creative writing syllabi

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Syllabus: Introduction to Creative Writing

Writing is actually a three-part process—reading, writing, and rewriting. We will read to soak up different modes, styles, points of view. We will write to explore how to express ourselves using those techniques. We will revise based on the feedback of our peers and our own thoughts and instincts. Creative writing, like its academic counterpart, is still about communication, with the readers and writers of the past, present, and future. Along the way, perhaps most importantly, we will learn how to give constructive and respectful critiques, and also how to graciously receive, evaluate, and implement feedback.

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According to the research, the reason for Vasily I drawing up the third testament between 1423 and 1425, shortly after his second testament approved by the guarantor, Grand Duke Vytautas of Lithuania, was the granting of a yarliq by Khan Ulugh Muhammad to Prince Daniil Borisovich that meant the restoration of the Principality of Nizhny Novgorod independent of Moscow. The paper provides arguments that by doing so, Ulugh Muhammad was acting independently. Although he was Vytautas’ ally, his action was contrary to the intentions of the Grand Duke of Lithuania who was interested in seeing his underage grandson Vasily Vasil’evich’s succession to the throne because Vasily I’s brother Yury Dmitrievich, an ally of Vytautas’ rival Švitrigaila, could aspire to it. Despite the struggle for power in the Horde in the early 1420s, Ulugh Muhammad seems to have had enough power to help Daniil Borisovich realize his claim to Nizhny Novgorod. Since Vytautas was not able to provide Vasily Vasil’evich with Nizhny Novgorod as a part of Vasily I’s possessions, which showed the limits of his possibilities regarding the Horde, the third testament was made in a different way than the second one: at the beginning it was signed by Metropolitan Photios, then sealed by Vasily I and his three brothers, and at the very end by Vytautas.

Apresentação realizada na Faculdade de Direito da Universidade de Brasília (UnB) em 7 de agosto de 2024.

Exploring Cultural Identity and Social Trends in the Graeco-Bactrian and Indo-Greek Kingdoms - Undergraduate Thesis

seguridad y salud en el trabajo, 2018

Değişim yönetimi, organizasyonların ve çalışanların yeni ve mevcut performans hedeflerine hızlı ve etkin bir şekilde cevap verebilmesine olanak sağlayan yeni bir disiplindir. Bu süreç doğru değişim stratejilerinin, uygulama modelleri ve süreçleri ile organizasyon yapılarının, örgüt kültürü ve çalışanların geliştirilmesiyle değişim hedeflerine ulaşılmasını ve bu hedeflerin sürdürülebilmesini kapsamaktadır. Değişim yönetiminin başarısı çalışanların değişim karşısındaki tulumlarına bağlıdır. Bu açıdan, değişim yönetiminde nihai hedef çalışanın bakış açısını, davranış modelini ve yaklaşımını değiştirmektir. Bu makalenin amacı değişim yönetimini insan kaynakları boyutuyla incelemektir. Makale bu amaçla dört bölümden oluşmaktadır. İlk bölümde değişim yönetimi kuramsal bir çerçevede tanımlanmakta, ikinci bölümde değişim yönetimi kavramının gelişim süreci açıklanmaktadır. Üçüncü bölümde değişim yönetimi stratejileri üzerinde durulmak ve nihayet son bölümde de değişim yönetiminin insan kaynakları boyutu analiz edilmektedir. Makale ayrıca üç örnek uygulama ile zenginleştirilmektedir.

The article publishes the results of rescue excavations of a small area (about 47 m2) Novo-Ufa burial ground. The description of the burial rite and inventory of 12 burials is given. Weapons, household items and jewelry were found in the graves. Two groups of burials were identified in the investigated area. One group of burials dates back to the II–I centuries BC. The date is established by the presence of bronze arrowheads and eight-shaped buckles in the burial complexes. The second group of burials is attributed to the I century BC – I century AD. The chronological position of this group is determined by the presence of iron arrowheads, buckle with a movable tongue and bronze diamond-shaped belt pads in the graves. Thanks to the research of 2000, ideas about the territory of the Novo-Ufa burial ground have changed. The area of the necropolis has almost doubled. New chronological boundaries of the monument have also been installed: IV century BC – I century AD.

Fletcher-Watson, B, McAra, L. and Osborne, D. eds. Essays on Decoloniality: Volume 1., 2024

Despite a growing body of literature seeking to frame connective strands of decolonial and queer studies and politics (see Jivraj, Bakshi and Posocco, 2020, p.454), demands for disambiguated definitions and articulations of the nascent field of inquiry - i.e., decolonising sexualities - are regular occurrences in academic debates. This essay recapitulates such articulations by providing a genealogy of conversations in disparate geopolitical and disciplinary locations and definitions of terms that have often multiple trajectories and meanings. In so doing, it charts the definitions of decolonial queerness that emerge from the conjunctive theorisation of decolonial and queer paradigms as well.

Academia Mexicana de la Historia, 2023

Diálogo andino, 2016

the critical rhetoric of Philippe Joseph Salazar, Acta Juridica , 70-87 , 2022

Naunyn-schmiedebergs Archives of Pharmacology, 2010

International Journal of Business Innovation and Research, 2019

Molecular and Cellular Biology, 1987

Palgrave Macmillan US eBooks, 2016

Revista Latino-Americana de Enfermagem, 2014

Frontiers in Microbiology, 2013

Molecules, 2019

Novita Sri Rachmadani, 2024

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Creative Writing Syllabus & Rubric (for Writers and Tutors)

• The Writer's Life

Creative Writing Syllabus & Rubric (PDF for viewing) Creative Writing Syllabus & Rubric (PDF for printing)

This is the syllabus I was never given in my university course. After meditating on my own slow and sporadic epiphanies on the subject of writing, I created this giant list of skills and criteria to get a better sense of where I am as a writer, and what I can try to teach my students.

Obviously, this curriculum can’t guarantee that you will become a successful writer. These are just some guidelines that you might consider following if you feel as if you’ve been blundering around aimlessly for a while and not progressing in your craft, or even if you’re not sure whether you want to make writing your career. In case you do, this is the framework I will be referencing when I develop courses and ebooks for The Lady Writers League .

PREPARATION is anything that precedes writing, whether it relates to your warm-up routine, your reading and influences, or your worldbuilding notes, plot outlines, etc.

WRITING is anything that takes place while you’re writing, whether it relates to the actual time you spend putting words on a page, or the months or years of writing and erasing that go into creating a manuscript.

FINISHING is anything that takes places after you’ve finished writing, whether it relates to the revision, the subsequent drafts, the conversations with early readers or editors, or the formatting, packaging and promotion of a finished piece of work.

The Masterpiece

In medieval guilds, the “masterpiece” was the piece of work that a journeyman submitted to the guild for acceptance as a master. This piece would showcase all the techniques they had learnt throughout their studies and travels, and would represent the best work they were (and possibly ever would be) capable of producing. If the journeyman was accepted into the guild as a master, the guild would keep the masterpiece.

Some Observations

• Despite my adoption of the medieval craft hierarchy, I don’t mean to imply that a progression is necessary, or that a lifelong neophyte can’t be as good a writer as a master.▼
• In this sense, it doesn’t matter which level you feel you fall into. What differentiates the levels is your focus and purpose for writing.
• I want to distance the rubric as much as possible from a subjective consideration of “good” and “bad” writing. Quality must follow quantity, in my experience, and developing “good” taste is not nearly as difficult as demonstrating it in your writing.
• Another criteria I’ve used to determine the levels is “earning a living”. In spite of the age-old conflict between art and business, I think (especially in this internet era), the craftsman must be someone who can meet their physical as well as their intellectual and spiritual needs through their work.
• Hopefully this will also help teachers (and writing “gurus”) in deciding what guidance to provide their students, but please remember that the levels are merely conveniences. No matter how neophytic your pupils seem, I recommend following the advice given me by my own writing guru : include something for all learner levels (and a little extra for yourself).
• Each row deals roughly with the same concept, but each cell should nevertheless be considered on its own.
• You can use the rectangles to the left of each cell to mark completion, partial completion or topics that need extra attention.
• Don’t hesitate to add items to the syllabus (I’ve left a blank row for each level for this purpose), but think long and hard about your reasons before you remove anything.
• Practice and contemplate in equal parts.
• To be clear, this isn’t a syllabus for a university course, not even a four-year one. The best a university course can do is guide students in moving from Neophyte to Apprentice, and then give them as much information (and I stress information over feedback) as possible for the work ahead of them.
• Be patient. Some of the individual items on the syllabus are deceptively short – in practice, they can take years to learn.
• I plan on extending and improving this syllabus; currently the bias is towards self-published fiction writing. Extra apologies to poets for the word count-based pass criteria.
• Use this syllabus for good! Feel proud of how far you’ve come, and inspired by the opportunities for learning that still lie before you.  Compile a study list of subjects you feel you need to consciously improve.

▼ The exception might be the final row of the ‘Neophyte’ level – once you come alive to language, I fear you’re a lost cause. You will have to become a writer whether you like it or not.

I write about literature, language, love, and living off your pen. Also, fortifying fiction, personal amelioration, and tea.

Lay out your story on one page.

Build a framework for stronger characters.

Form a paper model of your story world.

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