Finally... whatever is true, whatever is honorable, whatever is just, whatever is pure, whatever is lovely, whatever is commendable, if there is any excellence, if there is anything worthy of praise, think about these things. Philippians 4:8
Advanced Creative Writing (updated on 04/16/2024)
Week 15: January 15 READ: "The Three Act Plot Structure" and "Two Narrative Arcs" WRITE: A) For whatever story you're working on, write down brief answers for 2, 3, and 4 below for BOTH the PHYSICAL ARC and the EMOTIONAL ARC:
How... what happens (the plot) [you don't have to answer this yet]
Affects someone (who is your protagonist?)
In pursuit of a difficult goal (what is the story's main problem?)
How he or she changes as a result (what is the character arc?)
B) Start writing your new project (or continue writing on the one you're working on).
Week 16: January 22 READ: "Action Scenes that Thrill Readers;” and “Suspense” (sent via email) WRITE: Complete the “Practice” assignment at the end of the “Action Scenes” article.
Week 17: January 29 WATCH: Structuring the Second Act WRITE: At least three pages on your ongoing or new story or poetry. Be ready to present -- loud and proud. We'll still be looking at action and suspense.
Week 18: February 5 READ: "Irony" (handed out in class) AND Writing Believable Change WRITE: None (but don't stop writing!) In class, we'll hear from anyone who wants to read but also do some impromptu work. Week 19: February 12 WRITE: Finish the Character Arc story you started in class (also sent via email).
Write a scene or two where the antagonist uses the techniques described in the reading to "gaslight" another character (preferably the main character). You may use a character from your main story, or a new one if you prefer. NOTE: This scene is just for PRACTICE -- you don't have to use the result in your story, but let's take a shot at learning the technique.
Separately, add at least two pages to the main story you're working on.
Week 22: March 4 DO one of the following: 1) READ/EXERCISE:Writing Mysteries Handouts WATCH: Adapting Novels to the Stage WRITE: Imagine that a Broadway producer hires you to adapt your ongoing story (OR a book you know, even a children's book) into a play (or musical, if you dare) for presentation on stage (not a movie!).
To give the producer an example of what the stage version will look like, pick a key scene (or more than one) from the story you choose and adapt it (them) for the stage. Note: Do NOT write short, choppy, movie-style scenes, and do NOT use a narrator (stage directions are OK where necessary--but these should be minimal).
The point is to consider how you can stage the scene(s) you pick so they can experienced (and understood) by a stage audience. Minimum length: None, but I expect your scene to be complete and to have well-developed dialogue. You can also assume that the producer knows the work you're adapting, so no need for elaborate set up--keep it minimal. Remember, the producer wants to see what you can do writing for the stage!
-- OR --
2) READ/EXERCISE:Writing Mysteries Handouts WATCH: Adapting Novels to the Stage WRITE: Keep working on your ongoing story in narrative form (that is, the way you've been doing it, in prose) or poetry collection. Draft at least 3 new pages and bring them to class.
Week 23: March 11 WATCH: 10 World Building Tips WRITE: Mysteries: Part 2 (Rough Draft, 3-pg minimum) OR at least three NEW pages on your ongoing story (or a new story), poetry, or drama Week 24: March 18 READ/EXERCISE DUE:Master Class: Writing Mysteries WRITE: Mysteries: Part 3 (Final Draft) OR at least three pages on your ongoing or new story or poetry. Be ready to present.
Complete and submit at least three new pages on your ongoing or new story or poetry. Be ready to present
Week 27: April 15 READ/EXERCISE: TBD WRITE: Your choice:
Complete Steps 7 - 9 in "Writing Graphic Fiction" (complete FINAL DRAFT), OR
Complete and submit at least three new pages on your ongoing or new story or poetry. Be ready to present
Week 28: April 22 READ:Antiheroes, Defined(required for all) WRITE: Antihero Story:Pick a genre - fiction (fantasy, mystery, science, historical, or other), drama, or graphic fiction, and create a Story Structure Graph for a new antihero story. If you're working on your capstone, that's fine, and you can disregard the "antihero" assignment. HOWEVER, you must submit at least 3 new pages by next week so I know that you're making sufficient progress. Week 29: April 29 READ/EXERCISE: Great Middles(required for all) WRITE:Antihero Story - ROUGH DRAFT DUE (3 pages) Again, if you're working on your capstone, that's fine, and you can disregard the assignment above.HOWEVER, you must send me new pages by next week so I know that you're making sufficient progress. Week 30: May 6 READ/EXERCISE: How to End a Story: Three Questions(required for all) WRITE:Antihero Story - FINAL DRAFT DUE (ORsend me new pages on your capstone by next week so I know that you're making sufficient progress.)
Week 31: May 13 READ/EXERCISE: WRITE: You should have the rough draft of your final project ready. Bring it to class.
Week 32: May 20 – THE LAST DAY! READ/EXERCISE: WRITE:Final project due
Week 2: September 18 READ/EXERCISE:: 1) Fact of Story Writing 1; 2) Character Development WRITING DUE: 1) Complete the Assignment at the end of FOSW1; 2) Write a i-paragraph summary of the “Character Development” article’s main ideas.
Week 3: September 25 READ:FOSW 2; The Gift of the Magi 1) Complete the assignment at the end of FOSW 2 3) Homework: Finish, edit, and submit the story we started last week Week 4: October 2 READ/EXERCISE:Show, Don't Tell (video); Specificity and Concrete Language: How to Write Vividly (video). WRITING DUE: 1) Write a short summary of the tips in BOTH videos. 2) Write a story (minimum: 3 pages) based on a character you create. Clearly reveal one of your character’s main values. Then bring that value into conflict, either with another positive value (for example, two people want the same dog) or by contradicting that value (one loves dogs; the other fears them).
Week 5: October 9 READ/EXERCISE: Read Several Basic Plots and Story Structure: Some Key Terms WRITING DUE: Take the story you're writing and chart it our using the Story Structure Graph. For the Rising Action (#2 through #4), enter the key story beats (events) that will lead to the climaxAND cause the protagonist to change. Alternatively, you can pick a basic plot and use the chart to start planning a new story.
Week 6: October 16 READING/EXERCISE DUE: Effective Story Beginnings WHAT WE DID IN CLASS:Pick a plot type (Overcoming the Enemy, Rags to Riches, Quest, Voyage and Return, Fish Out of Water; Rebirth/Redemption) and then one of the following:
Write a story that includes the line “I think someone’s listening/watching.”
Set your story in a type of prison cell.
Write from the POV of a security guard on the night shift, sitting in front of a wall of CCTV feeds.
Write about someone who is shackled by fears of failure, until they break free.
Write a story about someone who breaks a promise and the consequences they face as a result.
WRITING DUE: Using the story idea you picked from class OR the "bigger" story you want to work on, get started with at least two pages. Concentrate especially on making the opening strong based on the reading.. ALSO DUE: Find an opening line from a favorite book and bring it to class.
Week 7: October 23 READ/EXERCISE:Satisfying Story Endings WRITE: Finish, proofread, and turn in thefinal draftof the story you started last week OR add three pages to your ongoing story. In either case, concentrate on applying what you read in "Satisfying Story Endings" (even if it's just a chapter in your longer work).
1) Effective story [or chapter] endings show (or suggest) the result of the story's [or chapter's] central conflict
2) Effective story [or chapter] endings come from the main character's actions.
3) Satisfying story [or chapter] endings use elements from the story's beginning and middle.
4) Great story [or chapter] endings make the reader feel something
And for chapters especially, I would add this:
Effective chapter endings make the reader want to keep going -- for example, by using a cliff hanger or at least raising a question that needs to be answered in the subsequent chapter.
Week 8: October 30 READ/EXERCISE: Foreshadowing WRITE: Add at least two pages to the story you’re writing -- concentrate especially on setting up a foreshadow you'll payoff later. Week 9: November 6 READ: Harrison Bergeron WRITE: None!
Week 10: November 13 WATCH:Plot Twists WRITE: Write a 3-page story—with a big plot twist, using the link above as a guide—based on your own idea OR one of the following (yes, you can combine them). NOTE: You may make this exercise part of your ongoing project, but it can also be completely separate.
Week 12: December 4 READ/EXERCISE: WRITE DUE: If you haven't already done so, briefly outline a story that follows the HJ; then, write that story (minimum 3 pages). NOTE: You may make this exercise part of your ongoing project, but it can also be completely separate.
Week 13: December 11 WRITE DUE: Complete the HJ story you started last week. The completed story must be at least 3 full pages long, properly formatted, and well-proofread. Here are some things to watch for:
Double spacing (skipped lines)
One side only
Appropriate use of paragraph breaks (start a new paragraph [¶] when the speaker or focus changes)
Correct capitalization
No comma splices or fused sentences
To help you achieve a compelling story, make sure it has the following elements:
A singlemain character (protagonist, the one from whose perspective you tell the story)
A clear, difficult goal the character wants to achieve or a problem he or she must overcome
Multiple obstacles the character must face
Purposeful, relevant dialogue (no chit-chat!) that a) advances the story and b) is correctly punctuated
Action we see, not hear about (show, don’t tell)
A series of at least five "beats" (events, even if they're internal) in the rising action that change the protagonist and lead logically to
A clear climax
A real character arc (a change in the main character) caused by the story's events
Some kind of resolution (one that wraps up any loose ends—but no killing the narrator or waking up to find it was all a dream)