university of hawaii creative writing

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University of Hawaii, Manoa

Hawaii, united states.

The Graduate Program in English offers the MA and PhD degrees in English and American literature, with the option of specializing in creative writing with a thesis or dissertation in several genres, including poetry, fiction, translation, and biography. The MA requires 30 s/hrs of credits including up to 6 for thesis preparation and up to 6 for writing workshops.

For the PhD, students must satisfy a minimum residency requirement of 3 full-time semesters. But required courses beyond the MA are not the focus of the program. Only one seminar in Advanced Literary Research is specifically required by the department. Students are free to move through a program which includes workshops, writing, literature, and interdisciplinary coursework. At the same time, advising is seen as an essential part of the program, and advisory committees and doctoral committees actively aid students in preparing themselves systematically for the examinations that direct their progress.

The department has a number of graduate assistantships that are intended to give students experience in college teaching. PhD students with prior teaching experience may apply for lectureships in the department, and several scholarships and tuition waivers are available to graduate students.

The department is home to Hawai'i Review, a student-sponsored national journal; Biography, a prominent professional journal that is international in scope; Anuenue Journal, a literary journal for and by undergraduate students; and Manoa: A Pacific Journal of International Literature. Students have the opportunity to work with these journals in various capacities.

In particular, the department is proud that the creative writing program is in no way an adjunct to English studies. Students work and study with academic faculty and fellow students in literature, criticism, and composition theory; their common purpose is a thorough understanding of the broad field of English.

Contact Information

Dept. of English 1733 Donaghho Road, Kuy 402 Honolulu Hawaii, United States 96822 Phone: (808) 956-3088 Email: [email protected] https://english.hawaii.edu

Bachelor of Arts in English/Literature +

\nThe English Department at the University of Hawaii offers BA students the opportunity to specialize in creative writing through its electives program. The introductory course is followed by an upper-division sequence in poetry and in fiction, with form and theory courses and a writing workshop in each genre. One course in autobiography, one in creative nonfiction, and one in special topics in creative writing is offered. Of these courses, 15 credit hours may count toward fulfilling the basic 33 s/hrs of work required of the English major. Honors candidates may present a thesis comprised of a collection of work in poetry, fiction, drama, or a combination of genres.

Minor / Concentration in Creative Writing +

The English Department at the University of Hawaii offers BA students the opportunity to specialize in creative writing through its electives program. The introductory course is followed by an upper-division sequence in poetry and in fiction, with form and theory courses and a writing workshop in each genre. One course in autobiography, one in creative nonfiction, and one in special topics in creative writing is offered. Of these courses, 15 credit hours may count toward fulfilling the basic 33 s/hrs of work required of the English major. Honors candidates may present a thesis comprised of a collection of work in poetry, fiction, drama, or a combination of genres.

Master of Arts in Creative Writing +

Graduate program director.

The department is home to Hawaii Review, a student-sponsored national journal; Biography, a prominent professional journal that is international in scope; Tinfish, a journal of ex-perimental poetry from the Pacific; Trout, an online journal of arts & literature from Aotearoa/New Zealand and the Pacific Islands; and Manoa: A Pacific Journal of International Literature. Students have the opportunity to work with these journals in various capacities.

PhD in Creative Writing +

Kristiana kahakauwila.

https://english.hawaii.edu/faculty/kristiana-kahakauwila/

No'u Revilla

https://english.hawaii.edu/faculty/nou-revilla/

https://english.hawaii.edu/faculty/s-shankar/

Publications & Presses +

Manoa: A Pacific Journal of International Writing

Hawai'i Review

Biography: An Interdisciplinary Quarterly

Visiting Writers Program +

T Kira Madden, Spring 2024

Joseph Han, Spring 2023

D. Nandi Odhiambo, Spring 2020

Reading Series +

Words@Manoa ( https://english.hawaii.edu/wordsmanoa/ )

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Contact us:

1733 Donaghho Road

Kuykendall 402

Honolulu, HI 96822

(808) 956-7619

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UH West O‘ahu

Campus Overview

Since 1976, the University of Hawai‘i – West O‘ahu has served the people of Hawai‘i and remains a dynamic and diverse place of learning and cultural enrichment. Formerly West O‘ahu College, the university has evolved from a two-year baccalaureate institution to a four-year comprehensive University with academic programs that emphasize the exploration of interdisciplinary and cross-cultural studies. Founded in the liberal arts, UH West O‘ahu is committed to quality teaching and an environment that fosters life-long learning.

UH West O’ahu is located in the City of Kapolei on the island of O’ahu. The average enrollment is about 2,700 students via on-campus and distance learning. The University offers six bachelor’s degree programs in 32 areas of study as well as seven certificate programs. Nearly 14% of enrolled students live on the neighboring islands.

The University of Hawai‘i – West O‘ahu is committed to continuous improvement in all areas of the campus and demonstrates this commitment through our engagement in the Western Association of Schools and Colleges (WASC) accreditation process. UH West O’ahu is fully accredited by WASC, our regional accreditation agency. The University first received WASC accreditation in February 1981 and has been reaccredited in all subsequent reviews.

Bachelor of Arts in Creative Media Overview

Students who chose to study creative media will receive an innovative educational experience that weaves art and design, narrative, information science, and technologies necessary for a broad range of careers in government and non-government organizations, educational institutions, technological firms, and private firms and agencies. 

The program recognizes the evolving technology that drives content creation and emerging media platforms. While honoring legacy film school curricula, UH West O‘ahu’s Creative Media program embraces digital media literacy experienced through video, animation, video games, social media platforms, apps, virtual and augmented reality, and computational media (the nexus of visual storytelling and coding). 

The Creative Media degree offers concentrations in General Creative Media, Communications and New Media Technologies, Design and Media and Game Design and Development. 

The Bachelor of Arts in Creative Media degree, concentration in General Creative Media, is offered via distance education to our students who reside on the neighbor islands and have completed the first two years of coursework from a neighbor island in a Media/Art program at a community college within the UH system.

Creative Media Division Learning Outcomes: 

• Synthesize multiple creative media forms (e.g., game design, internet platforms, mobile apps, sound design, motion graphics, graphic design, storytelling) including at least two or more tools and technology in an appropriate body of work that focuses on the creative media of tomorrow. 
• Use research and information-gathering skills to identify, analyze, and propose solutions. 
• Make sound ethical and legal decisions in creating and using creative media. 
• Evaluate and critique work in chosen field including self-work by using professional terminology and criteria. 
• Communicate ideas to peers, clients, and intended audiences using visual, oral, and written presentation skills relevant to their chosen media field. 
• Produce a body of work suitable for seeking professional opportunities in their chosen media field. 
• Work productively as members of creative media teams. 

These learning outcomes relate to the degree. Concentration-level learning outcomes can be found on the respective concentration pages.

Click here to learn more about the various media programs across the UH System supported by the Academy for Creative Media System

To learn more about the UH West O‘ahu campus click here

General Creative Media

• Program Details

Program Overview

Contact an advisor, prerequisites, uh west o’ahu creative media degree requirements.

Students who are a part of the UH System multi-campus ACM articulated pathway are eligible for this program. Students and graduates from other creative media or communications programs can be considered for admission through a portfolio and transcript review. Please contact Sharla Hanaoka, email [email protected].

Undergraduate General Education Requirements

• General Education Requirements (31 Credits)
• Writing Skills Requirement (3 credits)
• Lower Division Math Requirement (0-3 credits)

Creative Media Foundational Requirement: (18 credits)

• ART 112 Introduction to Digital Art (Will satisfy general ed DA requirement)
• CM 120 Introduction to Digital Video

Plus, choose 12 credits from the list below:

• ART 101 Introduction to Visual Arts
• ART 107D Introduction to Digital Photography
• ART 113D Introduction to Digital Drawing
• ART 126 3D Computer Graphics
• ART 221 Design for Print and Web
• ART 229 Interface Design I
• ART 231 Art Through Applied Geometry
• ART 240 Typography and Color Design
• CM 140 History of Video Games
• CM 142 Introduction to Video Game Design
• CM 143 Introduction to Game Art
• CM 150 Film Analysis and Storytelling
• CM 151 Pre-Production: Digital Video
• CM 152 Principles of Video Editing
• CM 153 Sound Design for Digital Media
• CM 155 Introduction to Screenwriting
• CM 160 The Mobile Word
• CM 161 Intro to iOS Mobile App Development
• CM 251 Animation and Special Effects
• ICS 101 Digital Tools for the Information World
• ICS 111 Introduction to Computer Science

Core Requirements

Creative Media Core Requirements (21 Credits):

• CM 256 Creatives in Media
• ENG 313 Introduction to Creative Writing (WI)
• CM 314 Music, Sound & Media
• CM 320 Creative Producing
• CM 401 Creative Professionals
• HIST 363: 20th Century Popular, Mass & Counter-Culture
• SD 360: Dynamics of Effective Leadership (WI)

General Creative Media Concentration Requirement (12 credits)

Complete 12 credits from the following:

• ART 320 Web Design & Development
• CM 315 Interactive Applications
• CM 316 User Experience
• CM 317 Motion Graphics
• CM 340 The Modern Game Industry
• CM 341 Writing and Storytelling for Video Games
• CM 342 Game Design & Development I
• CM 343 Game Level Design
• CM 350 Creative Strategy
• CM 351 Innovative Advertising
• CM 352 Transmedia and Emerging Media
• CM 353 Making a Short Film
• CM 358 Web Series Production
• CM 359 Branded Media Entertainment
• CM 378 Visual Depictions of the Human Experience and Media Power
• CM 390 Creative Media Internship
• CM 391 Game Design Project
• CM 402 Archival Research for Media Makers
• CM 403 Special Topics
• CM 406 Advanced Screenwriting
• CM 407 Stop Motion
• CM 430 Mastering Social Media

Capstone Requirement: 6 UD Credits

• CM 489 Pre-Capstone Experience (WI)
• CM 490 Senior Project or CM 491 Senior Practicum

General Creative Media Concentration Electives (9 credits)

• ART 311D Design in Public Spaces
• *ART 320 Web Design & Development
• BUSA 300 Principles of Marketing
• CM 201 Forensic Photography
• CM 301 Esports Primer
• *CM 315 Interactive Applications
• *CM 316 User Experience
• *CM 317 Motion Graphics
• CM 321 Representations of Film & TV Production
• CM 322 Web Doc Research and Development
• *CM 340 The Modern Game Industry
• *CM 341 Writing and Storytelling for Video Games
• *CM 342 Game Design & Development I
• *CM 343 Game Level Design
• *CM 350 Creative Strategy
• *CM 351 Innovative Advertising
• *CM 352 Transmedia and Emerging Media
• *CM 353 Making a Short Film
• *CM 358 Web Series Production
• *CM 359 Branded Media Entertainment
• *CM 378 Visual Depictions of the Human Experience and Media Power
• *CM 390 Creative Media Internship
• *CM 391 Game Design Project
• *CM 402 Archival Research for Media Makers
• *CM 403 Special Topics CM 405 Documentary Arts
• *CM 406 Advanced Screenwriting
• *CM 407 Stop Motion
• CM 415 Visual Design for Mobile Applications
• *CM 430 Mastering Social Media
• CM 442 Game Design & Development II
• ENG 317 Pidgin Creative Writing Workshop
• ENG 300C Introduction to Cultural Theory
• ENG 360 Literature & Film
• ENG 361 History of Film
• ENG 367(a) Film Genres and Directors
• ENG 368(a) Topics in Television Studies
• ENG 385 Fairy Tales and Their Adaptations
• ENG 441 Gender & Sexuality in Literature & Film
• HIST 243 Asia Cool: Modern Asia & Pop Culture
• HIST 311 Chinese Culture
• HIST 321 Japanese Culture
• HIST 325 Asian Economies, Business & Consumers
• HIST 326 Japan Cool: Anime, Manga, and Film
• HPST 304 Hawaiian-Pacific Traditions
• HPST 461 Traditional Art of Hawaii
• HPST 462 Traditional Art of the Pacific
• HPST 477 Polynesian and Micronesian Mythology
• HPST 478 Hawaiian Mythology II
• HPST 479 Hawaiian Mythology I
• ICS 129 Introduction to Databases
• ICS 184 Network Fundamentals
• ICS 211 Introduction to Computer Science II
• ICS 240 Operating Systems
• MGT 301 Business Ethics
• MGT 320 Fundamentals of Entrepreneurship & Small Business Management
• MKT 311 Consumer Behavior
• MKT 331 Advertising & Promotion Management
• MUS 240 Intro to Music Technology
• MUS 289 Introduction to Music Writing
• MUS 343 Audio Production: Intro to Mixing
• MUS 389 Intermediate Music Writing for Media
• PHIL 439 Philosophy and Film

*Courses may only be used once to fulfill the General Creative Media OR Concentration Elective requirement

Electives Requirement (26 credits)

Check with your College Success Advisor to confirm how many electives are needed.

Integrating various media domains, such as design, storytelling, and technology, the general creative media concentration provides study and extended practice in the student’s chosen area of competence. Course requirements address development and maintenance of existing artistic skills; foster support for a broader understanding of related disciplines including humanities and technology; and provide experience in working in multidisciplinary teams on realistic problems. 

Career and Earnings Potential

In Hawaiʻi the creative sector supports a wide spectrum of commercial businesses, individuals, cultural enterprises and non-profit institutions. Creative enterprises produce, directly or indirectly, a range of goods services that are the product of artistry, design, aesthetic value or cultural enterprise.

A student will gain a variety of communication, computer and video skills to help prepare them for careers in advertising, media, communications and more.

For more information on careers and earning potential, visit the  Hawaiʻi  Career Explorer  website.

Learning Outcomes

Upon successful completion of the concentration in General Creative Media, students will be able to: 

Production Skills and Technical Knowledge

• Produce, format and distribute content across all major media platforms
• Produce video and audio content such as recording on location and in the studio, editing, and creating basic media graphics

Conceptual Thinking

• Identify, gather, assess, record, and research relevant information for a project
• Identify and apply interviewing techniques as part of the interview and investigation process
• Analyze and discuss media trends and issues

Written and Oral Communication

• Communicate concepts and ideas for a media project using industry terminology, both verbally and in writing
• Evaluate and critique work in a chosen medium

Visual Communication

• Apply basic design principles to various types of video, print, and interactive media

Professional Readiness

• Produce a professional portfolio to acquire a job within the media industry or corporate environment
• Practice meeting deadlines and submit work according to professional presentation standards

Sharla Hanaoka, Associate Director Creative Media

Communications and New Media Technologies

Communications and New Media Technologies Concentration Requirement (12 credits)

• CM 405 Documentary Arts

*Courses may only be used once to fulfill the Communication & New Media Technologies Concentration OR Concentration Elective requirement

Communication & New Media Technologies Concentration Requirement (9 credits)

Complete 9 credits from the following:

• *CM 321 Representations of Film & TV Production
• *CM 322 Web Doc Research and Development
• *CM 403 Special Topics
• *CM 405 Documentary Arts
• CM 415 Visual Design for Mobile Apps

The Communications and New Media Technologies concentration moves beyond training for traditional jobs in broadcasting and film to drive students towards a world of online digital content. Writing and producing content for new media platforms are becoming essential ingredients for todayʻs communication strategies. The concentration provides a hands-on approach where skills are learned by doing. There is a dual emphasis on interpersonal and mass communication, in a variety of subject areas, including new media technology, social media research and marketing, interpersonal development in mediated environments and content production for up and coming media platforms.

Students will gain a variety of communication, computer, and graphic design skills, preparing them for careers in management, advertising, media, communications, public relations and more.

Upon successful completion of the concentration in Design and Media, students will be able to: 

• Identify, gather, assess, record, and research relevant information for a story
• Develop unique, original story ideas
• Produce scripts, features, articles and other written content for media coverage in various platforms
• Evaluate and critique work within the chosen medium.
• Apply visualization story techniques in the pre-production and production stage
• Produce a professional reel to acquire a job within the media industry or corporate environment

Video Game Design and Development

Video Game Design and Development Concentration Requirement (12 credits)

Video Game Design and Development Concentration Electives (9 credits)

• *CM 301 Esports Primer
• *CM 415 Visual Design for Mobile Apps
• *CM 442 Game Design & Development II

*Courses may only be used once to fulfill the Video Game Design and Development Concentration OR Concentration Elective requirement

As a student in the Game Design and Development concentration, you’ll experience the entire game development cycle—from creating concept art and UI & UX for games to coding for artificial intelligence and virtual reality gaming experiences. Students will develop specialized skills that prepare them for cutting-edge careers in one of the most vibrant, multifaceted, and expansive industries ever. Students will acquire the breadth of knowledge needed to build a career not just in game programming but in other industries that use gaming and simulation, from education to healthcare and public policy. 

Careers and Earning Potential

In Hawaiʻi the creative sector supports a wide spectrum of commercial businesses, individuals, cultural enterprises and non-profit institutions. Creative enterprises produce, directly or indirectly, a range of goods services that are the product of artistry, design, aesthetic value or cultural enterprise.

• Demonstrate proficiency with technology related to contemporary game production
• Create design documentation and detailed paper maps for a professional preproduction package
• Effectively use visual and code-based scripting to implement game and level mechanics
• Identify, gather, assess, record, and research relevant information for a game idea
• Design, organize, and build game prototypes in established game engines
• Analyze and discuss game trends and issues
• Clearly and professionally present work and ideas
• Evaluate and critique work in chosen game area
• Integrate objects, environments, characters, and props into a cohesive game experience
• Use appropriate media to communicate ideas throughout the design process
• Draw, design, and render forms (2D/3D) to game industry standards
• Produce a professional demo reel or portfolio which meets industry standards
• Work cooperatively and effectively in a professional production environment
• Identify strengths within game development and/or design and develop a portfolio tailored to showcase them

Design and Media

Design & Media Concentration Requirement (12 credits)

Design & Media Concentration Electives (9 credits)

• CM 359 Branded Entertainment: Online Video Campaign
• ENG 300c Introduction to Cultural Theory

*Courses may only be used once to fulfill the Design & Media Concentration OR Concentration Elective requirement

The Design and Media concentration educates and trains designers for the visual communication needs of industry and society. Emphasis is placed on the conception, creation, planning and realization of visual solutions to complex problems in contemporary cultures. Students integrate methodology, prototyping, aesthetics, human factors, technology, materials, context and audience to develop strategies and solutions that give form to print, screen, and the built environment.

• Demonstrate an understanding of current interactive technologies, tools, and apps by effectively using them to execute projects
• Demonstrate programming and coding skills by building functional products and prototypes that simulate the intended interactive experience
• Collect data appropriate for a given project
• Use research findings to develop design ideas centered on target users
• Identify user demographics and diagram the user experience
• Produce a consistent interactive experience in a medium appropriate to the user’s needs
• Analyze and discuss design trends and issues
• Evaluate and critique work in chosen medium
• Apply grid-based visual compositions that demonstrate the principles of design
• Apply typographic theory to choices that effectively communicate information hierarchy and mood towards a given a platform
• Demonstrate effective use of color and imagery for an intended audience
• Produce a cohesive portfolio tailored to reflect stated career goals
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Kilohana: The Writing Center

Click here to see how we're celebrating National Poetry Month on campus!

The Writing section is a valuable resource for anyone looking to improve their writing skills. It includes tips, guides, and examples to help you become a better writer. Whether it's academic writing, creative writing, or professional content, you'll find useful information here.

Coordinator's Welcome

Welcome to Kilohana: The Writing Center! Please drop in anytime you have questions or need assistance with your writing assignments while you are studying at the University of Hawaiʻi at Hilo. Student staff can answer your questions, review your notes, provide feedback about your draft, and provide other appropriate writing assistance as requested. The Writing Center student staff are available throughout your career here at UH Hilo. We hope to see you soon. Short class visits can also be arranged if faculty desire. Just let me know! Thank you, Karla Hayashi , Writing Center Coordinator

Who Are We?

Kilohana: The Writing Center offers free drop-in consultation sessions to any currently enrolled UH Hilo student. Currently enrolled students at other UH system campuses are also welcome.

Peer staff are trained to help you become a confident and independent writer by focusing on a number of commonly requested topics .

Ultimately, peer staff can help students develop their own voices as writers.

Tips for a Successful Session

Come early! Bring all your materials! Ask questions! Embrace the writing process!

Location and Schedule

Library 123

View the Writing tutoring schedule

If you would like to meet with a tutor on Zoom, email justasc@hawaii.edu and let us know what class you would like help with. A tutor on duty will reply with the Zoom link.

Please note online tutoring follows the same schedule as above, so you are only able to meet with a tutor online during scheduled shifts for each respective subject.

Helpful Resources

Online writing lab.

• Purdue Online Writing Lab

Grammar Guides

• The Elements of Style by William Strunk

Writing Tools

• Hemingway Editor

BUS3083 - Successful Grant Writing Series

Course description.

Successful Grant Writing Series According to Forbes, “grant writers are in high demand because many non-profits need additional help in putting together grant proposals.” This grant writing series extends beyond learning how to fill out a form to apply for grant funds. Participants will learn the different phases of the actual grant writing process; standard terminology utilized in the grant industry; budgeting; and the essential steps needed to develop a professional grant proposal. From beginning to the end, participants will learn what it takes to become a successful grant writer by learning to formulate a budget, as well as preparing, writing, and properly submitting a grant application.

This program now includes only two modules:

• Module 1-Introduction to Grants & Grant Writing (3 hours) - is recommended for everyone as a refresher or in preparation for Module 2. It is also designed for individuals with minimum experience in grants. After completion, participants then move onto Module 2 - Grant Writing-Advanced Level.
• Module 2-Grant Writing-Advanced Level (3 hours) -  is designed for individuals who understand grant writing fundamentals; have experience working on grants;  or wish to hone their grant writing skills to a better level.   

Module 1 – Introduction to Grants and Grant Writing (3 hours)

You have an idea that meets a need, and you believe that you, or your organization, can achieve the goal. What’s next? You need to work at motivating and persuading others to believe in funding your vision. Developing grant seeking and grant writing skills is the most effective way to obtain funding for your organization. During this course, you will learn standard grant industry terminology and what it takes to create a professional proposal. Along with the “do’s and don’ts” of grant writing, this course lays a foundation of understanding that allows you to proceed to the next levels of grant writing.

Module 2 – Grant Writing-Advanced Level (3 hours)

Professional grant writers are skilled at using clear, specific language that can persuade the reviewers and decision-makers to fund their proposals. Once you understand the significance of grants and how to use the process to turn words into money, it’s important to apply your knowledge. This course enables you to practice an essential skill in grant writing--researching important information to use as reference data. Also, a case study will be assigned and you'll incorporate learned elements to create a proposal packet using the proper application process for specific grants. This packet will include a letter of inquiry, one-page abstract, proposal outline, logic model, evaluative measurement, and budget justification. The instructor will be on hand to provide guidance and direction, while you work independently to create your proposal.

This program includes live online sessions (refer to program outline for dates and times). We will use Zoom (online conferencing software) to hold discussions and practice hands-on skills. To attend the live online sessions in Zoom, the following equipment is recommended:

· Access to a more recent model desktop or laptop, either Windows or Mac or Android or Apple mobile device

· Supported Operating Systems for desktop and laptop: Mac OS X with Mac OS 10.7 or later, Windows 10 or Windows 8 or 8.1 OR Supported Operating Systems for mobile devices: iOS 7.0 or later, iPad OS 13 or later, Android 4.0x or later, Kindle Fire HD

· Reliable high-speed (cable or DSL) Internet connection

· Internet browser such as Firefox, Chrome, Edge, or Safari

· Recommended: webcam, headset with microphone, if your device does not already have a webcam and microphone

The following recommended courses can also help to hone your grant writing skills:

· MS Word, Excel and PowerPoint or Google Suite

· Communication Skills for Success

· Effective Business Writing

· Critical Thinking

· Organize Yourself-Manage Time and Stress

· Sales Survival Skills

· Tips for Creative Presentations

Course Outline

I. Module 1-Introduction to Grants and Grant Writing (3 hours)

A. Grant fundamentals

1. Funders and who they are

2. Grant announcement or RFP

3. Applicants and who they are (501c3)

B. Proposal process

1. Application

2. Abstract summary

3. Timeline

5. Leveraging

6. Writing rules

C. Writing your proposal

1. Letter of inquiry

2. Project description

3. Evaluative measures

4. Budget justification

5. In-kind matching

6. Formatting

D. Submission process

II. Module 2- Grant Writing-Advanced Level (3 hours)

A. Review of Grant Writing Fundamentals.

B. Are you “grant ready”?

1. RFP Guidelines.

2. Finding Referencing Data.

3. How to Condense the Abstract.

C. Collaborative partners.

1. Public versus private funding streams.

2. Importance of “how” in the project description.

D. Create a timeline.

E. Create a budget and write a budget justification.

F. Type of grants.

G. Writing a letter of inquiry.

H. Research resources

1. Grants.gov

5. U.S. Census Bureau

6. American Fact Finder

I. Writing your proposal

1. One-Page Abstract Summary

2. Letter of Support

3. Reference Citings

4. Bibliographies and Resumes

Learner Outcomes

By the end of the program, participants will be able to:

1. Recognize standard grant terminology.

2. Apply the do’s and don’ts of grant writing.

3. Use standard practices and procedures to create a professional proposal.

4. Use the proper application process for specific grants.

5. Write a basic abstract and letter of inquiry.

6. Prepare a graphical timeline.

7. Prepare a budget and budget justification for a grant proposal.

8. Create a grant proposal packet consisting of a letter of inquiry, a one-page abstract, proposal outline, logic model, evaluative measurement, and budget justification.

Individual modules:

Introduction to Grants and Grant Writing

By the end of the course, participants will be able to:

1. Recognize standard grant industry terminology.

3. Use the standard practices and procedures to create a professional proposal.

Grant Writing-Advanced Level

• Use the proper application process for specific grants.
• Write a basic abstract and letter of inquiry.
• Prepare a graphical timeline
• Prepare a budget and budget justification for a grant proposal
• Create a grant proposal packet consisting of a letter of inquiry, one-page abstract, proposal outline, logic model, evaluative measurement, and budget justification.

If you are a student with a documented disability and have not voluntarily disclosed the nature of your disability so that we may coordinate the accommodations you need, you are invited to contact the Disability Support Services Office (DSSO) in 'Ilima 107, ph. (808)734-9552, or email [email protected] for assistance. For students whose primary disability is Deaf or hard of hearing, contact the Kapi'olani Community College Deaf Center, ph. (808)734-9891 or email [email protected] .

Please note: Due to the COVID-19 health and safety requirements, ZOOM or phone appointment will replace face to face meetings until further notice. You will need to contact DSSO or Deaf Center to request accommodations in a course even if you've already registered or are receiving services at another UH campus's disability support program.

Basic needs include food and housing, childcare, mental health, financial resources and transportation, among others. Student basic needs security is critical for ensuring strong academic performance, persistence and graduation and overall student well being. If you or someone you know are experiencing basic needs insecurity, please see the following resources: UH Student Basic Needs.

Refund/Drop Policy:

Failure to attend a class or notifying your instructor of your intent to withdraw does not constitute an official withdrawal from the course.

Agencies submitting a purchase order for course fees will be billed regardless of attendance, unless notification of withdrawal is made by the specified refund deadline.

100% refund: Notification to Non-Credit Registration (NCR) made 10 business days or more prior to start of course.

50% refund: Notification to NCR made 5-9 business days prior to start of course.

0% refund: Notification to NCR made less than 5 business days prior to start of course.

Session Time-Out

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Center for Biographical Research

The 1898 Project Summit, April 13-14, 2024

Native Hawaiian Student Services and the Center for Biographical Research present:

The 1898 Project Summit

Saturday, April 13, 1:00–8:00 pm Sunday April 14, 9:00 am–6:00 pm Kamakakūokalani Center for Hawaiian Studies, University of Hawaiʻi at Mānoa The 1898 Project is a two-day summit of leading scholars and activists on American imperialism from Hawaiʻi, Guåhan, the Philippines, and Puerto Rico; the how and why, its effects, and what can be done now and in the future to cope, heal, and decolonize.

Please see here for the full program:  https://manoa.hawaii.edu/cbr/the-1898-project/summit-program/

The 2024 Biography Prize

The Center for Biographical Research is now accepting nominations for the 2024 Biography Prize

Criteria for Nomination:

• The candidate should be a PhD or MA student in any graduate department of the University of Hawai‘i at Mānoa (or have graduated with an MA or PhD in December 2023).
• The submission can be work written for a class, a section of a thesis or dissertation, or a completed thesis or dissertation. If written for a class, it should be work completed between May 2023 and April 2024 (and not previously submitted for a Biography Prize).

The project should be 3,000 to 10,000 words in length. Longer projects can be submitted in their entirety, with a particular chapter or section highlighted for consideration. The work should demonstrate knowledge or awareness of central debates and theorizing in the field and study of life writing.

Please send nominations (graduate student’s name and subject or title of project) and contact information to Paige Rasmussen (biograph @hawaii.edu ) by  Tuesday, April 9 .

Once you send your nomination, the Center for Biographical Research will notify the student to arrange for submission of the project. Candidates may also nominate their own work for the award. The deadline for submissions is  Tuesday, April 16 .

The winner of the Biography Prize receives a monetary award and is invited to give a presentation in the Brown Bag Biography lecture series.

Congratulations to L. Ayu Saraswati!

Please join the Center for Biographical Research in congratulating Biography coeditor L. Ayu Saraswati! Her book Scarred: A Feminist Journey Through Pain (NYU Press, 2023) won the Autobiography and Biography category of the AAP PROSE Book Award!

You can find the full announcement here: https://publishingperspectives.com/2024/03/the-aaps-prose-awards-2024-category-winners/

For more information on the award-winning book, visit this link: https://nyupress.org/9781479817078/scarred/

Available Now: Biography 46.1

We are pleased to announce the publication of  Biography  46.1. Find it on Project Muse:  https://muse.jhu.edu/issue/51965 .

Biography : An Interdisciplinary Quarterly

vol. 46, no. 1, 2023

Table of Contents

International Year in Review

“Shame, Trauma, and the Body After #MeToo: The Year in Australia”

Emma Maguire

“The Romantic Battle of Carlos Marighella: The Year in Brazil”

Sergio da Silva Barcellos

“‘Sarah Polley Needs No Introduction’: The Year in Canada”

“Micro Life in Macro History: The Year in China”

“Vientos de cambio: El año en Colombia”

Gabriel Jaime Murillo Arango

“Did We Forget about Climate Change during the COVID-19 Pandemic?: The Year in Denmark”

Marianne Høyen

“The Visible and Invisible Lives of Kerstin Söderholm: The Year in Finland”

Kirsi Tuohela and Maarit Leskelä-Kärki

“Love’s Labour’s Regained: The Year in Austria, Germany, and Switzerland”

Tobias Heinrich

“Responsibility and Confronting the Holocaust in Memoir: The Year in Hungary”

Gergely Kunt

“The Maiden and the Patriarchy in Hlín Agnarsdóttir’s  Meydómur : The Year in Iceland”

Gunnþórunn Guðmundsdóttir

“What Lies Beneath: The Year in Ireland”

“Gino Strada, An Italian Hero for World Medicine: The Year in Italy”

Ilaria Serra

“Unfinished Bildungsroman: The Year in Korea”

Heui-Yung Park

“Autobiographical Verse, Demythologizing Motherhood: The Year in Lebanon”

Sleiman El Hajj

“La lucha de todas: El año en México”

Gerardo Necoechea Gracia

“A New Portrait of William of Orange: The Year in the Netherlands”

Monica Soeting

“The War Diary of Józef Czapski: The Year in Poland”

Paweł Rodak, translated by Alessandro Nicola Malusà

“Between Inter-Imperial Pasts and the Neoliberal Present: The Year in Romania”

“An Afro-Caribbean in the Nazi Era: The Year in Sint Maarten”

Rose Mary Allen and Jeroen Heuvel

“Collaboration and Testimony in  Hermanito : The Year in Spain”

Ana Belén Martínez García

“Outlandish: The Year in the UK”

Tom Overton

“Desperation, Revenge, and Memoir: The Year in the US”

Leigh Gilmore

Annual Bibliography of Works about Life Writing, 2022

Compiled by Caroline Zuckerman

Edited Collections and Special Issues

Articles and Essays

Dissertations

Refaat Alareer (1979–2023)

Let us continue to tell the tale. On December 7, 2023, Refaat Alareer was killed in his sister’s home—along with his brother, his sister, and her four children—in Gaza by an Israeli airstrike. Refaat Alareer was a father; a beloved professor at the Islamic University in Gaza (destroyed last month by Israeli airstrikes) who taught poetry, Shakespeare, and creative writing; a mentor; the editor of the story collection Gaza Writes Back and coeditor of the essay collection Gaza Unsilenced ; a poet and writer; and the founder of the organization We Are Not Numbers.

He was also a highly valued contributor to “Life in Occupied Palestine,” a 2014 special issue of Biography: An Interdisciplinary Quarterly .

As the editors worked with Refaat and other contributors in the summer of 2014 to finalize that special issue, Israeli forces killed Refaat’s brother Mohammed Alareer during Israel’s fifty-one-day siege on Gaza. That special issue was dedicated to Mohammed:

“In memory of Mohammed Alareer, and every Palestinian whose life was cut short in the summer of 2014, and in the decades before, struggling against Israeli colonization.”

“A house of four floors but thousands of stories is no more. The stories, however, will live to bear witness to the most brutally wild occupation the world has ever known.” —Refaat R. Alareer

Almost ten years later, during Israel’s bombardment of Gaza, Refaat pinned to his X account the very poem that concludes his contribution to that special issue of Biography —and that has now been shared around the world:

If I must die

If I must die, you have to live To tell my story, to sell my things To buy a piece of cloth and some strings, (Make it white with a long tail) So that a child, somewhere in Gaza While looking heaven in the eye, Making it blush under his gaze, Awaiting his Dad who left in a blaze— And bid no one farewell Not even to his flesh, not even to himself— Sees the kite, my kite you made, flying up above And thinks for a moment an angel is there Bringing back love. If I must die, let it bring hope. Let it be a tale.

Refaat Alareer’s essay for Biography , along with the entire special issue, is freely available on Project Muse: https://muse.jhu.edu/issue/31638 .

We mourn his passing, and honor his vision for hope and liberation.

Available Now: “After(Life) Narratives of #MeToo”

The Center for Biographical Research is pleased to announce the latest special issue of  Biography: An Interdisciplinary Quarterly , available on Project Muse !

Biography: An Interdisciplinary Quarterly volume 45, number 4

“After(Life) Narratives of #MeToo”

Rebecca Wanzo and Carol A. Stabile, guest editors

“#MeToo: A Biography”

Rebecca Wanzo and Carol A. Stabile

This introduction looks at the difference between Tarana Burke’s “me too” and #MeToo. The chronologically distinct origin stories for the forms of activism #MeToo has generated illustrate a distinction between Burke’s “me too,” grounded in her work with Black girls and created to raise awareness of the collective plight of survivors of sexual violence, and “#MeToo,” an example of hashtag feminism that has come to be associated with identifying individual bad actors. We look at various manifestations of #MeToo as well as feminist debates in telling the story about #MeToo’s successes and failures.

“Micro-disclosures for Macro-erasures: #MeToo in the Academy”

Roopika Risam

This essay explores how we might account for the influence of #MeToo in the academy and the extent to which we can understand the power of these utterances as a form of narrative agency expressed through digital life writing. Drawing on a blend of quantitative and qualitative analysis of #MeToo-related tweets about academia, the essay first examines how narrative agency over sexual harassment and violence in higher education is expressed through #MeToo. It further explores how the threat of retaliation and the troubling operationalization of Title IX by universities as an anti-survivor discourse produces macro-erasures of narrative agency. Finally, the essay proposes that #MeToo tweets about higher education are best understood as “micro-disclosures,” a distinct form of life writing that facilitates the narrative agency denied by institutional systems and processes.

“#MeToo Storytelling: Confession, Testimony, and Life Writing”

This article argues that two discourses—confession and testimony—influence the stories survivors tell about sexual violence, the stories others tell about them, and the contexts in which #MeToo storytelling is heard. It identifies how confession and testimony crop up in several #MeToo forms within and beyond the courts, including abuser apologies, letters of support, victim impact statements, memoirs, and lawsuits. It demonstrates that #MeToo is altering the form of testimony itself as its commitment to truth-telling enacts justice-seeking in an extrajudicial form.

“Reproducing and Resisting Sexual Violence: Narrative, Genre, and Power Structure in  Fang Siqi’s First Love Paradise ”

Rong Huang and Xiaotian Jin

In her semi-autobiographical novel  Fang Siqi’s First Love Paradise , Lin Yihan weaves her own traumatic experience of being sexually abused into a powerful narrative that sheds light on the pervasive acquiescence to violence against women in patriarchal cultures. Focusing on the sociocultural factors behind sexual violence, this article examines certain forms of narrative and literary genre, as revealed in the novel, that can be manipulated by male perpetrators and thus play a complicit role in reproducing crimes. But by blurring the divide between fiction and nonfiction, the reception and massive readership of the novel attest to a sort of narrative solidarity against sexual violence, making it an iconic text of the contemporary feminist movement in East Asia.

“Sex, Violence, and Memoir: David Wojnarowicz’s  Close to the Knives ”

Greta LaFleur and Dana Seitler

This article engages David Wojnarowicz’s “memoir of disintegration”  Close to the Knives  (1991), a text that contains numerous and variegated representations of sexual encounters before and during the beginnings of the AIDS crisis in the United States. Wojnarowicz’s memoir provides this article with its critical focus because it points us to one iteration of the narratological before-life of the #MeToo movement. In this article, we explore how, in the text, the violence that infuses sex, as well as the sexual intensity that drives violence, is presented as a social and structural problem rather than as an individualized desire, aberration, or impulse. Sexual harm, rather, is primarily a structural reality that in turn informs the way that both sex and violence are practiced—by Wojnarowicz himself, by his lovers and friends, and even by his family.  Close to the Knives  thus presents the reader with a tension between, on the one hand, Wojnarowicz’s playful curiosity surrounding the relationship between sex, violence, and harm, and on the other, formal questions about memoir. In this article, we ask: how can we develop an ethics around sexual violence—without reifying either sex or acts of self-narration?

“‘If it didn’t hurt so bad, I’d kill myself, but I’ll let Ed Buck do it for now’: #JusticeforGemmel and Black Queer Narratives in the Age and Afterlife of #MeToo”

Terrance Wooten

Gemmel Moore, a gay Black man, was found dead in the West Hollywood home of Edward Buck, a gay white LGBT rights activist. Gemmel’s death was originally classified as an accident until his family published his journal, which was used to ignite both a criminal investigation and a set of Twitter campaigns, #Justice4Gemmel and #StopEdBuck, that have intersected with the #MeToo movement. In this essay, I analyze how Black queer men narrate their experiences of sexual trauma in relation to Black women, and subsequently how Black women have carved space for Black queer survivors by providing a new language for conceptualizing the racialized gendering of sexual violence. In doing so, I examine how Black queer men’s autobiographical narratives function not only as evidence of their sexual injury but also as modes of networked connectivity that position Black queer subjects as integral to anti-sexual violence work and #MeToo activism.

“Disability and Sexual Assault in Public(s): Performance/Nebula”

Petra Kuppers

This montage essay investigates elliptical fractured storytelling modes around disabled embodiment, a court case of sexual assault, and the social media aftermath. It tracks how knowledge of perceived sexual vulnerability folds into one’s bodymindspirit, and how pain runs through and shifts in these multiple foldings. The essay’s earthy, plate-moving tectonics build an autoethnographic star-reaching galaxy that incorporates various modes of storytelling, including social media, poetry, movement, and court discourse. This storytelling montage is hesitant, and creates temporal folds that allow an “I” to slip away into sheltering silences.

“‘We Grew Up in This Movement’: A Conversation between Salamishah Tillet and Scheherazade Tillet”

Salamishah Tillet and Scheherazade Tillet

Writer and activist Salamishah Tillet and photographer and organizer Scheherazade Tillet engaged in a lively and in-depth conversation about their work to end sexual violence before and beyond #MeToo. In 2003, the Tillet sisters founded A Long Walk Home, a nonprofit that empowers young people to use art to end violence against girls and women. Yet their actual organizing work began five years earlier when Scheherazade, at twenty years old, began documenting Salamishah’s healing after being sexually assaulted in college. From 1998 to 2013, Scheherazade took thousands of images, many of which became the spine of  Story Of A Rape Survivor  ( SOARS ), a performance that the Tillet sisters created and toured with a cast of Black women singers, dancers, and actors at rape crisis centers and college campuses over two decades. Some of those photographs are included here, along with others from the performances, to provide a visual archive of the innovative artistic process and the unique political intervention of  SOARS  from its very beginning.

“The Afterlives of #MeToo: A Roundtable Discussion with Māhealani Ahia, Michelle Cho, Pallavi Guha, Régine Michelle Jean-Charles, Kahala Johnson, and Ever E. Osorio”

Organized by Greta LaFleur and Dana Seitler

One of the risks of a special issue with US-based editors and with a topic overwhelmingly identified not only with the US but also with affluent white women is that conversations might neglect the expertise of scholars focused on Indigeneity and the majority of the world. The diverse scholars who contribute to this roundtable—while by no means covering every region in which #MeToo activism has taken place—decenter the US in exploring #MeToo discourse, and blend discussions of medium in activism, solidarity, and cultural specificity in relation to their own stories.

Brown Bag Biography: Fall 2023

We’re excited to announce the schedule for Brown Bag Biography, Fall 2023. 

All of our talks will be held in person in Kuykendall 410 or Biomed B-104 (UH Mānoa). For streaming information for select talks, please visit our website and social media, where we will post detailed announcements for each event. We will also record and post many of the talks. You can find some past presentations on our YouTube channel  here .

THE CENTER FOR BIOGRAPHICAL RESEARCH, UNIVERSITY OF HAWAIʻI AT MĀNOA

BROWN BAG BIOGRAPHY

DISCUSSIONS OF LIFE WRITING BY & FOR TOWN & GOWN

THURSDAYS, 12:00 NOON–1:15 PM HST • 

All are welcome to attend. To find streaming information for select events, please visit the Center for Biographical Research’s website https://manoa.hawaii.edu/cbr/ , contact us at 808-956-3774 or [email protected] , or sign up for our mailing list at https://forms.gle/Sr9WdvNBD9WdwG7EA .

Fall 2023 SCHEDULE

September 14: “ Narrating Humanity: Life Writing and Movement Politics from Palestine to Mauna Kea : A Book Talk”

Cynthia Franklin, Professor, Department of English, University of Hawaiʻi at Mānoa

Location: KUY 410

Time: 12:00–1:15 pm HST

September 21: “ Staging Shakespeare in ʻŌlelo Hawaiʻi ”

Tammy Hailiʻōpua Baker , Professor, Department of Theatre and Dance, University of Hawaiʻi at Mānoa

Justin Fragiao , MFA Student in Scenic Design, Department of Theatre and Dance, University of Hawaiʻi at Mānoa

Iāsona Kaper , MFA Student in Hawaiian Theatre, Department of Theatre and Dance, University of Hawaiʻi at Mānoa

Joshua Kamoaniʻala “Baba” Tavares , MFA Student in Acting & Hawaiian Theatre, Department of Theatre and Dance, University of Hawaiʻi at Mānoa

Devin Walter, MFA Student in Costume Design, Department of Theatre and Dance, University of Hawaiʻi at Mānoa

Noelani Montas, MFA Student in Hawaiian Theatre , Department of Theatre and Dance, University of Hawaiʻi at Mānoa

Location: KUY 410 

September 28: Break

October 5: “ Reflections on Returning Home to Hawaiʻi ”

Patrick Kirch, Professor of Anthropology, University of Hawaiʻi at Mānoa, and Professor Emeritus, University of California, Berkeley

October 12: “ The Political Economy of Environmental Racism in Wai ʻ anae ”

Laurel Mei-Singh , Assistant Professor of Geography and Environment and Asian American Studies, University of Texas at Austin

October 19: “ Makawalu Perspectives on Silence: Reimagining the ‘Gaps’ as Stories ”

Kayla Watabu, PhD student and Assistant Director of the Writing Center, University of Hawaiʻi at Mānoa

October 26: “ Beyond Anthropocentrism(?): Logos and the Aesthetic Relation”

Sarah Allen , Associate Professor of Rhetoric and Composition and the Director of

Writing Programs, University of Hawaiʻi at Mānoa

NB: Time: 3:00–4:30 pm HST

November 2: “ Anarchives: How We Remember Our Political Movement Is Part of the Movement ”

Kathy E. Ferguson , Professor, Departments of Political Science and Women, Gender, and Sexuality Studies, University of Hawaiʻi at Mānoa

November 9: “ Lifelines: Poems for Winslow Homer and Edward Hopper ”

Joseph Stanton, Professor Emeritus of American Studies and Art History, University of Hawaiʻi at Mānoa

November 16: “ Explorations of Agency in Life Writing by LGBTQ+ Youth ”

Dr. Roz Bellamy, Academic, La Trobe University, Melbourne/Naarm 

Location: Biomed B-104

NB: November 21: “ Narrative self-construction in autobiographical comics”

Zuzana Fonioková , Assistant Professor, Department of Czech Literature, Masaryk University, Brno, Czech Republic

November 23: Thanksgiving

November 30: “World War II Legacies and Inheritances: Discoveries in a Community Biography Project”

Moderated by Gail Y. Okawa, Professor Emerita of English, Youngstown State University-Ohio, and Coordinator, CONNECTIONS: Santa Fe Internment Camp Descendants Group

Naomi Hirano-Omizo, Japanese language faculty, Punahou School, Mid-Pacific Institute (ret.)

Alison Ka ʻ ōlinokaimana Yasuoka, Arts Integration Specialist, Voyager Public Charter School (Honolulu), and MEd Candidate in Curriculum Studies: STEMS2, College of Education, University of Hawaiʻi at Mānoa

Annette Tashiro, Chair, State Rehabilitation Council of Hawaii; Rehabilitation Counselor, State of Hawai`i (ret.)

Grant Din, Co-curator and lead researcher, “Taken from Their Families” exhibit, Immigration Station, Angel Island State Park (virtual from San Francisco, CA)

Location: KUY 306

Brown Bag Biography, 9/14: “Narrating Humanity: A Book Talk” with Cynthia Franklin

We’re excited to announce our first Brown Bag event, “ Narrating Humanity : A Book Talk” with Cynthia Franklin! Please join us in Kuykendall 410 (UH Mānoa) on September 14 from 12 to 1:15 pm to celebrate the recent release of Dr. Franklin’s book.

We will announce our full Fall 2023 Brown Bag Biography schedule in the coming days.

Cynthia Franklin,  Professor, Department of English, University of Hawaiʻi at Mānoa

Moderated by  Monisha Das Gupta , Professor, Department of Ethnic Studies, UHM 

Special guest appearance by  ‘Ihilani Lasconia , PhD Student, Department of Political Science, UHM, and  D. Kauwila Mahi , PhD Student, Department of Political Science, UHM

Cosponsored by Students and Faculty for Justice in Palestine at UH (SFJP@UH), Sabeel-Hawaiʻi, Jewish Voice for Peace-Hawaiʻi, Hamilton Library, the Hawaiʻinuiākea School of Hawaiian Knowledge, the Matsunaga Institute, Conflict and Peace Specialist, the School of Communication & Information, the Departments of American Studies, Ethnic Studies, Sociology, and Women, Gender, and Sexuality Studies 

“Original, innovative, and thorough. In  Narrating Humanity , Cynthia Franklin creates an important new language, and new critical modality, for speaking about narrative and politics, and the relationship of self to both.” -Bill Mullen

Cynthia G. Franklin  is Professor of English at the University of Hawai‘i. She coedits the journal  Biography , and in addition to  Narrating Humanity  (2023), is author of  Academic Lives: Memoir, Cultural Theory, and the University Today  (2009) as well as  Writing Women’s Communities: The Politics and Poetics of Multi-Genre Anthologies  (1994). She has also coedited a number of special journal issues, including, for  Biography , “Life in Occupied Palestine.” She is part of the Editorial Collective for the newly constituted initiative EtCH (Essays in the Critical Humanities), and cofounder of Students and Faculty for Justice in Palestine at UH (SFJP@UH) and of Jewish Voice for Peace-Hawai‘i.

Exciting News: Graphic Medicine Nominated for a 2023 Eisner Award!

The Center for Biographical Research is thrilled to announce that “Graphic Medicine,” a special issue of  Biography: An Interdisciplinary Quarterly  (volume 44, numbers 2 & 3) and a book published by University of Hawaiʻi Press, has been nominated for an Eisner Award! 

Named for comics artist Will Eisner, the Will Eisner Comic Industry Awards are the most prestigious form of recognition for excellent publications and creators in comics and graphic novels.  Graphic Medicine  has been nominated in the category of “Best Academic / Scholarly Work.”

• Bandits, Misfits, and Superheroes: Whiteness and Its Borderlands in American Comics and Graphic Novels,  by Josef Benson and Doug Singsen (University Press of Mississippi)
• Graphic Medicine,  edited by Erin La Cour and Anna Poletti (University of Hawai’i’ Press)
• How Comics Travel: Publication, Translation, Radical Literacies,  by Katherine Kelp-Stebbins (Ohio State University Press)
• The LGBTQ+ Comics Studies Reader: Critical Openings, Future Directions,  edited by Alison Halsall and Jonathan Warren (University Press of Mississippi)
• Teaching with Comics and Graphic Novels.  By Tim Smyth (Routledge)

Comic book academics, educators, and publishers are eligible to vote for the Eisner Awards. If you’re interested in voting for  Graphic Medicine , and for nominees in any of the thirty-one other categories, follow this link to apply:  https://https://form.jotform.com/230927489799177 . Eligible voters will then be invited to cast their votes until  June 9.  The deadline to register to vote is  June 2 .

For a full list of the 2023 Eisner Awards Nominees,  click here !

You can find  Graphic Medicine on  Project Muse  and as a book by the  University of Hawai‘i Press .

In  Graphic Medicine , comics artists and scholars of life writing, literature, and comics explore the lived experience of illness and disability through original texts, images, and the dynamic interplay between the two. The essays and autobiographical comics in this collection respond to the medical humanities’ call for different perceptions and representations of illness and disability than those found in conventional medical discourse. Edited by Erin La Cour and Anna Poletti, the collection expands and troubles our understanding of the relationships between patients and doctors, nurses, social workers, caregivers, and family members, considering such encounters in terms of cultural context, language, gender, class, and ethnicity. By treating illness and disability as an experience of fundamentally changed living, rather than a separate narrative episode organized by treatment, recovery, and a return to “normal life,”  Graphic Medicine  asks what it means to give and receive care. Contributors include comic artists and essayists Safdar Ahmed, John Miers, Suzy Becker, Nancy K. Miller, Jared Gardner, Kiene Brillenburg Wurth, JoAnn Purcell, Susan Squier and Erin La Cour.

Call for Entries: Biography’s annotated bibliography of critical and theoretical works on life writing for 2022

We are working on Biography ’s annual annotated bibliography of critical and theoretical works on life writing, the most extensive reference of its kind, and before finalizing it, we want to make sure it is as timely, inclusive, and extensive as possible.

If last year (from January to December 2022) you published, edited, or coedited a book; wrote an article for a journal or an essay for an edited collection; or completed your doctoral dissertation, we would appreciate having that information, so that we can incorporate it into the list. (We may have already included it, but this will make sure your work is noted.) We are also interested in lifewriting-focused podcasts or other media, excluding individual presentations or talks. 

We would request the following information:

·  Full bibliographic information for each text, formatted according to MLA 9 style

·  A one-sentence annotation per text

We are especially committed to noting publications in languages other than English. If you could provide an annotation in English, however, that would be helpful.

We would appreciate getting the information by Monday, June 5. Please send your information to Caroline Zuckerman ( [email protected] ).

Thanks in advance. This bibliography usually has between 1,400 and 1,500 entries, and represents the most extensive annual critical survey of the field. We want to make sure your work appears within it.

WRI 1050 - Introduction to Academic Writing

This course introduces students to college-level writing. It provides instruction in essay development, and the writing process, including brainstorming, drafting, revising, and editing. Students must earn a grade of C- or higher to move on to WRI 1100.

WRI 1051 - Introduction to Academic Writing Lab

Corequisite: WRI 1050

This lab is a revising and editing workshop which is taken concurrently with WRI 1050. The lab provides additional instruction and practice in critical reading and writing skills and in editing techniques for students needing additional support in these areas of first-year writing courses. In this lab, while working one-on-one or in groups with tutors, students will examine their WRI 1050 assignments and readings, receive guidance through the writing process, review grammar and mechanics, and develop self-editing skills. The emphasis of this lab is to help students gain the confidence and skill needed for them to write well independently.

WRI 1100 - Writing and Analyzing Arguments

Prerequisite: A grade of C- or better in WRI 1050 or a score of 480+ in SAT Evidence Based Reading & Writing or a score of 21+ in ACT English or a score of 5+ in Accuplacer Writeplacer

WRI 1100 provides instruction and practice in college-level writing tasks, emphasizing the writing of arguments and the awareness that argument is the cornerstone of academic writing. Students will develop critical thinking skills and academic writing skills by reading, analyzing, and understanding complex texts. In order to learn how to write college-level arguments, students will refine their writing processes, develop their awareness of audience and rhetorical context, develop information literacy including the effective and proper use of source material, and expand their repertoires of rhetorical strategies and organizational techniques. Note: credit may not be earned for both WRI 1100 and WRI 1150

WRI 1101 - Writing and Analyzing Arguments Lab

A writing workshop lab to be taken concurrently with any WC&IL I course. Provides supplementary instruction and practice in critical reading and analysis and in research, writing, and editing techniques for students needing additional support in these areas of first-year writing courses.

WRI 1150 - Literature and Argument

Prerequisite: An appropriate score on a placement test or a score of 500+ in SAT Evidence Based Reading & Writing or a score of 22+ in ACT English or a score of 6+ in Accuplacer Writeplacer

Literature and Argument combines the basic elements of HPU's freshman writing course on the argument essay with an introduction to reading and responding to literary texts. It is designed for students whose interests may lead them into more advanced courses in English or other humanistic disciplines. Students will observe the ways authors use figurative language and the conventions of genre and narrative to structure texts, both literary and rhetorical. They will also analyze arguments and construct their own arguments in response to the texts we read. As students construct these responses, the course will also emphasize the writing process. Note: credit may not be earned for both WRI 1100 and WRI 1150.

WRI 1200 - Research, Argument, and Writing

Prerequisite: A grade of C- or better in any WC&IL I course or an appropriate score on a placement test or a score of 630+ in SAT Evidence Based Reading & Writing or a score of 28+ in ACT English.

This course continues WRI 1100’s focus on argument as the cornerstone of academic writing, emphasizing organization, logical reasoning, and critical thinking. Students prepare a major argumentative research paper by locating and evaluating sources; summarizing, synthesizing, and incorporating them; and attributing ideas to their sources. Note: credit may not be earned for both WRI 1200 and WRI 1250.

WRI 1201 - Research, Argument, and Writing Lab

Prerequisite: Concurrent enrollment in any WC&IL II course.

This lab is a revising and editing workshop which is taken concurrently with WRI 1200 or any Written Communication and Information Literacy II course. The lab provides additional instruction and practice in written language skills and editing techniques to help students succeed. While working one-on-one or in groups with tutors, students will examine their writing course assignments and readings, receive guidance through the writing and research process, review grammar and mechanics, and develop self-editing skills. The emphasis of this lab is to help students gain the confidence and skill needed for them to write well independently.

WRI 1250 - Introduction to Research in the Humanities

Prerequisite: A grade of C- or better in any WC&IL I course or HON 1000 or a score of 630+ in SAT Evidence Based Reading & Writing or a score of 28+ in ACT English.

WRI 1250, like 1200, focuses on how to develop arguments on topics that can be understood only after seeking and carefully reading information from a variety of sources. This class is designed as an alternative to WRI 1200 for those students with a particular interest in examining, researching, and writing about the arts (e.g., literature, painting, dance, music, drama, and film, among others). It provides an excellent foundation for the upper-division Research and Writing in the Humanities (HUM 3900) as well as other 3000-level research classes. Note: credit may not be earned for both WRI 1200 and WRI 1250.

WRI 2601 - Introduction to Creative Writing

Prerequisite: Any WC&IL I course.

In this course students will analyze and practice fundamental techniques of the major genres of creative writing. Students will study and work in all or most of the following genres: fiction, poetry, drama, and creative nonfiction. For each of the genres covered, students will be expected to produce a draft original work to be workshopped by their peers.

WRI 3310 - Poetry Workshop

Prerequisite: Any WC&IL II course, or HON 1000, or WRI 1150, or ENG 2000, or ENG 2100, or ENG 2500, or WRI 2601, or department permission.

An introduction to the study and composition of poetry. As a foundation to the craft of poetry writing, prosody is studied and discussed and British and American poetry is surveyed. Students submit poems to the class for critique, and they may prepare pieces for the university literary magazine as well as for submission to other magazines.

WRI 3320 - Scriptwriting

A course that teaches students the fundamental principles of writing for both the stage and screen, including basic drama and film theory and proper script formats. Students analyze texts and view scenes from plays and films and perform a series of exercises in dialogue, character development, segment development, spectacle and mise-en-scène, stage and film conventions, tragedy and comedy structure, and other archetypal plot formulae. Students will write a short script for the stage or screen that demonstrates a practiced understanding of these elements.

WRI 3330 - Fiction Writing Workshop

A workshop designed to introduce the student of fiction to techniques and concepts such as characterization, plotting, point of view, theme, setting, and tone. The focus of the course is on writing the short story, although other fictional forms may be explored. Markets for fiction and preparing manuscripts for submission are also discussed. This course is conducted as a creative writing workshop.

WRI 3340 - Creative Nonfiction Writing Workshop

WRI 3340 is a creative writing workshop focusing on how to apply literary techniques to nonfiction writing. The class is conducted in workshop format, with students revising their essays in response to feedback. Students also analyze the techniques of professional creative nonfiction, keep a reflective journal, and prepare a portfolio.

WRI 3391 - Wanderlust: Student Literary Magazine

In this class, students serve as editors for Wanderlust , the student literary magazine of Hawai‘i Pacific University. In addition, students polish their own creative writing skills in order to produce publishable poetry, prose, or drama.

WRI 3420 - Grant Writing

Prerequisite: Any WC&IL II course

WRI 3420 Grant Writing is a workshop course in which each student will not only learn the features, writing, and organizational processes of successful grant applications but also produce both an individual grant application and a corporate/organization grant application ready for either a funding organization and/or a fiscal sponsor. Specifically, students will learn how to locate funding resources, identify community or market needs related to their professional interests, develop an effective process for developing and completing grants, and craft each of the critical components of common successful grant applications. Repeatable: If the second section has a different disciplinary focus (once)

WRI 3510 - Composition Studies

Prerequisite: Any WC&IL II course; or WRI 1150, ENG 2000, 2100, 2500 or WRI 2601; or department permission.

This course combines the study of composition theory with practical classroom experience. Topics of discussion, among others, include conferencing techniques, assignment and test composition, revision and editing strategies, writing-process theory, voice and style, and class dynamics. Students follow the progress of their own students in writing labs, present oral reports, and write a short research paper.

Credit: 3 or 4

WRI 3930 - Fresh Perspectives

This is a practicum course in which students will be the editors for Fresh Perspectives: HPU’s Anthology of First-Year Writing . Student editors, under the supervision of an HPU English professor, will make selections from teacher-nominated essays; will engage in a collaborative editorial process with the selected student writers; and will design, lay out, and upload the content in an attractive and professional format. Student editors take the course for 1 credit; students who take on a managerial role can take the course for 2-3 credits. Repeatable for up to 3 credits.

Credit: 1-3

WRI 3951 - Staff Reader, Hawai‘i Pacific Review

In this practicum course, students act as staff readers for Hawai‘i Pacific Review, the university’s national and international online literary journal. Their main responsibility involves reading submissions in the principal creative genres published in the journal. Students will communicate with each other, with the managing editors of the magazine, and with the faculty editor to recommend which submissions will be published. Students will also help to solicit submissions, to edit submissions selected for publican, and to publicize the magazine. Staff readers will be in constant communication with the editors, and will participate in editorial meetings several times a semester.

WRI 3953 - Managing Editor, Hawai‘i Pacific Review

In this practicum course, two students will act as managing editors for Hawai‘i Pacific Review , HPU’s online literary journal. Managing editors will be responsible for managing the magazine’s staff readers and their workloads. They will work closely with the faculty editor to make final decisions regarding published content and assume administrative responsibilities associated with soliciting submissions, publicity, copy-editing, and securing rights to published work. Managing editors should expect to meet often with the faculty editor and to be in constant communication with the staff. They should expect to plan and convoke several editorial meetings with the entire staff.

WRI 3990 - Internship

Prerequisite: At least a 2.7 GPA for undergraduate level.

Internships provide students with applied, experiential learning opportunities so that they can make connections between academic study and the practical application of that study in a professional work environment. Academic internships are supervised by a faculty member and an on-site professional supervisor. All academic internships must be approved in advance by the department or program. Unless stipulated otherwise by the department or program, credit hours are defined by the university's credit hour policy (for example, a 3-credit internship will require a minimum of 120 hours on­site). Internships may be repeated for a total of 9 credit hours.

Repeatable for up to 9 Credits.

Credit: 1 to 3

WRI 4990 - Advanced Writing Revision Workshop

Prerequisite: Three 3000-level writing courses; or permission of instructor.

Using a workshop format, students will study the principles of deep revision and apply this knowledge to revising prior academic and/or creative work. The course serves to serve students with a range of experiences in a variety of academic disciplines, and may be taken for variable credit. Those taking it for three credits will synthesize selected pieces into a coherent, compelling, portfolio that they may carry forward to their professional or graduate school careers.

WRI 4997 - Directed Readings in Writing

Directed individualized reading.

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Updated: 04/12/2024 07:23:53 AM HST

Creative Writing

We are #openforlearning.

We offer globally-accredited degrees and courses taught by the region’s finest academics in world-class facilities.

Our aim is to provide you with a learning environment in which you can strengthen your skills as a self-directed learner and enhance your capacity to interact and collaborate with your peers, share experiences, challenge accepted ideas and build new knowledge.

Ask a programme advisor. Choose the programme that best suits your life goals.

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Undergraduate    Graduate

Start Date September/January

Duration <1 Year

Modality Online

Introduction

This CPE Certificate in Creative Writing is a 60 contact hour programme designed to introduce participants to the formal study of creative writing.  It aims to familiarize students with the formal characteristics of the three literary genres: prose, poetry, and drama and to introduce them to a range of creative non-fiction genres. 

The programme is designed to encourage participants to self-reflexively assess their own writing by providing them with additional perspectives from which to view their writing.  Participants will be exposed to the society of other writers through workshop sessions where they will share their work with their peers and give and receive constructive criticism designed to aid their development as writers. 

Who is this programme for?

The certificate programme in Creative Writing targets persons / individuals who write creatively and want to pursue a structured course of study in the discipline to improve the quality of their writing with the aim of potentially publishing their work. It also targets both novice writers as well as more experienced writers who work in the literary fields, such as magazine contributors.

Programme Structure

The programme consists of two courses. These may be taken together for the completion of the Certificate or participants may be allowed to complete any course for the award of the Continuing Education Units (CEUs) associated with that course. 

When will the programme start?

Contact your nearest Open Campus Country Site on the start date for the programme.  

Entry Requirements

Applicants will be required to submit a sample of their creative writing. This may take the form of a short story, a collection of poems, a short skit, or reflective essay grounded in life experience such as a personal narrative. The writing sample should be between three to five pages (letter sized paper, double spaced type).  Samples will be evaluated and the successful applicants will be offered entry into the programme.  Kindly contact an Open Campus Site location nearest to you for information on the application process.  

Assessment Structure

Students will be assessed using continuous assessment and will be expected to produce a number of creative pieces representative of the genres studied at various intervals throughout each course. These pieces will be peer reviewed and students will revise their piece before final submission. At the end of each course, these assignments will be compiled into a portfolio for submission. In general, students’ work will be evaluated to determine how well they have used the writing techniques learned, the feedback received and the revision process to improve their writing skills. 

Course of Study

This course is designed to introduce students to the formal study of creative non-fiction and to provide them with a structured environment in which to hone their writing skills.  Participants will be exposed to the genre of creative non-fiction through the study of a select number of writings that represent examples of some of the sub-genres of this field. 

This course is designed to introduce students to the formal study of fiction and to provide them with a structured environment in which to hone their creative writing skills.  Participants will be exposed to a variety of fiction writing techniques characteristic of the genres of prose, poetry and drama.  They will be expected to experiment with these techniques to add depth to their own writing and increase their creative repertoire.

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Master of Fine Arts in Creative Writing

With a degree in creative writing, students can publish fiction, poetry, drama, memoir, and screenplays, as well as become educators, journalists, and editors for magazines and publishing companies.

Master of Fine Arts in Creative Writing Programs at Reinhardt University

The creative writing program at Reinhardt University is unique because of its small classes and individual attention from award-winning writers. Whether it’s poetry, fiction, playwriting, screenplay, or memoir, students are guided on creative projects with a rich understanding of literary traditions.

Students work one-on-one with faculty on projects that lead toward a publishable manuscript, en route to becoming stalwart editors. Oftentimes, undergraduate students work with M.F.A. students on projects as editors.

Many of the creative writing students have worked as editors on manuscripts that have gone on to be published, including award-winning books. It is not uncommon for the RU CW students to work on graduate-level projects, including working as an editor on the James Dickey Review, which has a national reputation for publishing the best writers in the world.

Choose from numerous genres: poetry, fiction, memoir, drama, or screenplays for your creative writing degree at RU:

• Bachelor of Fine Arts in Creative Writing (B.F.A.)
• Creative Writing minor

What You’ll Learn at RU

With one-on-one instruction from award-winning professors, the creative writing student can begin at any level and work toward publishing a manuscript. From the beginning draft and planning, through revision and editing, students are guided through the professional process of writing and publishing.

By the time you graduate with a degree in creative writing, you will understand:

• The major ideas of literary movements and how to apply a study of these movements to the student’s creative work
• How to recognize and understand the value of other’s creative work
• How to properly edit for magazine publication
• How to tap into their creative resources for ideas and inspiration
• How to communicate ideas
• How to publish and where to publish

Creative Writing Classes You’ll Take

All creative writing classes are offered as advanced classes. Here are just a few of the CW classes you will take while pursuing your degree:

• Fiction Writing
• Script Writing
• Literary Editing and Publishing
• Poetry Writing
• Screenplay Writing
• Creative Writing Internship

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Careers in Creative Writing

National average for a novelist, with a potential for more with sales and movie rights.

Possible Careers

• Creative Writer
• Web Designer
• Video Game Designer
• Video Game Content Editor
• Concept Artist
• UX Designer
• Freelance Writer
• Advertising Designer
• Script Doctor

Related Programs

• Creative Writing
• English Language Arts Education

Creative Writing Program Details

Tuition and Fees

Reinhardt’s affordable tuition helps you get the personal attention and real-world experiences that will give you a competitive edge in the creative writing job market.

Based on the 2023-24 RU Catalog, the fee per credit hours is $560. The Catalog includes:

• Convocation of Artists and Scholars
• Creative Writing Club
• English Honor Society – Sigma Tau Delta
• Tutoring in the Center for Student Success
• Editor of the student literary journal, Sanctuary
• Participant in off-campus literary events, such as viewing plays at the Alliance Theatre
• Meeting local, national, and international authors

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Scholarships and Financial Aid

Nearly all students at Reinhardt University receive some sort of financial aid or scholarship. Find out what options you may be eligible for.

Check Scholarship and Aid Eligibility

Clubs and Organizations

Student organizations and activities round out the total educational program at Reinhardt University. And there is something for everyone, from sports and outdoor recreation, to student government and leadership opportunities, to multicultural and faith-based groups.

Get Involved on Campus

Campus Living

Living on campus is an essential part of the college experience and will help you adjust to college life. You’ll have more opportunities to interact with faculty and friends, get involved in activities, and have easy access to classes, the library, performing arts, recreational, and athletic facilities.

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Creative Writing Department

Reinhardt University Lawson Building, 124-B 7300 Reinhardt Circle Waleska, GA 30183-2981

[email protected] 770.720.5526

7300 Reinhardt Circle | Waleska, GA 30183

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