upenn creative writing certificate

Creative Writing at Penn’s College of Liberal and Professional Studies

Creative writing at penn’s college of liberal and professional studies.

Become a Penn-made writer—your way. Designed with working adults and nontraditional students in mind, Penn’s College of Liberal and Professional Studies (LPS) offers a range of opportunities to study the craft of creative writing with expert faculty and a community of like-minded peers. As a Penn student, you have access to world-class resources including Penn Libraries and Kelly Writers House, as well as personalized advising to help you make the most of your Penn experience. 

What’s your story?

Whether you are an experienced writer hoping to focus and polish your work or a beginner exploring the arts of creative expression, Penn LPS workshops, and writing-intensive Proseminars offer inspiration, technique, and constructive feedback. Wherever you are, whatever level of education you’ve achieved, there’s a program for you at Penn.

Bachelor of Applied Arts and Sciences >

Master of Liberal Arts >

Master of Philosophy in Liberal Arts >

Certificate in Creative Writing >

Penn LPS Online courses >

Post-Baccalaureate Studies >

Beginning or completing a bachelor’s degree?

The Bachelor of Applied Arts and Sciences (BAAS) degree is an accredited degree program that offers an Ivy League liberal arts education—fully online.

• Earn a bachelor’s degree, with the option to complete related certificates at the same time
• Complete 30 courses (or less, if eligible for credit transfer) through full-time study or a part-time flexible pace
• Take immersive, fully online courses from anywhere in the world; does not require residence in Philadelphia
• Tailor your studies with a degree concentration such as Creative Studies , Individualized Studies , or Literature, Culture, and Tradition
• Apply through the standard admissions process, or “prove your way in” by demonstrating academic ability
• Apply for a fall, spring, or summer start

Learn more about BAAS >

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Looking for a graduate degree that isn’t terminal?

The Master of Liberal Arts (MLA) program allows you to design your own curriculum by choosing courses across the University and combining different disciplines to tackle the question or project that motivates you. Anchored by writing-intensive Proseminar courses, the MLA is ideal for students who wish to draw from different disciplines to approach a creative project or research query.

Designed for students who already have a master’s degree and want a short, focused degree program to extend their studies, the Master of Philosophy in Liberal Arts (MPhil) program balances all the benefits of the MLA with the independence of self-directed study.

• Earn a graduate degree with the option to complete a graduate certificate in creative writing at the same time
• Complete coursework and a capstone project in one year of full-time study or at a part-time flexible pace
• Take daytime or evening courses on campus, and online courses when available
• A bachelor’s degree in any field is required to apply, and the Graduate Record Exam (GRE) is optional

Learn more about MLA >

Learn more about MPhil >

Just want to write—without committing to a degree program?

Unlock your creativity from anywhere in the world through accelerated online courses. The Certificate in Creative Writing allows you to choose four courses from a variety of collaborative workshops—including genres such as poetry, fiction, and creative nonfiction—to earn a certificate, or a total of six courses to qualify for an advanced certificate. Want to test the waters first? Enroll in individual courses in creative writing without committing to a program of study, enjoying the flexibility and expertise offered by Penn LPS Online to suit your schedule and interests.

• Earn academic credit with each course, with the option to complete a certificate
• Complete the certificate program in less than one year, or take courses at your own pace
• Fully online and asynchronous; does not require residency in Philadelphia
• No application or prerequisites required; you are eligible if you have attained a high school diploma
• Enroll any time for a fall, spring, or summer start

Learn more about Penn LPS Online certificates >

Learn more about Penn LPS Online courses >

If you’ve completed a bachelor’s degree or higher, the Post-Baccalaureate Studies (or post-bacc) program is a unique opportunity to hand-pick courses from more than 50 academic departments—including creative writing, literature, and related studies.

• Earn academic credit with each course
• Complete coursework through full-time study or a part-time flexible pace
• A bachelor’s degree in any field is required to apply

Learn more about Post-Baccalaureate Studies >

Already enrolled in a degree program?

If you’ve committed to a degree program at Penn or another institution, you may still have an opportunity to practice writing at Penn.

• Anyone with a high school diploma can enroll as a visiting student during Penn Summer Sessions —no application needed
• Undergraduates can enroll as a Domestic Guest Student to spend a term at Penn
• Penn graduate students can enroll in writing-focused MLA courses as electives

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While LPS values creating a community of diverse lived experiences, in considering your application for admissions, LPS has not in the past and will not in the future consider racial or ethnic identity as a factor in the admissions decision. We are in the process of revising our application language. Applicants are not required to respond to any questions regarding race or ethnicity.

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Creative Writing

The English Major with a Concentration in Creative Writing provides students with a solid grounding in literature as well as advanced study in creative writing. Penn’s premier undergraduate creative writing program includes courses in poetry, fiction, nonfiction, screenwriting, playwriting, writing for children, journalistic writing, and review.

The English Major with a Concentration in Creative Writing consists of 13 courses distibuted as follows:

• 6 courses to complete the English Core
• 3 Creative Writing Seminars—any courses within these ranges: ENGL 0051, 0700-0799, or 3000-3999
• 1 course from The One Series (anything within this range: ENGL 4500-4998)
• 1 Literature Seminar in either Literature Before 1700 (a course with the AEB7 attribute) or Literature Before 1900 (a course with the AEB9 attribute)
• 1 Literature Seminar in any area (this can be an additional Creative Writing Seminar)
• Elective(s)

If you are interested in this concentration, please contact Julia Bloch, Director of Creative Writing ( [email protected] ).

Our faculty of award-winning writers teach more than sixty workshops each year in fiction, poetry, creative nonfiction, speculative writing, journalism, playwriting, screenwriting, and writing for children and young adults. We also offer a number of innovative workshops in cross-genre, experimental, and hybrid writing, including writing that engages with community organizing, multimedia and visual arts, and performance. Our program is home to for-credit apprenticeships and programs in independent study, a number of student honors and awards, and events throughout the year that are open to the public.

Creative Writing courses as well as the Creative Writing Minor and the Journalistic Writing Minor are open to any student in the four undergraduate schools (College, Wharton, Engineering, Nursing) or in the College of Liberal and Professional Studies. Additionally, English majors can choose to concentrate in Creative Writing, one of the most popular paths in the English major.

The Creative Writing Program invites visiting writers to the Penn campus for readings and talks, often at the renowned and hospitable literary hub Kelly Writers House. Recent visitors have included poets, fiction writers, screenwriters, playwrights, and memoirists, including Claudia Rankine , John Keene , Margaret Christakos , Rachel Levitsky , Divya Victor , Jenny Zhang , Scott Neustadter , Elizabeth Willis , Maria Dahvana Headley , Bhanu Kapil , Nicole Dennis-Benn , Will Alexander , Edwin Torres , Yolanda Wisher , Paul Lisicky , Madeleine George , Daniel Saldaña París , Rob Sheffield , Lesley Nneka Arimah , Eduardo Espina , and Patterson Hood . We have also hosted a robust roster of journalists from The Washington Post , ProPublica , Politico , The New Yorker , The New York Times, The Atlantic , and elsewhere, including Karen Heller , Brooke Borel , Michael Sokolove , Matthew Nusbaum , Alec MacGillis , Charles M. Blow , Paul Waldman , Ada Calhoun , Patrick Kerkstra , Ariel Levy , and Jennifer Lin .

Rising seniors are encouraged to apply to our Creative Writing Honors Program, through which students complete a capstone project under consultation of a faculty advisor. Through  RealArts@Penn , students are given the opportunity to engage with alumni in writing-related careers and to apply for paid summer internships in creative fields across the country. Each spring, the Creative Writing Program sponsors university-wide writing contests in several categories: poetry, fiction, review, scriptwriting, creative nonfiction, journalistic writing, and translation.

Related Programs and Groups

• Penn's Creative Writing Program
• Kelly Writers House

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Creative Writing (CRWR)

The courses listed on this page are exclusive to the LPS BAAS degree and LPS Online certificates .

CRWR 1010 The Craft of Creative Writing

The Craft of Creative Writing is designed for students who are new to creative writing or who would like to return to the fundamentals of craft. Through frequent writing assignments, assigned readings and collaborative discussions, students familiarize themselves with a variety of styles and approaches, exploring a range of literary genres including poetry, fiction, creative nonfiction, memoir and journalistic prose. Students are expected to hone their skills in creative practice, to revise and take risks with their work and to cultivate their habits of close reading and peer feedback.

1 Course Unit

CRWR 1600 Modern and Contemporary US Poetry

In this fast-paced introductory course, students read and discuss a wide range of modern and contemporary American poets, beginning with Emily Dickinson and Walt Whitman and ending with 21st-century avant-garde poets like Tracie Morris. Questions central to this course include "How does experimental poetry help us understand the transition between modernism and postmodernism?" and "What is the relationship between experimental poetry and experimental teaching?" The poems and poets we study challenge students to read critically and think differently about what a poem is, about what art can be and about what poetry can teach us about reading, writing and learning. Students do not need to have any prior knowledge of poetry or poetics. The course operates primarily as a discussion. Rather than attending lectures, students participate in web-based discussions of the poems, accessible in text, audio and video formats. Requirements include active participation in the online discussion forums, in addition to five short papers, quizzes, creative exercises and a comprehensive final examination.

Also Offered As: ENLT 1600

CRWR 2010 Poetry Workshop

Poetry Workshop is a course for students who are new to poetry or who would like to return to the fundamentals of poetry. This workshop uses frequent writing assignments, assigned readings and collaborative workshop discussions to explore various elements of poetic craft, including imagery, metaphor, line, stanza, music, rhythm, diction, and tone.

CRWR 2400 The Art of Editing

This course takes a critical and practical approach to the art of editing. Is the editor simply a “failed writer,” as T. S. Eliot claimed, or is good editing the key to a writer’s clarity and integrity? In addition to exploring theories and histories of the red pen—including Marianne Moore’s five-decade quest to revise a single poem and the editor who was discovered to have invented Raymond Carver’s distinctive narrative style—we immerse ourselves in the technical aspects of editing, covering such topics as the difference between developmental and line editing, the merits of MLA and Chicago style, proofreading in hard copy and digital environments, and when to wield an em dash. Students gain practical editing experience, learn about a range of different levels of editorial interventions, and investigate the politics of language usage and standards. This course is suitable for aspiring copyeditors or any writer who wants to polish up their grammar and punctuation skills.

CRWR 2500 Writing and Meditation

Writing and Meditation is a course for students interested in intersections between creativity and contemplative practice. No previous experience is necessary. Curiosity and openness to multiple traditions of mindfulness is encouraged. In each module we'll explore a different approach to present awareness and writing. Course materials and practices will include focus on: attention, movement, gazing, listening, dreaming, metacognition and healing. We'll read sacred and secular texts spanning time and place from the Spanish mystic Téresa of Avila, to current brain science on neuroplasticity and how meditation and creative practice can rewire the brain. We'll read contemporary poets such as Zen priest Norman Fischer and spiritual luminaries such as Tenzin Wangyal Rinpoche and Pema Chodron. We'll also explore visionary visual artists such as Hilma af Klimt and musicians including Alice Coltrane and Laraajji. Students will write in response to written and audio prompts, receive peer and instructor feedback on their work, and compile a portfolio of writing created throughout the course.

CRWR 2600 Fiction Workshop

Fiction Workshop is a course for students who are new to fiction writing or who are new to fiction writing or who would like to return to the fundamentals of fiction. This collaborative workshop uses frequent writing assignments, assigned readings and workshop discussions to explore various elements of the craft of fiction, including character, form, description, dialogue, setting, genre, and plot.

CRWR 2800 Narrative Collage

Narrative Collage is designed for students interested in experimenting with different kinds of prose, including memoir and fiction, and is appropriate for any level of experience, from curious beginners to accomplished writers. This course will explore fiction and creative nonfiction using nontraditional techniques including nonlinear segments, multiple voices, found texts, and more. Students will dig into readings from a wide range of sources, from Sei Shōnagon’s 10th-century Pillow Book through contemporary works such as Jenny Offill’s Weather, and will write weekly responses to those readings. Every week, students will produce their own original creative work using a number of narrative collage techniques discussed in class, and will have the opportunity to revise and polish their own writing. Lively peer feedback is required in the form of discussion boards. Additionally, there will be optional live sessions for discussion and sharing creative work.

CRWR 3000 Writing About Place

This multi-genre, collaborative course is devoted to writing of and about place. Students consider place both literally—writing about the city or the landscape, for example—and figuratively—writing that engages thematically and formally with location, with displacement, and with the writing process itself as a form of mapping and belonging.

CRWR 3200 Screenwriting

Students in Screenwriting will explore key strategies for writing affecting scenes, urgent stories, and powerful visual experiences for feature films, short films, or television. In addition to learning the vernacular of visual storytelling and how to format scripts, students will explore complex narrative elements such as character, tension/conflict in scenes, urgency/escalation of story, structure, and more. Students will examine successful film and television examples to better understand the complexity of a filmed scene and will write their own individual micro-scenes. The course will culminate with each student writing a three-page scene in script format that will receive prescriptive feedback in the form of group “workshops” where students will collaboratively outline and/or write the next 2-3 pages of each scene that students present in their groups, thereby replicating the highly collaborative and cooperative environment in the screenwriting industry.

CRWR 3600 Advanced Nonfiction

Students in this course study a range of genres in creative nonfiction, including memoir, personal essay, and journalistic prose. Students use frequent writing assignments, assigned readings, and collaborative peer feedback to explore various elements of prose writing, with an emphasis on voice, description, narrative structure, and approaches to time.

CRWR 3700 Journalism Workshop

This is a course dedicated to the practice of journalistic writing. Students will learn about a range of journalistic genres, which may include interviews, profiles, reportage, features, storytelling, and criticism, as well as a range of journalistic writing tools, which may include exposition, quotation, research methodology, and fact-checking.

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Courses for Fall 2020

English 010.301    Intro to Creative Writing: Sports Narratives      Jamie-Lee Josselyn     M 2:00-5:00   

English 010.302    Intro to Creative Writing: Extreme Noticing     Sam Apple     T 4:30-7:30   

English 010.303    Intro to Creative Writing     Weike Wang    M 2:00-5:00

English 010.304    Intro to Creative Writing: Fact and Fiction     Marion Kant    T 1:30-4:30    

English 010.305    Intro to Creative Writing: Poetry and Memoir     Laynie Browne    R 1:30-4:30 

English 010.306     Intro to Creative Writing: Narrative Collage     Karen Rile     W 2:00-5:00

English 010.307    Intro to Creative Writing: Imitations in Writing and Form     Ahmad Almallah    T 4:30-7:30   

English 010.601    Intro to Creative Writing: Poetry and Memoir     Laynie Browne    W 5:30-8:30 

English 110.401     Writing for Television     Scott Burkhardt    W 6:00-9:00

English 112.301    Fiction Writing Workshop     Marc Anthony Richardson     W 6:00-9:00     

English 113.301     Poetry Writing Workshop     Rachel Zolf    T 1:30-4:30

English 114.401    Playwriting Workshop    Anne Marie Cammarato    F 2:00-5:00 

English 115.301    Advanced Fiction Writing     Max Apple     T 1:30-4:30  

English 115.302     Advanced Fiction Writing: Autofiction      Weike Wang   M 5:00-8:00   

English 116.401    Screenwriting     Kathleen DeMarco Van Cleve     M 2:00-5:00   

English 116.402    Screenwriting     Scott Burkhardt     W 2:00-5:00   

English 116.403     Screenwriting     Scott Burkhardt     R 4:30-7:30   

English 117.301    The Arts and Popular Culture     Anthony DeCurtis     R 1:30-4:30  

English 121.301    Writing for Young Adults     Nova Ren Suma     W 2:00-5:00

English 122.301    Making Comics     J.C. Cloutier and Rob Berry    MW 2:00-3:30   

English 124.401    Writing and Politics     Lorene Cary    W 5:00-8:00

English 129.401     Across Forms: Art and Writing     Sharon Hayes and Rachel Zolf    W 2:00-5:00        English 130.401    Advanced Screenwriting     Kathleen DeMarco Van Cleve     W 2:00-5:00  

English 134.401     Passion Projects: Radical Experiments in Writing Plays, Screenplays, Solo Shows and Pilots     Ricardo A. Bracho    R 4:30-7:30 

English 135.301    Creative Nonfiction Writing     Max Apple     R 1:30-4:30   

English 135.302     Narrative Nonfiction: The Art of Experience     Jay Kirk     T 1:30-4:30   

English 135.303     Creative Nonfiction Writing: Writing Your Travels     Marion Kant     R 1:30-4:30   

English 138.401    Writing Center Theory and Practice     Valerie Ross     TR 10:30-12:00   

English 142.401    Duchamp Is My Lawyer      Kenneth Goldsmith  and Peter Decherney    R 1:30-4:30

English 145.301    Advanced Nonfiction Writing: Writing about Mental Health and Addiction     Stephen Fried     M 4:30-7:30   

English 158.301    Journalistic Storytelling     Dick Polman     M 2:00-5:00

English 159.301    Political Commentary Writing: The Presidential Election     Dick Polman     W 2:00-5:00 

English 514.640    Writing Experiments     Christy Davids     T 4:30-7:30  

English 516.640    Writing and Remembering: A Memoir Workshop     Kathryn Watterson     R 5:30-8:10   

Descriptions

English 010.301 Intro to Creative Writing: Sports Narratives Josselyn M 2:00-5:00

We use sports to shape our lives as individuals, as families, and as communities. Whether a runner completing a marathon for charity, a high school hopeful’s quest for a scholarship, or a pro team clinching — or falling short of — a title, the highs and lows of an athletic journey, when combined with literary devices, insightful reflection, and occasionally just the right amount of indulgence, make for stories that teach and inspire. Even those of us who are true amateur athletes or exclusively spectators tap into the emotions that sports evoke. Additionally, sports provide a crucial platform for social, political, and cultural issues via circumstances both on and off the court, field, or track.

  Over the course of the semester, students in our workshop will compose a personal essay from the perspective of an athlete or fan, a reported piece on an athlete, team, or sporting event, and a short story that centers around athletics. For their final project, students will complete a longer piece in one of these modes, along with a revision of an earlier draft. As students work on their own sports stories, we will be joined by several in-class guests and we will read the work of great storytellers like Grantland Rice, Toni Cade Bambara, Roger Angell, Leslie Jamison, Bill Simmons, and Penn’s own Buzz Bissinger, Sam and Max Apple, and Dan McQuade. We will also look to professional athletes whose words and gestures have made an impact, from fan favorites like Philly’s own Jason Kelce to athlete activists like Kathrine Switzer, Megan Rapinoe, and Colin Kaepernick.

English 010.302 Intro to Creative Writing: Extreme Noticing Sam Apple T 4:30-7:30

In the words of novelist Alice LaPlantte, “our first job as writers” is “to notice.” We all notice the world around as we make our way through each day, but “noticing” as a writer is different. Whether working on fiction, nonfiction, poetry, or any other genre, the writer has to pay attention to the very small, to zoom in on the specific detail or insight that can make even the most mundane moment feel entirely new. Noticing in this way is a skill that, like most skills, is developed with practice. In this class, we’ll practice paying attention to the small with weekly writing prompts and take occasional “noticing excursions” around campus. Along the way, we’ll review student writing as a group and read works by great contemporary noticers, including Karl Ove Knausgaard, Chimamanda Ngozi Adichie, Ben Lerner, and Miranda July. Questions? Contact me at [email protected] .

English 010.303 Intro to Creative Writing Wang M 2:00-5:00

In this course, students will read contemporary fiction writers such as Nunez, Hempel, Shepard, and Moody, among others. Students will be introduced to the craft of writing through discussions on plot, character, dialogue and voice. Students will also be encouraged to explore different kind of fictional writing from flash to ‘pseudo-memoir’ to the short story. The second half of the semester will be dedicated to workshopping the works of peers. Each student will be expected to turn in biweekly short assignments (1-2 pages) as well as two creative pieces for workshop (8-12 pages).

English 010.304 Intro to Creative Writing: Fact and Fiction Kant T 1:30-4:30

In this course, students will read literature by contemporary (and not so contemporary) writers such as Virginia Woolf, George Orwell, Edna O’Brien, Angela Carter, Bell Hooks, Zadie Smith, Neil Gaiman. Students will be introduced to the craft of writing through discussions of genres, styles, techniques and themes.

This course is going to be taught online, both in synchronous and asynchronous sessions that take the form of workshops and interactive discussions. There will also be independent discussions between student and instructor. The seminar is scheduled for three hours on Tuesday between 1:30 and 4:30pm with reading, writing and talking sections.

English 010.305 Intro to Creative Writing: Poetry and Memoir Browne M 5:30-8:30

This is a course for students who are interested in exploring a variety of approaches to creative writing, including poetry, memoir, and hybrid texts. Readings will include poetry and memoir, and will represent various approaches to writing from life, including works by:  Theresa Hak Kyung Cha,  Marosa Giorgio,  Nathalie Sarraute,  Renee Gladman, and Lyn Hejinian, among others. Students will be encouraged to discover new territory, to cultivate a sense of play, to collaborate, and to unhinge conventional assumptions regarding what is possible in writing.

English 010.306 Intro to Creative Writing: Narrative Collage Rile W 2:00-5:00

NARRATIVE COLLAGE:  because the most interesting journey isn’t a straight line. In this workshop we’ll explore fiction and creative nonfiction using nontraditional techniques including nonlinear segments, multiple voices, found texts, and more. We’ll dig into readings from a wide range of sources, from Sei Shōnagon’s 10th-century  Pillow Book  through Jenny Offill’s 2020 bestseller  Weather.  This seminar-style course is designed for students interested in experimenting with both memoir and fiction, and is appropriate for any level of experience, from curious beginners to accomplished writers. There will be weekly reading assignments with short response papers and weekly creative prompts, which will be workshopped in a collaborative, supportive setting. Questions? Contact me at  [email protected] .

English 010.307 Intro to Creative Writing: Imitations and Writing in Form Almallah T 4:30-7:30

What is a cento? An essay? A short story? How do you go about writing one? How can writing a sonnet or a piece of dialogue both be an exercise in bringing the poetics of language to the forefront? How can the imitation of literary forms be a way into improving your writing? How does writing “a terrible sonnet” sound to you? This course works around the idea of imitation as a way of constructing generative practices of writing by setting limitations. We’ll begin by looking at examples of poetic forms and their imitations in pre-modernist and modernist works and their use of form. Eventually we’ll work on writing our own imitation and how to use them or break them into any style, including prose.

English 010.601 Intro to Creative Writing: Poetry and Memoir Browne W 5:30-8:30

English 110.401 Writing for Television Burkhardt W 6:00-9:00

This is a workshop-style course for those who have an interest in writing for television. The course will consist of two parts: First, students will develop premise lines, beat sheets and outlines for an episode of an existing television show. Second, students will develop their own idea for a television series which will culminate in the writing of the first 30 pages of an original television pilot. Students will be admitted on the basis of an application by email briefly describing their interest in the course and their experience as a writer to [email protected] . This course is cross-listed with Cinema and Media Studies 117.

English 112.301 Fiction Writing Workshop Richardson W 6:00-9:00

In this fiction writing workshop, we will be making a conscious effort to transcend our personal reading and writing preferences in order to be apprenticed by divergent literature—aesthetic achievements centered around objective reality, subjective life, and ecstatic confession and play! Most of the works that tend to affect us deeply are the ones that might have wearied us, or even greatly disturbed us. But in time, upon further reflection, we find them rather informative—or even illuminating! We will do a lot of new weekly writing, which will result in a draft and a final version of an original story. You and another classmate will be “hosting” at least one class in open discussion of a weekly reading, and critiquing each other’s drafts—focusing on craft, rather than content. You will challenge your self-censorship in a safe and supportive environment, and will read weekly what you write to develop your observational and listening skills in determining the effects of the spoken word.

English 113.301 Poetry Writing Workshop Zolf T 1:30-4:30

There’s a reason Plato banned all poets from his utopian Republic: poetry is wild, uncontainable, ungovernable. The poetic is a force that upends not just language but all fixed ideas and categories. In this course we’ll explore your poetic potential. Students are welcome in our language lab no matter what your experience with the poetic has been. You can even be a fiction or creative non-fiction writer--or an artist--interested in working with the force of the poetic and improving the rhythm, diction, sound, and arrangement of your work with language. In this course, you’ll read and respond to a range of poetic works, write every week, be workshopped by your peers, and work on a poetic portfolio that is just as wild as you can be.

English 114.401 Playwriting Workshop Cammarato F 2:00-5:00

This course is designed as a hands-on workshop in the art and craft of dramatic writing. It involves the study of new plays, the systematic exploration of such elements as storymaking, plot, structure, theme, character, dialogue, setting, etc.; and most importantly, the development of students' own short plays through a series of written assignments and in-class exercises. Since a great deal of this work takes place in class - through lectures, discussions, spontaneous writing exercises, and the reading of student work - weekly attendance and active participation is crucial.  This course is cross-listed with Theatre Arts 114 . 

English 115.301 Advanced Fiction Writing Max Apple T 1:30-4:30

The class will be conducted as a seminar. Every student will write four stories during the semester; each story will be discussed by the group. The instructor will, from time to time, suggest works of fiction that he hopes will be illustrative and inspirational but there will be no required books. Attendance and active class participation are essential. Permit from the instructor is required. Please submit a brief writing sample to [email protected] .

English 115.302 Advanced Fiction Writing: Autofiction Wang M 5:00-8:00

Often what we write can feel close to home.  Our characters and events, some are firmly rooted in the real.  But what is the overlap between writer and character?  Writer and story?  In this course, students will study the modern tradition (and trend) of auto fiction, or fictionalized autobiography.  We will read writers such as Li, Cusk, Heti, Nunez, Hempel, Galchen, among others, and study auto fiction in both short and long forms.  In our discussion, we will attempt to pull apart the layers that go into a truthful story that is also a lie.  Throughout the semester, students will have a chance to write auto fiction of their own.  Each student will be expected to turn in biweekly assignments (2-4 pages) that will culminate in a final portfolio of ‘autobiographical’ work. 

English 116.401 Screenwriting DeMarco Van Cleve M 2:00-5:00

This is a workshop-style course for those who have thought they had a terrific idea for a movie but didn't know where to begin. The class will focus on learning the basic tenets of classical dramatic structure and how this (ideally) will serve as the backbone for the screenplay of the aforementioned terrific idea. Each student should, by the end of the semester, have at least thirty pages of a screenplay completed. Classic and not-so-classic screenplays will be required reading for every class, and students will also become acquainted with how the business of selling and producing one's screenplay actually happens. Students will be admitted on the basis of an application by email briefly describing their interest in the course to [email protected]. edu . Permit from the instructor is required. This course is cross-listed with Cinema and Media Studies 116 .

English 116.402 Screenwriting Burkhardt W 2:00-5:00

This is a workshop-style course for those who have thought they had a terrific idea for a movie but didn’t know where to begin. The class will focus on learning the basic tenets of classical dramatic structure and how this (ideally) will serve as the backbone for the screenplay of the aforementioned terrific idea. Each student should, by the end of the semester, have at least thirty pages of a screenplay completed. Classic and not-so-classic screenplays will be required reading for every class, and students will also become acquainted with how the business of selling and producing one’s screenplay actually happens. Students will be admitted on the basis of an application by email briefly describing their interest in the course to [email protected] . Permit from the instructor is required .  This course is cross-listed with Cinema and Media Studies 116.

English 116.403 Screenwriting Burkhardt R 4:30-7:30

English 117.301 The Arts and Popular Culture DeCurtis R 1:30-4:30

This is a workshop-oriented course that will concentrate on all aspects of writing about artistic endeavor, including criticism, reviews, profiles, interviews and essays. For the purposes of this class, the arts will be interpreted broadly, and students will be able—and, in fact, encouraged—to write about both the fine arts and popular culture, including fashion, sports and comedy. Students will be doing a great deal of writing throughout the course, but the main focus will be a 3,000-word piece about an artist or arts organization in Philadelphia (or another location approved by the instructor) that will involve reporting, interviews and research. Potential subjects can run the full range from a local band to a museum, from a theater group to a designer, from a photographer to a sculptor.

English 121.301 Writing for Young Adults Suma W 2:00-5:00

Young adult literature is powerful, inventive, and worthy of respect—and those writing it have enormous potential in their hands. This writing workshop will explore the craft of YA literature through creative assignments and readings of texts by both giants in the field and emerging voices, and discussions of student work in a constructive environment. Students will focus on craft concerns crucial to writing about and for teens, such as: voice, point of view, immediacy, pacing, and opening hooks. Students will create writing of their own that pushes the boundaries of form and content, drawing on the many possibilities available in YA literary fiction: blurred genres, unreliable narrators, retellings, and issues of identity and self-discovery. We will look beyond straightforward prose into forms such as epistolary and verse novels and other experimental mashups. We will consider how tolerant YA literature can be of ambiguity, and address the handling of so-called taboo subject matter. Authors we will study as inspirations and models may include Elizabeth Acevedo, Elana K. Arnold, Libba Bray, A. S. King, Justine Larbalestier, Malinda Lo, Kekla Magoon, Anna-Marie McLemore, Emily X.R. Pan, Jason Reynolds, Randy Ribay, and Ibi Zoboi. Come ready to challenge any preconceptions you may have about YA literature and examine what some believe is its greatest potential: to offer young readers a vehicle for recognizing themselves, and for reflecting and even transforming the world around them. Students will write the opening chapters of their own YA novels and produce a final portfolio of creative work that showcases their unique YA voice, with potential for further exploration beyond the confines of this class.

English 122.301 Making Comics Cloutier, Berry MW 2:00-3:30

This course is a creative writing workshop in the inexhaustible art of making comics. Open to both beginners and enthusiasts alike, the seminar will expose students to the unique language of comics and allow them to create their own stories in the medium. Through essential critical readings, practical homework, and lab assignments, students will develop an understanding of how text and sequential images create a unique kind of reading experience and storytelling. Over the course of the semester, students will take on a variety of roles in the making of comics (writing, illustrating, page layout, inking, character creation, and more), read groundbreaking comics theory and criticism, analyze now-classic and experimental comics, adapt a variety of prose & verse genres into comics and, ultimately, create a longer graphic narrative project as a group.

Although this is not intended as a course in drawing, all students will be expected to explore comics storytelling through the combination of words and cartoons (don’t worry, stick figures are fine!). In-class reviews will give students direct insight into how certain choices of composition affect the storytelling process. During the first half of the semester, the course will rigorously combine theory and practice, navigating through a slew of different genres (e.g. poem, short story, journalism, memoir, etc.) and how these can be transmogrified into comics form. The second half will be dedicated to the production of the longer comic project.

English 124.401 Writing and Politics Cary W 5:00-8:00

This is a creative writing workshop for students who are looking for ways to use their writing to participate in the 2020 election. Student writers will explore a number of different forms—which may include fiction, creative nonfiction, essay, playscripts, and more—as well as the way these forms can take shape for different readers—such as blogs, social media posts, short videos, or podcasts—and will also consider a range of topics as we publish work, in real time, with the multimedia platform #VoteThatJawn. #VoteThatJawn launched in 2018 to support youth registration and voting in Philadelphias 2018 midterm elections, and registration of 18-year-olds that year doubled: from 3,300 to nearly 7,000. In 2020, university, high school, and media partners across the city aim to hit 10K. Imagine that. Imagine a creative writing class that answers our desire to live responsibly in the world and to have a say in the systems that govern and structure us. Plus, a course devoted to learning to write with greater clarity, precision, and whatever special-sauce Jawn your voice brings. 

  The course is designed as an editorial group sharing excellent, nonpartisan, fun, cool, sometimes deadly earnest content for and about fresh voters. In addition, you will gain experience in activities that writers in all disciplines need to know: producing an arts-based event and a social media campaign, working with multimedia content, and collaborating with other artists. English 124 will sometimes work directly with diverse populations of youth from other colleges and high schools throughout the city. Because you will engage with a common reading program about the groundbreaking Voting Rights Act of 1965, the class is cross-listed with Africana Studies 124. In addition, the work of #VoteThatJawn performs a civic service; therefore it is listed as an Academically Based Community Service (ABCS) course with the university.

Don’t sit out this momentous electoral season. Devote time to your writing and use that writing to bring voters your age to the polls. This course is cross-listed with Africana Studies 124 .

English 129.401 Across Forms: Art and Writing Hayes, Zolf W 2:00-5:00

What if a poem spoke from inside a photograph? What if a sculpture unfurled a political manifesto? What if a story wasn’t just  like  a dance, but  was  a dance—or a key component of a video, drawing, performance, or painting? Many artists employ writing in their practices, but may not look at the texts they create  as  writing. And many writers have practices that go beyond the page and deserve attention as  art . In this course, which is open to all students interested in art and writing, regardless of experience, students will develop multiple creative projects that integrate the forms, materials, and concerns of both art and writing. As a class we will employ critique  and  workshop, pedagogic methodologies from art and writing respectively, to support and interrogate cross-pollinations between writing and art practices. We will also study a field of artists and writers who are working with intersections between art and writing to create dynamic new ways of seeing, reading, and experiencing. This course is cross-listed with Fine Arts 315/615. Permission to enroll is required; please submit a short description of your interest in the class to [email protected] .

English 130.401 Advanced Screenwriting DeMarco Van Cleve W 2:00-5:00

This is a workshop-style course for students who have completed a screenwriting class, or have a draft of a screenplay they wish to improve. Classes will consist of discussing student's work, as well as discussing relevant themes of the movie business and examining classic films and why they work as well as they do. Classic and not-so-classic screenplays will be required reading for every class in addition to some potentially useful texts like What Makes Sammy Run? Students will be admitted on the basis of an application by email. Please send a writing sample (in screenplay form), a brief description of your interest in the course and your goals for your screenplay, and any relevant background or experience. Applications should be sent to [email protected]. edu . Permit from the instructor is required. This course is cross-listed with Cinema and Media Studies 130 .

English 134.401 Passion Projects: Radical Experiments in Writing Plays, Screenplays, Solo Shows and Pilots Bracho R 4:30-7:30

This creative writing workshop will focus on writing for screen, stage and internet and is open to undergraduate and graduate students at every level of writing experience. The course will be writing intensive and also include the reading and analysis of feminist, trans, queer, working class and racially liberatory plays, films, television and performance as models of inspiration.  Meditation, drawing, theater games, improv exercises, screenings and outings to see work on and off campus will round out this holistic and experimental approach to making work that illuminates and entertains audiences from across the US and global audience spectrum. This course is cross-listed with Gender, Sexuality, and Women's Studies 512 .

English 135.301 Creative Nonfiction Writing Max Apple R 1:30-4:30

Each student will write three essays and the class will offer criticism and appreciation of each. There will be some discussion of and instruction in the form, but the course will be based on the student writing. Attendance and participation required.

English 135.302 Narrative Nonfiction: The Art of Experience Kirk T 1:30-4:30

Every work of nonfiction is a writer’s attempt to reconstruct experience. But experience can be an elusive thing to capture: a strange hybrid of the highly subjective and the more tangible zone of perceptible fact. How do we strike a balance in narrative nonfiction? For one, we employ the same devices that we already use to navigate our way through the world—that of our senses. The more vivid the details of sight, touch, smell, taste, and sound, the more immersed the reader will become in the author’s re-created world of words. But what of the more abstract, less concrete sixth sense of thought? After all, it is our mind that perceives and finds the subjective meaning in experience. In this narrative nonfiction writing workshop, we will look at craft, literary technique, the mechanics of building vivid and powerful scenes, discuss the role of story-logic, and the importance of hard fact-checking. Yet, the student is also urged to pay close attention to their own internal narrator, and to be mindful of the intuitive (and unconscious) powers at play in their writing. Each week we will review classics in the genre, do in-class writing exercises, go on periodic “experiential” assignments, and explore how the art of playing around with the raw material of everyday life (i.e., “reality”) can make for great and unexpected stories.

English 135.303 Creative Nonfiction: Writing Your Travels Kant R 1:30-4:30

In this course students will discuss what traveling means in an age when many people can get on a plane or drive on a whim to a place of their choice. Students will be asked to think about travel as a deliberate act or an act of improvisation, as never-ending process or a fixed journey. Students will observe themselves as travellers and record what they see and what happens around them when they travel. They will explore a popular form of writing and draw on their experiences and practice of both—traveling and writing. The familiar will become strange and new as they move through places and locations they think they know, return home, walk through their memories and explore places of the past. The course will explore famous works by travellers who visited the USA, for instance Charles Dickens’s “On America and the Americans,” and consider recent works such as Robert MacFarlane’s  The Old Ways: A Journey on Foot  (2012).

This course is going to be taught online, both in synchronous and asynchronous sessions that take the form of workshops and interactive discussions. There will also be independent discussions between student and instructor. The seminar is scheduled for three hours on Thursday between 1:30 and 4:30pm with reading, writing and talking sections.

English 138.401 Writing Center Theory and Practice Ross TR 10:30-12:00

This course is intended for capable writers who possess the maturity and temperament to work successfully as peer tutors at Penn. The course emphasizes the development of tutors’ own writing through the process of collaborative peer-criticism, individual conferences, and intensive sessions on writing, from mechanics to style. The class meets twice weekly; tutors also work two hours weekly in the Writing Center or elsewhere, and confer regularly in small groups or one-on-one meetings with the instructor. Tutors are required to write five short papers, eight one-page peer reviews, and two responses to readings. Additionally, students keep a journal and give two class presentations. CWIC-affiliated course; fulfillment of writing requirement and permission of instructor required. This course is cross-listed with WRIT (Writing Program) 138. For more information, visit the Critical Writing Program .

English 142.401 Duchamp Is My Lawyer Goldsmith, Decherney T 1:30-4:30

This course examines the impact of copyright law on artists and creative industries. Looking at publishing, music, film, and software, we will ask how the law drives the adoption of new media, and we will consider how regulation influences artistic decisions. A mix of the theoretical with the practical, this course will be using UbuWeb (the largest and oldest site dedicated to the free distribution of the avant-garde) as our main case study. The course will cover both the history of copyright law and current debates, legislation, and cases. We will also follow major copyright stories in the news. Readings cover such diverse topics as the player piano, Disney films, YouTube, video game consuls, hip hop, the Grateful Dead, file sharing, The Catcher in the Rye , and many more. We will also examine the critical role of "shadow libraries" (free culture hubs) in regards how the cultural artifact is produced and distributed in the digital age, alongside today’s gatekeepers of algorithmic culture, such as Netflix, Amazon, and Spotify. This course is cross-listed with Cinema and Media Studies 142.

English 145.301 Advanced Nonfiction Writing: Writing about Mental Health and Addiction Fried M 4:30-7:30

There are many reasons mental illness and addiction are so pervasive, and so difficult to treat and discuss—leading to all-time high rates of suicide and overdose. But there is one baseline problem we can immediately address: learning how to do more effective, affecting, and evidence-based writing about behavioral health. In this advanced writing course, one of the first of its kind for undergraduates in the country, students will explore some of the most powerful American nonfiction writing on behavioral health, in publications and books, and will have some of the authors as guest lecturers. During the class, each student will read and do a presentation on one major piece of mental health or addiction writing, and then will create, workshop, and rewrite one major piece of nonfiction writing of their own. Projects can be reported memoir, narrative longform, investigative reporting, medical science writing, or some combination of these. Taught by Stephen Fried, lecturer, CPCW; adjunct professor, Columbia University; collaborator, Scattergood Behavior Health Ethics Program, Penn Med; award-winning health journalist and author of  Rush  (biography of founding father of American mental health care); coauthor, with Patrick Kennedy, of   A Common Struggle: A Personal Journey Through the Past and Future of Mental Illness and Addiction ; coauthor of 2019 National Council for Behavioral Health white paper, “Mass Violence in America: Causes, Impacts & Solutions,” cofounder of WHYY/Scattergood Behavioral Health Journalism Workshop and Columbia Conference on Mental Health Journalism & Media. Permission to enroll is required; please submit a short writing sample to the instructor at [email protected] .

English 158.301 Journalistic Storytelling Polman M 2:00-5:00

The key issue: “How does the writer hook the reader, and how does the writer keep that reader hooked to the end?” English 158 is about mastering the mechanics of effective nonfiction narrative storytelling. Imagine that you are writing general-interest feature articles for a general-interest publication or website: What are the best ways to put the reader into your story? What are the elements that make a piece work? What are the elements of a good opening? When is it better to “show” as opposed to “tell”? When is it best to use first, second or third person? When is it best for the writer to use your own voice—or keep that voice at a distance? When is it best to use humor, and when to avoid it? When is it best to use anecdotes and scenes—both of which are staples of narrative storytelling? What are the “universal” themes that exist between the lines? We’ll work in different genres: observational pieces, profiles, personal pieces, long-form third-person pieces—and guest professionals will visit to share their expertise. An editor of mine used to say, “Good writing can be nurtured, cultivated, and encouraged.” That’s what I try to do. And I always say, “Journalistic writing is the most fun you can have working hard, and the hardest work you can do while having fun.”

English 159.301 Political Commentary Writing: The Presidential Election Polman W 2:00-5:00

What’s the most professionally honest and effective way to cover the historically unique Trump administration? Do the traditional rules of “objectivity” work anymore, when writing about a president who breaks the norms of communication and governance? What’s the most honest and effective way to harness the technological revolution - the impact of Facebook, Twitter, and the rest of social media; the megaphone of ideological media - that has already upended the old norms of coverage?

  We’ll tackle these issues by writing about the Trump administration - and most timely of all, the autumn '20 presidential campaign. We’ll discuss the partisan national landscape, where even empirical facts are often deemed to be in dispute. Students will write stories in two formats: “straight” news blended with analysis; and, later, opinion commentary. The stories – posted to a closed website - will be workshopped in class.

  The prime goal of this course is to help students develop political writing skills - most importantly, a respect for factual reporting, context and perspective, and informed opinion. This course will explore the daunting challenges that political journalists face when writing about polarizing topics for polarized audiences - while grappling with the thorny issues of “objectivity” and “balance,” the cultural influences of snark and irony, and the fog of “fake news.”

  This course is designed to be timely, so we’ll closely monitor breaking stories - particularly about the presidential campaign - as they arise.

English 514.640 Writing Experiments Davids T 4:30-7:30

A workshop course devoted to cultivating experimental approaches in your writing. Practitioners of prose, poetry, and mixed-genre writing—as well as students who are new to any of these genres—are all welcome. We will test the boundaries of form and language as we hone our skills, experiment with new tools, read a number of writings by authors who break the rules, and explore what taking risks can teach us about our craft.

English 516.640 Writing and Remembering: A Memoir Workshop Watterson R 5:30-8:10

Writing and Remembering: A Memoir Workshop is designed to help students connect with their own minds, imaginations, and experiences, as well as with the world around them. We will read and discuss personal narratives by a wide range of writers, including James Baldwin, Jeanette Winterson, Ta-Nehisi Coates, John McPhee, Chimamanda Ngozi Adichie, and Toni Morrison. We’ll look at “fact,” “fiction,” and “truth” in life and literature. We’ll also examine how a memoir can shine light on how we live on this earth, especially in the context of larger issues—from slavery to gender discrimination, disabilities to racism, and class bias to sexism—as viewed through a personal lens. A memoir is a slice of the author’s life usually examined in first person. The more personal the story, the more universal it becomes. In addition to in-class writing, students are expected to: maintain a practice of focused free writing (10-15 minutes daily), generate creative responses (2-3 pages weekly) to assigned books, essays, stories, films and speakers, participate in workshop discussions and peer review, and write and revise two to three personal essays or book chapters during the semester. If you have any questions about this course, please email  [email protected] .

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Hungry for knowledge? Sample these satisfying fall courses

At Penn LPS Online, we often describe our students as lifelong learners. Our students are curious readers, creative problem-solvers, and ambitious doers; You are ready and eager to learn new skills in order to realize your dreams.

If that describes you, then sink your teeth into the tempting online courses available this fall. You could learn practical skills to use in the real world—for work or for another project that excites you. You could get an in-depth scholarly look at some of the sensitive issues that ignite conversations in the world today, or immerse yourself in global cultures to learn more about what makes us human. Whether you are applying courses toward a degree or certificate program, or simply exploring your interests as a general course-taker, there is a course that will whet your appetite for knowledge.

Fall 1 courses begin on August 27. Current Penn LPS Online students can register for courses via Path@Penn . If you are new to our non-degree programs, you can enroll as a certificate or general course-taking student through August 15. Enrollment is easy —just complete and submit the enrollment form and nonrefundable fee ($25) through our online application system. If your ambition is to complete a Bachelor of Applied Arts and Sciences (BAAS) at Penn, don’t worry—the courses listed below offer just a taste of what’s available through Penn LPS Online.

Polish up your professional portfolio

Prow 2030: writing for public audiences: the op-eds and white paper.

Professionals in any field may find themselves needing to address a public audience. Consider the academic researchers who must communicate complex information to people and policymakers who don’t share their expertise, digital entrepreneurs who use white papers to help investors understand the vital services provided by new technology, and thought leaders whose op-ed pieces can reach a wide audience of readers. Writing for the public is its own genre, and even professionals who are considered good writers in their own field may not have the experience to make an opinion piece or informational brief shine.

This brand new course adds two pieces of writing to your professional portfolio: an op-ed, which allows you to reach a wide public with a short, well-constructed argument, and a white paper, which provides a platform to help a nonspecialist audience understand and make decisions about your specialization—whether that is to provide vital information to policymakers, pitch a product to investors, or establish a platform for thought leadership. In the process, you’ll learn how to identify and write for your target audience, how to construct your professional identity in writing, and how to assess the ongoing life of a publication once it enters the nebulous and unpredictable public.

• Instructor: Valerie Ross, Faculty Director, Penn LPS Online Certificate in Professional Writing
• 8-week course offered in fall 2 (October 23 – December 18, 2024)
• May be taken as an individual course
• May be applied toward the Certificate in Professional Writing
• May be applied toward the BAAS concentration in Individualized Studies

APOP 2000: Positive Psychology at Work

We spend about half of our waking hours at work—but we don’t stop needing meaningful and positive engagement when we start the time clock. Drawing from evidence-based research in the field of positive psychology, this course looks at case studies and strategies to promote well-being in a wide range of professional fields, including business, education, health care, and nonprofit organizations. Whether you are a leader looking to foster an environment of flourishing, positioning yourself to pivot to a more satisfying career, or simply in search of ways to exercise your strengths and make good connections at work as well as at home, you can expect to dive deep into the variables that contribute to your ability to flourish and find purpose in the workplace.

You may have a more robust experience in this course if you have previously taken APOP 1000: Introduction to Positive Psychology in fall 1, but that is not required.

• Instructor: Meredith Myers, Senior Fellow, The Wharton School's Center for Leadership & Change Management
• May be applied toward the Certificate in Applied Positive Psychology
• May be applied toward the BAAS concentrations in Data Analytics and Psychological Sciences , Individualized Studies , Leadership and Communication , and  Organizational Culture and Collaboration

DIGC 2000: Coding Foundations for Digital Strategies

Coding is a skill with obvious applications in the digital age, yet the barrier to entering this field can seem insurmountable to those unfamiliar. This introductory course will provide novices with a basic understanding of programming languages and repositories with the eventual goal of using code for a tool or project that serves your own needs and interests. You will also gain a qualitative as well as a quantitative perspective on programming, with an emphasis on thinking critically and creatively about how coding tools are shared, taught, and applied in different digital landscapes. Whether you work with staff who code or plan to incorporate coding into your own professional skill set, this is the foundation you need.

When you enroll in DIGC 2000: Coding Foundations for Digital Strategies , you must first complete a pre-course module that equips your computer with the programming languages and environments you’ll need for coursework.

• Instructor: Robert Scheyder, lecturer in computer programming
• 8-week course offered in fall 1 (August 27 – October 21, 2024)
• May be applied toward the Certificate in Digital Strategies
• May be applied toward the BAAS concentrations in Individualized Studies and Literature, Culture, and Tradition

Understand more about the world today

Glbs 2200: global human rights.

At the end of World War II, the United Nations adopted the Universal Declaration of Human Rights outlining the fundamental freedoms applicable to all human beings. While that document would become a milestone in international law, the world today is seeing human rights challenges that were not on the global stage in 1948, such as digital security, multinational corporations, sexual orientation and gender identity, climate change, and more. This brand new course looks at key themes and debates in the field, as well as ways that the concept of human rights has changed and expanded over time, from the historical foundations to today’s most pressing issues.

• Instructor: Eileen Doherty-Sil, PhD, senior lecturer in political science and faculty director of the core and Africa general program at Penn’s Joseph H. Lauder Institute of Management and International Studies
• May be applied toward the Certificate in Global and Regional Studies and Certificate in Social Difference, Diversity, Equity, and Inclusion
• May be applied toward the BAAS concentrations in Data Analytics and Social Sciences , Individualized Studies ,  Organizational Culture and Collaboration

SDEI 2100: Cultural and Social Identity

We are constantly hearing about “identity politics” and how it supposedly shapes the political and social landscape in which we live. But what are we talking about when we talk about identity? This course, a brand new offering in the Certificate in Social Difference, Diversity, Equity, and Inclusion , examines the foundational concepts and theories of identity, from the roots of different cultural and social identities to the ways they can help us collaborate and connect with one another. Using methods and concepts from sociology, communication, and psychology, students can expect to reflect on how they identify themselves within their specific social context, challenge assumptions they may have about their own or others’ identities, and cultivate skills for addressing systemic inequality.

You may have a more robust experience in this course if you have previously taken SDEI 1100: Introduction to Social Difference in American Society , but that is not required.

• Instructor: Danielle N. Gadson, PhD, MPA, Assistant Professor in the Department of Public Administration at Villanova University
• May be applied toward the Certificate in Social Difference, Diversity, Equity, and Inclusion
• May be applied toward the BAAS concentrations in Data Analytics and Social Sciences and   Individualized Studies

Start learning a new skill

Lead 1010: leadership theory, practice, and purpose.

Good leaders are not born, but made. In this intensive introductory course, you can begin the journey toward becoming an effective leader by exploring approaches to problem-solving, self-assessment, crisis communications, and more. Through class discussion and reflective writing, you and your peers not only compare notes on the trajectories of real-life public leaders, you also identify the unique skills and strengths that you can bring to the workplace—in your current role as well your future career goals.

Taking LEAD 1010 in the fall 1 term is a smart move: you could then go on specialize your leadership skills in fall 2. Hone your workplace communication skills in LEAD 1040: Professional Communication and Personal Development , explore public management theory and practice in LEAD 3100: Leadership and Public Administration , or take a deep dive into for-profit organizational leadership in LEAD 3200: Leadership and Business Organization .

• Instructor: Rebecca Padot, PhD, Assistant Professor, Department of History and Government, Misericordia University, and Senior Fellow, Penn Partnership for Religion and Urban Civil Society

NEUR 1000: Introduction to Neuroscience

If you’ve ever wanted to understand how the brain functions—how physical sensations are converted into neural signals, how hormones influence behavior, how antidepressants work, and so forth—then this introductory course is for you. Expect an intensive 8 weeks: before you take the course, you’ll need to complete a learning assessment module that will help familiarize you with baseline biological and chemical science, and the course material requires repetition and rigorous attention to master.

But once you’ve grasped the fundamentals of neuroscience, the rest of the Certificate in Neuroscience courses are accessible to you. You can gear up for future studies in behavioral neuroscience to understand human and animal activities, or branch out into pharmacology if you have a professional or personal interest in pharmaceuticals. You can even dive right into NEUR 1600: The Neuroscience of Music in the fall 2 term, and explore the mysteries of why we enjoy and create music.

• Instructor: Mike Kane, PhD, Faculty, Penn LPS Online Certificate in Neuroscience
• May be applied toward the Certificate in Neuroscience
• May be applied toward the BAAS concentrations in Individualized Studies and Physical and Life Sciences
• Fulfills the BAAS degree requirement in Scientific Process

PHYL 1200: Foundations of Life Sciences

Let’s say that you took that NEUR 1000 learning assessment module, and realized just how long it’s been since you took high school biology and chemistry. (We may be speaking from experience!) Or perhaps your interest in the sciences is more general, or you’d like to get some experience in reading and understanding scientific research to assist in your professional or academic journey. By the end of PHYL 1200: Foundations of Life Sciences, you’ll grasp the fundamental mechanics of life at a cellular and molecular level, and put the scientific method into practice through problem sets and activities. You’ll likely find the course material applicable to your own life:  among other things, you’ll learn about how viruses and bacteria reproduce, how mutations occur, and why some microorganisms become disease resistant; you’ll also learn about the causes and complications of human ailments like cancer and diabetes. In addition, this course lays the groundwork for future scientific studies: it is one of the requirements for a Certificate in Science Foundations , but can also prepare you for a Certificate in Neuroscience or Certificate Climate Change .

• Instructor: M. Ruth Elliott, MS, Senior Lecturer
• May be applied toward the Certificate in Science Foundations
• May be applied toward the Gateway category Scientific Process

Get a taste of global culture

Clsc 2500: ancient cities.

When we think of cities today, we may envision landmarks of modernity: busy roads, tall skyscrapers, electric lights. Yet a city is composed of social institutions, systems, and customs as well as its physical foundations and population density. This classical studies course explores urban environments of the ancient Greek and Roman world, studying the social fabric of these long-ago cities through the frameworks of architecture, history, and social sciences such as religious and political studies. Whether you are a classics connoisseur, a history buff, or a contemporary urbanist, these fascinating case studies demonstrate how cities and their populations shape and are shaped by one another.

• Instructor: Mantha Zarmakoupi, Morris Russell and Josephine Chidsey Williams Assistant Professor in Roman Architecture at Penn

MUSI 2000: Contemporary African Music

Audiophiles might enroll in this course for a taste of contemporary culture—and with eight playlists to explore music in different continental and diasporic regions of Africa, there is plenty of food for the music-lover’s soul in the course. But music studies go beyond the harmonic and instrumental techniques you hear: contemporary African music offers insights into how people, culture, and ideas move around the globe today, and connections to the ways African resources have been produced, consumed, traded, or exploited throughout history. The global perspective on culture makes this course a particularly good fit for the Certificate in Global and Regional Studies as well as the BAAS degree concentration in Literature, Culture, and Tradition .

• Instructor: Carol Muller, Professor of Music
• May be applied toward the Certificate in Global and Regional Studies

RELC 2000: Gods, Ghosts, and Monsters

One thing every culture and religion around the world has in common: myths, stories, and beliefs about what lies beyond the known world. This interdisciplinary course travels through literature, artwork, and anthropological research about spiritual and supernatural phenomena in a wide range of sources including Buddhist, Shinto, Christian, Hindu, Jain, Zoroastrian, Egyptian, Central Asian, Native American, and Afro-Caribbean cultures. Aside from the obvious appeal—who doesn’t have their own beliefs about gods, ghosts, and monsters? And who wouldn’t want to read all about others in the months leading up to Halloween?—the breadth and depth of study guides you toward a complex, intercultural understanding of religion and rituals across the globe.

• Instructor: Justin McDaniel, Edmund J. and Louise W. Kahn Endowed Professor of the Humanities

Hungry for more? This is just a preview of the exciting online courses available this fall—there are many other subjects to choose from! View our course guide to see the full range of what’s available in the upcoming terms

• World of Sounds
• Alternative spelling of old name for Samara Oblast

HINTS AND TIPS:

Before giving away the correct answer, here are some more hints and tips for you to guess the solution on your own!

1. The first letter of the answer is: K

2. the last letter of the answer is: v, 3. there are 3 vowels in the hidden word:.

CORRECT ANSWER :

Other Related Levels

If you successfully solved the above puzzle and are looking for other related puzzles from the same level then select any of the following:

• Year after freshman
• Stout-billed finches
• Julius Caesars wife as per Shakespeare
• Game where players use tweezers to remove ailments
• To rise and fall in an irregular manner
• Procedure to look inside a cavity in the body
• Karma karma karma karma karma __
• Attractively
• Very small sum of money lent at low interest rate
• She makes colorful designs for school supplies
• Peaks where you can go hiking or biking

If you already solved this clue and are looking for other clues from the same puzzle then head over to CodyCross World of Sounds Group 1342 Puzzle 2 Answers .

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Creative Writing, Certificate

The Certificate in Creative Writing offers an innovative, collaborative course of study for those who have always wanted to unlock their creativity. Each course is designed as a workshop in which you explore new ideas, tackle new writing tools, generate original insights and discover your own powers of expression. You create, collaboratively discuss and revise your original writing with feedback from your instructors and your peers. You also engage with a range of assigned readings and multimedia that inform and grow your innovative practice.

The Certificate in Creative Writing offers both basic and advanced workshops and appeals to students new to creative writing as well as students with writing experience who want to learn new skills. Through a series of courses in fiction, poetry, creative nonfiction, and screenwriting, the Certificate in Creative Writing focuses on creative writing as a form of critical thinking as a way to reimagine audience and as a space of innovation. Taught by professionals in the field, our courses cultivate both individual and group learning, providing an overview of the field as well as deep dives into literary genres. These courses are designed as hands-on, intensive study of the subtleties and power of language.

The Certificate in Creative Writing is a 4-course, 4 course unit program of study taught by University of Pennsylvania faculty. To earn a certificate, students complete any four courses offered, in any order. Students who complete the basic certificate may pursue an advanced certificate (6-course, 6 course unit) by adding two additional courses from the advanced course list.

Penn LPS Online courses in the Certificate in Creative Writing are offered on accelerated (8-week) and classic (11- or 12-week) schedules. Courses in the certificate program are largely asynchronous with some optional synchronous sessions to be scheduled by the instructors. For more information about specific course dates, please visit the Course Schedule  page.

You have the option to enroll in individual courses without committing to the entire certificate, enjoying the flexibility and expertise offered by Penn LPS Online to suit your schedule and interests.

For more information: https://lpsonline.sas.upenn.edu/academics/certificates/creative-writing

The Certificate in Creative Writing prepares you to:

• Understand how text conveys meaning across a variety of literary genres and styles
• Explore how to use innovation, flexibility, and collaboration to cultivate a creative writing practice
• Create, revise and edit your original writing in multiple literary genres, including poetry, fiction, nonfiction, and screenwriting

Certificate students who complete four of the online courses listed below earn a Certificate in Creative Writing. Those students are then eligible to pursue an Advanced Certificate in Creative Writing by taking two additional courses.

Courses are subject to change.

The degree and major requirements displayed are intended as a guide for students entering in the Fall of 2024 and later. Students should consult with their academic program regarding final certifications and requirements for graduation.

The Advanced Certificate in Creative Writing is a 6-course, 6 course unit program of study taught by University of Pennsylvania faculty. To earn a certificate, students complete any four courses offered, in any order. 

Penn LPS Online courses in the Certificate in Creative Writing are offered on accelerated (8-week) and classic (11- or 12-week) schedules. Courses in the certificate program are largely asynchronous with some optional synchronous sessions to be scheduled by the instructors. For more information about specific course dates, please visit the  Course Schedule  page.

For more information:   https://lpsonline.sas.upenn.edu/academics/certificates/creative-writing

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Samara State Medical University: Fees 2024, Ranking, Hostel, Eligibility and Admission

Samara State Medical University Fee Structure, Eligibility, Ranking and Admission Procedure for MBBS Abroad in Russia

Samara State Medical University (SamSMU) stands out as a premier medical institution in Russia, celebrated for its extensive facilities and dedication to delivering exceptional MBBS education. Boasting 8 faculties, including a distinguished medical faculty, and an array of over 65 academic departments, the university provides a comprehensive and diverse learning environment.

Founded on January 1, 1919, in the vibrant city of Samara, Russia, SamSMU has been a consistent beacon of academic excellence. The institution comprises 8 institutions, 15 specialized diagnostic and treatment facilities, 14 departments, and 90 chairs, fostering an environment conducive to holistic medical education.

The esteemed teaching staff, numbering 622 individuals, reflects SamSMU’s unwavering commitment to academic prowess. Among them, 14 are academicians and corresponding members across various departments, accompanied by 100 professors and PhDs, along with 386 associate professors. The university’s commitment to scholarly pursuits is further underscored by the presence of 6 specialist committees responsible for evaluating research and issuing medical degrees in specific fields.

Currently hosting around 6,000 students, Samara State Medical University, established in 1919, stands as one of Russia’s largest and most authoritative educational institutions. Acknowledged as a premier destination for MBBS aspirants, the university’s mission transcends conventional education. SamSMU aims to cultivate high-level professionals not only in medicine but also in culture, integrating the best practices from local and international educational and scientific landscapes.

Distinguishing itself with 6 faculties and 50+ departments, SamSMU’s teaching staff includes laureates with high honorary titles and scientific degrees. The university’s commitment to practical education is exemplified by its own multidisciplinary clinic, featuring over 1000 beds. Additionally, SamSMU takes pride in owning 8 research institutes, creating an environment that goes beyond theoretical and experimental boundaries.

With 80 departments and clinics totaling 1015 beds, Samara State Medical University offers medical courses at an affordable rate without compromising the quality of education. This affordability, coupled with the university’s dedication to evolving teaching methods while upholding the rich traditions of the Russian education system, positions it as an attractive choice for students from diverse corners of the globe.

Samara State Medical University represents a unique blend of tradition, innovation, and affordability, making it an appealing option for students seeking a comprehensive and distinguished MBBS education in Russia .

Faculties at Samara State Medical University

The university has 6 faculties which are as follows:

• General Medicine
• Dental Institute
• Institute of Preventive Medicine
• Institute of Nursing Education
• Institute of vocational education
• Institute for Innovative Development

Advantages of Studying MBBS from Samara State Medical University, Russia

Selecting Samara State Medical University (SamSMU) for your MBBS journey comes with compelling reasons that enhance the overall educational experience. Here’s why choosing SamSMU stands out:

Expansive Campus : Samara University boasts the largest campus in Samara, offering a comprehensive environment with lecture rooms, research labs, dormitories, and sports facilities. This provides students with a holistic atmosphere for academic and extracurricular activities.

Theoretical and Practical Excellence: Samara State Medical University ensures students receive a high level of theoretical and practical professional knowledge. The curriculum is meticulously designed to equip students with the skills needed for success in the medical field.

International Collaborations: With over 40 reputable international institutions actively involved in scientific and technological collaboration, SamSMU provides students with exposure to global advancements in medicine. This international perspective enriches the quality of education and broadens students’ horizons.

Main Campus Excellence: The main campus in Samara accommodates 5,000 students and boasts 599 academic specialists, creating a vibrant and diverse learning community. This fosters interaction, collaboration, and a dynamic exchange of ideas among students and faculty.

Comprehensive Facilities: Samara State Medical University offers students access to well-equipped libraries and efficient administrative services, ensuring they have the necessary resources for academic success.

Research and Educational Clusters : SamSMU plays a pivotal role in coordinating two prestigious clusters of research and educational universities, comprising seven universities and over 70 organizations. This collaborative network enhances research opportunities and academic collaboration.

Global Partnerships: The institute has established partnerships with more than 40 Russian and international organizations, cultivating a global perspective in education and research. These partnerships open avenues for students to engage in diverse academic experiences.

High Admission Chances: According to statistics, Samara Medical University consistently ranks high in enrollment, providing students with favorable admission chances. This, coupled with the university’s esteemed reputation, makes it an attractive choice for aspiring medical professionals.

In essence, opting for Samara State Medical University for MBBS not only lays a robust foundation in medicine but also exposes students to a globalized learning environment, cutting-edge research, and a campus life that supports both academic and personal development.

Highlights About Samara State Medical University 2024-25

Courses Offered at SamSMU

Find out a wide spectrum of faculties offered by Samara State Medical University:

• Medical Faculty
• Paediatrics
• Medical Psychology
• Pre-university Training
• Training for Foreign Citizens
• Continuing Education of Teachers and re-training

Samara State Medical University Ranking 2024

Samara State Medical University is a renowned government college in Russia.

Samara State Medical University: Recognition and Accreditation

Samara State Medical University provides globally recognized MBBS degree:

• Ministry of Health of Russian Federation
• ECFMG (The Educational Commission for Foreign Medical Graduates) 
• Medical Council of India

Samara State Medical University Fee Structure 2024-25

Here is the Fee Structure of Samara State Medical University for the Indian Students

Medical aspirants are attracted to study MBBS in Russia at Samara State Medical University:

Note: 1 RUB = 0.91 INR (approx.) this rate is subjected to change.

Mess and other expenses of student are separate. One-time charges are also separate.

Total Cost and Budget of Studying MBBS at Samara State Medical University

The total budget of MBBS at Samara State Medical University, Russia including the 6 years’ tuition fees, hostel charges, food charges, and average cost of living and expenses of the student would be 25 Lakhs to 27 Lakhs in Indian Rupees.

Samara State Medical University Address:

89, Chapaevskaya st., Samara, Russia, 443099

Samara State Medical University Website:

Official website of Samara State Medical University is https://en.samsmu.ru/

Samara State Medical University Ranking:

Samara State Medical University World ranking: 5422

Samara State Medical University Ranking: 178

Medium of Teaching at Samara State Medical University

At Samara State Medical University, the medium of teaching is exclusively English. The university’s commitment to English as the primary medium of instruction enhances accessibility and promotes an enriching educational experience for all students, regardless of their native language.

Admission Requirements for MBBS at Samara State Medical University

For prospective students aiming to enroll in the MBBS program at Samara State Medical University, the following admission requirements apply:

Educational Background:

Successful completion of Class XII/higher secondary examination with Science subjects, including Physics, Chemistry, and Biology.

Proficiency in English, as demonstrated by having studied English as the main subject in the qualifying examination.

Academic Performance:

Attainment of a minimum aggregate of 50% or more in the subjects of Physics, Chemistry, and Biology (PCB) in the CBSE/ISC 12th-grade results.

Fulfilment of the age criteria, requiring candidates to be at least 17 years old at the time of admission.

NEET Qualification:

Adherence to the Medical Council of India (MCI) regulations, mandating all Indian students aspiring to study MBBS abroad to qualify for the National Eligibility cum Entrance Test (NEET).

NEET exam results are a prerequisite for admission to the MBBS program at Kazan Federal University.

NEET Score Validity:

Recognition that NEET scores are valid for a period of 3 years but are specifically applicable for securing admission to MBBS programs abroad, not for admissions within India.

Samara State Medical University Admission Procedure

Samara State Medical University admission procedure is direct. However, taking the admission through a good educational consultant would help you get the admission fast and easy.

Step 1: First of all the student has to apply for the admission or confirmation letter which means booking of the seat depending on the eligibility criteria.

Step 2: It takes 3 to 5 working days for the successful registration and to get the confirmation letter. For this, the student would have to give the 10th and 12th mark sheet scanned copies along with their birth certificate. These documents will be sent to the university and a confirmation letter will be given. However, please note that to apply for MBBS course, the student must need the above-mentioned eligibility criteria.

Step 3: Once the student receives the admission letter or the confirmation letter from the university, then the consultant will apply for an invitation letter on behalf of the student. The invitation letter comes within 10 to 14 days.

Step 4: Once the invitation letter arrives, the student can go for VISA. However, in case the student is going through the educational consultant, the visa process will be done by the consultant.

Step 5: After the visa is done then the student can pack the bags and book a flight ticket and then fly off to the city. In this case the flight tickets will also be booked by the consultant or they can also assist you in booking the flight tickets.

After reaching the Samara State Medical University, hostels will be provided and some required documentation will also be done.

Samara State Medical University Documents Required

• 10th Mark sheet Scanned Copy
• 12th Mark sheet Scanned Copy
• Birth certificate
• NEET Score Card
• Original Passport
• 12 Passport Size Photos (On white Background)
• Medical Fitness Certificate

Accommodation at Samara State Medical University:

Samara State Medical University prioritizes students’ well-being with its well-organized and modern infrastructure for accommodation and education. Here’s an overview of the accommodation facilities:

Dormitories: The university offers four dormitories for student accommodation, providing a comfortable living environment.

International Students’ Dormitory: Specifically for international students, there is a dedicated dormitory located at Kievskaya St., 12. This strategic location places it in the city center, ensuring close proximity to academic buildings and the clinics of Samara State Medical University. The central location also facilitates easy access to public transportation, connecting students to various parts of the city.

Transportation Convenience : The students residing in the international dormitory can conveniently utilize public transport to reach any destination within the city. This accessibility adds to the convenience of daily commuting.

Regulations: The accommodation process is governed by the “Rules and Regulations for Students’ Dormitory of Samara State Medical University. This document outlines the procedures and guidelines for students residing in the dormitory, ensuring a structured and well-managed living arrangement.

Cultural Life: The dormitory fosters a vibrant cultural environment, with students from diverse countries actively participating in organized cultural events. These events are conducted with great enthusiasm, contributing to a rich cultural life within the accommodation facilities.

Samara State Medical University provides not just accommodation but a comprehensive living experience for its students. The focus on modern facilities, strategic location, transportation convenience, and a lively cultural atmosphere reflects the university’s commitment to creating a conducive and enriching environment for students during their academic journey.

Samara State Medical University MBBS Course Syllabus

Let’s take a look at the syllabus or the curriculum of 6 years MBBS course at Samara State Medical University:

About Samara City

Samara, situated 857 km southeast of Moscow, is accessible by a 4-hour flight, a 14-hour train journey, or a day-long road trip.

The climate in Samara is characterized by short, dry summers and cool, dry winters, with generally clear weather throughout the year.

Prominent attractions in the city include the Samara Regional Art Museum, Stalin’s Bunker, Samara Zoological Park, Samara Embankment, Galileo Park, Observation Point, Kubychev Square, Leningradskaya Street, among others. These sites offer a blend of cultural, historical, and recreational experiences for visitors.

Samara is situated in the European part of Russia, in the southeastern part of the East European Plain. It is the administrative center of the Samara Oblast.

Population: Samara had a population of around 1.3 million people.

Historical Significance: The city has a rich history and played a significant role during World War II, serving as the second capital of the Soviet Union due to the temporary relocation of government institutions from Moscow.

Economic Importance: Samara is an important industrial and economic center. It has industries such as machinery, aerospace, oil refining, and food processing.

Aerospace Industry: The city is known for its aerospace industry. The Progress Rocket Space Center, one of the major Russian space and missile manufacturers, is located in Samara.

Volga River: The city is situated on the Volga River, one of the longest rivers in Europe. The river has played a crucial role in the transportation and trade of goods.

Landmarks: Samara has several architectural and historical landmarks, including the Samara Academic Opera and Ballet Theatre, the Samara State Academic Philharmonic Hall, and the St. George’s Church.

Transportation : The city is well-connected by various modes of transportation, including rail, road, and air. The Kurumoch International Airport serves the city.

Frequently Asked Questions (FAQs) about Samara State Medical University and MBBS in Russia:

Does Samara State Medical University provide hostel facilities?

Yes, Samara State Medical University offers hostel facilities for its students.

Where is Samara State Medical University located?

Samara State Medical University is located in Chapaevskaya (Samara), Russia.

Is Samara State Medical University MCI approved?

Yes, Samara State Medical University is recognized by the Medical Council of India (MCI) and the World Health Organization (WHO).

What is the world ranking of Samara State Medical University in Russia?

University Ranking: Country – 178, World – 5422.

Is an MBBS degree from Russia, including Samara State Medical University, valid in India?

Yes, an MBBS degree from Russia is recognized and accepted in India without the need for the MCI screening test.

Is MBBS from Russia considered good?

Yes, MBBS from Russia is considered good, and Russian medical universities are recognized by MCI, WHO, and the European Council. Russia holds the 8th position for providing top-class medical education.

What is the cost of MBBS from Russia?

The tuition fees for MBBS in Russia vary between 190,000 to 874,000 Russian Rubles, approximately 2 lakhs to 8.5 lakhs INR per year.

Why is MBBS in Russia affordable?

The tuition fees are subsidized by the Russian Education Ministry, making MBBS in Russia reasonable for Indian students. Approved English Medium Medical colleges have recognition from MCI and WHO.

Is Russian MBBS valid in India?

Yes, an MBBS degree from a Russian medical college, including Samara State Medical University, is valid and accepted in India. It is recognized by MCI/NMC and WHO.

What are the disadvantages of studying MBBS in Russia?

Challenges may include language barriers, high cost of living, harsh climate, varying quality of education, safety concerns, lack of support, and difficulty in finding jobs.

Is it safe for MBBS students in Russia?

Yes, top medical universities in Russia, including Samara State Medical University, have well-developed security systems, making Russia a generally safe country for Indian students pursuing MBBS.

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