Private Course Archives | Writers.com

Plot Threads: How to Structure a Novel

Elle | Community Manager — Tue, 14 Jan 2025 05:40:39 +0000

If you’re ready to dive deeply into the art of creating a compelling plot for your novel, this course is for you. Designed as a private, text-based learning experience, you’ll learn how to draft and develop an engaging main plot with relevant subplots, distinguish between a portrait and a novel, and understand how plot drives character arcs and generates theme. You’ll also uncover the interplay between plot and setting, building a strong foundation for your novel’s structure. Along the way, you’ll also explore the essential elements of fiction to support all aspects of your storytelling.

Each week, you’ll experiment by writing parts of a novel, up to 3,000 words, giving you hands-on practice in plotting while generating material for current or future novel projects. With prompt feedback from me on every assignment, you’ll refine your skills and gain the confidence to bring your story ideas to life.

This course welcomes writers at all levels, whether you’re just starting out or looking to deepen your expertise in plotting and novel writing.

Learn how to structure your novel. Gain hands-on practice in plot threads, character arcs, and everything else you need to bring your story to life.

Who This Course is For

This course is for early-stage and experienced writers interested in learning about and improving their plotting techniques.

Learning and Writing Goals

Learning Goals

In this course, you will learn:

The nature and function of plot.
The difference between a character portrait and a novel.
The importance of plot in terms of character arc.
How to Determine the number of plot threads to include in a novel.
How the main plot works from the inciting incident to the resolution.
The relationship between the subplots and the main plot.
To Recognize when a plot thread is complete.
How a specific plot can suggest a larger theme.

Writing Goals

In this course, you will learn to write:

A succinct plot summary.
A novel versus a character portrait.
An organized bundle of plot threads for a specific novel project.
A main plot thread, from the inciting incident to the resolution.
Subplots that work in harmony with the main plot.
Settings that demonstrate the relation to character and plot.
A portion of a novel based on the various fictional components covered in this course.

Weekly Syllabus

Week One: What is Plot?

*Private Class | Writing with Tarot

Sean Glatch — Thu, 21 Mar 2024 14:34:10 +0000

Do you want to visually and intuitively jump start your creative juices? Do you wish to explore something ancient and divinatory, something that can offer you a world of symbolism and images right at your fingertips? Are you interested in gaining self-knowledge through writing and/or Tarot? Then you’ll love Writing with Tarot.

Tarot helps open intuitive channels, absolutely. That said, you don’t have to be an expert to use it as a tool for creativity and writing. You need only want to tap into the beautiful symbolism, imagery, and meaning inherent in the cards themselves to have them serve as springboards for useful, practical inspiration for your own story ideas, be they novels or short stories.

This class is open to novelists, non-fiction, and short story writers. It is for people who are novices to Tarot and writing, or for those not novices to either but who wish to think in new ways and generate ideas for stories.

This was a really wonderful course for spurring creativity. It changed my vision of how a story develops and how a character interacts with herself and her world.
—Michelle Ashley

Tarot Writing Course: What We’ll Learn

And we’ll also learn about narrative structure and writing craft in the process.

Using Tarot, we’ll build and deepen characters along with a central protagonist-antagonist interaction, we’ll define and write scenes that embody a central conflict, we’ll develop an inciting incident, we’ll delve into backstory as it relates to the present conflict, we’ll refine overall goals and impediments, we’ll create setting and atmosphere as it relates to the story, and we’ll create a climactic scene.

We’ll do all this by focusing on both craft lectures for writing as well as by working with a tarot spread. My comments will focus on aspects of the Tarot cards you are using (i.e., the meanings inherent in each card), along with writing (i.e., craft) guidance. This class can offer a good blend of left-brain and right-brain thinking.

Tarot Writing Course: What to Bring

I recommend you purchase your own Tarot deck beforehand so that you can physically work with the cards. I personally tend to find that decks with rich imagery throughout all the (usually) 78 cards are great for inspiration when it comes to both reading tarot and writing fiction.

If you love Klimt’s art, there’s a deck for you. If you love classic literature? Ditto. Aliens? No problem. If you’re a cat lover, there’s tons. If you love fairies, Tarot has them! If you just love to see people engaged in action, Tarot offers that, too. Zombies? Covered. Erotic or sex? Hey: The stuff of life. Whatever your interests (or genre), you can find a tarot deck that speaks to your own leanings, interests, and ideas.

I’ve owned well over a hundred decks across the years, but probably work closely with about 12 currently. Some of my own favorite decks (which you can Google for images) include:

Rider-Waite
The Medieval Scapini
Your Everyday Witch
The Sacred Spiral
The Cat People
The Zombie Tarot
The Housewives Tarot
Prisma-Visions Tarot
The Enchanted Tarot
The Victorian Fairy Tarot
Medieval Cats
Crystal Visions Tarot
Forest of Enchantment Tarot

But really, you should intuitively pick the deck that most interests you.

Be aware that Tarot cards are different from Oracle cards, and this class is designed to work with Tarot. Feel free to touch base with me if you want to chat about what deck to choose beforehand. There’re so many decks, I’d be lying if I said I know all of them out there, but perhaps I can help guide you in a good direction.

Overall, bring your love of writing, your interest in learning craft, and your questions about, and interest in, Tarot.

Why Take a Tarot-Based Writing Course with Writers.com?

We welcome writers of all backgrounds and experience levels, and we are here for one reason: to support you on your writing journey.
Small groups keep our online writing classes lively and intimate.
Work through your weekly written lectures, course materials, and writing assignments at your own pace.
Share and discuss your work with classmates in a supportive class environment.
Award-winning instructor Sandra Novack will offer you direct, personal feedback and suggestions on every assignment you submit.

$645.00Enroll Now

The post *Private Class | Writing with Tarot appeared first on Writers.com.

*Private Class | The Literary Essay

Sean Glatch — Wed, 24 May 2023 13:26:43 +0000

Literary essays are nothing like the essays we were forced to write in school. Lyrical, exploratory, wide-ranging, often funny, often devastating, the literary essay uses everything in the writer’s toolbox to create something as beautiful and memorable as the best fiction and poetry. In this six-week course, we’ll examine the craft of literary essays—what makes the most moving essays work, and how we can incorporate their techniques into our own pieces.

We’ll explore published examples covering a range of subjects and styles, from conventional literary essays to literary journalism to hybrid/experimental forms like lyric essays, flash nonfiction, and essays in verse. Meanwhile, we’ll write and workshop new essays incorporating their techniques and making them our own.

By the end of this brief course, students will:

Have read a broad selection of literary essays from very different writers.
Have a strong sense of what you like in a literary essay—what do you want your essays to do?
Have written, workshopped, and revised original literary essays.

Above all, we’ll have fun along the way—if writing literary essays weren’t a pleasure, nobody would do it!

Course Outline:

Week 1. The Essay as Exploration.

*Private Class | The Craft of Poetry

Sean Glatch — Wed, 24 May 2023 13:26:39 +0000

Some say they hate poetry because they “don’t get it.” There’s a good reason for that feeling: academic courses in poetry tend to give the unfortunate impression that when Shakespeare died, poetry died with him. Who could blame these people for not liking poetry? If poetry ended 500 years ago, I probably wouldn’t care much about it either.

But poetry is alive and well. Contemporary poets can be touching, terrifying, and laugh-out-loud funny at once. This course isn’t about “thee” and “thou.” Contemporary poetry is, above all, about human experience: our experience, today.

The poet William Carlos Williams described a poem as “a machine made out of words.” My aim in this course is to help you become a literary mechanic. We’ll take apart poems to see how they work; we’ll tune the parts and put them back together even better than before. We’ll explore a wide range of contemporary poems (plus a handful of older classics), focusing on what makes them tick and how we can adapt those techniques to our own writing.

While our focus will be on poetry, the techniques we’ll explore apply just as well to fiction, and I definitely encourage prose writers to check out the class. We’ll spend time looking at how poems tell stories, and we’ll check out the blurry/imaginary line between prose poetry and flash fiction.

By the end of this 8-week class, students will:

Have a strong sense of what you like in a poem—what matters most to you as a reader and as a writer? What do you want your writing to do?
Understand all those terrifying poetry terms like trochaic pentameter and volta—and see why they’re much, much easier than your English teacher made them sound.
Learn to “read like a writer”: take apart any poem (or story or essay!), figure out how it works, and learn to make its techniques your own.
Write and revise 7-8 new poems and learn where and how to publish them, if desired.

Above all, we’ll have fun along the way—if writing poetry wasn’t a pleasure, nobody would write it.

Course Outline

1. What We Talk About When We Talk About Good Poems

*Private Class | Poetry Workshop: Bring Your Poems to Life

Sean Glatch — Tue, 16 May 2023 19:17:04 +0000

Beginners and experienced poets welcome! Join us for this workshop on creating powerful poems—poems that are clear and organized, fresh and moving, full of life.

Each week, we will react succinctly to a published poem to help deepen our understanding of the meanings, choices, techniques, and experiences in poems we read. We will also explore optional readings in literary criticism, but overall, the reading load is light.

We will start by writing parts of poems to practice basic elements, and soon compose full works for feedback and revision suggestions from everyone. Since successful poetry often arises only from flashes of inspiration, fragments of poems are always accepted for assignments. We will workshop one another’s poems, encouraging and cheering on, expressing how each poem makes us feel, and suggesting possibilities for revision.

As we conclude, we will explore finding resonant poetry magazines and anthologies to read and submit to, and to plan for the future by creating chapbooks, giving readings, and interacting with the poetry community.

This course was challenging and fun. I am a better poet thanks to Rosemary.
—Gwen Morden

Course Objectives

We will learn:

To understand the elements of poetry, including a poem’s meanings, choices, techniques, and experiences.
To listen to a poem’s sound, rhythm, and repetition.
To infuse a poem with emotion and nuance.
To avoid common issues in poetry, such as: clichés and platitudes, forced rhymes, overly formal speech, unpleasant rhythms, generic abstract language, overused topics, sentimentality, and expository or summary writing.
To get out of the head, and into the body and the flow of energy.
To ground ourselves in the history of poetry, and to participate in today’s poetry communities.

Throughout the workshop, students can expect to write fragments and several completed poems that are ready for further revision or to submit for publication.

Poetry Course Syllabus

Most units include reading a published poem and listening to my analysis of it. Each week you will post your own new writing—you can either continue or revise a poem that you started in a previous unit, or begin a new poem—as well as offer responses to other students’ writing for that week. There are also many optional suggested readings throughout the course.

Week 1: Jump In!

*Private Class | Embodied Writing: Somatic Practices to Improve Your Work

Sean Glatch — Tue, 16 May 2023 19:17:03 +0000

This course builds on Embodied Writing: Improve Your Writing with Full-Body Creativity, but the courses can be taken individually or in either order.

Our wild animal bodies want out of their cages. They don’t like sitting and typing in civilized, cerebral ways while your mind is trying to describe vivid, full-bodied action scenes that breathe and live. Set your body free while you take breaks from writing and see how much more agile your words become.

Each unit includes unique specific exercises created by your instructor that will dare you to ever again be able to write abstract narratives with bare dialogue, insipid Climaxes, passive verbs, and weak Crises. Muscularize your prose now! No longer write as if you were a disembodied brain. Once you train yourself to use your whole body to generate ideas, you’ll be surprised how confident you can become in your ability to plot. Move passionately to aid your process in deciding key elements such as the theme of your narrative.

The assignment descriptions default to fiction writing, but apply to poetry, memoir, screenwriting and other forms. The word count you turn in each week is up to you; you’ll receive feedback from us with suggestions on improving its quality and strengthening your skill set. Bond with your classmates with enhanced flexibility of self-expression. Each week is one-of-a-kind fun physical exploration that you can look forward to.

While it is partially a physical exercise course, you’re welcome to participate regardless of what condition you’re in. If you have the capability, don’t sit there trying to figure things out from a static position: get up regularly and move. Science shows that being sedentary has consequences that only getting up regularly can overcome, and even mild exercise improves our creativity and sharp thinking. The combination of movement with specific intentions regarding your project greatly benefits your fitness and mood while also encouraging the story to flow.

Act out the characters’ walks, gestures, facial expressions and vocal tones. Direct the readers’ emotional responses to the arc of the narrative. As you do an interpretive dance of the plot reversals and ironies, twists, nuanced moods and cadences, you’ll discover new insights. Discover your voice and uncover the messages hidden in your muscles. Pursue new experiences involving your senses and express yourself to someone without words. Improve empathy for your characters and readers and help them empathize with your characters.

You’ll probably want to set aside a space at home to perform these specific movement exercises and one set involves vocalizing. Each unit features extensive audio and video instruction that prompt specific movement exercises as well as relatively brief textual materials: in turn, after you do the physical actions and then turn in a written assignment whether a brief fragment or an entire scene. You have the option to be as involved as you like with sound and vision by uploading audio, links to videos or images, but you are not required to appear on camera, and there are no meetings to attend. The course includes your instructor dressed up as various characters in this playful, adventuresome course that should leave you feeling vibrant and refreshed, with a deeper understanding of yourself and a renewed enthusiasm for the act of writing.

This is a brilliant course that any writer would benefit from.
—Julie Gibbs

Course Outline

Week 1: Exercise, and then muscularize your prose by cutting extra words, using powerful verbs and fresh, invigorating language.

Week 2: Vocalize and breathe as you explore, separate and refine the author’s and narrator’s voice that you then demonstrate your unique voice in a passage with attitude. Readers return to an author book after book because of the voice. What do you have to say? It may be all about how you speak.

Week 3: Give yourself sensual experiences such as standing in the rain with no umbrella or raincoat, face upturned, or rolling down a hill or lying down naked on sharp gravel or sliding down carpeted stairs on your butt. Write as passage including those situational sensations.

Week 4: Push past any fears of expressing yourself to discover what’s underneath your armor. If there’s someone encouraging and accepting of you, do this exercise with him or her watching, even if it’s onscreen with someone who lives far away (it could be your instructor or a fellow student if you like). Start by physically exaggerating your response to something neutral like eating something a dinner party hostess has cooked that you dislike — or hearing the sound of songbirds and how you want to sing back to them. Keep doing the poetic movement interpretations of your feelings about whatever words and phrases you want, such as “unrequited love,” or “loss of faith,” or “uncertainty” until you reach the limit of your vulnerability. If you don’t feel comfortable doing that, do it just for yourself. Write a passage that includes at least one of those themes or sensations.

Week 5: Are your ligaments too loose, your ankles unstable? Do you give in too easily without standing up to yourself? Conversely, are your muscles tight? Do you get defensive and stubbornly hold onto beliefs even when presented with new facts that mean you should let go of them? What truths do you keep hidden in those parts of your body? Do strengthening stabilizing physical exercises throughout the week, envisioning being able to stand your ground. Do stretching sessions and envision becoming more flexible in your thoughts and feelings. Tune into those parts of your body to see what lives there and channel that into a passage.

Week 6: Do measured breathwork (Pranayama) to write an expansive passage or to envision all the beauty and power of the potential of any passage you’ve written during the class, before revising and polishing it.

Why Take an Embodied Writing Course with Writers.com?

We welcome writers of all backgrounds and experience levels, and we are here for one reason: to support you on your writing journey.
Small groups keep our online writing courses lively and intimate.
Work through your weekly lectures, course materials, and writing assignments at your own pace.
Share and discuss your work with fellow writers in a supportive course environment.
Award-winning instructor Rosemary Bensko will offer you direct, personal feedback and suggestions on every assignment you submit.

$445.00Enroll Now

The post *Private Class | Embodied Writing: Somatic Practices to Improve Your Work appeared first on Writers.com.

*Private Class | Introduction to Writing Genre Fiction

Sean Glatch — Tue, 16 May 2023 19:16:59 +0000

Surprisingly few people truly know the ins and outs of all the major fiction genres. Without this knowledge, we’re prone to making serious mistakes when trying to write in those genres. When you have an idea for a story, book or screenplay, you need to figure out which genre to write it in and how to organize it according to genre conventions, which vary quite widely. You need to understand which genre fits your worldview, what possibilities do and don’t exist within it, and the effect you want to have on the audience.

Knowing genre conventions can help you decide if you want to write in a certain genre, how to structure the POVs, which character archetypes are expected, how to create satisfying arcs, suspense, the kind of ending readers of the genre seek, what type of language to use, and all the other aspects that make a tale provide the type of pleasure that fans of that genre are looking for. You might even want to rewrite your draft into another genre that has more earning potential, has become more popular, or is more fitting for your vision.

Join us in this workshop as we work you through those decisions. You’ll take quizzes based on the lectures to make sure you know the rules. Otherwise, your choices customize your experiences.

You can write a completely new passage with entirely unique narrative for each lecture, with no need to have the whole plot outlined, though ideally you can provide a general sketch of the progress of the protagonist.

Or you can keep rewriting the concept but transformed into each new genre. Rather than write a passage, you can write an outline for each unit if preferred.

Or you can begin with your specific individual project – is it to mull it over and fill us in on your process as you figure out which genre you want to write your book in?

And — Are you sure you don’t want to write your story as Sci Fi, or write any Sci Fi ever? (For example.) That’s OK, you don’t need to write Sci-Fi that week, just take the quiz and provide feedback for fellow students’ assignments and keep working out the concepts and questions most pertinent to your progress.

Rosemary took my writing to a new level.
—Kathy Keats

Genre Fiction Writing Course Outline

For each genre unit (2-9), you’ll read the lecture, take the quiz, upload your passage and what you can of the plot outline of the full narrative, sketching out the characters, theme, etc. This can be for a short story, novella, novel or screenplay. Minimum suggested wordcount each unit is approximately 500, maximum is 7500, the upper length of a short story. Then, provide feedback to the other students.

Week 1: Orientation

*Private Class | Embodied Writing: Improve Your Writing with Full-Body Creativity

Sean Glatch — Tue, 16 May 2023 19:16:56 +0000

While it is partially a physical exercise course, you’re welcome to participate regardless of what condition you’re in. If you have the capability — don’t sit there trying to figure things out from a static position: get up regularly and move. Science shows that being sedentary has consequences that only getting up regularly can overcome, and even mild exercise improves our creativity and sharp thinking. The combination of movement with specific intentions regarding your project greatly benefits your fitness and mood while also encouraging the story to flow.

You’ll probably want to set aside a space at home to perform these specific movement exercises and one set involves vocalizing. Units feature audio and video instruction that prompt specific movement exercises as well as relatively brief textual materials: in turn, after you do the physical actions and then turn in a written assignment whether a brief fragment or an entire scene. You have the option to be as involved as you like with sound and vision by uploading audio, links to videos or images, but you are not required to appear on camera, and there are no meetings to attend. The course includes your instructor dressed up as various characters in this playful, adventuresome course that should leave you feeling vibrant and refreshed, with a deeper understanding of yourself and a renewed enthusiasm for the act of writing.

This is a brilliant course that any writer would benefit from.
—Julie Gibbs

Course Outline

Week 1: Exercise to encourage yourself to muscularize your prose. As you read something you enjoy that is similar to what you write, question your body to learn what your readers want at a physical level. Note the exact physiological effects and speculate on neurotransmitter involvement. Bodily express and exaggerate what you felt before you read it, as you read it, and after you finished. Write a non-flabby passage implementing what you learned and create those effects in your readers. Describe your reader’s intended bodily reactions and we’ll tune in and let you know if our bodies respond as you hope and if there’s anything we can suggest.

Week 2: Oxygenate, rev up, pay attention to the environment around you with all your senses. Move past stuck thinking and predictable patterns: erratically breathe, move your eyes in disorganized ways and move with disruptive staccato rhythms before writing a lively passage in a clearly described location; included variations of sentence patterns, paragraph lengths and cadence. When you return to your seat, write a passage of muscularized prose. Include awareness of the surroundings, the clothing against the skin or the rush of blood to the face when a character bends over. . .

Week 3: Dramatically act out an action passage as you compose it; include all the senses, the angles of what the character sees as he rolls around on the floor, spatial relationships of people, sounds of contact, wind on the skin, the taste of dust. In the passage, vividly portray bodily reactions in the characters experiencing conflict while engaging in gestures, expressions, interacting with props, bodily reactions and non-verbal communication. Focus on creating physiological empathy in the readers by the order, pacing in which you introduce new information. Reading fiction subconsciously motivates readers to take action similarly to the protagonists.

Week 4: Do the exercises to create well-rounded characters with full-bodied dialogue full of subtext. Bodily express the feeling of the shape of the plot arc, the dramatic tension, the emotions you want your readers to feel. Write a passage including surprising dialogue leaps and describe the plot arc you decided on. Training yourself to use creative movement to help you generate ideas is invaluable for your entire writing future.

Week 5: Mine your subconscious by using your body. Act out any dream you remember, and then act out a faux dream. Handwrite an emotional passage, including using your non-dominant hand to delve deep. Revise and transcribe it for us and inform us about what you learned.

Week 6: Act out characters of your choice, speaking in their voices, ideally using some kind of prop or bit of a costume. Then act out a character who has the specific quality of being charismatic. Write charismatic passages including an expansive, proactive characters in a dramatic scene with unique voices in the dialogue.

Why Take an Embodied Writing Course with Writers.com?

We welcome writers of all backgrounds and experience levels, and we are here for one reason: to support you on your writing journey.
Small groups keep our online writing courses lively and intimate.
Work through your weekly lectures, course materials, and writing assignments at your own pace.
Share and discuss your work with fellow writers in a supportive course environment.
Award-winning instructor Rosemary Bensko will offer you direct, personal feedback and suggestions on every assignment you submit.

$445.00Enroll Now

The post *Private Class | Embodied Writing: Improve Your Writing with Full-Body Creativity appeared first on Writers.com.

*Private Class | The Micro-obstacles/Flow Technique

Sean Glatch — Tue, 16 May 2023 19:16:55 +0000

No matter what length of narrative you compose, you can strategically use this indispensable technique of alternating moments of Micro-obstacles with moments of Flow to vitalize your fiction. Discover a myriad of uses and combinations for these two modes: foreshadowing, generating hunger for info-dumps, fostering irony and humor, empathy with characters, pressurizing characters leading to uncharacteristic behavior, and more. (3 weeks.)

Micro-obstacles/Flow Technique

Focusing on major plot points, some authors forget to include little problems that create contraction, tightness, and irritation. Those annoying tension-creating events (Micro-obstacles) build up characters’ frustration pressure. The characters can’t help but release that steam during a resultant moment of Flow such as in an outburst of uncharacteristic honesty.

Ever wonder how to reveal facts without a tedious info-dump? Well, here’s how: lead up to relaying facts with multiple Micro-obstacles to the information exchange. When characters finally learn or explain, the news will matter more to them and the audience.

So, after Micro-obstacles lead to unbalanced Flow, that almost results in a major conflict. In this class, you’ll study varied effects of Micro-obstacles at strategic times, in appropriate genres, for the correct characters. If you haven’t noticed this pattern before, you might be surprised how commonly writers use this tactic, and what opportunities you’re missing if you don’t.

You aren’t required to screen the movies and TV shows analyzed in the lectures, as the text describes the system of the two types of pacing. But you’re welcome to stream the shows, all of which can be found online, perhaps requiring a purchase of a few dollars. In addition, prose passages, flash, short stories, and novels provide additional insight into how and when to apply the alternation of the two modes. Apply your new knowledge with weekly exercises to sharpen your skills.

Excellent class. Excellent instructor. Valuable input. This class has made a difference in my writing.
—Anne Hodges White

Course Outline

Week 1

*Private Class | Writing the Short Story

Sean Glatch — Tue, 16 May 2023 19:16:51 +0000

Stimulate your imagination by creating new work that startles with fresh language, avoids clichés, moves readers with a potent universal theme, entertains with mystery sustained until the proper moment, presenting memorable characters to care about. With an eye toward publication, improve your stories through feedback from other students and your Instructor, including careful line edits to prepare your manuscripts so you feel confident sharing them with the world, if you so chose.

Want to gain more understanding of what drives a plot in conventional fiction, both Genre and Literary, and what ways you can stray from tradition to fit your unique vision and still make it accessible and entertaining? Want to grasp the ins and outs of Point of View and what works when and what surely does not? Would you like to write believable dialogue that’s not an info dump but resembles real life? How about a hook that draws in readers so they can’t look away, correct grammar, and an ending that impacts people strongly in ways they can’t forget?

If so, join us.

Rosemary’s enthusiasm was contagious. Her resources will offer me months, if not years, of further study.
—Marcus Hilgers

Course Outline

Participants will complete a story which is critiqued, and be empowered to:

Approach a blank piece of paper confident they can put down something spontaneously
Determine why you like some fiction
Be able to follow up your interests from a variety of options of types of fiction
Break through patterns of error after reading our line edits
Understand the classic plot structure, hook, MacGuffin, relationship of the active protagonist and thwarting antagonist as they encounter each other with rising tension levels, creating Plot Reversal, leading to climax and resolution, as well as employ fresh, surprising language and avoid cliché, which showing rather than telling in a narrative format of action moment by moment

Each week involves multiple readings within lectures, feedback from Instructor and fellow students on assignments, questions and discussions. This is a simplified version of the syllabus you will receive in class.

Week One