• ENGL 064A PO – Creative Writing: Fiction. Practice in a literary form, with some attention to technical theory and to the creative process. Prerequisite: permission of instructor; student must submit a writing sample to receive permission. Offered each fall, J. Lethem.
  • ENGL 064B PO – Creative Writing: Poetry. Practice in a literary form, with some attention to technical theory and to the creative process. Prerequisite: permission of instructor; student must submit a writing sample to receive permission. Fall 2015, P. Mann.
  • ENGL 183A PO – Advanced Creative Writing: Fiction. Student’s own work is principal content of the course; class meets weekly to read and discuss it. Occasionally other readings. Enrollment limited to 15. Prerequisite: permission of instructor; student must submit a writing sample to receive permission. ENGL 064A PO strongly recommended. May be repeated for credit. ENGL183A PO: Fiction. ENGL 183B PO: Poetry. ENGL 183C PO: Screenwriting. ENGL 183D PO: The Literary Essay. Offered each spring, J. Lethem.
  • ENGL 183B PO – Advanced Creative Writing: Poetry. Student’s own work is principal content of the course; class meets weekly to read and discuss it. Occasionally other readings. Enrollment limited to 15. Prerequisite: permission of instructor; student must submit a writing sample to receive permission. ENGL 064B PO strongly recommended. May be repeated for credit. ENGL 183A PO: Fiction. ENGL183B PO: Poetry. ENGL 183C PO: Screenwriting. ENGL 183D PO: The Literary Essay. Offered each spring, C. Rankine.


  • ENGL 185P SC – Poetry Writing Workshop. This course focuses on the art and craft of writing poetry, with emphasis on the evolution of poetic forms and the relationship between form and content. While the primary work will be on the active, rigorous production of poems, there will also be a good deal of investigative reading. Prerequisite: Instructor permission. (Interested students should email instructor for details.) Offered each spring, W. Liu.
  • WRIT 100 SC – Advanced Writing. This course is an intensive workshop/seminar designed to enhance students’ rhetorical skills. While topics vary, the class always exposes students to a wide variety of writing strategies and forms and encourages students to develop a greater sensitivity to language as they become more competent and confident thinkers and writers. Using the written argument as a starting point, students write in several genres and critique peers and other writers. Repeatable for credit with different topics.
  • WRIT 113 SC – Advanced Writing: Style and the Sentence. This course, primarily workshop-based, involves the close study of sentences: how to appreciate and analyze them; how to translate them from one register to another; how to move their words around for rhetorical effect; and even how to diagram them. G. Simshaw.
  • WRIT 120 SC – Writing for Non-Profit Institutions. This is an advanced writing course focused on written argument in the context of how to write grants, proposals, fellowship applications, and other documents for non-profits. Each student will write a series of grant proposals and will also peer-review classmates’ proposals. Open to Scripps students only. R. Simeroth.
  • WRIT 132 SC – Arts + Culture Review. This course focuses on the arts and culture review, including reviews of food, travel, books, film, music, and art and performance. We’ll read reviews from the best practitioners in each area as well as cultural theories of taste and aesthetics—and we’ll discuss the politics of both. We’ll also develop our critical palates by doing taste tests and short critiques in class. Finally, we’ll talk about the ethics and logistics of reviewing as well as issues of form. Assignments will include writing reviews in each genre and critical responses to the reviews of others (both published reviewers and peers). K. Drake.
  • WRIT 137 SC – Argumentative Writing from the Newspaper Editorial to the Legal Opinion. This course is designed to enhance students’ skills in crafting arguments about contemporary political and ethical problems and to develop their awareness of language’s possibilities. We’ll begin by examining the editorial as the most economical and condensed example of argumentative writing that also exploits the full range of rhetorical techniques. We’ll also look at a few important Supreme Court opinions on enduring legal issues. Assignments will include a portfolio of editorials, imitations of prose styles, analyses of rhetoric, exercises on logic and logical flaws, and a research paper rendering a court decision. G. Simshaw.
  • WRIT 175 SC – Protest Writing and Rhetoric. This course examines U.S. protest writing and rhetoric, or the tradition of oral, visual, and written arguments that intend to challenge systems of social oppression and provoke social change. We’ll examine some of the highlights of social protest rhetoric in this country in five genres: manifestos, speeches; literature; zines; and social media genres (memes and tweets). K. Drake
  • WRIT 197 SC – Special Topics in Writing. Courses under this number will vary from year to year, and will focus on a close analysis of a given genre (the essay, the short story, the poem, the newspaper article, the screenplay, the review) by an established practitioner of the form. May be repeated for credit. Offered in the spring semester of each year. Mary Routt Chair of Writing. Spring 2016 topic: How to Read Like a Writer.
    How do writers read? Like detectives, like vampires, like geeks. In this course, we will learn to read as writers do, beginning with sentences and ending with the structure of novels. To do this, we will be reading a variety of authors-hundreds in fact!-looking at how they accomplish their storytelling effects and experimenting with those effects in classroom exercises. While we will read fiction, memoir, and poetry, this will also be a fiction writing workshop, in which we comment on student work in the light of what we’ve discovered. Limited to detectives, vampires and geeks. A. Greer

Claremont McKenna:

  • LIT 031 CM – Introduction to Creative Writing. This course offers the chance to explore three genres of creative writing: fiction, non-fiction, and poetry. We’ll read contemporary short stories, poems, and personal essays, looking at the choices writers have made in terms of structure, technique, and content. We’ll then put this knowledge to use by trying our hands at fiction, creative non-fiction, and formal and free verse. By the end of the course, students will have had the chance to experience literature from the writer’s side, and perhaps will have found a genre to explore in more depth in future creative writing classes. Offered occasionally.
  • LIT 032 CM – Writers’ Workshop: Poetry. Fall 2015, H. Cole.
  • LIT 034 CM – Creative Journalism. An intensive hands-on course in feature writing styles and journalistic ethics; a primer for writing in today’s urban America. Essentially, journalism, like all art, tells a story. How that story is told is as critical to the success of a piece as the importance of its theme. A series of writing exercises and reporting “assignments” will give both inexperienced and more advanced writers the tools to explore their writerly “voice.” Special attention will be devoted to discussions of the role of the journalist in society. Prerequisite: written permission of department chair. Fall 2015, K. Moffett.
  • LIT 036 CM – Screenwriting. A seminar-workshop on the theory and practice of writing screenplays. We will view films and read scripts in a variety of genres, examine the roles of art, craft, and commerce in writing for film, and discuss in general the enterprise of being a writer. Each student will make substantial progress in the writing of an original screenplay. All registered students must attend the first class. Prerequisite: written permission of department chair. Offered occasionally.
  • LIT 038 CM – Fiction Writing. This course, which will be conducted as a workshop, will deal with both short and long forms of fiction. Participants, who may choose either form, will present their original manuscripts and will discuss those submitted by their fellow writers. All registered students must attend the first class. Prerequisite: written permission of instructor. Offered occasionally.
  • LIT 181 CM – Advanced Creative Writing. This is a class for the student who is serious about writing fiction, non-fiction, and poetry. There will be frequent short assignments for writing discussion and a longer final one. Prerequisites: Writing sample and instructor permission. Offered every year.
  • LIT 183 CM – Advanced Fiction Writing. This advanced fiction workshop is intended for people who have taken at least one semester of Fiction Writing (LIT 038 CM). Each student will submit two stories or novel excerpts for each workshop, where they will be carefully critiqued by the class. We’ll also read short fiction by well-known contemporary writers, with an eye towards what makes these stories original, entertaining, and complex. In class, we’ll look beyond basic elements of craft and address issues of concern for the experienced writer. How do we avoid cliché? Create narrative drive? Take risks with form, language, and subject matter? Written exercises will focus on these issues while challenging students to push their writing in unexpected directions. Offered every year.

Harvey Mudd:

  • LIT 179E HM – Fiction Workshop. This course is designed as an introductory workshop focusing on the writing of fiction and the discourse of craft. Through the examination of a variety of literary traditions, stylistic and compositional approaches, and the careful reading and editing of peer stories, you will strengthen your prose and develop a clearer understanding of your own literary values and the dynamics of fiction. Fall 2015, S. Plascencia.
  • LIT 179L HM – The Novel as Print Technology. This course will examine the material conventions of the novel, with a particular focus on writing that imposes alternative reading models. By considering the physical attributes of our selected texts in conjunction with their narrative strategies, we will investigate how the works conform to and resist bibliographic and novelistic expectations. Primary readings will include James Baldwin’s Giovanni’s Room, Mark Z. Danielewski’s House of Leaves, and Chris Ware’s Building Stories. Fall 2015, S. Plascencia.


  • ENGL 30 PZ – Introduction to Creative Writing. This course will introduce students to methods of crafting poetry, fiction, and creative nonfiction. Our work will be guided by writing exercises and readings by diverse contemporary authors. Students will increase their skills and confidence by taking creative risks in a community of supportive writers. Offered each fall, B. Armendinger. Spring 2016, J. Lee.
  • ENGL 32 PZ – Poetics of Correspondence. In this class, our experiments will be inspired by the work of writers who have opened up the possibility for two-way conversation in poetry. Students will compose their own imaginary letters, epistolary poems, and postal collaboration. We will consider the letter as a poetic form, and the poem as a kind of letter. What happens when we begin to unravel the boundary between writer and reader? When a poem is addressed to a particular person, how can the singular become plural? What does it take to surrender one’s own language, to turn as Virginia Woolf observed, “from the sheet that endures to the sheet that perishes”? Offered occasionally, B. Armendinger.
  • ENGL 34 PZ – Intermediate Creative Writing: Fiction. In this course we will examine the workings of fiction by reading and discussing the work of both published and student writers. Students will submit a minimum of two stories to the workshop and write weekly critiques of their peers’ writing. Generative exercise may occasionally be assigned. Offered occasionally.
  • ENGL 60 PZ – Poetic Forms and Innovations. In this course, we will see that form is always an invention, and that constraint is often liberating to the poem. We will practice writing in a variety of forms, from sonnets to haiku, Oulipo to hip-hop. We will think about the relationship of form to subject matter, as we explore the work of diverse poets who reinvent traditional forms and lay the groundwork for new modes of poetic speech. Fall 2015, B. Armendinger.
  • ENGL 127 PZ – Ecopoetics and Photography. This interdisciplinary workshop is focused on creating works of poetry, photography, and performance that engage issues of sustainability. We will explore texts and artworks from indigenous, feminist, queer, and intercultural perspectives, in order to expand our notions of what “nature” means and how we interact with it. Students will create individual works and collaborations, improving their skills in working in and across different media. Fall 2015, B. Armendinger and T. Krajnak.
  • ENGL 128 PZ – Writing the Body. In this course we will consider representations of illness, disability, gender, and sexuality in contemporary literature. We will explore, and sometimes explode, the myth of normalcy. No body is normal, even to itself. No body is ever one thing, but growing and falling apart in time. When we come to know that our bodies are perforated, what do we gain and what do we lose? How can a poem or a story unravel the contradictions between body, world, and mind, solitude and community, stigma and resistance, poison and cure? How does medical discourse limit how we think [about] the body? Spring 2016, B. Armendinger.
  • ENGL 130 PZ – Advanced Projects in Creative Writing. This course is intended as a capstone experience for students whose primary focus is creative writing. Students will complete advanced projects in poetry, fiction, creative nonfiction, or a combination of genres. Much of our time will be spent in workshop and creative response, helping each other’s work grow in depth and direction. Our readings will give special attention to the creative process and contemporary book-length projects. Offered every spring, B. Armendinger.
  • ENGL 131 PZ – Special Topics in Creative Writing. Spring 2016, J. Lee.