In Writing 241/244, we will concentrate on the study and writing of realistic short fiction, with the purpose of stimulating your creativity, enhancing your analytical abilities, and improving your writing. Students write sketches and stories for class discussion and analysis, usually in the form of small group workshops. Students will also analyze professional stories to understand narrative tools, structural components, and stylistic choices through written analysis and small group discussion.

In this podcast, Professor Roberta Pearson from the School of American and Canadian Studies, discusses the fictional representation of terrorism in modern day television programmes and why more and more people are using fiction instead of the news to inform their opinions of world events.

Professor Pearson considers the frequent engagement of modern audiences with such television series’ as ‘24’ and ‘Battlestar Galactica’ and how these common cultural experiences should not be underestimated as a factor in affecting the way public issues are viewed.

Students compare the traits fact and fiction by using a Venn diagram to compare fiction and nonfiction books about Native Americans.

Students examine the divided nature of Raskolnikov's character and personality. Then they uncover the divided natures of other characters"”a fact that becomes increasingly evident as the novel progresses to go beyond character analysis to comprehend Dostoyevsky's underlying themes. What does the novel imply about human nature? Dostoevsky clearly perceived that people are neither simple nor easily classified; they are often torn in opposite directions by forces both inside of and outside of themselves, sometimes with catastrophic results.

By closely reading historical documents and attempting to interpret them, students consider how Arthur Miller interpreted the facts of the Salem witch trials and how he successfully dramatized them in his play, "The Crucible." As they explore historical materials, such as the biographies of key players (the accused and the accusers) and transcripts of the Salem Witch trials themselves, students will be guided by aesthetic and dramatic concerns: In what ways do historical events lend themselves (or not) to dramatization? What makes a particular dramatization of history effective and memorable?

We are naturally curious about the lives (and deaths) of authors, especially those, such as Edgar Allan Poe and Ambrose Bierce, who have left us with so many intriguing mysteries. But does biographical knowledge add to our understanding of their works? And if so, how do we distinguish between the accurate detail and the rumor; between truth and exaggeration? In this lesson, students become literary sleuths, attempting to separate biographical reality from myth. They also become careful critics, taking a stand on whether extra-literary materials such as biographies and letters should influence the way readers understand a writer's texts.

Provides a new account of the emergence of Irish gothic fiction in mid-eighteenth century. This book provides a robustly theorised and thoroughly historicised account of the ‘beginnings’ of Irish gothic fiction, maps the theoretical terrain covered by other critics, and puts forward a new history of the emergence of the genre in Ireland. The main argument the book makes is that the Irish gothic should be read in the context of the split in Irish Anglican public opinion that opened in the 1750s, and seen as a fictional instrument of liberal Anglican opinion in a changing political landscape. By providing a fully historicized account of the beginnings of the genre in Ireland, the book also addresses the theoretical controversies that have bedevilled discussion of the Irish gothic in the 1980s, 1990s and 2000s. The book gives ample space to the critical debate, and rigorously defends a reading of the Irish gothic as an Anglican, Patriot tradition. This reading demonstrates the connections between little-known Irish gothic fictions of the mid-eighteenth century (The Adventures of Miss Sophia Berkley and Longsword), and the Irish gothic tradition more generally, and also the gothic as a genre of global significance. Key Features * Examines gothic texts including Mary Shelley's Frankenstein, Horace Walpole's The Castle of Otranto, Bram Stoker's Dracula, Charles Robert Maturin's Melmoth the Wanderer, (Anon), The Adventures of Miss Sophia Berkley and Thomas Leland's Longsword * Provides a rigorous and robust theory of the Irish Gothic * Reads early Irish gothic fully into the political context of mid-eighteenth century Ireland This title was made Open Access by libraries from around the world through Knowledge Unlatched.

In this lesson, students will look behind the story at the historical, social, and cultural circumstances that shape the narrative throughout Esperanza Rising. The lesson also invites students to contemplate some of the changes Esperanza undergoes as she grows into a responsible young woman and the contradictions that she experiences.

This lesson explores how The Giver addresses issues of personal identity, memory, and the value of reading and education. It also examines how this newer read relates to other famous classics in this genre and books that students may have read on their own.

We learn about facts and opinions in elementary school. As we get older, however, sometimes the lines get blurred. For example, “I don’t like mayonnaise” is a fact. My opinion is that mayonnaise is gross. When developing an effective argument, it is important to know the difference between a fact, an opinion, and what’s just fiction (made up/fake). In this seminar, you will refresh your working knowledge of facts and opinions and, more importantly, understand their impact in written and spoken arguments.StandardsCC.1.2.9-10.H: Delineate and evaluate the argument and specific claims in a text, assessing the validity of reasoning and relevance of evidence.CC.1.4.9-10.C: Develop and analyze the topic with relevant, well-chosen, and sufficient facts, extended definitions, concrete details, quotations, or other information and examples appropriate to the audience’s knowledge of the topic; include graphics and multimedia when useful to aiding comprehension.CC.1.4.9-10.G: Write arguments to support claims in an analysis of substantive topics.

As some of the foundational texts for beginning readers, fairy tales are a staple of many classrooms. This lesson allows students to engage with fairy tales from different regions around the world and compare important cultural elements of these stories.

William Faulkner's self-proclaimed masterpiece, As I Lay Dying, originally published in 1930, is a fascinating exploration of the many voices found in a Southern family and community. The following curriculum unit examines the novel's use of multiple voices in its narrative.

Folder of course documents for Fiction Writing course includes sample schedule, bibliographies, and activities.

Course Description
Focuses on writing short fiction for class discussion and analysis in a workshop setting. Explores the techniques, styles, and structures of the writings of established authors, as well as the creative writing process from development of an idea to revision of a manuscript.

Upon successful completion students should be able to:

o Read and analyze established authors in order to become familiar with the elements of fiction (eg. plot, dialogue, character, point of view).
o Write original fiction that effectively uses the elements of the craft, leading to the development and revision of at least one complete short story.
o Read peer fiction closely and analytically in order to contribute to peer workshops in a thoughtful and critical manner.

Known as both a Southern and a Catholic writer, Flannery O'Connor wrote stories that explore the complexities of these two identities. In this lesson, students will challengethese dichotomieswhile closely reading and analyzing "A Good Man is Hard to Find."

Upcycle materials from your home to make a play space laser and zap space junk

When Ruth finds a box of old comic books in her attic, the three friends are inspired to write and film their own science fiction movie with aliens, robots, and space explorers.

Learn how writer Zora Neale Hurston incorporated and transformed black folklife in her novel Their Eyes Were Watching God. By exploring Hurston's own life history and collection methods, listening to her WPA recordings of folksongs and folktales, and comparing transcribed folk narrative texts with the plot and themes of the novel, students will learn about the crucial role of oral folklore in Hurston's written work.

This course examines some leading examples of major genres of storytelling in the Western tradition, among them epic (Homer's Odyssey), romance (from the Arthurian tradition), and novel (Cervantes's Don Quixote). We will be asking why people tell (and have always told) stories, how they tell them, why they might tell them the way they do, and what difference it makes how they tell them. We'll combine an investigation of the changing formal properties of narratives with consideration of the historical, cultural, and technological factors that have influenced how tales got told. In keeping with its CI-H and HASS-D label, this course will involve substantial attention to students' writing and speaking abilities.

Some argue that genre fiction is only a marketing category, but other critics say that different genres meet specific expectations of readers. This course examines these different agreements of what the reader wants and what the writer provides under the aegis of different genres. We will look at how genres are divided into subgenres, and how they are combined into cross-genre work, always keeping in mind the Reader-Writer Contact that is at the heart of genre writing. We shall also think about the ways in which crossing genres has led to the establishment of new genres (steampunk, preternatural romance) and strongly established subgenres (historical mystery, urban fantasy).