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Courses: Fall 2018

All CWL courses 4 credits unless noted otherwise. FLM courses 2-3 credits.


Stony Brook Southampton: Chancellors Hall or Carriage House (Technology Center)

CWL 510.S01 Forms of Fiction: Beginning the Novel, Paul Harding
Tuesdays, 5:20-8:10 pm (Class # 94038)
The beginning may prove the beginning, middle, end; don't worry; it's about scale, pace, interrogation,
and scene; much of the semester will be devoted to slowing down, settling in, and playing your long
game, discovering the cumulative ways that novels earn, form, solidify, maintain, and release meaning,
w/in the realms of total aesthetic freedom and discipline...That balance between: Do whatever you
want, while I hold your toes ever so encouragingly to the fire thing.

CWL 510.S02 Forms of Fiction: Short Story, Amy Hempel
Thursdays, 5:20 - 8:10 pm (Class #96261)
A traditional workshop in which participants will read and discuss each other's stories, two per term,
with special attention to a range of narrative strategies. I will bring in stories that brilliantly illustrate key
elements, and we will begin with brief written responses to two or three prompts intended to lead to
story. We will try in each instance to speak to a reader's fundamental question: Why are you telling me
this? No text is required, as I will provide what we read.

CWL 520.S01 Forms of Poetry: Sound, Julie Sheehan
Mondays, 2:20-5:10 pm (Class # 94039 ).
In this adventurous writing—and reciting—poetry workshop, we’ll tap into both the written and oral
traditions to focus on the sounds a poem makes. We’ll work with the rhythms of found sound, with
syncing sound and body language, with call and response, and with any other forms of rhyme, chime
and repetition we can invent. We will also explore conventions of sound familiar to us from the page.
We will not always be distributing paper copies of our poems to the other participants in this workshop,
but will frequently take the opportunity to listen, to rely on—and hone—our ear, just as poets have for

CWL 535.S60 Writing in Multiple Genres: Writing Everything, Roger Rosenblatt
Tuesdays, 2:20 – 5:10 pm (Class #96186)
This course is a workshop in the writing of a personal essay, a short story, a one-act play, and a poem.
Students will produce one of each genre, study the connections among them, and learn how the
elements of each may be useful to the others.

CWL 540.S01 Forms of Creative Nonfiction: Ways of the Memoir, Lou Ann Walker
Thursdays, 2:20 - 5:10 pm, (Class # 94045)
We could even retitle this course “Life: A Story.” In addition to reading new masters of the memoir form,
you’ll be writing in order to discover themes in your life. We'll be touching on narrative subjects such as
the reliability of memory, point of view, tackling the accuracy of dialogue, as well as how to portray
other characters in your life—memoir is not just about the “I." You’ll be surprised at how much you can
accomplish during this semester.

CWL 540.S02 Forms of Creative Nonfiction: Write Your Head Off, Melissa Bank
Mondays, 5:20 – 8:10 pm (Class #96260)
In this workshop, you’ll actually be writing in class, and, however impossible or scary that may sound, it
will be great—hard work, but really fun. In as much as you’ll be writing about your own life, this is a
memoir workshop, but we’re not going to concern ourselves with the rules or rigors of that genre. In
fact, we’re going to behave as if there aren’t any rules at all. As such, the class should be just as useful
for writers of fiction.

CWL 560.S01 Topics in Literature: The House as Story, Susan Scarf Merrell
Wednesdays, 3:40-6:30 pm (Class #96187)
“Last night I dreamt I went to Manderley again.”
We will try to make sense of the house, using psychological, mythological and architectural ideas to
dismantle the ways that house and home can be used to structure a fictional world. Among the possible
texts are Henry James’ The Jolly Corner, Edith Wharton’s The House of Mirth, Shirley Jackson’s The
Sundial, Edward Carey’s Observatory Mansions, DuMaurier’s Rebecca, Kafka’s The Castle, Toni
Morrison’s Beloved, William Trevor’s My House in Umbria, William Faulkner’s Light in August, Thomas
Mann’s Magic Mountain, and the stories of Poe.

CWL 580.V01 Practicum in Arts Admin, Christian McLean.
Wednesdays, 2:00-3:20 pm (1 – 4 cr.) (Class #94042)
This course teaches important skills in arts/event management. It provides education in marketing,
design and software that will boost your resume and increase your workplace skill set. We’ll examine
work/volunteer opportunities in local arts organizations and you will design an MFA event from the
ground up. Learn the basics in Photoshop, mailmerge, Google Docs/sheets, Constant Contact, plus
facebook & twitter ads. Completion of at least 6 program credits or permission of instructor required.

CWL 581.S01 Practicum in Teaching Writing, Lou Ann Walker
Tuesdays, 10:30-1:20 pm, CH 202 and on MAIN CAMPUS (October and early December)
(3 cr.) (Class # 94059)
Offered in combination with undergraduate sections of CWL 202, Intro to Creative Writing, held on main
campus, this course provides hands-on experience and instruction in the basics of writing pedagogy,
including designing writing assignments, sequencing assignments, motivating writing, writing skill
development, and evaluating writing. Students will also be given a preliminary overview of the major
theories driving composition pedagogy. Completion of at least 6 program credits or permission of
instructor required.

CWL 582.S01 Practicum in Publishing & Editing, Faculty Editors & Emily Gilbert
Wednesdays, 11:00 am - 1:50 pm, CH 202  (Class # 94058)
Under the guidance of editors and advisors, students will be exposed to the hands-on process of editing
and publishing TSR: The Southampton Review. Completion of 6 credits or permission of instructors

Thesis - CWL 599 (1-6 credits)
Must have thesis planning form on file and approval of thesis advisor to register.  Schedule based in Southampton.

.V01 #94040 Merrell
.V02 #94047 Rosenblatt
.V03 #94048 Walker
.V04 #94049 Jones
.V05 #94050 Caglioti
.V06 #94051 Handley Chandler
.V07 #94052 Hegi
.V08 #94053 Bank
.V09 #94055 Reeves
.V10 #94057 Sheehan

.V11 #94060 Brandeis
.V12 #94061 Walker – Pre-thesis Planning, 1 cr.
.V13 #94062 Hempel
.V14 #94063 Marx
.V15 #96190 Eady
.V16 #96191 Minot
.V17 #TBD Harding
.V18 #TBD McAndrew
.V19 TBD Black




Stony Brook Manhattan
535 Eighth Ave, 5th floor, 36-37th St.

CWL 500.S60 Introduction to Graduate Writing, Robert Reeves & Carla Caglioti.
Mondays, 5:20-8:10 pm
(Class # 96184)
A seminar that introduces students to one another, the faculty, the program in Creative Writing and
Literature, and to issues in contemporary writing. Offered in conjunction with the "Writers Speak"
lecture series. Students will attend the regular series of readings sponsored by the Writing program and
meet at weekly intervals under the direction of a faculty advisor to discuss and write about topics raised
in the lecture series, as well as issues generated from seminar discussions and assigned readings. Please
note: CWL 500 is a required course that should be taken in the first year.

CWL 520.S60 Forms of Poetry: Prose Poem, Short-Short or “Couldn’t Finish,” Amy Hempel
7 Saturdays, 12:00 - 6:00, dates: 9/1, 9/8, 9/15, 9/29, 10/13, 10/20, 10/27 (Class #96185)
In this course, we will read and discuss short-short stories and prose poems from several countries and
centuries, drawing mostly from contemporary examples. Students will write frequently in one or both
forms, after we look at the specific requirements of each, a variety of definitions, and differences and
similarities. As one practitioner noted, “The short-short is like a regular story, only more so.”

CWL 560.S60 Topics in Literature: Reading and Writing the Short Story, Susan Minot
Tuesdays, 5:20-8:10 pm (Class # 96188).
As our 2013 Nobel Laureate Alice Munro recently said, the short story is “an important art, not just
something you played around with until you got a novel.” Focus in this workshop will be on the building
blocks of the short story: style, structure and content. In class discussions of student fiction, we will
focus on refinement of that style, on varieties of structure, with an eye to finding the subject best suited
to each writer. Strong editorial feedback will assist the students in both practicing editing on their
fellow students, as well as learning the value of doing draft after draft in order to strengthen and focus
the material of his or her concern. Mastery of one’s craft is our goal. Suggested outside reading will
direct students to the masters, choosing from among: Anton Chekhov, Raymond Carver, Lydia Davis,
Amy Hempel, Franz Kafka, Flannery O'Conner, John Cheever, Katherine Mansfield, Ernest Hemingway,
Lorrie Moore, and James Salter.

CWL 580.S60 Arts Administration Practicum, Carla Caglioti
Alternate Mondays, 4:00 – 5:00 pm (Class #96189).
Hybrid course (in-person, skype, email)(1 credit)
In this practicum we will look at the opportunities and obstacles in building sustainable arts
programming in Manhattan. The class will be given a budget from which to research, develop, schedule
and market a literary event with the goal of building community and establishing traditions for
Manhattan. This practicum will introduce participants to the "business of the arts," providing an
overview of the types of work that arts administrators do and the current issues and trends arts
management professionals face. By the end of the course, students will have developed an
understanding of the critical areas which arts administrators must manage, including budgeting,
marketing/publicity, fundraising, audience development, surveying and analysis, scheduling, and
contracts. Permission of instructor and completion of at least 6 program credits required.

Thesis - CWL 599
Must have thesis planning form on file and approval of thesis advisor to register. Schedule based in

.V01 #94040 Merrell
.V02 #94047 Rosenblatt
.V03 #94048 Walker
.V04 #94049 Jones
.V05 #94050 Caglioti
.V06 #94051 Handley Chandler
.V07 #94052 Hegi
.V08 #94053 Bank
.V09 #94055 Reeves
.V10 #94057 Sheehan

.V11 #94060 Brandeis
.V12 #94061 Walker – Pre-thesis Planning, 1 cr.
.V13 #94062 Hempel
.V14 #94063 Marx
.V15 #96190 Eady
.V16 #96191 Minot
.V17 #TBD Harding
.V18 #TBD McAndrew



Manhattan Film Courses Open to CWL Students

Please note: Please submit a course substitution form for FLM courses to be credited towards fulfilling
CWL requirements. FLM courses are two-three credits, so additional course, practicum, or independent
study may be necessary to complete the degree credit requirements. Note that the two CWL
courses offered through the Film program are for THREE (3) credits.

CWL 530.S60  Forms of Scriptwriting – Writing for TV, M. Scott Burkhardt  (3cr)
Mondays, 5:20-8:10 pm (Class #96619)
Writing the Spec Script: Students learn how to write a spec script for a TV show that is currently on the
air. A “spec” is a script where the writer creates original stories for a show’s existing characters. A great
spec is a key part of the portfolio needed to get a job as a television writer. Students will learn how to
brainstorm story ideas, structure an outline and write scenes with dialogue, all in a constructive,
supportive workshop atmosphere. The class covers both half-hour comedies and one-hour dramas. In
addition, the class will watch, deconstruct and discuss a wide variety of TV shows in order to better
understand how a successful episode is built. All the basics of TV writing are covered and the workshop
is designed to closely mirror a professional writers room on a prime-time series.

CWL 530.S61 Topics in Film - Screenwriting: The Short, Jennie Allen (3 cr)
Wednesdays, 5:20-8:10 pm (Class #96622)
The aim of this workshop is to approach short form screenwriting through exercises, experimentation,
providing and receiving feedback, and reflection. Students will study different short forms and dramatic
theory but the focus of the class is on practice; students will learn through writing, critique, discussion,
and reflection. The main fuel for each class will be student work. Students will leave with at least two
polished short film scripts, including the short film they will pitch in the Master Class and shoot in Spring.

FLM 550.S60  Teaching Practicum, Karen Offitzer (3 cr)
Thursdays, 5:20-8:10 pm (Class #96961)
Required course for those seeking future employment as an instructor at the undergraduate level. This
course plunges into the basics of pedagogy, including designing assignments, sequencing them, grading
them, and creating syllabi for writing, directing, film analysis and producing courses. You’ll get hands-on
experience creating lesson plans and conducting lectures, seminars and filmmaking workshops, and will
gain a preliminary overview of pedagogy on your way to devising your own. Most importantly, you’ll ask
and ask again, “What is teachable about filmmaking, and who am I to teach it?” At least 6 program
credits or permission of the instructor required. Please note that additional class time will be arranged
with instructor.

FLM 510.S60 Film History I: European Auteurs Film Survey, Lenny Crooks (3 cr)
Tuesdays, 8:20-11:10 pm (Class #96495)
There is an identifiable European way of filmmaking. It has nothing to do with style or genre (although
Action films are few and far between). Rather it is about process and priority. Regarding process, there
are so many sources of public funding for development that for most distributed films have the writer
will have been paid for several drafts. As regards priorities, the director is considered the most
important element in a film's creation. So much so that many films are financed on artistic merit without
undue consideration of the box office potential of lead cast members. Regardless of who has written the
script, a director who has achieved distinction is considered the author or 'Auteur'. At two-week
intervals we will screen and discuss a film followed by an analysis of the director's body of work.

FLM 650.S60 Screenwriting – Jennie Allen (3 cr)
8 Saturdays, TBD (Class #96496)
In this course you will develop a feature length screenplay idea. By the end of the class you will have
written a prose treatment of the story from start to finish, as well as the first 30 pages. We will work on
two levels: screenings, screenplay readings, and analysis of feature film structure alongside writing
exercises and assignments to help you develop your idea into a compelling story.

FLM 651.S01 Advanced Screenwriting – Refine your Story, Complete Your Draft: Screenwriting II, Annette Handley Chandler (3 cr)
8 Saturdays 11-5 PM, 4 in Manhattan, 4 in Southampton (Class #96497)
This course will build on introductory screenwriting skills and elements. It will offer a more intensive
study of the screenwriting craft especially character, scene construction, scene sequence/juxtaposition
and dialogue. Viewing film/film clips as well as analyzing and deconstructing more complex screenplays
will be required. Rigorous class sessions will consist of group readings and open critiques. The objective
of this course will be to structure and write or rewrite a full-length feature screenplay. Intermediate to
Advanced Screenwriters. Prerequisite Screenwriting I.

FLM 6510.S61 Screenwriting Workshop II: Dogme, Lenny Crooks (3 cr)
Wednesdays, 5:20-8:10 pm (Class #96605)
With the guidance of Lenny Crooks, Magdalene Brandeis, and Jennie Allen, writer/directors will follow in
the tradition of the Stony Brook/Killer 20/20/20 boot camp and borrow from the Dogme manifesto
drawn up by Danish filmmakers Lars Von Trier and Thomas Vinterberg. This course offers a unique
writing/directing/learning opportunity. Working from pre-existing characters -- either a main character
or a subsidiary character from a short film you have written or made - and inclusive of your classmates'
characters, the group collaborates to create a digital series, filmed in December. Episodes add up to a
cohesive series. This course will give participants writers’ room experience, show-runner experience,
and prepare feature film directors for trans-media promotions, etc. Course Prerequisite: first year

FLM 525.S65 TV Topics in Film: TV Guest Series, Alan Kingsberg (2 cr)
Mondays, 7:30-9:30 pm (Class #96607)
A moderated guest series featuring in-depth discussions with TV writers and producers about their
scripts, series and careers. Meets six times during the Fall semester.