student reading and research throughout the completion of the creative writing thesis. Students, in conversation with the writing and research advisors, will complete a preliminary project proposal during the Spring Quarter of their third year. The preliminary proposal will then be submitted to the student affairs administrator.

Over the Summer Quarter students will craft a reading journal centered on a field list of readings; chosen texts will be based upon work, conversations, etc., students will have begun with their writing and research advisors. In Autumn Quarter, students and writing and research advisors will work together to adapt the reading journal into an annotated bibliography, a focus reading list, and a précis/project plan (summary of student writing plan and goals for the BA thesis/project).

In Winter Quarter, students will continue meeting with their writing and research advisor and must also enroll in the appropriate thesis/major projects workshop in their primary genre ( CRWR 29200 Thesis/Major Projects: Fiction ,  CRWR 29300 Thesis/Major Projects: Poetry , CRWR 29400 Thesis/Major Projects: Nonfiction , or CRWR 29500 Thesis/Major Projects: Fiction/Nonfiction ). The thesis/major projects workshop is only offered during Winter Quarter. Students must complete the thesis/major projects workshop to submit a thesis project for consideration for honors.

The instructor for the thesis/major projects workshop will also serve as the faculty advisor for the BA thesis.

Students writing a BA thesis/project will work closely with their faculty advisor and peers in their thesis/major projects workshop and will receive course credit as well as a final grade for the course. In consultation with their faculty advisor and writing and research advisor, students will revise and submit a near-final draft of the BA thesis by the end of the second week of Spring Quarter. Students will submit the final version of their BA thesis to their writing and research advisor, faculty advisor, student affairs administrator, and the director of undergraduate studies by the beginning of the fifth week of Spring Quarter. 

Students graduating in other quarters must consult with the director of undergraduate studies about an appropriate timeline before the end of Autumn Quarter of their third year. 

Program Honors

The faculty in the program will award program honors based on their assessment of BA theses and the assessment of writing and research advisors. Students must complete all assignments set by writing and research advisors to be considered for honors. To be eligible, students must have a major GPA of at least 3.6 and overall GPA of 3.25. Honors will be awarded only to exceptional projects from a given cohort.

Summary of Requirements

Students considering the major should email the director of undergraduate studies or student affairs administrator as early as possible to discuss program requirements and individual plans of study. To declare the major and receive priority in application-based CRWR courses, students must confer with the director of undergraduate studies or student affairs administrator to file a major worksheet with the Program in Creative Writing. Declaration of the major will then be formalized through  my.uchicago.edu . To join the major, students must officially declare via a worksheet on file with the program before the end of Autumn Quarter of the third year of study. Students will need to regularly provide documentation of any approvals for the major to their academic advisors.

Courses Outside the Department Taken for Program Credit

Students double majoring in creative writing and another major (with the exception of English language and literature) can count a maximum of three courses towards both majors (pending approval from both departments). Ordinarily, two of these courses will be background electives. Substitutions for a further course will be subject to approval, but students may not substitute non-literature courses to meet a literature requirement. 

Double Majors in English Language and Literature and Creative Writing

Students who pursue a double major in creative writing and English language and literature, may count up to four courses towards both majors. These four courses typically include the four literature requirements, but in some cases one of the slots might be filled by a creative writing course (with director of undergraduate studies approval). However, the two required background electives should be taken outside of the Department of English Language and Literature. 

English language and literature majors may count up to four creative writing courses towards the major in English as electives without a petition. However, when students are pursuing a double major in English language and literature and creative writing, they must observe the shared four-course maximum. Double majors must then count any eligible creative writing courses beyond the four-course cap towards their English language and literature major.

Students in the program must receive quality grades (not pass/fail) in all courses counting toward the major or minor. Non-majors and non-minors may take creative writing courses for pass/fail grading with consent of the instructor. Students must request this consent by the end of week three of the quarter; otherwise pass/fail must be approved by the program director. 

Sample Plan of Study for the Major

Minor in english and creative writing.

Students who are not English language and literature or creative writing majors may complete a minor in English and Creative Writing. The minor requires six courses (600 units). At least three of the required courses must be creative writing courses, with at least one being a beginning workshop, at least one being an advanced workshop, and at least one being a fundamentals course. Three of the remaining required courses may be taken in either the Department of English Language and Literature or the Program in Creative Writing; these courses may include technical seminars or arts general education courses. General education courses cannot be used for the minor if they are already counted toward the general education requirement in the arts. In some cases, literature courses outside of English language and literature and creative writing may count towards the minor, subject to the director of undergraduate studies’ approval. 

Students who elect the minor program in English and Creative Writing must meet with the student affairs administrator for creative writing before the end of Spring Quarter of their third year to declare their intention to complete the minor. Students choose courses in consultation with the administrator. The administrator's approval for the minor program should be submitted to a student's academic advisor on the Consent to Complete a Minor Program form, available from the College adviser or online, by the deadline above.

Students completing the minor will be given enrollment preference for advanced workshops and some priority for technical seminars. They must follow all relevant admission procedures described at the  Creative Writing  website. For details, see  Enrolling in Creative Writing Courses .

Courses in the minor (1) may not be double counted with the student's major(s) or with other minors and (2) may not be counted toward general education requirements. Courses in the minor must be taken for quality grades (not pass/fail) and bear University of Chicago course numbers.

Summary of Requirements for the Minor Program in English and Creative Writing

Minor to major.

Student circumstances change, and a transfer between the major and minor programs may be desirable to students who begin a course of study in either program. Workshop courses and a fundamentals course may count toward the minor. Students should consult with their academic advisor if considering such a transfer and must update their planned program of study with the student affairs administrator or director of undergraduate studies in creative writing.

Sample Plan of Study for the Minor

Enrolling in creative writing courses.

General education courses and beginning workshops are open to all students via the standard pre-registration process. Our consent-based courses prioritize students in the major, the minor, and the Creative Writing Option of the Master of Arts Program in the Humanities (MAPH). Note: Students who have not yet met with the director of undergraduate studies or student affairs administrator to begin a worksheet are not considered formally declared and therefore are not guaranteed priority in course enrollment.

For more information on creative writing courses and opportunities, visit the  Creative Writing  website.

Creative Writing Courses for the General Education Requirement in the Arts

These multi-genre courses are introductions to topics in creative writing and satisfy the general education requirement in the arts in the College. General education courses are generally taught under two headings—"Reading as a Writer" and "Intro to Genres"—and will feature class critiques of students’ creative work. They are open to all undergraduate students during pre-registration. These courses do not count towards the major in creative writing, but students may use these courses to satisfy the creative writing minor’s elective requirements if they are not already counted toward the students' general education requirement in the arts.

Fundamentals in Creative Writing Courses

These courses focus on a current debate relevant to all forms of literary practice and aim to develop cohort solidarity, promote a culture of exchange, and induct students into a reflection on practice that will service their artistic and professional development. They are open to declared majors only, except in circumstances approved by the director of undergraduate studies. Majors should take a Fundamentals course and a Beginning Workshop before enrolling in Advanced Workshops. 

Beginning Workshops

These courses are intended for students who may or may not have writing experience, but are interested in gaining experience in a particular genre. Courses will focus on the fundamentals of craft and feature workshops of student writing. Open to all undergraduate students during pre-registration.

Technical Seminars

The aim of the technical seminars is to expand students’ technical resources through analysis of contemporary literature and practice-based training in elements of craft. 

Advanced Workshops

These workshops are intended for students with experience in a particular genre. Advanced workshops will focus on class critiques of student writing with accompanying readings from exemplary literary texts. Priority is given to students in the major, minor, or the MAPH Creative Writing Option . 

Optional Thesis/Major Projects

The thesis/major projects course is optional for minors. While it is not required to complete the minor, students are welcome to opt in to the course. This course will revolve around workshops of student writing and concentrate on the larger form students have chosen for their creative thesis. Priority is given to students in the major, minor, or the MAPH Creative Writing Option .

Faculty and Visiting Lecturers

For a current listing of Creative Writing faculty, visit the  Creative Writing  website.

Creative Writing Courses

CRWR 10206. Beginning Fiction Workshop. 100 Units.

Beginning Workshops are intended for students who may or may not have previous writing experience, but are interested in gaining experience in a particular genre. These workshops focus on the fundamentals of craft and feature workshops of student writing. See the course description for this particular workshop section in the notes below.

Instructor(s): Staff     Terms Offered: Autumn Spring Winter Prerequisite(s): During pre-registration, this course is open only to declared Creative Writing Majors and declared Minors in English and Creative Writing, as well as graduate students. During add/drop the course will be instructor consent and open to all students in the College. Please contact the instructor to be added to the waitlist for the option to enroll during add/drop. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 30206

CRWR 10306. Beginning Poetry Workshop. 100 Units.

Instructor(s): Staff     Terms Offered: Autumn Spring Winter Prerequisite(s): During pre-registration, this course is open only to declared Creative Writing Majors and declared Minors in English and Creative Writing, as well as graduate students. During add/drop the course will be instructor consent and open to all students in the College. Please contact the instructor to be added to the waitlist for the option to enroll during add/drop. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 30306

CRWR 10406. Beginning Nonfiction Workshop. 100 Units.

Instructor(s): Staff     Terms Offered: Autumn Spring Winter Prerequisite(s): During pre-registration, this course is open only to declared Creative Writing Majors and declared Minors in English and Creative Writing, as well as graduate students. During add/drop the course will be instructor consent and open to all students in the College. Please contact the instructor to be added to the waitlist for the option to enroll during add/drop. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 30406

CRWR 10606. Beginning Translation Workshop. 100 Units.

Beginning Workshops are intended for students who may or may not have previous experience, but are interested in gaining experience in translation. See the course description for this particular workshop section in the notes below.

Instructor(s): Anne Janusch     Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Please email the professor to be added to the waitlist during add/drop. To participate in this class, students should have intermediate proficiency in a foreign language. Note(s): Beginning Translation Workshop: Writing What's Been Written This workshop will explore literary translation as a mode of embodied reading and creative writing. Through comparative and iterative readings across multiple translations of both poetry and fiction, we will examine the interpretive decisions that translators routinely encounter when assigning an English to a work of literature first written in another language, as well as the range of creative strategies available to translators when devising a treatment for a literary text in English. Students will complete weekly writing exercises in retranslation and English-to-English translation, building to the retranslation of either a short piece of fiction or selection of poems. Equivalent Course(s): GRMN 30606, CRWR 30606, SALC 10606, SALC 30706, GRMN 10606

CRWR 12124. Reading as a Writer: Beauty is Truth, Truth Beauty. 100 Units.

In this core course, students will investigate the complicated relationship between truth and art by reading and writing works "based on a true story." In poetry and prose, we will explore the lines between fiction and nonfiction, beauty and horror, as well as utterance and silence. Writers will develop critical responses to course readings, then explore those perspectives through creative work of their own. Readings include work by Jeffery Renard Allen, Ari Banias, Scott Blackwood, Brenda Hillman, Harold Pinter, and Claudia Rankine.

Instructor(s): Garin Cycholl     Terms Offered: Winter Prerequisite(s): Open bid through classes.uchicago.edu. Attendance on the first day is mandatory. Note(s): This course meets the general education requirement in the arts.

CRWR 12133. Intro to Genres: Writing and Social Change. 100 Units.

In this course, we will explore the embattled, yet perpetually alive relationship between writing and activism by reading canonical and emergent works of fiction, narrative prose, and poetry that not only represent social ills, but seek to address and even spur social justice in some way. Students will be encouraged to choose an issue that they feel passionate about on which to research and respond for the entire quarter-and will be asked to produce short works in a range of genres in relation to that issue. Works studied will include the poetry of Percy Shelley, the short stories of John Keene, the essays of Anne Boyer, the graphic novels of Nick Drnaso, and the document-based poetry of Layli Long Soldier.

Instructor(s): Jennifer Scappettone     Terms Offered: Spring Prerequisite(s): Open bid through my.UChicago.edu. Attendance on the first day is mandatory. Satisfies the College Arts Core requirement.

CRWR 12138. Intro to Genres: Evil Incarnate. 100 Units.

Some of the most compelling pieces of writing across all genre deal with, and often feature, deeply problematic central adversarial characters without which the poem, story, or essay would have no forward motion, and no cause to exist. From Capote's In Cold Blood to Milton's Paradise Lost, from Bulgakov's Master and Margarita to Arendt's Eichmann in Jerusalem and Sabato's The Tunnel, literature returns again and again to the question of evil and the concept of opposition. This course is designed to explore this question alongside authors who have devoted their lives to understanding the role of evil in literature, its necessity, its appeal, its frivolity and its betrayal. The course will be divided into three section, each section devoted to a specific genre during which two to three texts will be explored, discussed and analyzed in class, and at the end of which one brief analysis paper will be due. One creative piece, in any of the three major genres, exploring the said topic will be due at the end of the course.

Instructor(s): Lina Ferreira Cabeza-Vanegas     Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins; contact the instructor for a spot in the class or on the waiting list. Note(s): Satisfies the College Arts/Music/Drama Core requirement.

CRWR 12141. Intro to Genres: Drawing on Graphic Novels. 100 Units.

Like film, comics are a language, and there's much to be learned from studying them, even if we have no intention of 'writing' them. Comics tell two or more stories simultaneously, one via image, the other via text, and these parallel stories can not only complement but also contradict one another, creating subtexts and effects that words alone can't. Or can they? Our goal will be to draw, both literally and metaphorically, on the structures and techniques of the form. While it's aimed at the aspiring graphic novelist (or graphic essayist, or poet), it's equally appropriate for those of us who work strictly with words (or images). What comics techniques can any artist emulate, approximate, or otherwise aspire to, and how can these lead us to a deeper understanding of the possibilities of point of view, tone, structure and style? We'll learn the basics of the medium via Ivan Brunetti's book Cartooning: Philosophy and Practice, as well as Syllabus, by Lynda Barry. Readings include the scholar David Kunzle on the origins of the form, the first avant-garde of George Herriman, Frank King, and Lyonel Feininger, finishing with contemporaries like Chris Ware, Emil Ferris and Alison Bechdel. Assignments include weekly creative and critical assignments, culminating in a final portfolio and paper.

Instructor(s): Dan Raeburn     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): MADD 22141

CRWR 12143. Reading as a Writer: Embodied Language. 100 Units.

Embodied Language. This course studies how writers engage the senses to shape language into something actually felt and not just comprehended. We'll track the sensual life of words-what they do to the mouth, to the ear, their musical kinships with one another-and learn how these qualities combine to generate mood and atmosphere. Alongside writing that renders embodiment and the physical world, we'll read writing that makes abstraction feel concrete. Our weekly readings will guide our ongoing inquiry into questions such as: what constitutes an image? How does writing enact feeling? How do the sensory elements of a piece intensify or erode or expand its subject, and to what end? Texts will include poetry and prose by Sei Shōnagon, Francis Ponge, Carlos Drummond de Andrade, Gwendolyn Brooks, Gerard Manley Hopkins, Wanda Coleman, Vasko Popa, Lorine Niedecker, Ai, Durga Chew-Bose, Shane McCrae, Jenny Zhang, Justin Torres, James Baldwin, Deborah Eisenberg, and many others. Each member of the class will be asked to write weekly critical and creative responses, to give one presentation, and to produce a final project at the end of the quarter.

Instructor(s): Margaret Ross      Terms Offered: Winter Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins; contact the instructor for a spot in the class or on the waiting list. Note(s): This course meets the general education requirement in the arts.

CRWR 12145. Reading as a Writer: Re-Vision. 100 Units.

To revise a piece of writing isn't merely to polish it. Revision is transformation and yields an alternate reality. A new view, a re-vision. This course will start by tracking compositional process, looking at brilliant and disastrous drafts to compare the aesthetic and political consequences of different choices on the page. We'll then study poems, essays, and stories that refute themselves and self-revise as they unfold, dramatizing mixed feelings and changing minds. We'll end by considering erasure poetry as a form of critical revision. Our conversations will inspire weekly writing exercises and invite you to experiment with various creative revision strategies. Students will be asked to lead one presentation and to share their writing for group discussion.

Instructor(s): Margaret Ross      Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory.

CRWR 12146. London vs. Nature: Writing Utopia and Dystopia in the Urban Landscape [Creative Writing Arts Core: R. 100 Units.

In this Arts Core course, students will be introduced to a range of the utopian and dystopian fantasies that writers have produced in response to the metropolis of London as the imperial epicenter of manufactured ecologies, from the late nineteenth century through the present day. They will study early responses to modernism and modernization in the city by figures like William Blake, Frederick Engels, Henry James, Ezra Pound, and Virginia Woolf before moving on to contemporary writers such as R. Murray Schafer, who apprehends the city through "earwitnessing" of noise pollution, and Bhanu Kapil, who recalls the race riots of the 1970s against the backdrop of the Nestle factory on the site of King Henry VIII's hunting grounds. Students will be exposed first-hand to how London is read by writers confronting planetary and political crisis through meetings with living publishers, authors, and art collectives like the Museum of Walking, grappling with the continual metamorphosis of the landscape-and through a sequence of on-site visits and psychogeographical experiments, they will have the opportunity to respond to the city in their own writing across a range of genres. (Arts Core)

Instructor(s): Jennifer Scappettone     Terms Offered: Autumn Prerequisite(s): Acceptance to the London Study Abroad Program. Equivalent Course(s): ARCH 14146

CRWR 12147. Intro to Genres: The River's Running Course. 100 Units.

Rivers move--over land, through history, among peoples--and they make: landscapes and civilizations. They are the boundaries on our maps, the dividers of nations, of families, of the living and the dead, but they are also the arteries that connect us. They are meditative, meandering journeys and implacable, surging power. They are metaphors but also so plainly, corporeally themselves. In this course, we will encounter creative work about rivers, real and imaginary, from the Styx to the Amazon. Through poetry, fiction, nonfiction, and drama, we will consider what rivers are, what they mean to us, and how they are represented in art and literature. Rivers will be the topic and inspiration for our own creative writing, too. The goal for this course is to further your understanding of creative writing genres and the techniques that creative writers employ to produce meaningful work in each of those genres. You will also practice those techniques yourselves as write your own creative work in each genre. Our weekly sessions will involve a mixture of discussions, brief lectures, student presentations, mini-workshops and in-class exercises. Most weeks, you will be responsible for a creative and/or critical response (300-500 words) to the reading, and the quarter will culminate in a final project (7-10 pages) in the genre of your choice, inspired by the Chicago River.

Instructor(s): Stephanie Soileau     Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CHST 12147, ENST 22147

CRWR 12148. Intro to Genres: Speculative Women. 100 Units.

Intro to Genres: Speculative Women Despite common misconceptions, women have been at the forefront of the speculative genre from its earliest inceptions. They have not merely defied the limitations and restraints of literature as defined by their contemporary society, but invented whole worlds and genres which continue to influence writers and writing as a whole today-from Mary Shelley's 1818 publication of "Frankenstein" to Virginia Woolf's 1928 publication of "Orlando," and even Margaret Cavendish's 1666 novel, "The Description of a New World, Called The Blazing-World." This course will be a brief foray into the strange and yet familiar worlds of various women across the history of speculative writing, ranging from Mary Shelley to Ursula K. Leguin, from Lady Cavendish to Margaret Atwood, from Alice Walker to Octavia E. Butler.

Instructor(s): Lina Ferreira Cabeza-Vanegas     Terms Offered: Winter Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins; contact the instructor for a spot in the class or on the waiting list. Note(s): Satisfies the College Arts/Music/Drama Core requirement. Equivalent Course(s): GNSE 22148

CRWR 12150. Intro to Genres: Writing for TV: The Writers' Room. 100 Units.

In this course, you'll learn the craft of writing for television by collaboratively developing a pilot script for an original television series set in the South Side of Chicago. Modeled on the "writers' room," we'll research and develop the concept, characters, the outline, and create a plan for the series. In addition to being introduced to the fundamentals of storytelling through lectures, discussions, screenings, and script analysis, you'll also learn to work collaboratively with a team, constructing a daily agenda, brainstorming, researching, pitching, discussing ideas, and composing in screenwriting format. By the end of this hands-on course, you will be armed with a set of techniques and skills that will support your professional development as a writer.

Instructor(s): Julie Iromuanya     Terms Offered: Summer TBD. September Term 2022

CRWR 12151. Intro to Genres: The Gothic Lens. 100 Units.

The Gothic is arguably the most evocative of all storytelling genres. As haunting as it is seductive in its ambiguities and luridly symbolic tropes, no form more powerfully captures our encounters with the irrational and the inexplicable, whether in nature, in others, or in ourselves. In this Arts Core course, we will approach the genre through all its forbidding yet intimate qualities. As we read Gothic fiction from different eras and cultures, from both a reader's perspective and a writer's perspective (the why/how/who of the author's decisions), we'll cover concepts like the sublime, the uncanny, and abjection, examining the work's sociopolitical layers but aiming our brightest light on its psychological underpinnings. We'll ask ourselves: in what ways does the Gothic mirror the most vulnerable and obscure aspects of the self? What might these extraordinary stories of transgression, violence, or supernatural conflict reveal about the horrors of ordinary life, the vagaries of our hidden desires, anxieties, and pathologies? Our focus on the psychological and evocative nature of the genre, especially from a writer's point of view, will also help us write our Gothic Scenes, where everyone will apply their own intimate "gothic lens" to memorable encounters from their recent past. (Arts Core)

Instructor(s): Vu Tran     Terms Offered: Winter Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Note(s): This course meets the general education requirement in the arts.

CRWR 12153. Reading as a Writer: The Walker in the City. 100 Units.

Flâneur: from French, "to stroll, loaf, saunter"; probably from Old Norse flana, "to wander aimlessly"; Norwegian flana, "to gad about. The image of the poet as flâneur -- a metropolitan artist in motion -- emerged as an archetype of romantic and modernist literature. We will consider the walking poet in interaction with race, mobility and disability, gender and queerness, class, migration, ecology, and other embodied experiences. Texts will include work by Kathy Ferguson, Alexis Pauline Gumbs, Walter Benjamin, William Blake, Judith Butler, Sunaura Taylor, June Jordan, Walt Whitman, and others. Students will lead one presentation during the quarter and keep a notebook/sketchbook.

Instructor(s): Anna Torres     Terms Offered: Autumn Prerequisite(s): Acceptance to the London Study Abroad Program

CRWR 12154. Reading as a Writer: Brevity. 100 Units.

This course will consider brevity as an artistic mode curiously capable of articulating the unspeakable, the abyssal, the endless. Reading very brief works from a long list of writers, we will ask: when is less more? When is less less? What is minimalism? What is the impact of the fragment? Can a sentence be a narrative? Can a word comprise a poem? Our readings will include short poems, short essays, and short short stories by Yannis Ritsos, francine j. harris, Aram Saroyan, Richard Wright, Cecilia Vicuña, Kobayashi Issa, Renee Gladman, Robert Creeley, Alejandra Pizarnik, Lucille Clifton, Lydia Davis, Jamaica Kincaid, Yi Sang, Anne Carson, Franz Kafka, Prageeta Sharma, Venita Blackburn, Jorge Luis Borges, Samuel Beckett, and others. Students will be asked to lead one presentation and to write critical and creative responses for group discussion.

Instructor(s): Margaret Ross     Terms Offered: Autumn Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory.

CRWR 12156. Fundamentals: A Gathering of Flowers: The Anthology. 100 Units.

In 1925, The New Negro: An Interpretation, a collection of poems, short stories, and essays was published-it ushered a new era, what was then called the New Negro Renaissance. An artistic and literary movement with the objective to subvert what Alain Locke called the "Old Negro," by providing a corrective and aspirational image of contemporary Negro life, was borne. Around forty years later, Black Arts: An Anthology galvanized the Black Arts Movement, what Larry Neal called the "aesthetic and spiritual sister" of the Black Power Movement. The Best American Short Stories and the Norton Anthology of Literature by Women are two more examples of anthologies, one to cultivate the genre and the other to recover the literature of marginalized women writers. In this course, we'll examine anthologies, a word derived from the Greek for "a gathering of flowers." As we study these "flowers," we'll discern the objectives that shape their construction, as well as what was put in and what was left out. In short essays and exercises, we'll also investigate the social, cultural, and political contexts that influenced these objectives, as well as the resultant literary and cultural implications. For your final, you'll design your own literary anthology.

Instructor(s): Julie Iromuanya     Terms Offered: Spring Prerequisite(s): Open bid through classes.uchicago.edu. Attendance on the first day is mandatory.

CRWR 12159. Reading as a Writer: The Bad Girls Club. 100 Units.

Jezebels, witches, femme fatales, nasty women, sirens, madwomen, and murderesses: the world over, these women of many names-whom we'll collectively refer to as the Bad Girls Club-have alternately inspired the disdain and delight of multitudes. Whether jailed, expelled, excommunicated, or burned at the stake, their (anti)heroic antics have challenged, critiqued, or, some might say, corrupted the laws, mores, and sensibilities of societies. If it is true that polite, well-behaved women rarely make history, then what do impolite, badly-behaved women teach us about the construction of (his) story? In this course, we'll examine literature from around the world featuring members of the Bad Girls Club, who in opposing complimentary constructions of femininity, femaleness, and power invite introspection on the gendered nature of story and storytelling. In short critical papers, we'll analyze the tropes, features, and conventions of literature featuring these bad characters, and in short exercises, you'll write stories, poems, and essays inspired by them.

Instructor(s): Julie Iromuanya     Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): GNSE 12159

CRWR 12160. Reading as a Writer: Exploring the Weird. 100 Units.

In 1917 the Russian critic Viktor Shklovsky coined the word 'ostranenie,'-translating roughly as 'defamiliarization'-to illustrate a concept that asks the writer or artist to see the everyday in new and unfamiliar ways. In fiction writing this means avoiding cliché while cultivating elements of surprise, the unexpected, the strange. It means the author offering a new perspective on something familiar, something surprising and, often, yes, a little weird. So what does it mean to follow the weird as a fiction or creative non-fiction writer? As a poet? How can we indulge that strange, uncanny, often suppressed side of ourselves in a way that not only serves a work of literary art but opens it up to new possibilities? This class will look at ways writers use defamiliarization and other techniques to create unexpected and sometimes jarring effects and will encourage students to take similar risks in their own writing. Students will view read various works of fiction, poetry, creative non-fiction, view films, and read critical and craft- oriented texts. They will write short weekly reading responses and some creative exercises as well. Each student will also be expected to make a brief presentation and turn in a final paper for the class.

Instructor(s): Augustus Rose     Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list.

CRWR 12163. Reading as a Writer: Obscenities. 100 Units.

Obscenity" is a term for what is repulsive, abhorrent, excessive, or taboo in a society; and yet many artworks once considered to be obscene are now celebrated as landmarks of world literature, from the ancient poetry of Sappho to modern novels like Ulysses. In this course, we will study literary works that have been banned or censored as "obscene" to examine our own perspectives, attitudes, and assumptions as literary artists. How does obscenity shape our understanding of gender and sexuality, race and ethnicity, or public and private speech? What are the uses of obscenity in constructing new possibilities for literary expression? Authors studied will include Toni Morrison, Tanizaki Jun'ichirō, Vladimir Nabokov, Hilda Hilst, and Allen Ginsburg; and we will supplement these readings with works of literary theory, psychoanalysis, and case law. Students will produce their own original poetry, fiction, and nonfiction to reimagine what is permissible-and possible-in language and society for contemporary literary artists.

Instructor(s): Chicu Reddy     Terms Offered: Winter Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): PARR 33000, GNSE 22163

CRWR 12164. Reading as a Writer: Good Translation. 100 Units.

The past few years have seen a proliferation of major awards for works of contemporary world literature that have been translated into English (among them the International Booker Prize, the National Book Award for Translated Literature, and the National Book Critics Circle Book in Translation Prize). While such awards certainly elevate translation as a mode of writing comparable to that of other literary arts, they also raise important questions about the production, circulation, and reception of translated literature in the Anglosphere. In this course, we will read a number of recent award-winning books in English translation (both poetry and prose), considering how these books traveled from origin to translation, and how we as readers engage with them - as translations and as literary texts. How are translations made? How do we evaluate books that have two writers: author and translator? What larger forces (social, aesthetic, commercial, political) are at work when deciding which translated books will hold value for Anglophone readers? We'll explore these questions through weekly readings and discussions, student presentations, critical analyses and creative responses. As a final project, students will develop their own evaluative rubrics from which to award a prize to one of the translations we've read.

Instructor(s): Annie Janusch     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins.

CRWR 12165. Intro to Genres: Short Form Screenwriting. 100 Units.

This course explores short form screenwriting, as distinct from feature-length or episodic screenwriting. In addition to studying the essential elements of a screenplay, we will read, view, and discuss approaches to scripting brief documentary, poetic, and fictional time-based works. This work will prepare us for in- and out-of-class writing exercises in these modes, which students will often discuss in a workshop environment. Students will respond in creative and critical ways to the screenings and readings; present on a specific time-based work or creator; and write in the short screenwriting formats under study, culminating in a final creative project.

Instructor(s): Nick Twemlow     Terms Offered: Winter Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Note(s): This course meets the general education requirement in the arts.

CRWR 12166. Reading as a Writer: The Spiritual, Psychedelic, and Visionary. 100 Units.

In this class we'll think about and try to generate literary forms capable of holding, inviting, or emitting a kind of otherworldly glow; expressing or representing access to some other mode of being. How have writers done this in the past? We'll look to a wide range of sources for models, including the visionary writings of William Blake, poems by Allen Ginsberg, narratives by early Christian mystics (Margery Kempe, Julian of Norwich, Hildegard of Bingen), Buddhist sutras, 20th century phenomenological artworks and writing about them (including films and/or writing by Joan Jonas, Michael Snow, Robert Irwin, and Peter Kubelka), poetry and narratives of channeling (Alice Notley, James Merrill), writings of and about psychedelic experience (Aldous Huxley, Terence McKenna), immersive experimental poetics (M. NourbeSe Philip), and contemporary Thai experimental film (Apichatpong Weerasethakul), among others. Students will leave this class with an enhanced familiarity with an array of visionary forms and their history in Western writing and poetics, as well as hopefully new or renewed access to another mode of writing and thinking for themselves

Instructor(s): Kai (Kirsten) Ihns     Terms Offered: Winter Note(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. This course meets the general education requirement in the arts.

CRWR 12167. Intro to Genres: Mysteries Abound. 100 Units.

Perhaps no other narrative genre is more compelling or popular than the mystery. True Crime, Thrillers, and Whodunits consistently top the charts of bestsellers each year. In this Arts Core class, we will explore the mechanics of this fascinating genre. We will take the classic mystery tale written by masters like Arthur Conan Doyle and Raymond Chandler as an archetype, then examine what can be done with them. Together, we'll dive into tales of intrigue by Poe and Kleist, psychological thrillers by Patricia Highsmith and Jeffery Eugenides, neo-noir films such as Chinatown, noir-poetry by Deryn Rees-Jones and Sean O'Brien, and postmodern mystery-parodies like those of Jorge Luis Borges. Together, we'll look at the way they hang together, the desire and fear that drives them, and the secrets they tell-or try to keep hidden. Along the way, we will attempt to design and plot our own mysteries, and find ways to improve them in a workshop setting.

Instructor(s): Valer Popa     Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins.

CRWR 12168. Reading as a Writer: Art vs. the Algorithm. 100 Units.

An inquiry into what makes art "good" or "lasting," particularly in the age of our algorithm-shaped exposure. Students will read "viral" texts across three genres from ~1750 to 2024, including Matthew Lewis, 20th century gossip columns, and BookTok sensations like R.F. Kuang. Texts will be read in conversation with both historical and contemporary writing on craft, allowing students to respond both critically and creatively to the virality of these texts, ultimately deciding for themselves how we can begin to approach the role of the artist in the age of the algorithm.

Instructor(s): Victoria Flanagan     Terms Offered: Spring Prerequisite(s): If you wish to add this course during add/drop please email the instructor to be added to the waitlist.

CRWR 12169. Intro to Genres: I Know the End. 100 Units.

Ancient Mesopotamian flood narratives, Cold War nuclear Armageddon, existential climate catastrophe: as long as literature has existed, we have used it to speculate on our own demise. In this Intro to Genres course, we will explore apocalyptic and post-apocalyptic writing, how it intersects with other genres, how it has fluctuated or remained stable as a genre over time, and how it reveals our changing cultural anxieties about what threatens us as a species. We will read broadly across poetry, fiction, nonfiction and film, exploring the various flavors of apocalyptic writing, from scientific excess to natural disasters, and examining the role style and tone play in creating meaning around devastation. Representative authors will include T.S. Elliott, Rachel Carson, Elissa Washuta, Carmen Maria Machado, Ursula K. Leguin, and Chris Marker. Students will be asked to write and workshop their own creative writing in a chosen genre and produce a critical essay that focuses on one thematic element of the class.

Instructor(s): Jonathan Gleason     Terms Offered: Spring Prerequisite(s): If you wish to add this course during add/drop please email the instructor to be added to the waitlist.

CRWR 17003. Fundamentals in Creative Writing: Truth. 100 Units.

In this class we'll study how writers define and make use of truth--whatever that is. In some cases it's the truth, singular; in others a truth, only one among many. Some writers tell it straight, others slant. Some, like Tim O'Brien, advocate story-truth, the idea that fiction tells deeper truths than facts. To get at the heart of these and other unanswerable questions we'll read writers who've written about one event in two or more modes. Nick Flynn's poems about his father, for example, which he's also set down as comic strips as well as in prose. Jeanette Winterson's first novel as well as her memoir, sixteen years later, about what she'd been too afraid to say in it. Karl Marlantes' novel about the Vietnam war, then his essays about the events he'd fictionalized. Through weekly responses, creative exercises, and longer analytic essays you'll begin to figure out your own writerly truths, as well as the differences-and intersections-between them.

Instructor(s): Dan Raeburn     Terms Offered: Autumn Prerequisite(s): This is class is restricted to students who have declared a major in Creative Writing or a minor in English and Creative Writing. Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins.

CRWR 17007. Fundamentals in Creative Writing: The Grammar of Narrative. 100 Units.

Storytelling goes nearly as far back as human consciousness, while the ways in which we tell stories has been expanding ever since. This class will look at several different forms of narrative-fiction, creative non-fiction, narrative poetry, and film-and explore the "grammar" of these different genres, what they share and where they differ and how their particular strengths influence the ways in which they most effectively communicate. How does film (a visual medium) tell a story differently than does fiction (which asks us to project our own imagined version of the story), differently than creative non-fiction, (which must always rely on facts), differently than poetry (which condenses the story to its essences)? How do these different genres and mediums influence the stories they tell and the effects they achieve? Readings will include primary texts as well as critical and fundamentals texts in each genre. Students will complete weekly reading responses, as well as creative exercises. A paper focusing on a specific element derived from the class will be due at the end of the course.

Instructor(s): Augustus Rose     Terms Offered: Spring Prerequisite(s): Students must be a declared Creative Writing major or Minor in English and Creative Writing to enroll. Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins.

CRWR 17012. Fundamentals in Creative Writing: Creative Research/The Numinous Particulars. 100 Units.

According to Philip Gerard, "Creative research is both a process and a habit of mind, an alertness to the human story as it lurks in unlikely places." Creative writers may lean on research to sharpen the authenticity of their work; to liberate themselves from the confines of their personal experience; to mine existing stories and histories for details, plot, settings, characters; to generate new ideas and approaches to language, theme and story. The creative writer/researcher is on the hunt for the numinous particulars, the mysteries and human stories lurking in the finest grains of detail. In this course, we will explore the research methods used by creative writers and consider questions that range from the logistical (eg. How do I find what I need in an archive?) to the ethical (eg. How do I conscientiously write from a point of view outside my own experience?) to the aesthetic (eg. How do I incorporate all these researched details without waterlogging the poem/story/essay?). We will read poetry, fiction, and creative nonfiction that relies heavily on research and hear from established writers about the challenges of conducting and writing from research. Assignments will include reading responses, creative writing and research exercises, short essays and presentations.

Instructor(s): Stephanie Soileau     Terms Offered: Winter Prerequisite(s): Students must be a declared Creative Writing major or Minor in English and Creative Writing to enroll. Open bid through my.uchicago.edu. Attendance on the first day is mandatory.

CRWR 17013. Fundamentals in Creative Writing: Touchstones. 100 Units.

Most passionate readers and writers have literary touchstones --those texts we return to again and again for personal or aesthetic influence and inspiration. When we are asked what book we would want with us if we were stranded on a desert isle, our touchstones are the ones that leap immediately to mind. Some texts are fairly ubiquitous touchstones: The Great Gatsby, Harry Potter and the [take your pick], The Bell Jar, Little Women, Letters to a Young Poet, Leaves of Grass. Others are quirkier, more idiosyncratic. What -- if any -- qualities do these touchstones share, within and across genres? What lessons about writing craft can be drawn from them? In this course, we'll read texts that are commonly cited as touchstones, along with fiction, poetry, and creative nonfiction that students bring to the table -- their own literary touchstones. In that sense, our reading list will be collaborative, and students will be expected to contribute content as well as an analytical presentation on the craft issues raised by their selections. Our assignments will include reading responses, creative writing exercises, short essays and presentations.

Instructor(s): Stephanie Soileau     Terms Offered: Winter Prerequisite(s): Students must be a declared Creative Writing major to enroll during preregistration. Contact instructor to be added to the waitlist. Attendance on the first day is mandatory.

CRWR 17014. Fundamentals in Creative Writing: A Gathering of Flowers. 100 Units.

Instructor(s): Julie Iromuanya     Terms Offered: Spring Prerequisite(s): Students must be a declared Creative Writing major to enroll during preregistration. Contact instructor to be added to the waitlist. Attendance on the first day is mandatory.

CRWR 17015. Fundamentals in Creative Writing: Sincerity (and Irony) 100 Units.

What does it mean for a piece of writing to be "sincere"? How do we know a (character, poem, "I," essay) is "sincere"? What does it mean to make that judgment, and what does it commit us to? How does that judgment change a reader's orientation to the object? We will approach these questions obliquely first, by thinking about how irony works. Are irony and sincerity opposites? We'll look at a range of contemporary and historical objects in fiction, nonfiction, and poetry. This will include essays by Kierkegaard, Oscar Wilde, Wayne Booth, Jonathan Swift, and R. Magill Jr., fiction by Vladimir Nabokov, Joanna Ruocco, and Kathy Acker, and poetry by Chelsey Minnis, Jenny Zhang, Amiri Baraka, and others. We'll also consider certain internet objects and think about their relationship to sincerity (and irony). This course will give students a more nuanced and historically grounded handle on these questions, and will help them develop a style of writing that's able to more intentionally (and interestingly) choose its tonal legibilities.

Instructor(s): Kirsten Ihns     Terms Offered: Autumn Prerequisite(s): This is class is restricted to students who have declared a major in Creative Writing or a minor in English and Creative Writing. Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins.

CRWR 17016. Fundamentals in Creative Writing: The Frame Narrative. 100 Units.

In this course, students will engage in a close examination of the various permutations of the frame narrative device across time and genre. From A Thousand and One Nights, to Hamlet, to the "Call of Cthulhu" and Watchmen, the "story within a story" construction is one of the oldest and most employed literary devices-one which can either elevate or imperil the work wherein it is utilized. Students will respond to the material in both critical and creative manners, culminating in a final analytical and creative piece that employs the craft elements discussed and unpacked in class.

Instructor(s): Lina Ferreira Cabeza-Vanegas     Terms Offered: Spring Note(s): During pre-registration, this course is open only to declared Creative Writing Majors and declared Minors in English and Creative Writing

CRWR 17017. Fundamentals in Creative Writing: Haunted Craft, the Art of the Spectral Metaphor. 100 Units.

This course will be a close examination of the use of spectral imagery as a craft element in narratives across genre and time. From Charlotte Perkins Gilman's "The Yellow Wallpaper" to Emily Carrol's A Guest in the House, to Shirley Jackson's The Haunting of Hill House and Octavia Butler's Fledgling, the supernatural metaphor presents a unique stage upon which to play out questions of gender autonomy, mental health, repressed sexuality, racism and more. Students in this course will be expected to put the fantastical metaphor under a microscope and explore its potential through both creative and critical work of their own.

CRWR 17018. Fundamentals in Creative Writing: Desire and Longing. 100 Units.

In fiction, it is often said that an effective character must have a clear desire. Kurt Vonnegut famously advised, "Every character should want something, even if it is only a glass of water." The idea is that desire is an animating, energizing, and focusing force in storytelling. In this course, we'll attempt to apply the animation, energy, and focus of desire to personal essays, poems, and fiction, and explore how writers depict desire and longing in a wide range of work. We'll also attempt to catalog different kinds of desire: crushes, obsessions, nostalgia, and farsickness, to name a few. We'll pay special attention to how we can write about strong emotional experiences without resorting to cliches or sentimentality. Potential texts will be Simple Passion by Annie Ernaux, Safekeeping by Abigail Thomas, Eros the Bittersweet by Anne Carson, Crush by Richard Siken, The Pillow Book by Sei Shonagon, and Their Eyes Were Watching God by Zora Neale Hurston.

Instructor(s): Ryan Van Meter     Terms Offered: Spring Note(s): During pre-registration, this course is open only to declared Creative Writing Majors and declared Minors in English and Creative Writing. If you wish to add this course during add/drop please email the instructor to be added to the waitlist.

CRWR 20203. Technical Seminar in Fiction: Research and World-Building. 100 Units.

Writing fiction is in large part a matter of convincing worldbuilding, no matter what genre you write in. And convincing worldbuilding is about creating a seamless reality within the elements of that world: from setting, to social systems, to character dynamics, to the story or novel's conceptual conceit. And whether it be within a genre of science fiction, fantasy, historical fiction, or even contemporary realism, building a convincing world takes a good deal of research. So while we look closely at the tools and methods of successful worldbuilding, we will also dig into the process of research. From how and where to mine the right details, to what to look for. We will also focus on how research can make a fertile ground for harvesting ideas and even story. Students will read various works of long and short fiction with an eye to its worldbuilding, as well as critical and craft texts. They will write short weekly reading responses and some creative exercises as well. Each student will also be expected to make a brief presentation and turn in a final paper for the class.

Instructor(s): Augustus Rose     Terms Offered: Winter Prerequisite(s): During pre-registration, this course is open only to declared Creative Writing Majors and declared Minors in English and Creative Writing, as well as graduate students. During add/drop the course will be instructor consent and open to all students in the College. Please contact the instructor to be added to the waitlist for the option to enroll during add/drop. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 40203

CRWR 20209. Technical Seminar in Fiction: Scenes & Seeing. 100 Units.

At the core of literary storytelling is dramatization, which enables a reader to "see" the world, characters, and incidents at play and to vicariously experience their emotional and psychological consequences in the story. The primary vehicle for dramatization in a story is the scene, which consists of many crucial parts: characterization, setting and imagery, dialogue and action, tone and atmosphere, subtext and thematic development. In this course we'll break down all these parts and examine how they can function on their own as well as interact to bring a moment or event to life. Where and how should a particular scene begin and end? How should information be organized? How might we determine a scene's goals in isolation and in support of the larger narrative of a short story, novella, or novel? And ultimately, beyond characters talking, acting, and reacting, how might we expand our traditional notions of what a scene is and what it can do? We'll consider such questions as we discuss exceptionally crafted scenes from short stories, novels, plays, and even film, TV, and podcasts, with an eye also on the differences in scene craft from genre to genre and what that can teach us specifically as fiction writers. Course assignments will include reading responses, writing exercises, short essays, and student presentations.

Instructor(s): Vu Tran     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 40209

CRWR 20217. Technical Seminar in Fiction: Elements of Style. 100 Units.

What we call style is more than literary flourish. Control of a story begins with a writer's characteristic approach to the line. Style dictates and shapes immersive and impactful worlds of our creation. It's also indicative of a work's larger themes, philosophies, and aesthetic sensibility. In this class, we'll examine fiction by wordsmiths such as James Baldwin, Gabriel García Márquez, Toni Morrison, and Marguerite Duras in order to contemplate the influence that elements such as diction, syntax, rhythm, and punctuation have on a writer's style.

Instructor(s): Julie Iromuanya     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 40217

CRWR 20221. Technical Seminar in Fiction: Detail. 100 Units.

John Gardner said that the writer's task is to create "a vivid and continuous fictional dream." This technical seminar will focus on the role of detail in maintaining this dream. In this course we will deconstruct and rebuild our understanding of concepts like simile, showing vs. telling, and symbolism, asking what these tools do and what purpose they serve. Drawing from fiction and essays from Ottessa Moshfegh, Barbara Comyns, Zadie Smith, and others, students will practice noticing, seeing anew, and finding fresh and unexpected ways of describing. We will also examine what is worthy of detail in the first place, how detail functions outside of traditional scene, and the merits and limits of specificity, mimesis, and verisimilitude. Finally we will consider what it means to travel across a landscape of vagueness and euphemism as we search for the quality of "thisness" that James Wood claims all great details possess. In addition to assigned readings, students will be responsible for reading responses, short craft analyses, vigorous class participation, and several creative exercises and peer critiques applying these lessons.

Instructor(s): Benjamin Hoffman     Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 40221

CRWR 20224. Technical Seminar in Fiction: Narrative Tempo. 100 Units.

At certain moments," writes Italo Calvino of his early literary efforts, "I felt that the entire world was turning into stone." Slowness and speed govern not just the experience of writing but also the texture of our fictional worlds. And this is something we can control. Sublimely slow writers like Sebald or Duras can make time melt; spritely magicians like Aira and Rushdie seem to shuffle planes of reality with a snap of their fingers. This seminar gathers fictions that pulse on eclectic wavelengths, asking in each case how narrative tempo embodies a fiction's character. Our exercises will play with the dial of compositional speed, testing writing quick and slow; alternately, we'll try to recreate the effects of signature texts. Weekly creative and critical responses will culminate in a final project.

Instructor(s): Benjamin Lytal     Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 40224

CRWR 20232. Technical Seminar in Fiction: Narrative Influence. 100 Units.

T. S. Eliot once said that "good writers borrow, great writers steal." In this class we will look at modeling as a springboard for original creativity. What makes a piece of writing original? Is it possible to borrow a famous writer's story structure, theme, or even attempt their voice, yet produce something wholly original? How specifically are writers influenced and then inspired? Readings will pair writers with the influences they've talked or written about, such as Yiyun Li and Anton Chekhov; Edward P. Jones and Alice Walker; Sigrid Nunez and Elizabeth Hardwick, and George Saunders and Nikolai Gogol. Writing exercises will experiment with aspects of voice, narrative structure, point of view, tone, and use of dialog. While this is not a workshop course, come prepared to write and share work in class. Students will pursue both creative work and critical papers.

Instructor(s): Sharon Pomerantz     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 40232

CRWR 20233. Technical Seminar in Fiction: Who Sees and Who Speaks? 100 Units.

Who Sees and Who Speaks? What is the nature of the encounter between a narrator and a character, and how do elements of character and plot play out in narrative points of view? Drawing on the narratological work of theorists such as Gérard Genette and Monika Fludernik and of critics such as James Wood, this technical seminar considers what point of view, perspective, and focalization can do or make possible. Readings may include stories by Jorge Luis Borges, Jamaica Kincaid, Haruki Murakami, Jenny Zhang, William Faulkner, Lorrie Moore, Jamil Jan Kochai, Italo Calvino, Ursula K. Le Guin, Gabriel García Márquez, Edith Wharton, Sidonie-Gabrielle Colette, Edwidge Danticat, Jhumpa Lahiri, Lesley Nneka Arimah, and Virginia Woolf, among others, and will introduce instances of first-person-plural and second-person narrative, as well as modes of representing speech and thought such as free indirect discourse. Over the course of the quarter, students will write short analyses and creative exercises, culminating in a final project.

Instructor(s): Sophia Veltfort     Terms Offered: Winter Prerequisite(s): During pre-registration, this course is open only to declared Creative Writing Majors and declared Minors in English and Creative Writing, as well as graduate students. During add/drop the course will be instructor consent and open to all students in the College. Please contact the instructor to be added to the waitlist for the option to enroll during add/drop. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 40233

CRWR 20236. Technical Seminar in Fiction: Alternative Points of View. 100 Units.

Point of view is one of our most powerful narrative tools, controlling voice, perspective, and level of access to every bit of information a reader receives. When writers are first finding their way into new fiction projects, however, it is easy to default to the two points of view we are most commonly exposed to: a traditional first person or third person that behaves predictably. In this Technical Seminar, we will mine the work of Julie Otsuka, Carmen Maria Machado, Robert Coover, Ryunosuke Akutagawa, Sigizmund Krzhizhanovsky, and other writers for strategic usage of alternative points of view, including second person, first person plural, free indirect discourse, and deliberate shifts from one point of view into another. Assignments will include short critical and creative responses, a final fiction assignment, and a final presentation.

Instructor(s): Meghan Lamb     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 40236

CRWR 20237. Technical Seminar in Fiction: Unsolvable Mysteries. 100 Units.

In this course, we will investigate narratives of investigation. Detective stories without answers, in which characters piece together clues, trying to understand, yet something always remains elusive. Mysteries that defy conclusion and pull us deeper into the sublime, embracing what Robert Boswell calls "the half- known world." How do writers combine elements of the detective and literary genres to create and frustrate a reader's appetite for knowledge? How do writers elevate these stories to offer the spiritual alongside the factual? In addition to reading published texts from Patrick Modiano, Keith Ridgway, W.G. Sebald, Scott Blackwood, and others, students will produce craft analyses and creative work that puts course learnings into practice.

Instructor(s): Jeff Wolf     Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 30237

CRWR 20238. Technical Seminar in Fiction: The Spaces Between. 100 Units.

Nowadays, we love when stories occupy a shared universe. Yet what often gives true power to the story cycle or novel-in-stories is the gaps between these connected works. The spaces left untold, where characters leave us and return changed. In this course, we will investigate the art of not telling. How do authors calibrate these gaps, showing us not too much but not too little? How do these discrepancies complicate and enrich the world of the narrative? What work do we do as readers, and how does it impact our experience? We will read connected stories from Peter Orner, Denis Johnson, Evan S. Connell, Tove Jansson and others. Students will be responsible for craft analyses, vigorous participation, and relevant creative exercises.

Instructor(s): Jeffrey Wolf     Terms Offered: Winter Prerequisite(s): If you wish to add this course during add/drop please email the instructor to be added to the waitlist. Equivalent Course(s): CRWR 40238

CRWR 20309. Technical Seminar in Poetry: Generative Genres. 100 Units.

From ancient Sumerian temple hymns to 7th-century Japanese death poems to avant-garde ekphrasis in the 21st century, the history of poetry is as rich in genres as it is in forms. Why does it feel so good to write a curse? What is an ode and how is it different from an aubade? In this technical seminar we will study the origins, transcultural functions, and evolving conventions of some of the oldest-living genres of lyric poetry - the ode, the elegy, the love poem, the curse, to name a few. We will read living writers such as Alice Oswald, Danez Smith, Kim Hyesoon, and Natalie Diaz alongside historical forerunners including Aesop, Sei Shonagon, John Keats. Federico Garcia Lorca, Sylvia Plath, and Paul Celan. Students will write weekly experiments of their own in response to our readings, and for a final project they will edit a mini-anthology of a genre of their choice, including a short critical introduction.

Instructor(s): Suzanne Buffam     Terms Offered: Spring Prerequisite(s): Advanced Workshop: During pre-registration, this course is open only to declared Creative Writing Majors and declared Minors in English and Creative Writing, as well as graduate students. During add/drop the course will be instructor consent and open to all students in the College. Please contact the instructor to be added to the waitlist for the option to enroll during add/drop. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 40309

CRWR 20312. Technical Seminar in Poetry: Prosody. 100 Units.

PROSODY This course will be a deep dive into prosody. What is prosody? Merriam-Webster describes it as "the rhythmic and intonational aspect of language" - we might also describe it as the way poems move, and how they move their reader. Arguably one of the most important (and least visible) aspects of poetic composition, prosody can teach you to see and write differently. We'll begin with an introduction to historical metrics (the boring but necessary part), and then move on to studying more contemporary models. Readings will include a bit of scholarly work on prosody by Rosemary Gates and Boris Maslov, but mostly we'll read poems, from the 12th century to the 21st, that foreground prosody and rhythmic structure. This will be a practice-intensive class-you will be asked to produce several exercises a week, in addition to a final paper or project.

Instructor(s): Kirsten Ihns     Terms Offered: Winter Prerequisite(s): During pre-registration, this course is open only to declared Creative Writing Majors and declared Minors in English and Creative Writing, as well as graduate students. During add/drop the course will be instructor consent and open to all students in the College. Please contact the instructor to be added to the waitlist for the option to enroll during add/drop. Equivalent Course(s): CRWR 40312

CRWR 20313. Technical Seminar in Poetry: Against or Onto 'The Road'" 100 Units.

This technical seminar in poetry offers writers an opportunity to examine an essential American poetic space: the road. A core question is how one reads the road's poetic surface versus its depths. Does journey itself lay out a clear narrative, admitting its forks, detours, and breakdowns? How is a basic American "compass" disrupted by poetic reconsiderations of "the road?" Does every road run "west?" How is the road itself as much about dislocation as it is about coherent journey? As an orientation to a poetics of space, participants will engage critical perspectives set up by Gaston Bachelard, CS Giscombe, and Rebecca Solnit. Then, writers will develop their own critical/creative responses, exploring models established by Gabe Gudding, William Least Heat-Moon, Ed Roberson, and Muriel Rukeyser. Inviting her readers to remap historical and mythic journeys, Rukeyser resets the road as a conduit into a reassessment of national narrative through The Book of the Dead. Taking his own road east, Gudding overturns a "beat poetics" of travel in his Rhode Island Notebook. Least Heat-Moon (Blue Highways) and Roberson (MPH and Other Road Poems) invite explorations of "the road" as much in time as in space or personal journey. Overall, the course remaps that road, in the words of Giscombe, itself a "scattering [where] nothing cohered."

Instructor(s): Garin Cycholl     Terms Offered: Winter Prerequisite(s): If you wish to add this course during add/drop please email the instructor to be added to the waitlist. Equivalent Course(s): CRWR 40313

CRWR 20404. Technical Seminar in Nonfiction: Forms of the Essay. 100 Units.

The essay, derived from the French term essayer meaning "to try" or "to attempt," is not only a beloved sub-genre of creative nonfiction, but a form that yields many kinds of stories, thus many kinds of structures. Araceli Arroyo writes that the essay can "reach its height in the form of a lyric, expand in digression, coil into a list, delve into memoir, or spring into the spire of the question itself all with grace and unexhausted energy." In this course, we will analyze the essay's continuum, marked by traditional, linear narratives on one end, and at the other, everything else. In our class, we will investigate the relationship between content and form. What does it mean to be scene-driven? What happens when a narrative abandons chronology and event, propelled instead by language and image? What is gained through gaps and white space? You will leave this class with a strong grasp of content's relationship to form, prepared to participate effectively in creative writing workshops. You will also create a portfolio of short writings that can be expanded into longer pieces. Readings will include: Nox by Anne Carson; A Bestiary by Lily Hoang; Tell Me How It Ends: An Essay in Forty Questions by Valeria Luiselli; Citizen: An American Lyric by Claudia Rankine; Essayists on the Essay edited by Ned Stuckey-French

Instructor(s): Kathleen Blackburn     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 40404

CRWR 20410. Technical Seminar in Nonfiction: Epistolary Form. 100 Units.

When does a body of writing become "literary"? What stories might be found inside the hastily scrawled lines of a postcard buried in the attic or an incomplete to-do list drifting down the sidewalk? Beginning with the modern epistle and epistolary novel, this cross-genre seminar orbits the space where non-literary documents give way to artistic compositions that a given set of experts would otherwise neatly categorize and deposit somewhere literature is supposed to belong. As we practice the interplay of research and imagination toward the realization of a final project, we'll examine how writers of nonfiction and documentary poetics have used everything from blueprints of a prison cell to vaudeville ephemera to frame, develop, and heighten true stories. We'll consider ethics of authority such as information access, authentication, and journalistic objectivity alongside rhetorical matters of credibility, emotional truth, and the serviceability of facts. Come play in the archives and observe the power of repurposed material.

Instructor(s): Dina Peone     Terms Offered: Winter Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 40410

CRWR 20412. Technical Seminar in Nonfiction: The writer as researcher. 100 Units.

Research is an essential and imaginative process for the nonfiction story, but in what ways are the writer's methods unique to literary practice? This course will explore the role of research in writing creative nonfiction. Students will develop methods that play a role in writing essays, memoir, and literary journalism. The seminar will be conducted in four sequential parts: immersion research; interview techniques; library research; translating technical jargon for a public readership. Assignments will equip students with the practical steps for completing each style of research. We will also discuss how to integrate research into the descriptions, narrative, and subtext of the writing. Students will experiment with: dramatizing research through scene-building; using reflection to respond to their findings; and inviting research to become part of the plot. Research, we will find, generates some of the most dramatic and surprising moments in the writing process. We will read texts that correspond to the areas of focus, including works by Eula Biss, Daisy Hernandez, and Sarah Viren. Students will leave the course equipped to include research into their writing process for advanced writing workshops and thesis projects.

Instructor(s): Kathleen Blackburn     Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 40412

CRWR 20414. Technical Seminar in Nonfiction: Speculation. 100 Units.

This technical seminar will investigate how we can use speculation as a tool in our creative nonfiction narratives. How can we bring imagination and fantasy into our discussion of "fact" and "reality," and do those ideas, in fact, change what "fact" and "reality" mean to us? We'll read Carmen Maria Machado's In the Dream House and Alan Weisman's The World Without Us to deepen our thinking. Students will then practice using speculation in their own nonfiction narratives through short creative exercises. They will also write analytical papers on our chosen works to investigate how each author uses speculation to support and inspire their nonfiction narratives.

Instructor(s): Rebecca Flowers     Terms Offered: Autumn Note(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 40414

CRWR 21502. Advanced Translation Workshop. 100 Units.

All writing is revision, and this holds true for the practice of literary translation as well. We will critique each other's longer manuscripts-in-progress of prose, poetry, or drama, and examine various revision techniques-from the line-by-line approach of Lydia Davis, to the "driving-in-the-dark" model of Peter Constantine, and several approaches in between. We will consider questions of different reading audiences while preparing manuscripts for submission for publication, along with the contextualization of the work with a translator's preface or afterword. Our efforts will culminate in not only an advanced-stage manuscript, but also with various strategies in hand to use for future projects. We will also have the opportunity to have conversations via Zoom with some of the translators we'll be reading. Students who wish to take this workshop should have at least an intermediate proficiency in a foreign language and already be working on a longer translation project.

Instructor(s): Jason Grunebaum     Terms Offered: Spring Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu (include writing sample). Attendance on the first day is mandatory. Students who wish to take this workshop should have at least an intermediate proficiency in a foreign language and already be working on a longer translation project. Equivalent Course(s): CRWR 41502

CRWR 21504. Advanced Translation Workshop: Scales of Reading. 100 Units.

Peer review of translations-in-progress can often take the form of line edits: we discuss word choices that call attention to themselves rather than talking through the larger compositional units in which those choices are made. While a fine-grained reading is vital to revision, it can also run the risk of minimizing our critical engagement with translated texts merely on the basis of "awkward" or " stilted" language. This workshop will explore the different scales of reading employed in reviewing drafts: Yes, those instances that make us pause or take us out of the text are worth marking for the translator, but ultimately, they're only useful to the translator if we can synthesize them into a larger, coherent reading of the work as a whole. By treating translations-in-progress as literary works deserving of close readings (rather than merely manuscript pages to be edited), we'll seek to provide our peers with a critical account of our experience as the primary readers of their translations. Specifically, we'll practice grounding our accounts in aspects of craft and structure, form and content, in order to move beyond our subjectivities as readers and our idiolects as writers - and better understand how a translated work's larger concerns are enacted in the language itself. Students with translations-in-progress, as well as students who will be starting new projects, are welcome to participate in this workshop.

Instructor(s): Annie Janusch Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu (include writing sample). Attendance on the first day is mandatory. Students who wish to take this workshop should have at least an intermediate proficiency in a foreign language and already be working on a longer translation project. Equivalent Course(s): CRWR 41504

CRWR 21505. Advanced Translation Workshop: Prose Style. 100 Units.

Purple, lean, evocative, muscular, literary, exuberant, lucid, stilted, elliptical. These are all labels that critics and reviewers have used to characterize prose styles that call attention to themselves in distinct ways. Of course, what constitutes style not only changes over time, but also means different things in different literary traditions. How, then, do translators carry style over from one language and cultural milieu to another? And to what extent does style structure storytelling? We will explore these questions by reading a variety of modern and contemporary stylists who either write in English or translate into English, paying special attention to what stylistic devices are at work and what their implications are for narration, characterization, and world building. Further, we'll examine the range of choices that each writer and translator makes when constituting and reconstituting style, on a lexical, tonal, and syntactic scale. By pairing readings with generative exercises in stylistics and constrained writing, we will build toward the translation of a short work of contemporary fiction into English. To participate in this workshop, students should be able to comfortably read a literary text in a foreign language.

Instructor(s): Annie Janusch     Terms Offered: Winter Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 41505

CRWR 22117. Advanced Fiction Workshop: Beginning a Novel. 100 Units.

This workshop is for any student with a novel in progress or an interest in starting one. Our focus will be the opening chapter, arguably the most consequential one-for the reader naturally, but most importantly for us the writer. How might it introduce the people and world of the story, its premise or central conflict, its narrative tone and style? How might it intrigue, orient, or even challenge the reader and begin teaching them how to read the book? And if the first chapter is our actual starting point as the writer, how might it help us figure out the dramatic shape of our novel, its thematic concerns, its conceptual design? We'll apply such questions to the opening chapters of an exemplary mix of novels-The Great Gatsby, The Age of Innocence, Invisible Man, Beloved, The Wind-Up Bird Chronicle, The Vegetarian, Normal People, etc.- and examine what they are expected to do as well as what they can unexpectedly do. And as everyone workshops the first chapter (or prologue) of their own novel, we'll consider ways of adjusting or rethinking them so that the author can better understand their project overall and build on all the promise of the material they have.

Instructor(s): Vu Tran     Terms Offered: Autumn Note(s): Students must have taken Fundamentals + a Beginning Workshop in the same genre as the Advanced Workshop you want to register for. Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 42117

CRWR 22128. Advanced Fiction Workshop: Novel Writing, The First Chapters. 100 Units.

In this workshop-focused class we will focus on the early stages of both developing and writing a novel: choosing the POV, establishing the setting, developing the main characters and the dynamics between them, setting up the conflicts and seeding the themes of book, etc. As a class we will read, break down and discuss the architecture of the openings of several published novels as you work on your own opening chapters, which will be workshopped during the course.

Instructor(s): Augustus Rose     Terms Offered: Spring Prerequisite(s): If you wish to add this course during add/drop please email the instructor to be added to the waitlist. Equivalent Course(s): CRWR 42128

CRWR 22130. Advanced Fiction Workshop: Inner Logic. 100 Units.

In this advanced workshop, we will explore the range of strategies and techniques that fiction writers employ to make readers suspend their disbelief. We will consider how imagined worlds are made to feel real and how invented characters can seem so human. We will contemplate how themes, motifs, and symbols are deployed in such a way that a story can feel curated without seeming inorganic. We will consider how hints are dropped with subtlety, how the 'rules' for what is possible in a story are developed, and how writers can sometimes defy their own established expectations in ways that delight rather than frustrate. From character consistency to twist endings, we'll investigate how published authors lend a sense of realism and plausibility to even the most far-fetched concepts. Through regular workshops, we will also interrogate all students' fiction through this lens, discussing the ways in which your narratives-in-progress create their own inner logic. Students will submit two stories to workshop and will be asked to write critiques of all peer work.

Instructor(s): Baird Harper     Terms Offered: Spring Prerequisite(s): Advanced Workshop: During pre-registration, this course is open only to declared Creative Writing Majors and declared Minors in English and Creative Writing, as well as graduate students. During add/drop the course will be instructor consent and open to all students in the College. Please contact the instructor to be added to the waitlist for the option to enroll during add/drop. Attendance on the first day is mandatory Equivalent Course(s): CRWR 42130

CRWR 22132. Advanced Fiction Workshop: Strange Magic in Short Fiction. 100 Units.

In this workshop based course we'll investigate how strangeness and magic function in short fiction. We'll read stories by authors like Kelly Link, Carmen Maria Machado, and Alice Sola Kim, examining how these writers portray the fantastical and impossible. We'll explore concepts like defamiliarization, versimilitude, and the uncanny. We will contemplate how magical realism and surrealism differ from sci-fi and fantasy genre writing, and ask how we, as writers, can make the quotidian seem extraordinary and the improbable seem inevitable, and to what end? Students will complete several short creative exercises and workshop one story that utilizes magic or strange effects. Students will also be expected to write thoughtful, constructive critiques of peer work. Throughout the course, we'll consider how the expectations of literary fiction might constrain such narratives, and we can engage with and transcend these archetypes.

Instructor(s): Benjamin Hoffman     Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 42132

CRWR 22133. Advanced Fiction Workshop: Writing the Uncanny. 100 Units.

Sigmund Freud defines "the uncanny" ("unheimlich") as something that unnerves us because it is both familiar and alien at the same time, the result of hidden anxieties and desires coming to the surface. In this advanced fiction workshop, we will explore how fiction writers use the uncanny to create suspense, lend their characters psychological depth, thrill and terrify their readers, and lay bare the darkest and most difficult human impulses. We will read and discuss fiction by writers like Shirley Jackson, Jamaica Kincaid, Octavia Butler, Kelly Link, Ben Okri, Haruki Murakami, and Victor Lavalle, drawing craft lessons from these writers to guide our own attempts at writing the uncanny. Much of our class time will be dedicated to evaluating student work and honing our skills of composition and critique. In addition to shorter writing exercises and "mini-workshops" throughout the quarter, every student will complete a full-length "uncanny" short story for workshop and compose critique letters for each of their peers. Students will be required to significantly revise their full-length short story by the end of the quarter.

Instructor(s): Stephanie Soileau     Terms Offered: Autumn Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 42133

CRWR 22134. Advanced Fiction Workshop: Cultivating Trouble and Conflict. 100 Units.

If you want a compelling story, put your protagonist among the damned." --Charles Baxter While crisis is to be avoided in life, when it comes to narrative, trouble is your friend. In this advanced workshop we'll explore the complex ways writers create conflict in their stories, be it internal or external, spiritual or physical, romantic, financial or familial. We'll read masters of the form like Edward P. Jones, George Saunders, ZZ Packer, Jhumpa Lahiri, and Yiyun Li, and discuss how they generate conflict that feels organic, character-driven, and inevitable. Weekly writing exercises will encourage you to take creative risks and hone new skills. Each student will workshop two stories, with strong emphasis on focused and productive peer critique and in-class commentary.

Instructor(s): Sharon Pomerantz     Terms Offered: Spring Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 42134

CRWR 22135. Advanced Fiction Workshop: Narrative Time. 100 Units.

The Long and the Short of it: Narrative Time A story's end point determines its meaning. The history of a life can be covered in a sentence, a few pages or seven volumes. How do writers decide? In this advanced workshop, we'll look at different ways to handle narrative time, paying special attention to building blocks like direct and summary scene, flashback, compression, slowed time and fabulist time. We'll examine work by writers whose long stories feel like novels, like Alice Munro and Edward P. Jones, alongside those who say everything in a short single scene of a page or two, like Grace Paley and Kate Chopin. Students will be encouraged to experiment with time in both writing exercises and story revisions.By the end of the course, you will have generated significant raw material and workshopped one story. Two stories, one polished and one in draft, will be prepared for the final.

Instructor(s): Sharon Pomerantz     Terms Offered: Winter Prerequisite(s): During pre-registration, this course is open only to declared Creative Writing Majors and declared Minors in English and Creative Writing, as well as graduate students. During add/drop the course will be instructor consent and open to all students in the College. Please contact the instructor to be added to the waitlist for the option to enroll during add/drop. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 42135

CRWR 22140. Advanced Fiction Workshop: Killing Cliché 100 Units.

It's long been said that there are no new stories, only new ways of telling old ones, but how do writers reengage familiar genres, plots, and themes without being redundant? This course will confront the literary cliché at all levels, from the trappings of genre to predictable turns of plot to the subtly undermining forces of mundane language. We will consider not only how stories can fall victim to cliché but also how they may benefit from calling on recognizable content for the sake of efficiency, familiarity, or homage. Through an array of readings that represent unique concepts and styles as well as more conventional narratives we will examine how published writers embrace or subvert cliché through story craft. Meanwhile, student fiction will be discussed throughout the term in a supportive workshop atmosphere that will aim not to expose clichés in peer work, but to consider how an author can find balance-between the familiar and the unfamiliar, between the predictable and the unpredictable-in order to maximize a story's effect. Students will submit two stories to workshop and will be asked to write critiques of all peer work.

Instructor(s): Baird Harper     Terms Offered: Winter Prerequisite(s): During pre-registration, this course is open only to declared Creative Writing Majors and declared Minors in English and Creative Writing, as well as graduate students. During add/drop the course will be instructor consent and open to all students in the College. Please contact the instructor to be added to the waitlist for the option to enroll during add/drop. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 42140

CRWR 22146. Advanced Fiction Workshop: Disruption and Disorder. 100 Units.

This workshop-based course proceeds from the premise that disorder and disruption are fruitful aesthetics that might be applied to numerous elements of fiction to unlock new possibilities in our work. Students will seek to identify typical narrative conventions and lyrical patterns and then write away from them-or write over them, toward subversion, surprise, and perhaps even a productive anarchy. Students will search for hidden structures in work by Taeko Kono, Nafissa Thompson-Spires, Diane Williams, Garielle Lutz, and others, examining the methods these writers use to lead readers to unexpected, original, and transgressive places. Students will complete several short creative exercises in which they practice disruption and disorder in plot, pace, dialogue, and syntax. In the second half of the course, students will workshop one story or excerpt and write thoughtful, constructive critiques of peer work. Revision is also a crucial component of this class, as it is an opportunity to radically warp and deviate from our prior visions. Throughout the quarter, we will attempt to interrupt and shake up our own inclinations as artists.

Instructor(s): Benjamin Hoffman     Terms Offered: Winter Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 42146

CRWR 22149. Advanced Fiction Workshop: Long Stories. 100 Units.

The advantage, the luxury, as well as the torment and responsibility of the novelist," writes Henry James, "is that there is no limit to what he may attempt." Writers interested in these torments and luxuries can begin to experiment with long form in this workshop. Each student will compose a single long story of about forty pages. We'll attend to the freshness of beginnings, the satisfactions (and compromises) of endings and, most acutely, to the crises of middles. A scaffolding of workshops, outlines, and conferences will support and structure your efforts. Along the way we'll explore the opportunities of long-form structure with examples from the likes of David Foster Wallace, Alice Munro, Ted Chiang, and Toni Morrison. Most of our class time will be devoted to workshopping long stories by students.

Instructor(s): Benjamin Lytal     Terms Offered: Winter Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 42149

CRWR 22150. Advanced Fiction Workshop: Radical Revision. 100 Units.

Like so many essential and life-sustaining processes-relationship maintenance, money management, digestion-revision is something we often talk about without "really" talking about it (to use the words of writer Matthew Salesses). Yet by refusing (or failing) to "really" talk about revision, writers deny themselves the opportunity to actively engage with the potentialities of their work: the different shapes, forms, and shifts it might take. In this class, we will demystify the revision process by analyzing the works of writers-such as Anna Kavan, Edwidge Danticat, and Suzanne Scanlon-who have pursued radical revisions to their projects, including expansions (short stories developed into novels), compressions (longer works condensed into shorter pieces), point of view changes, and dramatic stylistic transformations. With a combination of creative exercises and workshops, we will also work toward our own radical revisions.

Instructor(s): Meghan Lamb     Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 42150

CRWR 22152. Advanced Fiction Workshop: Finding and Refining Voice. 100 Units.

As writers, your "voice" is you imposing who you are on the truthfulness of your sentences. Finding your voice, then, is the process-whether you're describing a character, an image, or an idea-of constantly asking yourself, Do I absolutely believe this?, of rewriting and rewriting your sentences until you absolutely do believe it, and finally of refining all the technical aspects you brought to bear to assure that level of individual truth. Out of that, naturally and inevitably, comes your voice-at least for the time being. In this workshop, we'll examine this crucial stage in the development of your own aesthetic, which is not merely a writing style, but more importantly a personal perspective on the world that informs and is informed by that style. We will read a selection of writers with distinctive worldviews and thus distinctive literary voices (Paul Bowles, Toni Morrison, Gabriel Garcia Marquez, Lorrie Moore, Ottessa Moshfegh, Ocean Vuong, Garth Greenwell, etc.), and we'll complement those readings with writing exercises and workshops of your own fiction, where you will actively interrogate, cultivate, and refine your emerging voice.

Instructor(s): Vu Tran     Terms Offered: Spring Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 42152

CRWR 22153. Advanced Fiction Workshop: Rants and Rambles. 100 Units.

The unshackled narrators that dominate many of our most exciting novels-from Dostoevsky's underground man to the uber-relatable mother of 2019's Ducks, Newburyport-take their bearings not from the scenic method of theater or the omniscient narration of history but from the essay form and from oral storytelling. This workshop plumbs those resources to better understand this alternative tradition, studying the craft that can make unruly narrative both highly entertaining and intellectually satisfying, exploring rhetoric, repetition, leitwortstil, logical nesting, suspense, digression, irony, and humor. While executing creative exercises in voice, we'll read books of furious energy by Thomas Bernhard and Jamaica Kincaid alongside cooler, essayistic meanders by W. G. Sebald and Claire-Louise Bennett. Students will compose and workshop a substantial work that takes its cues from these examples.

Instructor(s): Benjamin Lytal     Terms Offered: Spring Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 42153

CRWR 22154. Advanced Fiction Workshop: Unlikeable Characters. 100 Units.

From "unreliable" to "unlikeable," certain characters--and character qualities--are often measured against popular understandings of who is "good," who is "relatable," and who gets to decide. As Ottessa Moshfegh quips in a Guardian interview, "We live in a world in which mass murderers are re-elected, yet it's an unlikeable female character that is found to be offensive." In this technical seminar, we will critically investigate cultural dialogues around "unlikeability," and discuss the shared qualities and compelling narrative capabilities of "unlikeable" characters. Assignments will include reading responses, short craft analyses, and a presentation.

Instructor(s): Meghan Lamb     Terms Offered: Spring Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 42154

CRWR 22155. Advanced Fiction Workshop: Writing About Work. 100 Units.

Writing about work, jobs, and vocational experiences may seem contradictory- or even antithetical-to our goals in fiction. After all, if we aim to inspire, to invigorate, to otherwise wield a narrative "axe for the frozen sea within us" (as Kafka wrote), why write about the very day-to-day tasks so often charged with numbing and blurring our sensation of life? In this workshop, we will explore and answer this question with our own work-focused fictions, developing strategies for defamiliarizing the mundane, and using routines to build dramatic tension. Utilizing a combination of creative workshops and exercises-and drawing upon models from the job-focused fiction of Eugene Martin, Dorothy Allison, Lucia Berlin, Nana Kwame Adjei-Brenyah, Edwidge Danticat, and other writers-we will also deepen and develop our characters through precise depictions of their work environments.

Instructor(s): Meghan Lamb     Terms Offered: Spring Prerequisite(s): Advanced Workshop: During pre-registration, this course is open only to declared Creative Writing Majors and declared Minors in English and Creative Writing, as well as graduate students. During add/drop the course will be instructor consent and open to all students in the College. Please contact the instructor to be added to the waitlist for the option to enroll during add/drop. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 42155

CRWR 22156. Advanced Fiction Workshop: Narrator as Personality. 100 Units.

While aspiring writers usually grasp quickly how to write direct dialog-we hear it all around us, in public and private spaces-narration is a trickier enterprise. In this writing workshop, we will look at the narrator as personality, a voice that exists to tell the story, but not always to enter it. The narrator can be a constant, like an elbow in the side, or effaced, touching down to only give us the basics of time and place. They can be all knowing, summarizing scenes, people and events from a distant, God-like vantage, or reportorial, speaking in present tense as events unfurl. Some narrators make us laugh but are conning us with their charm; others explain the psychology of events like a great therapist or moralize like a member of the clergy. We will read a wide range of examples from writers like Edward P. Jones, Anton Chekhov, Salman Rushdie, Amy Hempel, Yiyun Li, and Louise Erdrich. Students will be encouraged to experiment in both writing exercises and story revisions. By the end of the course, you will have generated significant raw material and workshopped one story, which you will revise for the final.

Instructor(s): Sharon Pomerantz     Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 42156

CRWR 22157. Advanced Fiction Workshop: Tiny Chapters. 100 Units.

In this advanced fiction workshop, students will have the opportunity to assemble a long narrative out of short fragments. Composing with small units reframes the art of narrative. We'll study the diverse affordances of working with fragments-collage, aporia, essayistic interpolation-always keeping an eye on the totality of our narratives. We'll discuss the art of brevity-including related forms like the aphorism, the note, and the joke. We'll begin in experiment and end with substantial compositions. Our readings will be drawn from the numerous contemporary novelists who use this method (Jenny Offill, Olga Ravn, Dorthe Nors) as well as the older generation of authors who, in their different ways, may be said to have pioneered the form (Marguerite Duras, Gwendolyn Brooks, William Gass, Renata Adler). But most of our class time will be devoted to workshopping original student work.

Instructor(s): Benjamin Lytal     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 42157

CRWR 22158. Advanced Fiction Workshop: From the Ground Up. 100 Units.

In a craft talk, writer Stephen Dobyns once described an exercise he used for generating stories inspired by Raymond Carver, who said about his process, "I write the first sentence, and then I write the next sentence and then the next." Apparently, Dobyns was frustrated by that answer, but later challenged himself to write 50 first sentences of potential stories. Then, he picked half of them and wrote 25 first paragraphs. From those, he eventually completed about a half dozen stories. (I learned this from an article by the great short story writer Kelly Link.) In this generative workshop, we will proceed in this fashion. During the first week, we'll study the first sentences of stories and each write our own 50 first sentences. During the second week, we'll study the first paragraphs of stories and each write 25 first paragraphs, and so on until all students have a few complete drafts of stories, one of which will be submitted to our in-class workshop. Along the way, we'll read and discuss well-made stories by writers such as Kelly Link, Denis Johnson, Joy Williams, Edward P. Jones, Justin Torres, Mary Gaitskill, and many others. To be successful, students will read and write actively and share their well-informed opinions with enthusiasm, especially in our workshop discussions.

Instructor(s): Ryan Van Meter     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 42158

CRWR 22159. Advanced Fiction Workshop: Family Life, Family Strife. 100 Units.

If, as the opening lines of Anna Karenina suggests, it is true that "every unhappy family is unhappy in its own way," then the unique character of family is largely determined by its distinct manner and type of conflict. In this advanced fiction workshop, we'll examine fiction about family friction with an eye for observing the strategies that authors have used to construct dramas that revolve around how families love, cope, or crumple in the midst of crisis. As we identify tropes of family dysfunction, we'll also consider the ways authors use narrative devices like point-of-view, setting, plot, and scene to investigate how we define family (and how those definitions have evolved); its bonds and intergenerational inheritances; how families-like institutions- are bonded by their distinctive habits, manners, mores, and laws; and how kinship might magnify, subvert, or critique larger society. Above all, we'll debate what family life and family strife teach us about storytelling. Over the course of the term, we will write and workshop your own fiction inspired by model texts.

Instructor(s): Julie Iromuanya     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 42159

CRWR 23113. Advanced Poetry Workshop: Waste, Surplus, Reuse. 100 Units.

What do writers and artists do with surplus, with extras, leftovers, and other excesses of production? Is there a creative use to put them to? When viewed in the context of ecology and economy, what are the ethical dimensions of working with surplus? Are there also ethics and aesthetics of the "useless"? With these guiding questions, this course will explore creative approaches to waste, and develop revision practices that draw on the reuse of material surplus. We will consider forms of excess, and we'll examine diverse types of waste and things that "waste", including literal trash, ruins, the body, time, the dream, and everyday texts (such as emails, text messages, rough drafts, conversations, and ephemeral media). Readings and media may include work by Georges Perec, Harryette Mullen, Nikki Wallschlaeger, T. S. Eliot, Kurt Schwitters, and Agnes Varda. Students should plan to complete various prompts, lead discussion on readings, and complete a final project.

Instructor(s): Nate Hoks     Terms Offered: Winter Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 43113

CRWR 23123. Advanced Poetry Workshop: Form & Formlessness. 100 Units.

Wallace Stevens suggests that "The essential thing in form is to be free in whatever form is used." How does form provide a kind of freedom for a poet? How does it manifest itself in a poem? Does it mean we have to follow prescribed rules, or is there a more intuitive approach? This course will give students a chance to try out a range of traditional and experimental forms, both as an attempt to improve as writers and in order to interrogate form and its other, what Bataille called the formless, or "unformed" (l'informe). We'll explore traditional and contemporary takes on a variety of forms, such as sonnets, odes, aphorisms, serial poems, and poetic collage. Students should expect to write exercises, submit new poems, contribute feedback on peer work, write short response papers, and submit a final portfolio.

Instructor(s): Nathan Hoks     Terms Offered: Winter Prerequisite(s): Advanced Workshop: During pre-registration, this course is open only to declared Creative Writing Majors and declared Minors in English and Creative Writing, as well as graduate students. During add/drop the course will be instructor consent and open to all students in the College. Please contact the instructor to be added to the waitlist for the option to enroll during add/drop. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 43123

CRWR 23126. Advanced Poetry Workshop: Poetry and the Present Moment. 100 Units.

In this workshop we will tackle the problem of writing poetry in the present moment at a range of scales, thinking critically about our world's obsession with the "contemporary." At the grandest scale, we will ask what it means to write into the contemporary moment, one in which we seem to feel time fading with every status update and tweet, and one that demands embodied engagement-reading works that have been written recently, in dialogue with living authors. At the most intimate scale, we will consider how poetry can cultivate critical awareness of the present moment amidst forces that pull us with dopamine-induced promises and regrets into the future and past. How does poetry, with its odd ability to punctuate, syncopate, fragment, and suspend time, intervene in daily life and in the historical record? Authors for consideration will include Issa, Basho, Gertrude Stein, F.T. Marinetti, David Harvey, Cecilia Vicuna, Bernadette Mayer, Etel Adnan, Leslie Scalapino, Lyn Hejinian, Julie Patton, CA Conrad, Julian T. Brolaski, and Bhanu Kapil. Students will have the chance to experiment with different forms of attunement to the present, and will produce a daybook in tandem with a final "book" project that may take a range of forms.

Instructor(s): Jennifer Scappettone     Terms Offered: Winter Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 43126

CRWR 23132. Advanced Poetry Workshop: Poets' Prose. 100 Units.

Which one of us, in his moments of ambition, has not dreamed of the miracle of a poetic prose," wrote Charles Baudelaire in Paris Spleen,"... supple enough and rugged enough to adapt itself to the lyrical impulses of the soul, the undulations of reverie, the jibes of conscience?" This genre-blurring workshop will explore elements of the history and practice of the prose poem, and other poems and texts that combine strategies, forms and gestures of prose (fiction, nonfiction, etc.) with those of poetry. We will also read texts that are difficult to classify in terms of genre. "Flash Fiction," "Short Shorts," the fable, the letter, the mini-essay, and the lyric essay will be examined, among others. We will discuss the literary usefulness (or lack of it) of genre and form labels. The class will be taught as a workshop: students will try their hand at writing in their choices of hybrid forms, and will be encouraged to experiment. Writers from all genres are welcome, as what we will be studying, discussing, and writing will involve the fruitful collision of literary genres.

Instructor(s): Suzanne Buffam     Terms Offered: Winter Prerequisite(s): During pre-registration, this course is open only to declared Creative Writing Majors and declared Minors in English and Creative Writing, as well as graduate students. During add/drop the course will be instructor consent and open to all students in the College. Please contact the instructor to be added to the waitlist for the option to enroll during add/drop. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 43132

CRWR 23133. Advanced Poetry Workshop: Poets in Archives. 100 Units.

This course will examine how the historical archive can be a source for poetry writing, seeking to develop frameworks for interpreting the experiences that poets enact through archives. Deeper questions to be examined involve the relation between poetic form and historical knowledge; the relation between imagination and memory; between material histories and their inscription; between poets and their historical and biographical pasts; and between the critical and creative, the historical and biographical, and the exteriors and interiors of literature, history, myth, and politics. Because this is an advanced workshop, we will rely on mutual exchange dedicated to improving writing. Critique will therefore be our core activity, guided by our readings and professor instruction, but driven primarily by original student work and discussion.

Instructor(s): Edgar Garcia     Terms Offered: Spring Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 43133

CRWR 23134. Advanced Poetry Workshop: The Book as Form. 100 Units.

What is a book? This supposedly obsolete medium has undergone vital metamorphosis over the course of the past century, migrating from text into the visual and performing arts, as well as online. As contemporary writers we will consider what it means to contribute to its evolution, thinking about new forms that the "poetry collection" can take, as well as more emergent forms of the book as project-or process. Authors to be studied include Sappho, Basho, Mina Loy, Bruno Munari, Bread and Puppet Theater, Susan Howe, Anne Carson, Ann Hamilton, Buzz Spector, Bhanu Kapil, Don Mee Choi, Jen Bervin, Mei-Mei Burssenbrugge, Stephanie Strickland, Tan Lin, Edwin Torres, Nanni Balestrini, Douglas Kearney, and Amaranth Borsuk. Be prepared to think about poetry from the scale of the syllable to the scale of the entire bound (or unbound) work.

Instructor(s): Jennifer Scappettone     Terms Offered: Autumn Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 43134

CRWR 23135. Advanced Poetry Workshop: Weird Science. 100 Units.

This class invites students to explore various relationships between science and poetry, two domains that, perhaps counter-intuitively, often draw from each other to revitalize themselves. As poets, we'll use, misuse, and borrow from science in our poems. We'll approach poems like science experiments and aim to enter an "experimental attitude." From a practical point of view, we'll try to write poems that incorporate the language of science to freshen their own language or to expand the realm of poetic diction. Furthermore, we'll work with tropes and procedural experiments that may result in revelation, discovery, and surprise. Readings may include work by Aimé Césaire, Kimiko Hahn, Ed Roberson, Dean Young, Joyelle Mcsweeney, and Will Alexander. Students can expect to write several poems, participate in discussion forums with both initial response papers and follow-up comments, critique peers' work, and submit a final portfolio. A substantial amount of class time will be spent workshopping student work.

Instructor(s): Nathan Hoks     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 43135

CRWR 23136. Advanced Poetry Workshop: Poetry as Parasite. 100 Units.

Might there be a kind of poem that acts like a parasite latched on to a host body? A poem whose very life is the fusion of various sources, voices, discourses? This poetry workshop invites students to read and write poetry that, either overtly or subtly, engages with other texts. We'll examine ways that poems create intertextual relationships (e.g. quoting, voicing, alluding, echoing, stealing, sampling, imitating, translating…) and test out these methods in our own writing. Students should expect to engage with the basic question of how their work relates to other poets and poems. Expect to read a substantial amount of work by modern and contemporary poets, submit new original poems for workshop, complete intertextual writing exercises, participate in discussion forums with both initial response papers and follow-up comments, critique peers' work, and submit a final portfolio. A substantial amount of class time will be spent workshopping student work.

Instructor(s): Nathan Hoks     Terms Offered: Winter Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 43136

CRWR 23137. Advanced Poetry Workshop: Poetry, Archives, and History. 100 Units.

This course introduces fundamental ideas about poetic form and approaches to poetic writing through close reading and discussion of poetry (modern and contemporary but not exclusively). We will consider poetic elements from the ground-up-reading closely for sound, image, syntax, and meaning-in order to enliven those elements in student writing. Likewise, we will consider how poems appear at a crossroads between history and experience (the past and present) in order to inspire students to write not only about themselves but about real and imagined social, cultural, historical, and intellectual locations and horizons (considering such aspects of poetry writing as geography, history, mythology, anthropology, kinship, science, visual media, audio media, etc). We will do so in conversation with our peers by way of regular presentations and workshops, in which students will give feedback to one another's works, learning thus how to read critically while generously, and how to respond collegially while also constructively. At the end of the quarter students will revise drafts based on class writing exercises and workshop conversations, to produce a portfolio prefaced by a critical reflection. The arc of the class also involves the making of a collaborative syllabus (with a wide range of texts offered and guided by the instructor but available to the creative configuration of the students themselves), to strengthen our grasp of archival and curatorial aspects of poetry writing.

Instructor(s): Edgar Garcia     Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 43137

CRWR 23138. Advanced Poetry Workshop: Poetics of Procedure and Restraint. 100 Units.

Rats who build the labyrinth from which they will try to escape" is how Raymond Queneau famously described the members of Oulipo, a group of international writers and mathematicians founded in France in 1960, and which still thrives today. The group's aim is to use constraints and procedures to create new literary forms. ("Oulipo" is an acronym that stands for Workshop or Sewing Circle of Potential Literature.) In a similar spirit of playful experiment, we will take a hands-on approach, with students composing new drafts each week. We will experiment with a variety of methods, ranging from traditional verse forms to concrete poetry; creative translations; re-writing; erasures; collages; documentary and research-based poetics; site-specific and ritual poetry; incorporating film, sound, image; and a selection of stimulating Oulipian constraints (e.g. only using certain letters or writing three versions of the same poem, etc.). As we workshop students' drafts, we will discuss topics including inspiration, authorship, form, copying and plagiarism; poetry, activism, and social justice; and the idea of "fact" in poetry. At the end of the quarter, you'll revise your drafts and collect them in a portfolio.

Instructor(s): Rachel Galvin     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 43138

CRWR 23139. Advanced Poetry Workshop: Ekphrastic Poetry. 100 Units.

In this generative advanced poetry workshop we will find inspiration for our own poetry by engaging with the visual arts. We will read poems that respond to, reflect, and refract the arts, and exercises will be based on our own encounters in museums, at the movies, in the realms of fashion, architecture, landscape, and elsewhere. We will ask ourselves about artifice and making, the materiality of the written word, the relationship between observation and expression, the emotive qualities of the image, and the sonic qualities of words. Most of our course reading will be contemporary poetry, but we will also explore a range of exciting earlier examples. Each class meeting will include workshops of student poems, discussions of assigned literature, and conversations about art practice and art community. In addition to reading deeply, looking closely, and writing wildly, students are expected to be lively participants in the arts community on campus, and will attend exhibitions, concerts, readings, screenings, and other events and experiences that bring us into contact with various modes of expression. Texts may include poems by, Harryette Mullen, James Schuyler, Brenda Shaughnessy, David Trinidad, and Virgil.

Instructor(s): Robyn Schiff     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 43139, CHST 23139

CRWR 23140. Advanced Poetry Workshop: Poetry and Crisis. 100 Units.

Since Homer's narratives of war and exile, and Hesiod's accounts of cyclical degeneration and the uncertain future of humankind, poetry has dealt with crisis and liminality. Our own present moment is defined by a convergence of climate and ecological crises, refugee crisis, food crisis, war, and epidemic. In this workshop, we will examine poetic writing arising out of crises, whether political, artistic, or existential, and craft poems that attempt to deal with crisis - both in the form of a concrete Event, and as a literary trope - through critical creative engagement, experimentation, and intertextual dialogue. Readings may include work by Peter Balakian, Jericho Brown, Don Mee Choi, Jorie Graham, Ilya Kaminsky, Valzhyna Mort, Claudia Rankine, Ocean Vuong, as well as classical sources. Students can expect to workshop their poems in class; to engage, critically and supportively, with peers' work; and to develop a final portfolio.

Instructor(s): Oksana Maksymchuk     Terms Offered: Winter Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 43140

CRWR 23141. Advanced Poetry Workshop: Visitations. 100 Units.

This class will explore how visitations, hauntings, suspense, uncertainty, grotesquerie, uncanny repetitions, unholy resurrections, phenomenal midnight meetings, and other gothic manipulations of matter, time, and space figure in a range of poems and texts. Because hesitance, fragment, the ever- presence of history, and notions of closure come into play whenever ghosts and others returning from beyond make visitations, our conversation will inevitably turn to the question of the openness of text, and in addition to gothic themes, we will examine form and strategy to wonder together how language turns and returns upon itself like the vampire that rises again and again in various shape-shifting guises. What is natural? What is unnatural? What is supernatural? How do the inexplicable and the explicable meet in poems? And how do poems vex the unstable categories of the past and the present?

Instructor(s): Robyn Schiff     Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 43141

CRWR 23142. Advanced Poetry Workshop: Poetic Forms of Brevity. 100 Units.

Advanced Poetry Workshop: Poetic Forms of Brevity Brevity is the soul of wit, and in some definitions, it's also an essential characteristic of lyric poetry. In this course, we'll read diverse examples of relatively brief poetic forms, such as epigrams, aphorisms, haikus, tankas, prose poems, and sonnets, to generate our own writing. Finally, we'll also practice revising poems for economy: that is, cutting as many words as possible from every draft. Students can expect to complete weekly prompts, give a presentation, participate in workshops, and turn in a final portfolio.

Instructor(s): Nathan Hoks     Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 43142

CRWR 23143. Advanced Poetry Workshop: Mask, Persona, and Translation in Twenty-First Century Poetry. 100 Units.

This advanced workshop engages the play of mask and persona in contemporary poetry, including how these have been utilized in poets' theater, dramatic monologue, confessional writing, autobiographical play, and translation of poems. Participants will be invited to experiment with voice and persona in writing and consider questions such as: How does the mask offer a means of engaging core aspects of self, society, and language? Writers for discussion include John Canaday, Denise Duhamel, Duriel Harris, Ilya Kaminsky, Yang Lian, Ed Pavlic, Fernando Pessoa, and Evie Shockley.

Instructor(s): Garin Cycholl     Terms Offered: Spring Prerequisite(s): Advanced Workshop: During pre-registration, this course is open only to declared Creative Writing Majors and declared Minors in English and Creative Writing, as well as graduate students. During add/drop the course will be instructor consent and open to all students in the College. Please contact the instructor to be added to the waitlist for the option to enroll during add/drop. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 43143

CRWR 23144. Advanced Poetry Workshop: Voice. 100 Units.

This course will focus on poetry's rich histories of poetic voicings, building multiple definitions of what voice "sounds" like, how it is constructed, how it says, and how to quiet and amplify one's own poetic voice. We will use our readings and findings to generate our own poetic voicings for student-led workshops.

Instructor(s): Nicholas Twemlow     Terms Offered: Spring Prerequisite(s): During pre-registration, this course is open only to declared Creative Writing Majors and declared Minors in English and Creative Writing, as well as graduate students. During add/drop the course will be instructor consent and open to all students in the College. Please contact the instructor to be added to the waitlist for the option to enroll during add/drop. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 43144

CRWR 24002. Advanced Nonfiction Workshop: Writing About the Arts. 100 Units.

Thinking about practices is a way of focusing a conversation between creative writers, art historians, curators, and working visual artists, all of whom are encouraged to join this workshop. We ourselves will be practicing and studying a wide variety of approaches to visual art. We'll read critics like John Yau and Lori Waxman, memoirists like Aisha Sabbatini Sloan, inventive historians like Zbigniew Herbert, and poets like Gwendolyn Brooks and Lyrae Van Clief-Stefanon, as well as curatorial and museum writings, catalogue essays, artists' statements, and other experimental and practical forms. The course hopes to support students both in developing useful practices and experimenting boldly. Classes will be shaped around current exhibitions and installations. Sessions will generally begin with student-led observation at the Smart Museum, and we will spend one session on close looking in the study room at the Smart. Students will also visit five collections, exhibitions and/or galleries and, importantly, keep a looking notebook. Students will write a number of exercises in different forms (immersive meditation, researched portrait, mosaic fragment), and will also write and revise a longer essay (on any subject and in any mode) to be workshopped in class.

Instructor(s): Rachel Cohen     Terms Offered: Spring Prerequisite(s): Advanced Workshop: During pre-registration, this course is open only to declared Creative Writing Majors and declared Minors in English and Creative Writing, as well as graduate students. During add/drop the course will be instructor consent and open to all students in the College. Please contact the instructor to be added to the waitlist for the option to enroll during add/drop. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 44002, ARTH 34002, ARTH 24002

CRWR 24012. Advanced Nonfiction Workshop: Writing the Narrative Nonfiction Feature. 100 Units.

In this writing workshop, students will go through all the stages of composing a narrative nonfiction feature story. After generating a few ideas that seem original, surprising in their approach, and appropriate in scope, we will write and re-write pitches, learning how to highlight the potential story in these ideas. After the class agrees to "assign" one of these features, each student will report, research and write a draft. The features will be workshopped in class, and students will go through an editorial process, polishing their stories through drafts and experimenting with style and form for a final assignment. Along the way, we will consider the mechanics, ethics and craft of this work as we read published nonfiction and talk to writers/reporters about their process. In the end, we should be able to put together a publication that contains all of these feature stories.

Instructor(s): Ben Austen     Terms Offered: Spring Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 44012

CRWR 20413. Technical Seminar in Nonfiction: Dramatizing the Moment. 100 Units.

How do we convincingly recreate important episodes from our life? How do we help our readers inhabit those moments that continue to live so urgently within our memory? How much invention are we allowed to employ, and how do we ensure that such accounts remain "truthful"? In this technical seminar in nonfiction, we will explore the craft of dramatization in personal essay and memoir. We will discuss many tools that are familiar to the fiction writer, including scene-building, characterization, and dialogue, as well as aspects unique to the art of nonfiction, such as the incorporation of testimonials, research, and letters, all in the service of dramatizing significant moments from our lived experience. Students will produce reading responses, craft analyses, and short creative exercises putting learned skills into practice.

Instructor(s): Valer Popa     Terms Offered: Winter Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 40413

CRWR 24019. Advanced Nonfiction Workshop: Experimental Essay. 100 Units.

Most introductions to creative nonfiction include one sections devoted to the strange and unwieldy-Ander Monson's "I've Been Thinking About Snow" or a page or two of Anne Carson's Nox. A brief foray into the metaphysical essay, the interactive essay, the performance essay and then back into the mainstream of creative nonfiction. This course, however, will be ignoring the mainstream entirely and, rather, will be devoted to the fringe, the strange and almost undefinable. From the performance essay to the video game essay, from the illustrated essay to the found essay and everything in between. This course will consist of experimental readings with accompanying writing prompts and in-class discussions, as well as dedicated workshops to each student's own experimental creative nonfiction project.

Instructor(s): Lina Ferreira Cabeza-Vanegas     Terms Offered: Winter Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 44019

CRWR 24020. Advanced Nonfiction Workshop: Writing the Eco-memoir. 100 Units.

We live in an era marked by human-driven environmental change, an epoch distinguished not only by the reality of anthropogenic impacts, but of human witness. Never before, writes Elizabeth Rush, have humans been here to tell the story of collapse, extinction, adaptation, and memory. In this workshop, we will read and write eco-memoir, a hybrid form of literary nonfiction that blends the work of ecology, history, and personal narrative to understand more fully how memory is bound to ecosystems. Some might simply call this memoir, following J. Drew Lanham's view that the writing of memoir is also the writing of environment. This course will ask how the memoirist looks at place, taking up W.G. Sebald's thinking that places seem to "have some kind of memory, in that they activate memory in those who look at them." Students will practice using the tenets of literary memoir-writing to engage with the theoretical frameworks of such environmental thinkers as Donna Haraway and Jedidiah Purdy. We will ask: to what extent is remembering a collective act? How might the eco-memoir represent the uneven consequences of ecological disruption? What narrative structures does the story of an ecosystem take? Students will write two-full length essays or memoir chapters. Readings will include texts by Kendra Atleework, Elizabeth Bush, Linda Hogan, J. Drew Lanham, W.G. Sebald, and visiting writers.

Instructor(s): Kathleen Blackburn     Terms Offered: Spring Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 44020

CRWR 24021. Advanced Nonfiction Workshop: The Trouble with Trauma. 100 Units.

In "The Body Keeps the Score" Bessel van der Kolk writes, "The greatest sources of our suffering are the lies we tell ourselves." Many trauma survivors begin writing reluctantly, even repulsed by the impulse to query their woundedness. The process is inhibited by stigma surrounding the notion of victimhood, entities that would prefer a survivor's silence, plus our tendency to dismiss and devalue ones suffering in relation to others. Students in this class will shed some of these constricting patterns of thinking about trauma so they may freely explore their stories with confidence, compassion, curiosity, and intention. We'll read authors who have found surprise, nuance, and yes, healing through art, honoring the heart-work that happens behind the scenes. Half of class-time will include student-led workshops of original works in progress. Paramount to our success will be an atmosphere of safety, supportiveness, respect, and confidentiality. By the quarters end each student will leave with a piece of writing that feels both true to their experience and imbued with possibility.

Instructor(s): Dina Peone     Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 44021

CRWR 24022. Advanced Nonfiction Workshop: Writing Beyond the Event. 100 Units.

Much of the tradition of Western storytelling relies on scene-driven narratives propelled by rising action toward an inevitable apex. Often natural disasters are illustrated the same way: hurricanes, invasion of new species, infectious disease, and oil spills are cast as singular events with a beginning, middle and end. This advanced workshop will explore how to push beyond the event. We will examine how forms of nonfiction, from investigative journalism to lyric essays, push against the hegemony of the "event" to tell a longer, slower story of disruption across the nexus of time and space. Following Rob Nixon's concept of slow violence, readings will focus on places and communities whose narratives do not fit tidily into beginning-middle-end story structures. Workshop will ask students to consider how their work might recognize the contexts of extraction, commodity flow, climate change, and borders surrounding the "events" driving our stories.

Instructor(s): Kathleen Blackburn     Terms Offered: Autumn Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 44022

CRWR 24023. Advanced Nonfiction Workshop: Coming of Age Memoir. 100 Units.

Where does childhood end and adulthood begin? For Wordsworth growth happens in reverse. "The Child is the father of the Man," he wrote in 1802, yearning to recall the fundamental joy of a rainbow. Proust was eager to forget his schooldays: "We are not provided with wisdom, we must discover it for ourselves, after a journey through the wilderness which no one else can take for us." In this class, students will search their lives for events and lessons which they may consider formative, together evaluating the standards they use to qualify rites of passage, in order to isolate unique patterns of growth that students can call their own. Half the quarter will be dedicated to discussing original student work. A multitude of possibilities will be offered by readings of contemporary memoirists from all walks of life. By quarters end, each student will have laid down the groundwork for a dexterous memoir about surviving the challenges of their youth, and in doing so perhaps even imagine a future that is less prescribed and more personally fulfilling.

Instructor(s): Dina Peone     Terms Offered: Spring Prerequisite(s): Instructor consent required. Submit writing sample via www.creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 44023

CRWR 24024. Advanced Nonfiction Workshop: Writing Reading. 100 Units.

There are many creative ways to write of, about, from, and because of reading. In this class, serious readers will have the chance to practice forms they love and may not often get chances to write: the incisive review, the long-form reading memoir, the biographical sketch of a writer in history, the interview, the essay about translation, diaristic fragments. In this course, we'll develop individual approaches, styles and regular practices. We'll make use of both creative (and traditional) research, analysis, and criticism, and explore the wide terrain available to creative writers. We'll go back to foundational essayists including Toni Morrison and Virginia Woolf, study contemporary writers of reading such as Jazmina Berrera, Claire Messud, Niela Orr, Ruth Franklin, Emily Bernard, Hanif Abdurraqib, and Parul Sehgal. Students will keep a reading/writing notebook, conduct an interview, and write and revise a longer essay for workshop.

Instructor(s): Rachel Cohen     Terms Offered: Winter Prerequisite(s): During pre-registration, this course is open only to declared Creative Writing Majors and declared Minors in English and Creative Writing, as well as graduate students. During add/drop the course will be instructor consent and open to all students in the College. Please contact the instructor to be added to the waitlist for the option to enroll during add/drop. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 44024

CRWR 24025. Advanced Nonfiction Workshop: Queering the Essay. 100 Units.

In Advanced Nonfiction Workshop: Queering the Essay, we'll approach the essay as a vehicle for queer narratives, as a marker of both individual and collective memory, and as a necessary compliment to the journalism and scholarship that have shaped queer writing. Through readings and in-class exercises, we'll explore tenets of the personal essay, like narrative structure and pacing, alongside considerations of voice and vulnerability. After a brief historical survey, we'll look to contemporary essayists as our guides--writers like Billy-Ray Belcourt, Melissa Faliveno, Saeed Jones, Richard Rodriguez, and T. Fleischmann-- alongside more familiar writers like Alison Bechdel and Maggie Nelson. And through student-led workshops, we'll wrestle with concerns that often trouble narratives of otherness: What does it mean to write a personal narrative that has a potential social impact? How can we write trauma without playing into harmful stereotypes? How can our writing work as--or make demands toward--advocacy, rather than voyeurism?

Instructor(s): Victoria Flanagan     Terms Offered: Winter Note(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Equivalent Course(s): GNSE 24205, GNSE 44205, CRWR 44025

CRWR 24026. Advanced Nonfiction Workshop: Feminist Biography. 100 Units.

The personal is political - that slogan of Women's Liberation - has long been understood, among other things, as a call for new forms of storytelling. One of those forms, feminist biography, has flourished in publishing since the 1970s, and it continues to evolve today, even as the terms of feminism and of biography are continually re-negotiated by writers and critics. In this workshop, we read some of those writers and critics. And we read illustrative examples of contemporary feminist biography (and anti-biography) in various nonfiction genres, including magazine profile, trade book, Wiki article, audio performance, personal essay, cult pamphlet, avant-garde art piece. Mostly, we try out the form for ourselves, in our own writing. Each workshop writer will choose a biographical subject (single, collective, or otherwise), and work up a series of sketches around that subject. By the end of the quarter, workshop writers will build these sketches into a single piece of longform life-writing. The workshop will focus equally on story-craft and method (e.g. interview and research techniques, cultivating sources); indeed we consider the ways that method and story are inevitably connected. This workshop might also include a week with an invited guest, a practicing critic or biographer.

Instructor(s): Avi Steinberg     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 44026, GNSE 44026, GNSE 24026

CRWR 24027. Advanced Nonfiction Workshop: Environmental Writing, Editing, and Publication. 100 Units.

Environmental writing is a quickly-expanding field in the literary and publishing community. It encompasses nonfiction sub-genres of traditional journalism, personal essay, and hybrid forms. This course is designed for students in creative writing with an interest in environmental reportage; it is also intended for students in environmental sciences (broadly speaking) with some writing experience who wish to practice presenting complex information to a non-expert audience. Reading contemporary environmental and science writing, students will develop nonfiction techniques relevant to writing environmental stories, like how to find and contact field experts, how to engage readers in complex topics, how to integrate research into narrative, how to use dialogue from interviews, how to weave the personal together with research material, and how to pitch environmental stories. The course will also cover the practical aspects* of the field by including a workshop with the Careers in Creative Writing Journalism program, guest lectures from editors and journalists in the field, and assignments that familiarize students with current environmental literary magazines. Readings will include Kerri Arsenault's Mill Town and selections from The Best American Science and Nature Writing.

Instructor(s): Kathleen Blackburn     Terms Offered: Autumn Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 44027

CRWR 24028. Advanced Nonfiction Workshop: World-building in Long-form Nonfiction. 100 Units.

A writer setting out to write a long piece of nonfiction prose may assume that the world of the piece is given, but in fact the nonfiction writer has significant work to do to create a space where a reader can live. In writing creative biography, history, memoir, literary criticism, art writing, and narrative journalism, there are wonderful possibilities for archival research, visiting places and spaces, making first hand observations, interviewing, finding settings and characters, and atmospheric research, whether reading old magazines, listening to radio shows, or studying weather patterns. In this course, advanced writers will immerse themselves in one longer project, developing it in notebooks and weekly postings and exercises. The first half of the course will focus more on practicing and reading (writers including Elizabeth Rush, Zbigniew Herbert, Valeria Luiselli, and James Baldwin), the second half will focus on workshopping as the longer pieces develop. Students will finish the course with a sustained piece of prose.

Instructor(s): Rachel Cohen     Terms Offered: Winter Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 44028

CRWR 24029. Advanced Nonfiction Workshop: Writing Sports. 100 Units.

As live performance, public ritual, and sheer melodrama, sports give lavish expression to some of our most deeply held cultural attitudes. As sports-related industries have grown exponentially in the past decades, and as the material and political fortunes at stake in these games has also grown, so too has the need for serious writing about sports. The world's stadiums and arenas have become theaters of very real battles over race and gender, class and religion, colonialism and social justice. At the same time, the games themselves have also changed in fascinating and telling ways. This workshop invites writers who are curious about sports as a subject for literary exploration. We examine the subject through various genres of nonfiction, from longform journalism to personal essay to audio storytelling. Our readings will include both canonical and contemporary voices in sports writing. Workshop writers can choose to build a portfolio of three pieces of original nonfiction, or one long piece in three parts. No previous knowledge of sports is required.

Instructor(s): Avi Steinberg     Terms Offered: Winter Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop begins. Equivalent Course(s): CRWR 44029

CRWR 24030. Advanced Nonfiction Workshop: Writing the Narrative Nonfiction Feature. 100 Units.

Apart from it being nonfiction, a nonfiction feature is like a short story-in terms of length and scenes and characters and all the potential innovations of storytelling. In this writing workshop, students will go through each stage of composing a narrative nonfiction feature story. After generating a few ideas that seem original, surprising in their approach, and appropriate in scope, we will write pitches. After the class agrees to "assign" one of these features, each student will report, research and write a draft. The features will be workshopped in class, and students will go through an editorial process, polishing their stories and experimenting with style and form for a final assignment. Along the way, we will consider the mechanics, ethics and craft of this work as we read published nonfiction and talk to writers and reporters about their process. There will be an emphasis in the class on Chicago writers and their beats; in weekly writing assignments, students will also report on local stories.

Instructor(s): Ben Austen     Terms Offered: Spring Prerequisite(s): Open bid through my.uchicago.edu. Attendance on the first day is mandatory. Contact the instructor for a spot on the waiting list. Course requires consent after add/drop. Equivalent Course(s): CHST 24030, CRWR 44030

CRWR 24031. Advanced Nonfiction Workshop: Excavating the Self. 100 Units.

What does it mean to make sense out of lived experience? How do we claim ownership of our own stories, and shape those narratives on our own terms, independent of pressures that originated elsewhere? How do we craft narrative personas that readers deem trustworthy; how do we capture voices that feel compelling, urgent, and help to reorder the fallout of our lives into a coherent structure that can offer insight, even to readers we have never met? In this advanced nonfiction workshop, we will attempt to grapple with some of these concerns. With a particular emphasis on memoir and personal essay, we will explore what it means to excavate the self and map out the vast terrain contained within. Readings will include Vivian Gornick, Leslie Jamison, Aleksander Hemon, James Baldwin, William Maxwell, Orhan Pamuk and Thomas Browne. Class time will be split between discussion of readings and student led workshops of original essays/memoirs in progress. By the end of the quarter, students will have workshopped two pieces of writing and submitted a final portfolio.

Instructor(s): Valer Popa     Terms Offered: Autumn Prerequisite(s): If you wish to add this course during add/drop please email the instructor to be added to the waitlist. Equivalent Course(s): CRWR 44031

CRWR 24032. Advanced Nonfiction Workshop: CyberWorkshop - Writing the Web. 100 Units.

An inquiry into the ways we write about the internet, this workshop will survey works spanning across narrative nonfiction genres, from writing by William Gibson and Naomi Klein to the rise of the YouTube video essay as a sub-genre. Students will write and workshop essays that arise from hyper-contemporary corners of the internet, defining, as they go, a new kind of ekphrasis for the digital age.

Instructor(s): Victoria Flanagan     Terms Offered: Winter Prerequisite(s): During pre-registration, this course is open only to declared Creative Writing Majors and declared Minors in English and Creative Writing, as well as graduate students. During add/drop the course will be instructor consent and open to all students in the College. Please contact the instructor to be added to the waitlist for the option to enroll during add/drop. Attendance on the first day is mandatory. Equivalent Course(s): CRWR 44032

CRWR 29200. Thesis/Major Projects: Fiction. 100 Units.

This thesis workshop is for students writing a creative BA or MA thesis in fiction, as well as creative writing minors completing the portfolio. It is primarily a workshop, so please come to our first class with your project in progress (a story collection, a novel, or a novella), ready for you to discuss and to submit some part of for critique. As in any writing workshop, we will stress the fundamentals of craft like language, voice, and plot and character development, with an eye also on how to shape your work for the longer form you have chosen. And as a supplement to our workshops, we will have brief student presentations on the writing life: our literary influences, potential avenues towards publication, etc.

Terms Offered: Winter Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Note(s): Required for CW majors and MAPH CW Option students completing creative BA and MA theses in fiction and CW minors completing minor portfolios in fiction. Equivalent Course(s): CRWR 49200

CRWR 29300. Thesis/Major Projects: Poetry. 100 Units.

This thesis workshop is for students writing a creative BA or MA thesis in poetry, as well as creative writing minors completing the portfolio. Because it is a thesis seminar, the course will focus on various ways of organizing larger poetic "projects." We will consider the poetic sequence, the chapbook, and the poetry collection as ways of extending the practice of poetry beyond the individual lyric text. We will also problematize the notion of broad poetic "projects," considering the consequences of imposing a predetermined conceptual framework on the elusive, spontaneous, and subversive act of lyric writing. Because this class is designed as a poetry workshop, your fellow students' work will be the primary text over the course of the quarter.

Terms Offered: Winter Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Note(s): Required for CW majors and MAPH CW Option students completing creative BA and MA theses in poetry and CW minors completing minor portfolios in poetry. Equivalent Course(s): CRWR 49300

CRWR 29400. Thesis/Major Projects: Nonfiction. 100 Units.

This thesis workshop is for students writing a creative BA or MA thesis in nonfiction, as well as creative writing minors completing the portfolio. Student work can be an extended essay, memoir, travelogue, literary journalism, or an interrelated collection thereof. It's a workshop, so come to the first day of class with your work underway and ready to submit. You'll edit your classmates' writing as diligently as you edit your own. I focus on editing because writing is, in essence, rewriting. Only by learning to edit other people's work will you gradually acquire the objectivity you need to skillfully edit your own. You'll profit not only from the advice you receive, but from the advice you learn to give. I will teach you to teach each other and thus yourselves, preparing you for the real life of the writer outside the academy.

Instructor(s): Dan Raeburn; Lina Ferreira Cabeza-Vanegas     Terms Offered: Winter Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu. Attendance on the first day is mandatory. Note(s): Required for CW majors and MAPH CW Option students completing creative BA and MA theses in nonfiction and CW minors completing minor portfolios in nonfiction. Equivalent Course(s): CRWR 49400

CRWR 29500. Thesis/Major Projects: Fiction/Nonfiction. 100 Units.

This thesis workshop is for students writing a creative BA or MA thesis or minor portfolio in either fiction or nonfiction--or both. In other words, your project may take a number of forms: fiction only, nonfiction only, a short story and an essay, a novel chapter and a piece of narrative journalism, and so on. This course might be of special interest to those working on highly autobiographical pieces or incorporating substantial research into their creative process--fiction that hews close to fact, say, or nonfiction that leans heavily into storytelling. And/or it might be useful for those who want to pursue hybrid or between-genres projects or simply want to continue working in more than one form. We'll be open to many possibilities. It's not a prerequisite that you've taken both a fiction and creative nonfiction course previously, but it will nonetheless be quite helpful to have done so. Note, too, that this is the cumulative course in Creative Writing. There will still be room to explore and rethink (sometimes radically) the pieces you've drafted in previous classes, but please do come to our first session with a clear sense of what you want to work on over the quarter. Required for CW majors and MAPH CW Option students completing creative BA and MA theses in fiction or nonfiction and CW minors completing minor portfolios in fiction or nonfiction.

Instructor(s): Staff     Terms Offered: Winter Prerequisite(s): Instructor consent required. Apply via creativewriting.uchicago.edu (in application please indicate experience in fiction & nonfiction and how this thesis workshop informs your own writing practice). Attendance on the first day is mandatory. Equivalent Course(s): CRWR 49500

Faculty Director

Director of the Program in Creative Writing Robyn Schiff Email

Undergraduate Primary Contact

Director of Undergraduate Studies Vu Tran Taft House 302 Email

Administrative Contacts

Program Manager Michael Fischer Taft House 103 773.834.8524 Email

Student Affairs Administrator Denise Dooley Taft House 104 773.702.0355 Email

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A conversation with... author and creative writing professor Ling Ma, AB’05

July 19, 2023

By Jessica Guo, AB'23

Writer, College Editorial Team

Ling Ma has always been fascinated by the conversation between the fantastical and everyday reality. As a writer, she explores these modes through her work in speculative fiction.  Her novels often focus on how fantastical elements puncture the veil of "realism,” speak to one’s secret fantasies and projections, and interact with the mundane.

Many things inspire Ma’s work, from the horror genre to contemporary art to the work of Franz Kafka. But the basis of her motivations to write lies in the creative process itself. Using her experience with and observations about the act of writing that can feel so frustrating, she hopes to guide her students through their own anxieties and obsessions as they start out on their paths as writers.

Although she did not initially envision herself writing fiction following her graduation from UChicago, she began working on stories over the years and eventually applied to MFA programs to focus on writing. 

After receiving her MFA from Cornell in 2016, she returned to UChicago where she now works as Assistant Professor of Practice in the Arts in the Creative Writing department. She teaches a range of topics through workshops, technical seminars and fundamentals classes, helping students in all genres and levels of writing experience.

Ma has achieved notable success and recognition in her career.  Her 2018 debut novel, “Severance,” won a Kirkus Prize for fiction. A speculative fiction story that discusses late-stage capitalism and the Chinese-American diaspora through a combination of post-apocalyptic horror and office satire, Ma describes the novel  as a “culmination of her experiences working in the office space.” 

Her first short story collection “Bliss Montage” (2022) was published last fall. Selected stories and excerpts have been published in The Atlantic, Granta, The New Yorker, Virginia Quarterly Review and more. 

Amidst course instruction, editing her projects and spending time with her family, Ma sat down with the College for a conversation about her work at UChicago and her experiences with writing and publishing. This interview transcript has been edited for length and clarity.

What do you enjoy most about teaching at the College?

I think the students here are very advanced. Many of my students won’t believe me when I tell them this, but I find that the quality of fiction, the level of narrative command rivals anything that I’ve seen in an MFA program. In many cases, their work is even better than what I’ve seen in grad school workshops. It’s all very rewarding to work with.

Most classes in the Program in Creative Writing change from quarter to quarter, year to year. How do you decide what specific topics or themes to cover in yours?

Usually, what I want to teach on techniques or craft elements tends to be what’s on my mind as a writer at the time. It might be something I’m trying to figure out on a project that I’m working on concurrently, and I’ve found that ideally the writing and the teaching kind of go hand in hand.

I really like teaching structure and plot elements, which I find strange because I wouldn’t say that I’m necessarily a plot-driven writer. But for some reason, I find that there are endless ways to talk about plot when dissecting it with my students. 

I do think the most challenging thing to teach is voice; I’m still questioning whether voice can really be taught like you can teach most other craft elements, so I’m grappling with whether or not I should make a class around that. Voice is valuable because in my perspective, once you have a compelling voice, once your reader taps into the voice, then it can carry you for pretty long distances.

What does your creative process look like? How do you guide your students through their own?

I find it more difficult to write during the school year, as UChicago courses are very immersive and the students require a lot of attention. But in an ideal world, which might be my summers, I like to do a full day of work. I’ll have a morning shift for drafting, then an afternoon shift for editing, which is my usual way of splitting up a day devoted to writing.

As for guiding my students: I think whatever routine you devise, it shouldn’t go against how you work naturally. If you’re not a morning person, you shouldn’t be trying to wake up at 5 a.m. to write. You're just kind of making that hill a little steeper for yourself, you should try to work with your tendencies.

For my beginning fiction class in the past, I’ve had my students devise writing routines and try to stick with it over the quarter. I think in the end, everyone’s routine changes over time, but what’s important is to just get started and commit to the process. From what I’ve seen, what stops a lot of young writers from writing is usually that they’re looking for permission. Sometimes, the most challenging questions they have and wonder about, they feel like they don’t have the right to write about them.

One way to circumvent this issue is to delineate between a writing problem and a publishing problem. People care about what readers are going to think about them, what their family or friends are going to think about them, if they're going to get canceled or not—these are all publishing problems. 

You don't have to ever publish anything if you do not want to. But I think you should try to guard the writing space as an exploratory space, keep it safe for yourself and categorize your fears that have to do with reception as publishing questions. Give yourself a chance to try it out, work it out, write it out, see what happens—what’s the worst thing that could be done? You could always just get rid of the pages, worse comes to worst.

Beyond education, publishing is often seen as the next big step in the writing journey—this can be quite the nebulous zone for students interested in creative writing. What are your insights into the publishing industry and process? At what stage in your writing process do you consider something for publication?

I feel like everyone has a different publishing journey—it’s hard to say there’s a correct way to getting your book published.

One thing I can say, it’s easier than you think to get an agent. As you enter writing circles and get to know people, it becomes less difficult to find someone. Especially when you go into an MFA, where your professors have agents, your friends and colleagues have agents, and there are also career days where agents come in to meet you—I wouldn’t approach it with a scarcity mentality at all. Just try to focus on the work, and if you’re satisfied with it, then seek an agent. There’s no rush, there shouldn’t be a rush to any of this.

I do think you should choose your agent based on the type of feedback and attention that you give to your projects, particularly if you know that their feedback is hitting the right spots. You should try to select one who’s genuinely interested and gives feedback that is accurate to how you feel about your own work.

I think I have to feel good about my work first before I start considering it for publication. First and foremost, If you don’t feel totally satisfied with your own work, there is no amount of accolades that will make you feel better. So you have to be the first one who’s interested in or satisfied with it.

How do you know you’re writing the “right” story? What happens if you find your writing going in a different direction than you originally intended?

Usually, a sign that something is working is when the narrative is doing something unexpected and I wouldn’t have planned prior to starting. That's when I know there's something about it that’s alive and independent of me. I’ve created the scaffolding, but it’s moving on its own and has its own life, and that’s what I’m looking for. If I know exactly how it begins, develops, and ends, I just feel like I don’t need to write it.

To me, writing is an exploratory process. It’s mostly a lot of trial and error, you have to commit to wasting time—a good portion of writing is wasting time. Sometimes you have to go on those detours to figure out what the right path is for the work. And I think that's what frustrates people about the creative process, because it's so inefficient and there's also such an emphasis on productivity these days. That’s why I believe it’s much easier if you find some enjoyment in the process, in the act of just trying things out.

Creative Writing

Making its home south of Midway Plaisance in Taft House, The Program in Creative Writing is an intersection of imagination and critical inquiry. Creative Writing offers an array of writing-workshop-based classes in a variety of genres, from fiction and poetry to creative nonfiction and translation. In addition, MAPH students focusing in creative writing have the unique opportunity to inform their creative projects with rigorous analytic research in a variety of subjects, such as Art History , Cinema and Media Studies , Comparative Literature , English Language and Literature , Gender and Sexuality , Philosophy , and Visual Arts .

Selected Faculty

Stephanie Soileau

Ryan Van Meter

Sample courses.

There are two open spots in every Creative Writing course with a grad section; MAPH students in the Creative Writing Option get priority in these courses, and require instructor permission to register for open slots. There is no prerequisite on any grad section and all MAPH students are exempt from prerequisites. You can find the numbers for grad sections on Class Search or CIM.

If the two grad spots are already taken there is still a chance that the instructor would be interested in adding additional graduate students. In that case, students should write to the instructor, ask to be added to the waitlist and once they get the OK, plan to enroll during add/drop.

Please visit the Creative Writing page  for more details on classes and registration.

Beginning Fiction Workshop: The Engines of Narrative (CRWR 30206/Section 2)  Autumn 2024 This nuts-and-bolts of fiction writing class begins with the question: what drives a story? What are the different engines that a writer can use to craft momentum in a story, and how does one tune these engines for greatest effect? We will cover such engines as plot, conflict, suspense, narrative questions, worldbuilding, and narrative pacing through revelations about characters and their world. In addition to submitting two stories or excerpts for workshop (plus a revision of one), expect to read and discuss a selection of published work. ( Augustus Rose ) Beginning Fiction Workshop: Somebody Somewhere (CRWR 30206/Section 1)  Autumn 2024 Character and setting are nearly inextricable forces in storytelling. In effective fiction, we often experience one through the other. We will explore this dynamic relationship and study how writers often put their characters at odds with their chosen setting to create and sustain tension in a story. We’ll also give attention to rendering our characters and settings with specificity—learning how to create the sense of “somebody somewhere” instead of “anybody anywhere.” Our reading list will focus on short fiction. Students will write many exercises at the beginning of the quarter and fully realize one complete story to submit for workshop discussion by the end. ( Ryan Van Meter ) Technical Seminar In Fiction: Beginnings  (CRWR 40226)  Autumn 2024 This technical seminar will investigate the purposes and possibilities of beginnings in fiction. Students will read opening lines, paragraphs, pages, and occasionally chapters, from Aimee Bender, Miranda July, Dorthe Nors, Kobe Abe, and others, asking: what work do these beginnings do—and why, to what end? Of course, this means we will also read the stories that follow, to analyze these introductions in the framework of their narratives. How do openings guide—or mislead—the reader? How should they balance introduction and momentum? How do they orient us, not only to character, setting, and conflict, but also to elements like tone and sensibility, to a story’s own sense of itself? What archetypes or common “moves” can we identify and use? What are the implications and meanings of beginnings—of starting in a particular place and way, when a story might very well start in any number of places? And how do such authorial decisions ripple through the story? Students will be responsible for reading responses, short craft analyses, vigorous class participation, and several creative exercises putting what they learn into practice. ( Ben Hoffman ) Beginning Poetry Workshop: Boundaries of Poem and Prose (CRWR 30306/Section 1)  Autumn 2024 This workshop-centered course introduces writers to foundational concepts and tools in the craft of poetry, including form, diction, voice, line, and meter. In particular, we will explore the boundaries of "poetic language" and utterance through bordered genres like prose poem, concrete/visual poem, sound poetry, and lyric essay, including work by poets visiting the UChicago campus. Regular assignments include both prompts and imitations in poetry writing, and will culminate in a final portfolio developed in working consultation with the instructor. ( Garin Cycholl ) A more comprehensive list of courses and descriptions is available at the Creative Writing course page . 

• Creative Writing Courses

Creative Writing Option

Students who plan to do a creative writing thesis project in fiction, poetry, or creative nonfiction can choose to pursue the MAPH Creative Writing Option. Students who complete the following requirements will receive a Creative Writing notation on their MAPH transcript:

• The MAPH Core course (Foundations of Interpretive Theory)
• One creative writing course in the student's chosen genre in Fall Quarter
• Creative Writing Thesis/Major Projects workshop in Winter Quarter
• Three academic courses relevant to the student’s proposed thesis area
• Two elective courses to be taken in any area of student interest

Two-Year Language Option for Creative Writing

MAPH's Two-Year Language Option is a great way for students to pursue advanced work in literary translation in their second year. Some possibilities might include advanced workshops on literary translation in various genres, upper-level undergraduate seminars and graduate courses in non-Anglophone literatures across a range of geographical regions and historical periods, and courses on translation theory.

Two-Year Language Option

Lawrence Grauman Jr. Fellowship Fund

The Grauman Fellowship , made possible by a generous legacy gift from Lawrence Grauman Jr. (AM '63), supports MAPH students studying English and/or Creative Writing, with a strong preference whenever possible for students who focus their studies on nonfiction writing or literary journalism. 

MAPH applicants who plan to work on creative nonfiction or literary journalism can indicate an interest in the Grauman Fellowship on their application.

Grauman Fellowship

Recent Creative Writing Thesis Projects

"Wonders of Unsung Black Life: A Poetic Interpretation on Living in Blackness" Tia White, MAPH '21 Advisor: Margaret Ross

" Once and Future Gardens " Sarah Hobin, MAPH '21 Advisor: Lina Ferreira Cabeza-Vanegas

" Love Me, Love Me Not, Love Me Again: Stories for Bibliotherapy " Casey Glynn, MAPH '20 Advisor: Rachel DeWoskin

" From the Well That Washes Itself: A Novel (Excerpt)" Hajrije Kolimja, MAPH '20 Advisor:  Rachel DeWoskin

" The Confrontation Exercises: Essays " Jiaying Liang, MAPH '19 Advisor: Daniel Raeburn

SINCE THE FOUNDING OF THE UNIVERSITY OF CHICAGO, the Department of English has been a dynamic and vibrant nucleolus of intellectual life on campus. Our internationally recognized research and teaching have shaped the wider field of literary studies and broken through disciplinary boundaries. Our work demonstrates that the human condition is best understood and discovered through the creation, study, and analysis of stories and literary objects. It is no accident that language has made artificial intelligence seem most real and most urgent, for it is through language that we, collectively, have realized much of what makes us human. In a world constantly transformed by technological innovation, the continued renewal of ourselves through the creation and analysis of literary forms allows us to remain who we are. Welcome to the Department of Alliterative Intelligence English Language and Literature.

History of the Department

UNDERGRADUATE PROGRAM

A DEGREE IN ENGLISH PREPARES OUR STUDENTS for an ever-changing world. The knowledge and intellectual skills of an English Major never grow obsolete: the art of interpretation and dexterity with words, the ability to navigate seas of contradiction and situations of ethical complexity. These skills—especially writing—are in high demand by employers across industries, including law, public relations, business, medicine, and tech. But more importantly, by studying English and the Humanities our students can develop an invaluable and life-long sense of orientation in the world and all that it throws at us.

Discover more

Why Study Literature?

The English Major

After the BA

RIGOROUS INTERDISCIPLINARY TRAINING in preparation for advanced study, MAPH is a one-year graduate program that allows students to specialize in English, work closely with faculty, and chart their paths forward.

Explore more

Masters of Arts

PHD PROGRAM

THE PHD PROGRAM PREPARES STUDENTS for independent work as teachers, scholars, and critics by developing their abilities to pose and investigate problems in advanced literary studies. The Department of English has played an important role in transforming literary studies over the past century, and our Ph.D. program has been at the center of those transformations. The 2025-26 Admissions Theme is “Environmental Humanities.”

Analyze more

PhD Admissions

Program Overview

OUR RESEARCH SPANS chronologically from the Middle Ages to the twenty-first century. And it is ever-expanding into both traditional and new subfields: poetry and poetics, media studies, visual studies, theatre and performance studies, gender and race studies, affect studies, and environmental studies. The department is also home to three distinguished journals: Modern Philology , Critical Inquiry , and Chicago Review . And our faculty and students in the Program in Creative Writing produce award-winning poetry, drama, fiction, nonfiction, and digital media.

Faculty publications

Fields of study

UPCOMING EVENTS

Areas of study, global literatures, american literature, british literature, critical theory and objects of study, black studies, see all areas of study >>.

Staff Directory

Meet the staff of the Writing Program.

Abigail Reardon

(she/her/hers), executive director of the writing program, associate senior instructional professor, the college, [email protected].

Abigail (“Abbie”) Reardon arrived as Executive Director of the University Writing Program and Associate Senior Instructional Professor in the College in the summer of 2024. A specialist in pedagogies of writing, writing program administration, pragmatism, and American literature of the nineteenth and twentieth centuries, Abbie has taught writing and research at every level of the curriculum, in addition to a wide range of interdisciplinary first-year seminars, pedagogical practica, and courses in American literature and culture. Before coming to the University of Chicago, Abbie was Director of Expository Writing at Rutgers University–New Brunswick, where she won the Provost-Chancellor’s Award for Innovations in Teaching and Education and the School of Arts and Sciences’ Award for Distinguished Contributions to Undergraduate Education. She received her B.A. in English and Legal Studies from the University of Massachusetts Amherst, and her M.A. and Ph.D. in English from Rutgers University–New Brunswick. 

Kathryn Cochran

Deputy director of the writing program, senior instructional professor, humanities collegiate division, [email protected].

Tracy Weiner

Senior associate director, [email protected].

Crystal Holmes

Assistant director, [email protected].

Crystal began teaching writing at the University of Chicago in 2014 and became an Assistant Director in 2020. She helps develop writing curricula and workshops for undergraduate, professional, and non-traditional students. She especially enjoys providing one-on-one support for academic and creative writers at the university and in the greater Chicago community.

(they/them/their)

[email protected].

T Lacy joined the Writing Program staff first in 2016 as a Writing intern and MAPH Mentor after graduating from the Master’s of Arts in the Humanities the same year. After leaving to teach after school programming and executive functioning at a Chicago youth center, T then joined the Writing Program again in 2019 as a Writing Specialist, and now serves as an Assistant Director.

Ryan Oliveira

(he/him/his), program coordinator, [email protected].

Ryan has been working for the Writing Program since 2020. He is a playwright, dramaturg, and solo performer. He received his MFA from the University of Iowa (2015) and has collaborated as playwright and dramaturg with theatre artists in Chicago, New York, Texas, and Arizona. Ryan has also taught playwriting, criticism, and performance history at the University of Iowa and DePaul University.

Emeritus Staff

Larry McEnerney, Director Emeritus of the Writing Program

Creative Writing

The Program in Creative Writing takes a comprehensive approach to the study of contemporary literature, criticism, and theory from a writer’s perspective, and provides rigorous training in the fundamental practices of creative writing. In our courses, students work with established poets and prose writers towards these pursuits, and both the major and minor in Creative Writing provide ample opportunities for interdisciplinary work across University departments. The program’s commitment to interdisciplinary work and academic rigor, coupled with an emphasis on teaching the elements of creative writing that underlie all genres, accounts for the program's vitality and explains why Creative Writing at Chicago is currently the largest initiative in the humanities for the College. The Program in Creative Writing offers workshops and seminars in poetry, fiction, and nonfiction, as well as an increasing number of translation workshops.

Students who graduate with the bachelor of arts in Creative Writing will both be skilled in writing in a major literary genre and have a theoretically informed understanding of the aesthetic, historical, social, and political context of a range of contemporary writing. Students who are not English Language and Literature or Creative Writing majors may complete a minor in English and Creative Writing.

• Creative Writing in the College Catalog
• Minor in Creative Writing in the College Catalog
• Creative Writing Home Page

If you’re a creative soul eager to craft engaging narratives or persuasive arguments, our classes are designed to cater to your unique writing aspirations. Courses are available through the Writer’s Studio either as non-credit offerings or for credit as part of the Master of Liberal Arts . 

In small classes led by experienced instructors and professional authors, you will receive individualized feedback. You can explore multiple genres: compelling fiction, revealing journalism, emotionally moving creative nonfiction, strategic business communication, inspiring drama, or inventive poetry. 

Writing Courses

Autobiographical Fiction Workshop

Creative Writing One

Emotion, Expression, and Experience: Translating Thought Into Action

Flash Nonfiction Writing

Intermediate Creative Nonfiction

Memoir Writing: Exploring the Genre

Novel Writing Workshop

Poetry as a Secret Box

Why Take Writing Courses at the University of Chicago?

The University of Chicago is a storied institution in the craft of writing, home to the University of Chicago Press , the Chicago Manual of Style , and the Little Red Schoolhouse curriculum for improving high-level professional and academic writing. 

Our Writer’s Studio offers a diverse range of courses specifically designed to ignite your creativity across various writing genres. If you’re a creative soul eager to enrich your life by crafting engaging narratives or persuasive arguments, you can benefit from teaching methods inspired by the University’s more than 130 years of leadership in the craft of writing.  

You grow as a writer, not just through practice, but also by striving to better understand yourself and the world around you. For both beginners and veteran authors, the workshop setting of the Writer’s Studio provides an atmosphere of open dialogue and respect to help you become a more thoughtful, persuasive, and imaginative writer. Taught by knowledgeable experts, our online courses are capped at 14 participants so every student can receive the attention and support they need to take their work to the next level. 

Writing Instructors

Kevin Davis

Dina Elenbogen

Stephanie Friedman

Susan Hubbard

Elline Lipkin

Amanda Parrish Morgan

Douglas Post

Sarah Terez Rosenblum

Alex Sanchez

Jarrod Shusterman

Natalie Tilghman

I think of myself as a writer now, and that’s something I never would’ve thought before my experience at the Writer’s Studio. The writing program provided me the confidence and skills to share my story. I’m better for the experience and so is my book. Perdita Felicien, CER’16 (Creative Writing) Writer’s Studio student

Teaching creative writing at Graham offers the privilege of leading an eight week long exercise in imagination, empathy, and artistic development. Sharing each other’s journeys as we articulate our preoccupations and develop our ability to express them not only makes us smarter, but better human beings. Susan Hubbard Writer’s Studio instructor

Graham School students bring to the table a unique blend of curiosity and generosity. In my creative writing classes, we devote a significant amount of time to workshopping, which means students read and offer feedback on each other’s work. I’m always gratified to watch them balance empathy and encouragement with keen, actionable criticism. As a group, I find them insightful and humble, open to new ideas and approaches. Sarah Terez Rosenblum Writer’s Studio instructor

There’s something special about helping others get through roadblocks I have encountered myself, and that’s what I aim to do as a teacher. Jennifer Keishen Armstrong Writer’s Studio instructor & New York Times best-selling author of Seinfeldia

Seeing a piece of writing through from the earliest idea to its final product requires a great deal of patience, organization, persistence, and logic. At the same time, the most moving writing also employs language in beautiful, creative, and even shocking ways. This interplay between the conscious and the subconscious and the analytic and creative is — to some extent — at the heart of all learning. Amanda Parrish Morgan, AB’04 Writer’s Studio instructor

I love teaching adult students who bring a wealth of experience into their writing….I get students from all over who bring in new landscapes and perspectives as we walk together towards discoveries in our writing and in our lives. Dina Elenbogen Writer’s Studio instructor

Frequently Asked Questions

Learn more about the Graham School’s writing offerings.

Writer’s Studio courses concentrate on a wide range of forms and genres, including short fiction, novels, poetry, creative nonfiction, and drama. You can choose the courses that fit your interests and goals.

With courses capped at 14 students, our teaching methodology promotes deep conversation and provides ample time to review every student’s written work.

You are not required to have any previous experience as a writer or a degree in a related field to enroll in a Writer’s Studio course. We offer classes that are designed to support, inspire, and challenge writers of any experience level, from introductory to advanced, so you can enroll in the courses that are the best fit for you.

Yes. Our writing courses are designed for adults who want to further hone their writing skills. Our instructors create an inclusive learning environment by encouraging all students to participate, regardless of their background in the study or practice of writing.

While the Graham School offers both online and in-person class experiences, most writing courses are offered online. The description for each course specifies whether it will be offered online through Canvas and Zoom or in person at the Gleacher Center in downtown Chicago.

No application is required for Writer’s Studio courses. There is a required application for the Master of Liberal Arts.

Writing News

The Adopted Writer

A search to find her biological parents – and a learning journey at the Writer’s Studio fuel Julie Ryan McGue’s unexpected literary career.

The Tales of Two Writers

Ignited by passion and propelled by courses at the Writer’s Studio, Monique Demery and Deborah Keene enter the ranks of published authors.

Writing from Life: Poetry as Story

In a new writing workshop designed to elevate diverse voices, Writer’s Studio instructor Dr. Dipika Mukherjee champions poetry and the too often discounted value of personal experiences.

Questions about the Graham School? Get in touch.

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Chicago Maroon

Faculty Forward Reaches Tentative Contract with University, Avoiding Potential Strike

Faculty Forward, UChicago’s non-tenure-track faculty union, reached a full tentative contract agreement with the University after a 12-hour bargaining session last Friday. The deal—covering the contracts of over 500 lecturers, instructional professors, teaching fellows, professors of practice in the arts, and writing specialists—comes after months of negotiations, 29 bargaining sessions, and growing momentum towards a possible strike. Key wins for the union include a five-year raise package that exceeds inflation rates, benefits parity, visa sponsorship, and enhanced job security for its most vulnerable members. The ratification vote is scheduled for the coming weeks.

Negotiations for Faculty Forward’s third collective bargaining agreement with the University began in early spring of this year. Increased compensation, visa sponsorship, and benefits eligibility for non-tenure-track faculty and writing specialists are the main priorities of this bargaining session. The union also received assistance from Service Employees International Union (SEIU) Local 73, a union representing more than 31,000 workers in public service.

While the two sides made notable progress on issues such as academic freedom and protection from harassment, union leaders grew “frustrated” by early October over the administration’s limited response to economic concerns. This frustration led to a rally in early October, during which union members delivered a petition to the University. Although the administration confirmed receipt of the petition, Faculty Forward Secretary Tristan Schweiger reported that “not much” progress followed.

Still dissatisfied with the University’s reaction to its demands, Faculty Forward began circulating a strike authorization petition among its members on Tuesday, October 22. Over several all-member meetings, union leaders presented the petition as a necessary action to apply pressure on management, emphasizing it as a last resort measure to secure fairer contract terms.

“We were at a position where management was not moving enough on the top-line issues, most centrally compensation,” Schweiger explained in an interview with the Maroon  after the tentative agreement had been reached. “We knew that we were not going to get the deal that our members needed if we were not willing to bring some pressure.”

By Friday, November 1, nearly 90 percent of active union members supported giving Faculty Forward the authority to call a strike. “Overall, it was a very quick process, and people were very enthusiastic,” Faculty Forward co-chair Jason Grunebaum said. “We all decided that we were willing to fight for where we wanted to be.”

Faculty Forward leaders also mobilized support beyond their membership by engaging students, faculty allies, and the broader University community in a parallel outreach campaign. The union gathered more than 500 signatures from students and alumni in solidarity with their cause.

Compensation was Faculty Forward’s top priority going into the final bargaining session on Friday. The union argued that faculty salaries had not kept up with inflation, leading to a 10 percent reduction in purchasing power since the previous contract was signed in 2019.

At the Friday meeting, the University answered the union’s demands by proposing a 25.1 percent pay raise over five years for non-tenure-track faculty across the board. This provision not only compensates for inflation but also begins to close the 18 percent pay gap between UChicago non-tenure-track faculty and their peers at similar Ivy Plus institutions.

“This is a huge victory, especially given the uphill battle we had fighting the austerity narrative that management has been pushing for two years,” Schweiger said.

While the five-year deal is longer than the union had wanted, Schweiger explained that the union was willing to “meet management on that if they addressed in substance our material needs.”

The bargaining committee also secured significant benefit enhancements for union parity, including parity with tenure-track faculty on tuition benefits for faculty children and a new childcare allowance of $1,000 per quarter. Additionally, paid leave for professional development—equivalent to one quarter—has been introduced, along with H-1B visa sponsorship for all instructional professors.

Throughout the bargaining sessions, Faculty Forward strongly focused on improving conditions for the union’s “most precarious” members, such as per-course lecturers, teaching fellows, and writing instructors, who received drastically lower pay and benefits than other faculty groups.

“The part time and per-course instructors historically have been the most exploited, the most dispensable and disposable [faculty group] in this university and across academia. Sometimes they would actually be teaching many courses and still get paid per-course with no benefits,” Dmitry Kondrashov, a bargaining committee member, said. “This is actually one of the original missions for our union in general—[this] fight against the precarity that is spread across academia.”

Writing specialists were only recently awarded access to the union’s benefits in May 2023. Earlier in this negotiation process, Faculty Forward had secured a significant win by successfully advocating for the reclassification of writing advisors in the creative writing and social science departments from part-time to full-time employees. According to Faculty Forward, this adjustment would provide better job security and grant them access to full-time benefits.

Friday’s bargaining session further materialized some of Faculty Forward’s key demands in this space. Teaching fellows received an immediate 17 percent pay raise and a 34.9 percent raise over five years. Writing specialists, writing and research advisors, and lecturers received similar raises to address their respective financial disparities.

“They are getting a much higher percentage raise because they needed it,” Kondrashov said.

In addition to pay increases, Faculty Forward obtained improved benefits and job stability for its most vulnerable members. For example, the new contract will establish expectations of more equitable advising loads and precept capacities in MA programs.

The union also secured a seat on an advisory board for the restructuring of the writing program, the details of which are still being finalized by the University. “[We wanted to] provide as much security as possible for the writing instructors in the face of a still very murky restructuring process that could potentially leave some of the writing faculty without jobs,” Grunebaum said.

“Non-tenure track faculty have a right to a seat at the table as those decisions are made,” Schweiger added, referring to the restructuring advisory board.

While the new contract represents significant progress, Faculty Forward acknowledges that some significant issues remain. For example, although the pay raise has narrowed the gap, compensation for non-tenure-track faculty at UChicago still lags behind peer Ivy Plus institutions.

Union leaders also pointed out that certain part-time appointments, such as Lecturers classified as L2s, still face inadequate compensation. “L2s, even with our very strong [pay] increase, are still going to be making substantially less than a graduate student stipend. That burns me a little bit, to be honest,” Kondrashov said.

Nevertheless, Faculty Forward remains optimistic about the contract’s overall impact. “In aggregate, we definitely felt that this was a deal we could take to members with an enthusiastic recommendation,” Schweiger said. The tentative contract now heads to a ratification vote in the coming weeks among the union’s members.

Kondrashov expressed gratitude to all members of Faculty Forward, as well as to students, allies, and SEIU representatives, for their support throughout the seven-month negotiation process. He also extended thanks to the opposing side, stating, “I think that [the University] bargained with us fairly, and in good faith. In the end, I think they worked hard to come up with a deal that we could live with and bring to our students.”

While the next contract negotiation is five years away, Faculty Forward plans to continue its work in the interim, focusing on enforcing the new contract terms and providing support for its members. The union also anticipates celebrating its tenth anniversary next year.

“And now,” Jeremy Schmidt, a bargaining committee member said, “we’re going to grade papers and sleep.”

In a statement to the Maroon , a University spokesperson acknowledged the state of the negotiations. “We appreciate SEIU Local 73’s engagement throughout this process and are pleased that this contract will provide additional support to our valued colleagues as they continue making outstanding contributions to our academic community,” the statement said.

• Faculty Forward
• Union Negotiations

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How to Write the University of Chicago Essays 2024-2025

The University of Chicago is famous for its unconventional supplemental essay prompts, and this year is no exception. While there is one traditional prompt that asks you to write about your interest in UChicago, the star of your essay package will be your response to one of six incredibly outside-the-box prompts (with the sixth being a choose your own adventure).

Because the brainstorming you’ve done for all your other college essays is unlikely to help much here, you want to make sure you leave yourself extra time to really give these prompts the attention they require. One thing you’ll quickly realize is there’s no way to “brute force” your answer—you just need to be patient and let your ideas develop.

In this post, we’ll break down each prompt for you, so that, while you’ll still have to harness your own creativity, you can be confident in your overall approach.

Read these UChicago essay examples written by real students to inspire your own writing!

Before You Begin Writing 

The University of Chicago’s prompts are famous (infamous? both?) for being different, quirky, and sometimes downright weird. Have you ever seen the word cheese or pie in a college essay prompt before? I’m guessing not. But don’t get discouraged or overwhelmed—the weirdness of the UChicago prompts makes them ripe with opportunity to explore your passions, interests, and personal oddities. 

You know that subject you avoid in casual conversation, because it turns you into a gushing ball of enthusiasm that could talk for hours ? UChicago wants to hear about it. Whether it’s feminist literature of Southeast Asia, modern perception of African art, or your job at Colonial Williamsburg, UChicago has happily passed you the mic. 

While your creative opportunity has few bounds, there are some key strategies to conquering the UChicago essays. Keep this checklist of things in mind as you write: 

Unconventional topics often require unconventional styles. 

UChicago essays should definitely be viewed as a piece of creative writing, rather than a dry analysis. When you are in college, you will be asked to write thesis-driven essays, but that’s not what the UChicago essays are asking for. You need to have a clear focus, but you should be comfortable disrupting the familiar rhythms of essay prose.

Strategies can include vivid (and we mean vivid ) imagery, addressing the reader directly, sentence fragments, CAPS, lists, and anything else! Toss in some wild jargon from your field, phrases from another language, anything you’ve got—as long as you explain them. You should try to be imaginative, engaging, and colorful while maintaining an authentic voice and staying focused with your subject matter.

Communicate who you are as an academic.

The point of your essay is still to tell admissions officers about yourself. Give them an image of how you will perform in and contribute to an academic environment. You can’t just gush about your topic—you have to prove that you can engage with it at a highly intellectual level. Explain research protocol, cite specific books you’ve read, mention your AP and IB classes, or give examples of how you’ve collaborated with others to produce results. 

UChicago admissions don’t want a student who says “I love physics”; they want a student who says “I love physics so much that I stayed up until 4 am reading Cosmos by Carl Sagan, and I use meatballs to diagram the moons of Jupiter to my friends, and I took Calc III because I plan on studying mechanical engineering with a focus on aerospace materials.” Be detailed about your studies; be explicit in your interests. 

Marry yourself to your topic.

Be sure to include the first person; you are the main character here, not whatever subject you’re writing about. The subject is an avenue to tell admissions officers about you. You aren’t trying to get your latest film, your famous lasagna, or your community service project into the university— you are trying to get in . Don’t be afraid to center yourself. How do these objects from your past illuminate facets of your personality? What do your interests say about you ?

And, as always, answer the prompt!

Print out the prompt, circle key words, hang it on your mirror. Read it, then read it again, and again . Sit with the prompt, get some (probably crazy!) ideas, then repeat the process! Many UChicago prompts are dense in their weirdness. Some of them take time to even understand. Many prompts will reveal themselves to you in your everyday life (after you’ve read them over and over again). Some of them just take deep thought. The key is to keep thinking and focus on what the prompt is asking. You’ve got this!

UChicago Supplemental Essay Prompts

Prompt 1: How does the University of Chicago, as you know it now, satisfy your desire for a particular kind of learning, community, and future? Please address with some specificity your own wishes and how they relate to UChicago.

Prompt 2:  Choose one of the six extended essay options below and upload a one- or two-page response. Please include the prompt at the top of the page. Past extended essay prompts can be found on our website .

Option A: We’re all familiar with green-eyed envy or feeling blue, but what about being “caught purple-handed”? Or “tickled orange”? Give an old color-infused expression a new hue and tell us what it represents. – Inspired by Ramsey Bottorff, Class of 2026

Option B: “Ah, but I was so much older then / I’m younger than that now” – Bob Dylan. In what ways do we become younger as we get older? – Inspired by Joshua Harris, Class of 2016

Option C: Pluto, the demoted planet. Ophiuchus, the thirteenth Zodiac. Andy Murray, the fourth to tennis’s Big Three. Every grouping has something that doesn’t quite fit in. Tell us about a group and its unofficial member, why (or why not) should it be excluded? – Inspired by Veronica Chang, Class of 2022

Option D: “Daddy-o”, “Far Out”, “Gnarly”: the list of slang terms goes on and on. Sadly, most of these aren’t so “fly” anymore – “as if!” Name an outdated slang from any decade or language that you’d bring back and explain why you totally “dig it.” – Inspired by Napat Sakdibhornssup, Class of 2028

Option E: How many piano tuners are there in Chicago? What is the total length of chalk used by UChicago professors in a year? How many pages of books are in the Regenstein Library? These questions are among a class of estimation problems named after University of Chicago physicist Enrico Fermi. Create your own Fermi estimation problem, give it your best answer, and show us how you got there. – Inspired by Malhar Manek, Class of 2028

Option F: And, as always… the classic choose your own adventure option! In the spirit of adventurous inquiry, choose one of our past prompts (or create a question of your own). Be original, creative, thought provoking. Draw on your best qualities as a writer, thinker, visionary, social critic, sage, citizen of the world, or future citizen of the University of Chicago; take a little risk, and have fun!

How does the University of Chicago, as you know it now, satisfy your desire for a particular kind of learning, community, and future? Please address with some specificity your own wishes and how they relate to UChicago.

The pressure’s on to be unique here, since EVERY SINGLE APPLICANT to UChicago will be answering this required “Why School?” question. Here’s what you need to do:

Provide a tangible connection to UChicago. 

This is composed of specific elements of the university that appeal to you, and UChicago’s website is a great place to delve into these. Be sure to be “particular,” as they stipulate, and give them the “specificity” they’re asking for. Examples include research opportunities at Argonne Labs, the marketing classes in the Business School, or an internship offered through the Creative Writing program. 

Don’t write about UChicago’s general attributes, like fame, prestige, or “intellectual rigor.” And please don’t try to be clever and refute the old canard that UChicago is the place “Where Fun Goes to Die.” Application readers have seen this hundreds, if not thousands of times. And besides, why talk about a tired UChicago stereotype when you can talk about something cool? 

Describe your intangible connection as well. 

How is UChicago a place that aligns with your values, dreams, and goals? How do you vibe with it? For example, if I wanted to write about the Creative Writing internship, I would state explicitly how it draws me in: 

“ I want to attend a college that values the innovative nature of indie comics publishing as much as I do. So, I’m impressed by UChicago’s commitment to providing internships in comics writing through Bult Publishing and The Artifice magazine. One of my goals as a writer is to gain firsthand experience in comics publishing, specifically small houses, and the Creative Writing program at UChicago hits the mark, resoundingly. ”

Engage with faculty and students, if possible. 

This is a perfect place to talk about specific interactions, like sitting in on an inspiring seminar during a campus visit, hearing a professor speak, or seeing how UChicago has prepared a friend for his career. 

However, always be sure to tie these experiences into your own goals and interests! For example, don’t just name-drop a certain Professor Smith. Instead, take the opportunity to find a personal connection to Smith’s research and how great UChicago is for supporting people like her. Your format should be

        Program/Individual/Major – UChicago’s Values – My values

If you want to learn more about a specific professor or their subject, don’t be afraid to politely email them or contact their department. Many love to talk about their work and their interests, or would love to put you in touch with current students. This will better inform you about the school and give you a great edge for this prompt. And, more importantly, you’ll probably get great advice for your higher education journey. Note: the earlier you prepare for this, the better!

It’s worth noting that there is no recommended essay length, but sticking to around 500 words should do the trick. It’s long enough to share the reasons you’ll thrive at UChicago, but not too long that the admissions officers will start to get bored.

Prompt 2, Option A

We’re all familiar with green-eyed envy or feeling blue, but what about being “caught purple-handed” or “tickled orange” give an old color-infused expression a new hue and tell us what it represents. – inspired by ramsey bottorff, class of 2026 .

Brainstorming Your Topic

Like many of UChicago’s prompts, while the topic here is incredibly quirky, you actually do have a clear anchor for your brainstorming: expressions that include a color. To start your brainstorming, you’ll want to generate a list of such expressions, but to do so, we’d advise against just sitting there and wracking your brain.

Instead, you’ll likely find that trying to think of these expressions using context will be more productive. For example, think about whether there are any phrases you use often that could work. Maybe you’ve described yourself as a black sheep before, or when you talk about your best friend, you say they have a heart of gold.

Or, just glance around wherever you’re sitting, and see if anything inspires you. Maybe your mom’s Halloween decorations remind you of “white as a ghost.” Or the nice china that’s out for your dad’s birthday makes you think of being “born with a silver spoon in your mouth.”

The main thing is to just give yourself time, and jot down any potential options as they come to you. If you think of something during soccer practice, make a note to yourself on your phone during your next water break, and add it to your running list later. Don’t count on remembering something the next day–there’s no guarantee it’ll stick in your brain, no matter how brilliant it is!

Try to come up with 5-10 possibilities. You can have more if you want (although at a certain point continuing to brainstorm likely won’t be particularly productive), but you don’t want to have fewer. If you only have two to choose from, you might find that neither is strong enough to support a whole essay.

Once you have those possibilities, think about which ones speak to you the most, and then think of how you’d want to revise them, and which revised versions are most compelling. Which new color you choose, and why, is entirely up to you–maybe you just want to swap in your favorite color, or maybe you think first of what you want your new expression to mean, and work from there. 

Either way, remember that you shouldn’t be afraid to get creative! If you want to talk about being a periwinkle sheep, or having a heart of vermillion, you can do so. Just make sure you’ll be able to show that you have a reason for choosing such an unusual, specific color–you don’t want to seem like you just cracked open the thesaurus for fun.

Tips for Writing Your Essay

Once you’ve chosen your “new hue,” your focus should shift to the second half of the prompt: what it represents, as that’s what you’re going to spend your essay explaining. There are two main things you want to keep in mind as you write:

Creativity 

You’re probably already sick of hearing this tip, but UChicago wouldn’t ask such unusual questions if they wanted ordinary responses. So, don’t have your new hue represent the same thing but with a different color swapped in. For example, being a periwinkle sheep shouldn’t just mean you’re the most whimsical person in a group. 

Rather, try to show off your ability to put your own spin on something. Being a periwinkle sheep could instead mean that you have a lot of friends, but also a strong sense of your own identity–periwinkle is close enough to white that such a sheep could fit in, but also distinct enough that it will be noticeably different from the rest of the flock.

Your Own Personality

As unconventional as UChicago’s prompts are, ultimately your goal is the same as in any other college essay–you want to teach admissions officers about who you are, and why you’d be an asset to their campus community. So, your explanation of your new hue should connect to your own life, not just talk about the expression you’ve created in an academic sense.

For example, maybe you use the idea of a periwinkle sheep to explain how you’ve struggled to find your own identity in high school, and often latched on to different hobbies or friend groups, but since you discovered how much you love cooking, you feel much more grounded.

The connection doesn’t have to be this direct–you can still demonstrate who you are even if you wouldn’t use your new expression to describe yourself. As an alternative, you could draw a comparison between being a periwinkle sheep and doing puzzles, one of your favorite hobbies, by explaining how in a periwinkle sheep, like in a puzzle, you can simultaneously see all the different pieces of who they are and the full picture. You could then talk about some of your favorite puzzles over the years, and what you learned about yourself from assembling them.

However direct or indirect your approach is, make sure that you incorporate plenty of specific anecdotes and experiences from your own life. In other words, show, don’t tell. Just stating that you struggled to find your identity doesn’t teach admissions officers much, because that’s true of many people in high school. Instead, describe some of the specific things you latched onto while trying to find yourself, and reflect on how you felt about them at the time, whether positive or negative, and how you’ve grown since then.

Prompt 2, Option B

“ah, but i was so much older then / i’m younger than that now” – bob dylan. in what ways do we become younger as we get older – inspired by joshua harris, class of 2016 .

This is the most open-ended of UChicago’s prompts this year, so if you’re a philosopher at heart, this could be the prompt for you! If, however, you want a little more structure to guide your thinking, you’ll likely want to choose one of the other options, which do more to provide you with a specific (if unconventional) topic.

If you do decide to tackle this one, you’ll want to start your brainstorming by asking yourself some broad questions, which will hopefully eventually lead you to a more focused idea that you can structure your essay around. For example:

• What do you associate with youth?
• What do you associate with growing older?
• Reflect on your own life: when you compare your childhood to today, how has the way you view the world changed or stayed the same?
• What are your goals for the future, and how do you see lessons from your past helping you achieve them?

Once you’re thinking generally about youth and aging, start trying to generate a list of memories or experiences you’ve had that reflect your thoughts about this topic. Grounding your ideas in specific examples will ensure that admissions officers can easily understand what you’re trying to say. 

Remember, they aren’t reading this essay by the fire at home–they’re reading dozens of essays a day. If there are any points they don’t immediately understand, they don’t have time to reflect on them, even if they’d like to, because they have so many applications to get through. So, clarity is absolutely essential.

For example, maybe you want to write about living in the moment. You might reflect on the happy summer afternoons you spent at your local playground as a kid, and how you could always find something to do. You could then think about how that connects to recent efforts you’ve made to spend less time on your phone, to encourage yourself to instead do things like play with your family dog, or help your parents with cooking dinner, that you won’t be able to do once you go to college.

This is the kind of prompt where brainstorming is more than half the battle. Before you actually start writing, make sure you have a comprehensive outline that includes your overarching point, examples that illustrate that point, and the connections between these examples.

The connections in particular are key. Since the topic of this essay is so abstract, you want to make sure that you concretely connect each anecdote to the next. If you leave the connections up to your reader, they might not have time to make them on their own, and even if they do, there’s no guarantee they fit the different pieces together correctly.

Additionally, do keep in mind that this is still a college essay, which should demonstrate who you are, and in particular your readiness for this next step in your educational journey. Since this prompt is centered around your thoughts on quite a personal topic, making the connection between your ideas on that topic and your identity as a whole should be easier than with some of the other options. 

Still, you want to make sure that your readers–who, remember, are complete strangers with only a small amount of background context on you from your common app info session–will be able to identify key personality traits from your essay that will help distinguish you from other applicants. You don’t want to just seem reflective, as all applicants who respond to this prompt will likely come across as reflective.

Instead, think of more distinctive traits that you pride yourself on in general, like your sense of humor, your love of giving thoughtful gifts, or your passion for ancient history. Choose 2-4–you don’t want to go overboard, as then your essay will be difficult to follow–and think about how you can incorporate those details into your essay. 

You can do so in big ways, by choosing anecdotes that clearly illustrate them, or small ones, like a quick line comparing something in your life to the Egyptian Empire. The key is just that, after finishing your essay, UChicago admissions officers will understand what makes you, you, not just what you think about aging.

Mistakes to Avoid

Again, this is the most philosophical prompt, so you’ll want to take care that your essay doesn’t accidentally become too academic. Your goal isn’t to provide a template for how people should live their lives, but to explain how your thoughts on aging reflect your intellect, curiosity, and overall potential as a UChicago student. 

If you’re unsure whether your essay is striking the right tone, asking friends, teachers, or family members to take a look is a great idea. Someone who doesn’t already know what you’re trying to say can usually give you a more objective sense of whether what you’re trying to communicate about yourself is coming across clearly.

Prompt 2, Option C

Pluto, the demoted planet. ophiuchus, the thirteenth zodiac. andy murray, the fourth to tennis’s big three. every grouping has something that doesn’t quite fit in. tell us about a group and its unofficial member, why (or why not) should it be excluded – inspired by veronica chang, class of 2022 .

Like the first prompt, and unlike Option B, this option gives you narrow parameters for your brainstorming, which is both helpful, as you know what to focus on, and difficult, since those parameters are around a topic that you’ve likely never spent much time thinking about.

You’ll likely find that trying to think of unofficial members right off the bat will be challenging. Instead, start a step further back, with just groups. These could be sports teams, musical bands, groups of fictional characters, categories like the colors of the rainbow, or just about anything you can think of that refers to a well-defined set. 

Ideally, you’ll also have some personal interest in the groups you consider. If you think of the Rolling Stones because they’re your dad’s favorite band, but you don’t know anything about them, you’ll likely struggle to write an effective essay.

As you consider different groups, think about whether there’s an unofficial member. For a lot of groups, there might not be. But, as always with a UChicago essay, being creative is the whole point, so don’t discard any of your options without first thinking a little more deeply about them.

For example, maybe you’re thinking about ingredients, and your mind goes to s’mores. Even though most people probably wouldn’t think beyond the classic marshmallow, chocolate, and graham cracker, maybe your family has always included bananas, so that’s the “unofficial member” you want to write about. That totally works! If anything, other people not thinking of this idea is a positive–this is your essay, after all.

Your unofficial member can also be more obvious. Maybe you’re a huge Star Wars fan, and have always thought the main trio of Luke Skywalker, Han Solo, and Princess Leia should in fact be a main quartet, and include Chewbacca. This being a more widespread inclusion/exclusion debate shouldn’t scare you off. So long as you feel a genuine personal investment in Chewbacca’s inclusion in the group, you’ll be able to write an excellent essay on this topic.

One last thing to note is that the group, and unofficial member, you choose doesn’t have to be famous. UChicago says explicitly that they want you to tell them about the group, so it’s okay if they don’t have prior knowledge of it. You could even choose one from your personal life–for example, maybe one of your cats is a dog at heart, and always joins your two dogs on their romps in the backyard. 

While that kind of topic might seem mundane or silly, in reality extremely personal topics can often stand out the most, as there’s a much lower chance of anyone writing about something similar. Plus, the whole point of college essays is to give admissions officers a sense of who you are on a daily basis, beyond the numbers in your transcript and activities list, and an “ordinary” topic is often a natural way to provide that information.

Of course, there are countless ways to write a strong essay, so if you can’t think of a highly personal topic, don’t panic! Our point is just to not rule out such topics as you brainstorm, as they can often be highly effective.

Like with many UChicago prompts, there are two prongs here: laying out an unusual topic for you, and then telling you what to do with that topic. Here, your task is to explain whether or not your unofficial member should be included, and why. Do remember, though, that your overarching goal is, as always, to use your justification to demonstrate something about who you are, and why you would be an asset to the UChicago community.

If, say, you’re using the s’mores example above, your argument for inclusion shouldn’t be based on the natural flavor of the banana balancing the other, processed ingredients. Instead, think about how your opinion connects to your values, or other key features of your identity.

For example, maybe you compare each ingredient to one of your core personality traits. The graham cracker could be your resilience, the chocolate your empathy, the marshmallow your love of daydreaming, and the banana your love of the outdoors. You could then justify your position by explaining how all four things are necessary to create a full picture of who you are.

Alternatively, for the Star Wars example, maybe you write about how, as a kid, you had a hard time making friends, and seeing a band of heroes which included a creature of another species was inspiring for you. You could talk about how Chewbacca gave you confidence that you could find belonging without changing who you are, and then describe how you carved out a key role for yourself on your high school volleyball team, despite not being tall.

If these justifications seem too personal, that’s actually a good sign! The point of this essay isn’t to convince the whole world to put bananas on their s’mores–the point is to convince UChicago admissions officers to accept you. So, the more personal, the better.

Along those same lines, you want to make sure to incorporate plenty of specific anecdotes. Don’t just say “I found belonging on my volleyball team.” Instead, describe how, at tryouts, you felt your familiar insecurity, until one of the coaches, who also wasn’t tall, took a personal interest in you and encouraged you to concentrate on your passing, with the goal of becoming a defensive specialist who wouldn’t need to play at the net.

The more you can let admissions officers live your experiences alongside you, and witness your thoughts and feelings firsthand, the more invested they will be in your candidacy.

The biggest potential pitfall with this essay is choosing a group that isn’t clearly defined. Since your goal is to use your opinion on this matter to showcase who you are more generally, you don’t want to have to spend a whole bunch of space explaining what your group, and unofficial member, even is. Creativity is a plus, but shouldn’t come at the expense of being efficient with your words.

Prompt 2, Option D

“daddy-o”, “far out”, “gnarly”: the list of slang terms goes on and on. sadly, most of these aren’t so “fly” anymore – “as if” name an outdated slang from any decade or language that you’d bring back and explain why you totally “dig it.” – inspired by napat sakdibhornssup, class of 2028 .

For the previous prompts, we’ve encouraged you to brainstorm your topic in an indirect way, because their focus is on such unusual things. For this prompt, however, just reflecting on your favorite slang expressions that have gone out of style will likely be effective, since slang by definition is something that you’re exposed to in everyday life.

You can also consider the following questions to further inspire you:

• Are there any books or movies from past generations that you enjoy? What kind of slang do they use?
• Are there any slang terms you’ve heard your parents, grandparents, aunts, uncles, etc. use that you enjoy?
• Have you ever watched or read an interview with a celebrity from the past and enjoyed a slang expression they used?

Note that, while the examples listed are mainly from the 60s-80s, UChicago is allowing you to cast a broad net, over slang expressions from “any decade or language.” So, if there’s a term you remember from your childhood, that’s fair game! You could even go further back, to terms you may have heard in movies from the 1900s, or even further back than that, to terms that you may have read in, say, Shakespeare.

If you know any other languages, you can also draw on them, but do remember that the term you choose still needs to be outdated. If you learned the non-English language in school, rather than natively, you might not know much about past slang, but resist the temptation to look up terms just to write a standout essay. You’ll need to justify your desire to bring back this term, after all, which will be difficult to do if you don’t actually know anything about it.

Choosing a compelling slang term is key, but that’s just the first step to writing a strong essay. The bulk of your response will be dedicated to explaining “why you totally ‘dig it.’”

This explanation should go beyond just talking generally about liking the sound of the word, or feeling it picks out something distinctive that other words don’t quite capture. You can start there, but you should quickly get to making a connection between this word and your own personality. After all, the point of this essay isn’t to teach UChicago about a new piece of slang–it’s to teach them about you!

For example, say you choose the term “eighty-six,” which was used in the 1950s as a verb, which meant to throw someone out of a place. Maybe your elderly neighbor taught you this expression when you were helping him weed his garden as a kid, and you continued to weed together, “eighty-sixing” the invasive plants, all the way up until he passed away last year. You could talk about how he became a mentor for you during the time you spent with him in the garden, and 

The last thing you do want to make sure to do is actually answer the question, and explain why you want to bring this term back. Even if you tell a rich, captivating story, if you leave that element out, the essay will feel incomplete. You don’t have to spend a ton of space on it, but you do want to make sure your reasoning is connected to the story you’ve told. For the above example, a quick line in the conclusion would do the trick, along the lines of:

“By bringing ‘eighty-six’ back into common lingo, I hope that others find, like I did, that throwing something out can, paradoxically, lead to treasures boomeranging back to you: wisdom, connection, and a friend who I will remember for the rest of my life.”

You don’t necessarily have to have a preexisting personal connection to the term you choose, although that will streamline your writing process. But if you’re thoughtful about meaningful experiences you’ve had that could have some relation to your term, you can definitely use the essay itself to make that link.

For example, say you instead had heard the term “eighty-six” in a movie, and had looked up the definition, but hadn’t thought much more about it, even though you thought it was a fun expression. 

In this essay, perhaps you reflect on how your affinity for the term shouldn’t be surprising, as many of your favorite activities involve eighty-sixing: as a diver, you’re always throwing yourself off the board; as an older brother, you love picking up your much younger siblings and throwing them onto the bed; and a lifelong dream of yours is to go skydiving, which you have been trying to convince your parents to let you do for your 18th birthday.

This essay might conclude with something like: “When I one day convince people to start saying eighty-six again, perhaps it will be with a new connotation: not just throwing someone out of something, but also into something new, and potentially wonderful.”

One last note: while the bulk of your essay should be explaining the significance of the term, you still do need to introduce it and provide a definition. There are a lot of different ways you can do this effectively, but one thing you definitely don’t want to do is just say “The slang term I would bring back is [x], which means [y].” Such a dry approach is unlikely to do anything to grab admissions officers’ attention.

Instead, describe the moment when you first heard this term, or an experience you’ve had that illustrates its meaning. This kind of “in medias res” (Latin for “in the middle of things”) strategy does much more to immediately get admissions officers personally invested in your story and curious about your personal perspective, compared to a literal definition that they could find in any old textbook.

As always, creativity is of the essence. While the first terms that come to mind might be ones like “groovy” that are widely known as outdated, these likely won’t make as strong of an impression on admissions officers as ones that feel more distinct to you. As noted above, your ultimate goal is to use the term to illustrate something about yourself, and that will be easier if you choose a somewhat unique term.

Prompt 2, Option E

How many piano tuners are there in chicago what is the total length of chalk used by uchicago professors in a year how many pages of books are in the regenstein library these questions are among a class of estimation problems named after university of chicago physicist enrico fermi. create your own fermi estimation problem, give it your best answer, and show us how you got there. – inspired by malhar manek, class of 2028.

Like Option D, as far as UChicago prompts go, this is one of the more straightforward ones to brainstorm for, as estimations are likely something you have occasionally wondered about in your regular life. Maybe you’ve often looked at your family’s pet parrot and wanted to know how many feathers she has, or you’re a soccer fan and you’d love to know how many miles Lionel Messi has run in games across his career.

One piece of advice that will help once you get to actually writing your essay is to brainstorm estimations that, like the examples above, have some connection to your personal life. As always, your goal is to use your quirky topic to shine light on some key aspects of your personality, and that will be much harder to do if your estimation doesn’t have anything to do with your interests or who you are. In other words, if you don’t like soccer, the Lionel Messi example probably won’t lead to a good essay.

One last thing to keep in mind: you can get creative with the actual thing you’re estimating. The examples given by the prompt include a “how long” question, not just “how many” ones. Some other things you could measure include:

• Weight: What is the total weight of all the kebab carts in New York City?
• Sound: How loud would every cat in the world purring simultaneously be?
• Speed: How fast would a cart being pulled by every horse in the world go?
• Price: How much would it cost to buy every item ever signed by Paul McCartney?

And don’t be afraid to even go beyond these suggestions!

Once you’ve chosen a Fermi estimation problem, your task is twofold: answer it, and explain how you did so. But remember (especially if you’re a STEM person), this is a college essay, not a math problem. So, your goal actually isn’t to provide an accurate estimate, but to “solve” the problem in a way that shows UChicago how you think, and proves you have ability to get creative.

Your answer doesn’t even have to be an actual number. For example, you could “answer” the cats purring question poetically, by comparing the sound to other things–quieter than dogs barking, but louder than footsteps in fresh snow. You could also take a humorous approach, and say that Lionel Messi must have run at least 3 miles in his career.

Of course, you are also welcome to take an honest stab at the estimation. The specific approach you take is not what matters–what matters is that, in providing your answer, you teach admissions officers something about yourself. They aren’t reading this essay to actually learn how many feathers a parrot is, but to learn how well you would fit into the UChicago campus community, so that is the question that should be at the forefront of your mind as you write your essay–your answer should draw on your own experiences and background, not parrot feather density and your estimate for how many square inches of skin your bird has.

For example, maybe in justifying your earnest estimate of 2,318 feathers on your parrot, you talk about the summer you spent volunteering at a local owl rescue center, where you learned owls have around 10,000 feathers. You then talk about the yearly trips you have taken to visit your family in Puerto Rico, and how the drastic difference in climate between where you’re from and the tropics, your parrot’s native home, makes you think he would have about ¼ as many feathers as an owl.

Or, for one of the unconventional approaches, maybe in talking about all the world’s cats purring simultaneously, you contrast the comfort you got from your cat purring on your chest every morning with the motivation you got from your barking dog, which was abrasive enough to jolt you out of bed. You could then talk about losing your cat one snowy winter night, and how even though you were both soaked and freezing by the time you found her, and came down with pneumonia the day after, there was a peace in your reunion unlike anything you’ve ever experienced before.

The main thing you want to avoid with this prompt is forgetting to respond to some piece of it. Remember, you’ve been given three tasks:

• Create your own Fermi estimation problem
• Give it your best answer
• Show us how you got there

The thing you’re most likely to accidentally gloss over is giving your best answer to the problem. While “showing your work,” aka explaining your personal connection to this estimation problem, should absolutely be the main focus of your essay, and, as noted above, your answer doesn’t even have to be direct, you do want to make sure you provide an answer of some sort. Given how much thought UChicago puts into choosing their essay prompts, you never want to leave any element unaddressed. 

Prompt 2, Option F

And, as always… the classic choose your own adventure option in the spirit of adventurous inquiry, choose one of our past prompts (or create a question of your own). be original, creative, thought provoking. draw on your best qualities as a writer, thinker, visionary, social critic, sage, citizen of the world, or future citizen of the university of chicago; take a little risk, and have fun.

Again, this prompt is, on the surface, granting you a lot of leeway. UChicago even ends it with an exclamation point! But you should always remember: they expect a disciplined, thorough, rigorous essay. Don’t let your sense of fun and frolic drown out your serious intellectual ideas.

Pick a prompt that inspires you to write, and connects with your academic interests. If a prompt jumps out at you, and you’re immediately filled with ideas, it’s probably a good fit. Just take it slowly, jot your thoughts down, and get to work. 

Involve your personal connection to that prompt. If you’re not answering any of the 6 prompts UChicago has issued this year, the onus is on you to prove that you and the archival prompt you’ve picked are a match made in heaven. This means having a lot of knowledge and personal investment in your subject matter, and an angle/perspective totally unique to you. 

If making your own question, remember this: YOUR QUESTION IS YOUR HOOK. So make sure it’s not a question that could be found on a standard-issue application, like “When did I overcome a challenge?” or “What’s a place that feels like home?” These prompts are everywhere. They won’t get the job done, and they won’t make an unforgettable first impression. But “Why did I lock myself in the basement and watch The Bee Movie for eighteen hours?” That’s a different story. 

If you look at past UChicago prompts, they tend to be fond of certain things: numbered lists, fairy tales, common phrases, and items of pop culture that can be re-contextualized. They also like hearing your answers to famous questions, and you might have a unique answer to “Et tu, Brute?” or “Do you like pina coladas and getting caught in the rain?” Just remember that the novelty of the question, while the hook of your essay, is not its substance. If your biography and scholarly interests don’t involve pina coladas, or rain, you might just have to pick a different question to answer – as wonderful as that eternal question is.

UChicago essays take a lot of time and thought—but don’t overthink it. The university wants to hear what you have to say, in its full form. That’s why they give you a page limit, and not a word limit—no last minute cutting! Fully develop your ideas in a way that feels natural. If a paragraph needs to be a little thicker, or if you need to include a longer quote from your favorite author, don’t worry about it. These essays can be fun to write and extremely effective.

You can look up lots of examples of essays online, but try not to get intimidated. It’s the nature of the UChicago essays to encourage everyone to showcase their expertise—which is exactly what you should try to do! You may read sample essays and think, “Wow. I’ve never spent a month in Arizona digging up fossils. How can I ever compete?” Try to reframe the essays as a Giant Celebration of everyone’s achievements and interests not a Competition.

If you’ve written your UChicago essay and are looking for feedback, you might want to check out our free peer essay review . Since the UChicago essay prompts are weird, it’s important to get an extra set of eyes on them to make sure they are clear and engaging! You can also improve your own writing skills by editing other students’ essays.

If you need feedback even faster, you can get a free, nearly-instantaneous essay review  from Sage, our AI tutor and advisor. Sage will rate your essay, give you suggestions for improvement, and summarize what admissions officers would take away from your writing. Use these tools to improve your chances of acceptance to your dream school!

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Physical address.

Lorado Taft House 935 East 60th Street Chicago, IL 60637  

Faculty Administrators

Director of Creative Writing & Poetics

Robyn Schiff [email protected] Taft 301

Associate Director; Minor and MAPH Liaison

Ryan Van Meter [email protected] Taft 205

Director of Undergraduate Studies

Vu Tran [email protected] Taft 302

Student Affairs Administrator

Denise Dooley [email protected] Taft House 104

Contact the Student Affairs Administrator for questions about course scheduling, course registration the Major in Creative Writing, the Minor in English & Creative Writing, and the MAPH Creative Writing Option.

Faculty Forward Tentative Agreement

We did it!! After 29 bargaining sessions held over a period of 235 days, and just before midnight last night, the bargaining team agreed to a tentative deal with management that we believe substantively addresses the needs of our entire union and contains some big wins. We are thrilled to be able to present this package to membership and strongly recommend that you vote “yes” to ratify the contract. We will hold a series of all-members’ meetings in person and on Zoom over the next couple weeks to answer any questions and address any concerns you may have. For now, we are excited to share with you the major features of the proposed collective bargaining agreement in outline. Bear in mind that, because of how late this deal came together Friday night, we have not seen management’s official numbers on paper, and we will need to verify these as we receive them early next week. However, the following reflects the understanding last night that we approved, and the specific details of our tentative agreements with management on all articles will be available next week.

ACROSS-THE-BOARD RAISES

• Across-the-board raises over 5 years of 8.5/4.5/3.5/3/3.5 percent. Members overwhelmingly ranked fair pay as their top priority in negotiations, and this contract is a giant step toward that. These raises actually compound to 25.1 percent over five years, and 17.35 percent over the first three years, which is higher than the 10/3/3 bottom line that members demanded (16.7 percent total). Our across-the-board win covers ground lost due to high inflation over the last few years with a raise that more than makes up for it. This is a huge victory, especially given the uphill battle we had fighting the austerity narrative that management has been pushing for two years.
• Raises will be retroactive to July 1, 2024 or September 1, 2024, depending on individual appointment cycle start dates.
• A brand-new childcare allowance of $1,000 per quarter available to *all* “Track B” members (instructional professors and professors of practice in the arts of all ranks), Lecturer 2s, and Teaching Fellows with dependent children under the age of 11.
• The Dependent Children Tuition Benefit for IPs and PPAs of all ranks. This covers tuition at any college or university up to 75 percent of the University of Chicago tuition. This is a massive victory that we’ve fought for over THREE different CBAs now. It goes a huge way toward benefit-parity with tenure-line faculty and will be life-changing for many of our members.
• The Diverse Learners’ Portability Benefit, which covers an amount equal to Lab School tuition remission for IPs, PPAs, and Lecturer 2s – another big win and a big step toward benefit-parity with TT workers.
• L2s and TFs are eligible for Lab School tuition remission. 
• SOSC Writing Advisors with triple and double appointments are benefits-eligible under the new CBA.

INCREASED MINIMUM SALARIES BEYOND ATB

• Teaching Fellows will see their salaries increase to $58,000 in the first year of the contract (from $49,536 currently)—a 17.1 percent raise. ATB raises for subsequent years will push that number to $60,610 the following year, and $62,731.35 in the third year, reaching $66,874 at the end of the contract. 
• Writing Specialist salaries will grow to $67,000 in the first year. The newest Writing Specialists make $51,667, and the vast majority of members are in the low $50,000s. Writing Advisors in the SOSC core who work triple appointments will have their salaries increased to $60,000 in the first year from $45,000 currently—a 33 percent raise.
• Salaries for Writing and Research Advisors in the English Department and the Creative Writing Program will move up to $60,000 in the first year. These positions are currently in the mid $40,000s and high $30,000s respectively.
• Members promoted from L3 to L4 (Assistant to Associate) will see an eight-percent raise. The promotion from L4 to L5 (Associate to Full Instructional Professor) comes with an additional 8.23 percent raise.
• Lecturer 2 pay will be set at approximately $37,000 for a four-course load and approximately $45,000 for a five-course load. L2s with more than seven years of service will get an additional eight-percent longevity raise.
• For L1s, there is a new per-course minimum of $8,500, up from $7,538 currently.

JOB PROTECTIONS FOR WRITING PROGRAM INSTRUCTORS

Management’s plans to restructure the Writing Program have been a major concern for our writing instructor members and Faculty Forward as a whole. We won the following major concessions toward job security for these members:

• A guarantee of a final-round interview for newly created instructional professor positions for current Writing Program employees who meet the minimum qualifications.
• A guarantee that current writing instructors not hired into new instructional professor positions will be rehired into any writing staff positions for which they are qualified if such jobs are available, with such hiring taking place according to seniority.
• Two seats on an advisory board that will guide transition to the new Writing Program model. This is a giant win for non-TT faculty governance and an important precedent for our membership’s right to a seat at the table in significant administrative decisions.
• Severance of six-months salary and benefits for any current workers laid off in future restructuring.

PROFESSIONAL DEVELOPMENT FUNDS

• Every full-time member is guaranteed a minimum of $2,500 in professional development funding annually; Lecturer 2s and writing instructors will receive $1,700 annually. This money will be made available to individual members without the requirement of an application process (though expenses are still subject to university approval).
• Professors of Practice in the Arts will now be granted leave that mirrors Research Leave for tenure-line faculty.
• IPs are eligible to apply for one academic quarter of professional development leave after every sixth year of service with a course reduction of two courses. This leave can be extended to two or three quarters if the IP secures outside sources of funding to cover a portion of their salary, or, in the absence of outside funding, with a reduced salary.
• After three years of service, Track B lecturers can apply for a one-course reduction to either create instructional material for a new course or design new courses that could not be created otherwise.

IMMIGRATION STATUS JUSTICE

• H1B Visa sponsorship – with fees paid by the University – will be available to all IPs and PPAs.
• For Teaching Fellows and Johnson Lecturers, the University will consider requests for H1B sponsorship on a case-by-case basis.
• A commitment from the Office of International Affairs to respond to all inquiries “as expeditiously as possible” (within 5 days) and to address urgent requests for travel signatures as quickly as possible.

FAIR WORKLOAD AND FAIR PAY IN MA PROGRAMS

• Previously uncompensated summer teaching labor in MAPH, MAPSS, and CIR will be paid with an additional 1/13 of base assistant instructional professor salary for workers in these programs.
• A commitment not to change target ranges for advising loads in Humanities and Social Sciences MA programs without six months’ notice.
• A commitment to keep precept sizes (inclusive of second-year Two-Year Language Option students in MAPH) from exceeding 20 students.
• A mechanism for addressing overloads with either increased pay, a reduction of non-teaching duties, student reassignment, or a reduction of teaching duties with a commitment to minimize any changes in duties laid out in appointment letters.
• A much improved work structure for Johnson Lecturers (previously Johnson Instructors) in MAPSS, including a four-year appointment (up from three years), a one course reduction in workload, priority consideration for any newly created MAPSS IP jobs for which they are qualified, and pay increased to the AIP base.

NON-ECONOMIC MATTERS

• Expanded protections from discrimination and harassment, including definitions of online harassment, a pledge of transparency around the investigation of online harassment and remedies proposed, and a commitment to form a joint committee with Faculty Forward to develop policy recommendations to combat online harassment.
• Much stronger language that guarantees our freedoms of speech and academic freedom.
• A new article on accessibility, including protections against discrimination for workers with accessibility needs and a commitment to form a joint committee with Faculty Forward to discuss accessibility and the implementation of new accessibility technology on an ongoing basis.
• The new CBA will allow “spousal hires” in IP jobs to opt into the Union and the terms of the CBA if they wish.
• AIPs can petition for early progression review prior to their sixth year (this would mean the up-or-out review comes earlier).
• Members can propose team-taught courses which, if approved, will count as a course for each instructor.
• Improved access to resources.
• Accounting for “high-contact courses” that require additional instructional hours in the assignment of duties and grievance mechanisms to remedy workloads that aren’t properly calculated.
• Clearer workload language and course caps lowered from 9 to 8 for certain low-enrollment lecturers. 

The bargaining team was clear in our position on contract duration: we would consider the five-year contract proposed by management, rather than the typical three-year contract, if the money—and the whole package—worked for our members. Since we strongly believe that both criteria have been met, we are happy to present to you a five-year contract for ratification. While we were not able to win everything we wanted, we are proud of the victories we were able to achieve and the solidarity that our bargaining team showed with all members.

Colleagues, this a great contract that improves our working conditions in almost every area and is a huge step toward recognizing the labor of non-tenure track faculty and paying us fairly. We could not have done this without the support of our entire membership. Thanks to everyone who signed the strike authorization petition and who signed the fair-pay petition. That was a significant show of worker strength that brought management to terms and secured a substantial victory for academic labor at the University of Chicago.

The Executive Committee and the Bargaining Team will be putting this contract to a vote very soon. Please make every effort to attend an all-members meeting, and please contact the executive committee at  [email protected]  or your unit steward if you have any questions in the meantime.