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Gateway Course Required for the Beginning Major
Engl 25000
Introduction to Literary Study
37080 sec. C Harold Veeser M, W 11:00 – 12:15pm
37079 sec. E Harold Veeser M, W 2:00 – 3:15pm
37077 sec. G Kedon Willis M, W 5:00 – 6:15pm
37076 sec. L Mark-Allan Donaldson T, TH 9:30 – 10:45am
37074 sec. R Ker Hsu T, TH 3:30 – 4:45pm
This course offers an introduction for beginning English majors to the practices and concepts in the study of literature. We will think carefully about literature as a form of representation – about what literary texts mean as well as how they mean. The course will help students to develop a critical vocabulary and method for reading and writing about literature, as well as introduce them to the cultural contexts and backgrounds of various literary traditions. Our readings will explore a variety of genres and styles – short fiction, the novel, narrative poetry, lyric poetry, and forms of drama. Above all, this is a class in reading and (frequent) writing which will emphasize close reading techniques, interpretive approaches, the making of arguments, and the development of individual critical voices in order to prepare students to succeed in advanced English elective courses.
Literature Courses
200- Level courses
Please note: These 200-level courses are designed to introduce beginning students to literary history, critical approaches, and formal terminology. They typically have a minimum of 3-5 shorter assignments, a variety of in-class writing tasks, and assume no prior background in the discipline. For this reason, majors are not permitted to take more than four (4) 200-level classes.
Engl 21200
Language, Identity, and Power
(fulfills Secondary English Education conc. req. in sociolinguistics)
37083 sec. L Olivia Wood T, TH 9:30 – 10:45am
In what ways are languages, identities, and power dynamics entangled? To explore this complex question, we will begin this course by examining an array of linguistic myths, such as “everyone has an accent except me,” “bad grammar is slovenly,” “some languages are just not good enough,” “America is ruining the English language,” and many others. We will also survey linguistic scholarship on cultural perceptions of language, the bonds between identity and language, as well as histories of linguistic variance and change. Building from this knowledge, we’ll consider research illustrating how language is used in education, employment, children’s films, the media, and the courts to identify, subordinate, and discriminate against groups of people.
Engl 21300
Grammar
(fulfills Secondary English Education conc. req. in sociolinguistics)
35930 sec. S Danny Katch T, TH 5:00 – 6:15pm
This class will provide an overview of the rules of applied grammar, syntax, and sentence structure; an introduction to social and critical theories about “Standard” English and language diversity; and strategies and techniques for teaching grammar and writing.
Engl 26000
Killer Stories (Killing in Short Fiction)
35887 sec. R G.D. Peters T, TH 3:30 – 4:45pm
The purpose of this course will be to examine the phenomenon of killing, both as the thematic focus of literature in the short story genre and as a basis for inquiry into legal, ethical, moral, and psychological questions concerning life-taking, and as the basis for written expression in the style of the college essay. The genre is chosen in order to keep the readings, as Poe envisioned, both short and contextually complete. The subject matter is chosen because it is stimulating by nature, and because it will expand the scope of inquiry beyond the literary and offer a variety of secondary readings and a broad range of responsive expressions.
Engl 27000
Notes from the Asian Underground: Unheard Voices of the Asian Diaspora
(fulfills Secondary English Education conc. req. forethnic/minority literature)
35886 sec. D Sokunthary Svay M, W 12:30 – 1:45pm
Although there is often the saying that Asia is not a monolith, East Asia tends to be overly represented in literature. The readings in this course will mainly focus on narratives we rarely hear of when we think of “Asian” — Kashmiri, Southeast Asian refugees, Palestinian, queer, trans, disabled, undocumented, transracial adoptees, and even a secret language between aristocratic women. The reading selections have been chosen in large part because they are pleasurable to read. In addition to discussion and analysis, there will be opportunity to dabble in creative writing and performance of outstanding literary passages in order to fully appreciate an author’s skill both on and off the page.
Engl 27000
Introduction to African American Literature
(fulfills Secondary English Education conc. req. forethnic/minority literature, historical survey, or American literature)
35885 sec. M Janée Moses T, TH 11:00 – 12:15pm
Robin D. G. Kelley’s Freedom Dreams: The Black Radical Imagination is an interdisciplinary study of the black radical tradition and the intellectual and artistic pursuits toward revolutionary change, or freedom. This introductory course is an exploration of the literary contributions to this black radical tradition by African American writers up to the 20th century. Authors will include Phyllis Wheatley, David Walker, Harriet Jacobs, Frederick Douglass, Anna Julia Cooper, Ida B. Wells, W. E. B. Du Bois, Langston Hughes, Zora Neale Hurston, Ralph Ellison, James Baldwin, Audre Lorde, Toni Morrison, Octavia Butler, and more.
Engl 28000
Cross-listed with CL 28000
Introduction to Comparative Literature
35457 sec. F Mia Perez M, W 3:30 – 4:45pm
This course offers an introduction to the study of literature across different languages, time periods, and genres. It serves as a gateway course for students majoring or minoring in Comparative Literature and lays out the principal methods and challenges of this discipline. We will examine what it means to cross temporal, geographic, and formal boundaries in order to read and relate texts from different national, linguistic, artistic, and cultural traditions.
This Spring our work will revolve around a central question: What is the ‘nature’ of nature and what is the human being’s place within, or, conversely, without it? Spanning from the enlightenment to the 20th century, and with a particular eye toward Romanticism and its remnants, this course will interrogate the possibilities and practicalities of ecological thought and explore how such philosophical inquiry has led to diverse experiments in aesthetics and form. We will also read literary theory and criticism to think more deeply about language, history, philosophy, and social movements and their respective roles in the production and circulation of literary texts. Along the way, we will consider the relationship between aesthetics and politics, or, more specifically how gender, race, and sexuality have each shaped the way literature is defined and read.
Assigned readings may include a broad range of works including poems, plays, novels, films, and paintings by figures like Jean-Jacques Rousseau, Hölderlin, Goethe, Alphonse de Lamartine, Mary Shelley, John Clare, Charlotte Smith, Emily Brontë, Lautréamont, Samuel Beckett, W.G. Sebald, Andrei Tarkovsky, and others.
300- Level Courses
Please note: 300-level classes assume some background and prior experience at the 200-level. Students should complete two 200 level courses before embarking on 300 level work; however, they may register for a single 300 level course if they are still completing 200 level requirements. Generally, these classes require two shorter essays and one longer assignment or final paper involving research or reference to secondary materials.
Engl 35302
Shakespeare II
(fulfills Secondary English Education conc. req. in Shakespeare)
37068 sec. E András Kiséry M, W 2:00 – 3:15pm
Shakespeare is the most influential and most successful writer in English. Shakespeare 2 is a survey of the plays he wrote in the second half of his career. Our readings will likely include the “problem comedy” Measure for Measure, the tragedies Othello, Coriolanus, and Antony and Cleopatra, and the late romance Cymbeline. Our discussion of these stories of love, power, violence, jealousy, and loss will be accompanied by occasional critical readings and short clips from movie adaptations.
This is a standalone class, there is no expectation of having taken Shakespeare 1.
Engl 35900
Revolutionary Poetics
37538 sec. F Jared Fagen M, W 3:30 – 4:45pm
The 19th and 20th centuries were marked by widespread social and political unrest. Yet within this turbulent history, a revolution of the mind was also taking place. For Karl Marx, the end of class struggle could be achieved through the awakening of collective consciousness. For Sigmund Freud, understanding the operations of unconscious thought could unlock inner desires repressed by the demands of daily living. While working in traditionally opposing fields of inquiry, both theorists share a radical awareness of oppression and a drive to expose hidden powers—those which challenge us as well as our own.
In this course, we will attempt to link the revolutions of modernity (sociopolitical, technological, and intellectual) with transformations occurring simultaneously within the world of poetry (formal, linguistic, and conceptual), such as the break from traditional literary conventions, the democratization of poetic language, and the blending of different speech types. We will explore the status of poetry in an increasingly prosaic world, the relationship between emerging genres and the growth of the industrial working class, whether poetic reflection might be turned into practical action, and the ways art succeeds or fails in shaping the tenets of revolutionary thinking.
Through close readings of poems, manifestos, and essays, and analyses of practices in poetics, critical theory, and genre theory, we will consider how poetry—once the “ruling class” of literature—can capture the fleeting quality of modern life and give expression to the urban atmosphere of poverty, alienation, terror, political corruption, and hypocrisy. Some literary forms/schools we will investigate include: Romanticism, Symbolism, vers libre (free verse), prose poetry, visual poetry, Dada and Surrealism, Marxism, the Négritude movement, and more. Some writers we will potentially read include: Shelley, Wordsworth, Baudelaire, Rimbaud, Marx, Freud, Apollinaire, André Breton, César Vallejo, Mina Loy, Gertrude Stein, Aimé Césaire, Audre Lorde, Myung Mi Kim, Etel Adnan, Will Alexander, and others.
Low-stakes writing assignments, creative writing exercises, and a long formal essay.
Engl 36500
Immigration Literature
(fulfills Secondary English Education conc. req. in ethnic/minority literature orAmerican literature)
36978 sec. G Grazyna Drabik M, W 5:00 – 6:15pm
The immigrant experience has been richly represented in American literature since the beginning of the 20th c. constituting a fundamental part of American cultural history. Numerous narratives, in fiction and non-fiction, chart the dynamics, variations, and stages of the immigration experience – focused around the ur-concept of the “American Dream” and the process of “assimilation/acculturation” by which immigrants “become Americans.” More recent narratives, however, present increasingly complicated representation of American identity.
We shall focus on these contemporary voices and together with the writers of the 21st c. we’ll address issues of cultural conflicts and multiple loyalties; the pull of global connections; redefinition of gender roles and inter-generational relations; and processes of forging new individual and communal identities. Our discussion should help us appreciate complexity and richness of the changing landscape of multicultural America.
Our readings include the novels by Julie Otsuka, The Buddha in the Attic, Akhil Sharma, Family Life, and Imbolo Mbue, Behold the Dreamers; a play by Martyna Majok, Ironbound; short stories by Junot Diaz and Viet Than Nguyen; and a selection of poems by Rudolfo Anaya, Simon Ortiz and Leslie Marmon Silko.
Engl 36500
Infrastructure and Modern Literature
36977 sec. M Robert Higney T, TH 11:00 – 12:15pm
Covering the 19th century to the present, this course will look at how literature deals with the non-human world: specifically, the sources of energy that power human civilization, our environment, and the forms of infrastructure like housing, food, sanitation, communication, and transit that sustain our daily lives. We often ask what literature can tell us about human beings, our histories and identities, our relationships to one another, and the social forces like race and gender that shape us and that are expressed in literary texts. Without leaving these issues behind, this class will try to approach literature and literary history from a different angle. How do literary texts make infrastructure—which we usually ignore until it breaks down—visible, and to show how it makes human life sustainable? How can literature help us rethink the relationships between the natural world and the built world, especially in the city? How do we tell stories about systems and processes that exceed any one person’s lifetime or understanding? Authors may include Pauline Hopkins, Franz Kafka, EM Forster, Jamaica Kincaid, Arundhati Roy, Namwali Serpell, and others. Short writing assignments, a midterm paper and a final research project.
Engl 36600
Postcolonial Literature and Theory
(fulfills Secondary English Education conc. req. in ethnic/minority literature)
35884 sec. R Sophia Yip T, TH 3:30 – 4:45pm
In this course, we’ll explore some of the key writings in contemporary postcolonial literature and theory, with a primary focus on the geographical contexts of Asia and Africa. We’ll learn about various frameworks and positions that characterize postcolonial modes of critique through writings by scholars such as Edward Said, Gayatri Chakravorty Spivak, Homi Bhabha, and Stuart Hall. Alongside the critical texts, we will read and analyze how postcolonial writers represent and negotiate questions of identity, race, gender and nationality. Our tentative authors include Arundhati Roy, J. M. Coetzee, Michael Ondaatje, Aravind Adiga, and Amitav Ghosh. Some themes we will explore include hybridity, diaspora, intimacy, and subalternity. We’ll conclude by considering more broadly the category of postcoloniality—its forms, meanings, and significance.
Engl 36800
Reading/Writing Biography
34421 sec. 1BC Elizabeth Mazzola M 9:30 – 11:30am
This is a new class funded by the Mellon Foundation, which combines a wide introduction to the genre of biography with a weekly hands-on experience at a local community center, enabling students to craft (part of) a biography themselves. We will pay careful attention to writers like Phillip Roth, Robert Caro, Vivian Gornick, Manning Marable, and Saidiya Hartman and consider a range of formats and approaches–including the magazine profile, front-page newspaper story, a Wikipedia entry, obituary, and long-form essay–aiming to think through the challenges and rewards of pulling someone’s life together on paper. A final storytelling celebration will help us bring things to a happy conclusion at the end of the semester.
The internship component requires a real time commitment on a regular basis, roughly 6 hrs per week, with weekends and evenings a possibility if that’s better for your schedule. Students will be paired with residents, work with a supervisor, and also help with recreational activities at the center, for which they will receive a generous stipend.
Please reach out to Prof. Elizabeth Mazzola with questions at emazzola@ccny.cuny.edu by Nov 15. If you’re interested in taking this class, email her with a copy of your transcript and paragraph describing what you hope to get out of the class. PLEASE NOTE: You’ll need to commit to a regular weekly internship schedule and attend an online orientation session during winter break so that you can begin volunteering the very first week of the spring semester.
Engl 37100
Cross-listed with BLST 31181
African American Lifewriting
(fulfills Secondary English Education conc. req. in ethnic/minority literature or American literature)
36976 sec. P Janée Moses T, TH 2:00 – 3:15pm
This course invites students to engage the genre of life-writing in African American literature and performance through various forms, including novels, poetry, lyrics, oral history, and interviews. Throughout the semester, students will analyze and interrogate the genre and develop their own weekly life-writing assignments to reflect their understanding of each form. At the end of the semester, students will submit a life-writing project, highlighting their preferred form and unique contribution to the genre.
Capstone Seminars – recommended after 24 credits in the major
These courses are strongly recommended upon completing 24 credits in the major and can only be registered with an English Advisor.
Engl 45400
Media and Literature, 1400 – 2000
36997 sec. C András Kiséry M, W 11:00 – 12:15pm
When we think of media, we think of contemporary digital communication. This course introduces students to the history of communication technologies before the digital age, from around 1400 to the 20th century. This is the age that was dominated by paper and print. We will explore how artistic expression and cultural interaction were shaped by these media, in other words, how the technologies for the reproduction and dissemination of images and texts created opportunities as well as constraints for culture and society.
In addition to a selection of theoretical and historical texts and literary works, we will be spending a lot of time examining documents from the past. At the Archives and Special Collections of CCNY, we will be looking at—and holding in our hands—medieval manuscripts, Renaissance illustrated books, 18th century newspapers, colorful late-19th century magazines, and think about what it was like to live in a world where information and entertainment flowed through these, rather than through screens.
Engl 49000
Contemporary Rhetoric and Communication in Our Current Times of Crisis
37004 sec. 4RS Olivia Wood TH 3:30 – 5:30pm
“Reading the world precedes reading the word, and the subsequent reading of the word cannot dispense with continually reading the world.” – Paulo Freire
We are living in convulsive times, on just about every topic and issue, not only in New York City and the United States, but around the world. Communication shapes all of it: How are journalists covering these topics? How are politicians framing the issues, toward what goals? What goes viral, and why? How are digital phenomena (like memes) connected to real political views and their associated political projects? What information don’t we see, and why? How do people come to learn about contemporary issues and formulate or change their views? How can we communicate most effectively in order to advocate for our own positions and build the kinds of change we want to see in the world? In this capstone seminar, we will consider these questions with the help of both classic (e.g., Noam Chomsky) and recent (e.g., Dana Cloud) works in rhetoric, communication, and media studies.
Emphasis will be on paying close collective attention to current events — “reading the world” — and using that context to help us understand particular instances of contemporary communication on key topics (“reading the word”).
Creative Writing Courses
Engl 22000
Introduction to Creative Writing
36878 sec. B Afsana Ahmed M, W 9:30 – 10:45am
36872 sec. D Kevaughn Hunter M 12:30 – 1:45pm (online mix)
36877 sec. E Toby Millstein M, W 2:00 – 3:15pm
36876 sec. F Justine Costanza M, W 3:30 – 4:45pm
36875 sec. L Julianne Davidow T, TH 9:30 – 10:45am
36874 sec. P Aybike Ahmedi T, TH 2:00 – 3:15pm
36873 sec. S Kay Poema T, TH 5:00 – 6:15pm
This course is an entry-level overview of creative writing, introducing students to various genres and techniques as they learn to produce creative work. Above all, students will be required to write extensively, learning the craft through experience and instructor feedback.
Engl 22005
Cross-listed with BLST 22005
Writing with James Baldwin
35204 sec. M Emily Raboteau T, TH 11:00 – 12:15pm
“You write in order to change the world, knowing perfectly well that you probably can’t, but also knowing that literature is indispensable to the world…” said Harlem-born writer and civil rights activist James Baldwin. In this creative writing workshop, we will explore the art of narrative storytelling inspired by Baldwin’s powerful, personal and political voice. This class offers both an introduction to his work as well as an invitation to write with him, through his writings. Through close reading of a range of Baldwin’s essays and fiction (including Go Tell it On the Mountain, Notes of a Native Son, The Fire Next Time, “Sonny’s Blues,” and more) students will discuss themes of identity, social justice, self-acceptance, and human connection. Guided writing exercises will encourage students to develop their own authentic narratives using some of the literary motives and techniques characteristic of Baldwin’s project. This workshop offers a supportive space to hone your style and draw inspiration from Baldwin’s enduring legacy. Join us to discover your voice and write with purpose and passion. This is a zero textbook cost (ZTC) course. All assigned readings will be provided.
Engl 22100
Prerequisite: English 22000
Intermediate Creative Writing: Reading as Writers
37063 sec. D Estha Weiner M, W 12:30 – 1:45pm
Reading and Writing go together. This Intermediate Creative Writing Workshop links reading and discussing poems, short stories (fiction), and drama with improving your own writing in those three genres. You will read the texts as readers and writers, becoming more aware of the tools of each genre, as you do so. The readings should act as a catalyst/prompt for your own work. Be prepared to discuss those readings. Then comes presentation of your own first drafts in a workshop format, culminating in a final manuscript, and a required Reading Day. We’ll also ask you to bring in a poem from your culture, in the original language, and in its translation.
Workshopping will usually be in alphabetical order, to be fair. If we are able to workshop or privately meet about your final drafts, we will. Please attend readings at CCNY and throughout our five boroughs, and consider submitting your own work to college literary magazines.
37062 sec. P Emily Rosenblatt T, TH 2:00 – 3:15pm
Reading and Writing go together. This Intermediate Creative Writing Workshop links reading and discussing poems, short stories (fiction), and drama with improving your own writing in those three genres. You will read the texts as readers and writers, becoming more aware of the tools of each genre, as you do so. The readings should act as a catalyst/prompt for your own work. Be prepared to discuss those readings.
Engl 23000
Prose Writing Workshop
36871 sec. B Brenna Crowe M, W 9:30 – 10:45am
36870 sec. D India Choquette M, W 12:30 – 1:45pm
36869 sec. F Kristine Slentz M, W 3:30 – 4:45pm
36868 sec. L Julia Francis T, TH 9:30 – 10:45am
36867 sec. M Krystal Orwig T, TH 11:00 – 12:15pm
36250 sec. NP Julia Lattimer T 12:30 – 1:45pm (online mix)
36866 sec. R Annia Ciezadlo T, TH 3:30 – 4:45pm
In this course the varieties of prose writing, excluding fiction, will be practiced. The class is devoted to exploring such nonfictional forms as personal essay writing, reportage, memoir and biographical writing, sketches and opinion pieces. Throughout the semester students will read exemplary works from each area of nonfiction and will also spend considerable time practicing the genre through continuous exercises given by the instructor each week. Students will also learn to revise their works, respond to their peers’ writing, and work toward one to two major papers assigned for the semester.
Engl 32000
Prerequisite: English 22100
Workshop in Fiction
37072 sec. C Dalia Sofer M, W 11:00 – 12:15pm
This biweekly workshop aims to support you in becoming a more astute reader and writer of fiction. It is only to be taken by those who have already completed ENGLISH 22100. In the first part of the course, we will read and discuss a range of short stories and novel excerpts, focusing on various elements of craft—including point of view, character, narrative tension, form, and language. You will also complete brief writing exercises (sometimes in class) and assignments inspired by the readings. In the second part of the course, we will critique your manuscripts—short stories or excerpts from longer works—and again we will address questions of narrative and craft. The aim of our discussions will be to support you in your writing process, spark new ideas, and help you become a better editor of your own work.
37070 sec. P Lyn Di Iorio T, TH 2:00 – 3:15pm
This course is designed for advanced creative writing students who wish to develop the writing of short stories in a studio workshop atmosphere and who have already taken other creative writing classes (notably English 220 and 221). The number of required submissions for the semester is either three new stories or two stories and one revision of an already-submitted story. It’s fine if you have already worked on these stories in previous classes or workshops because our ultimate goal as writers is to produce highly polished fiction. Other required work will be thoughtful and detailed feedback for the writers of the workshop pieces written according to a format I will provide.
During discussions, we will also revisit and develop our understanding of the techniques and vocabulary of the craft of fiction such as characterization, point of view, desire line, setting, dialogue, crisis, climax, ending, beats, and other terms. As a refresher on craft and technique, I will assign chapters from Self-Editing for Fiction Writers by Renni Browne and Dave King. I will also assign stories by well-known authors.
Please be advised: attendance is crucial for the well-being of the workshop as are responsible and generous critiques of each workshop submission and enthusiastic participation. Missing more than two workshop meetings is a serious omission and, without appropriate medical or other emergency-related excuse, can lead to failing the class.
Required reading: Self-Editing for Fiction Writers, Second Edition, by Renni Browne and Dave King, available at the CCNY Bookstore and, likely, a short story anthology.
Engl 32100
Prerequisite: English 22100
Workshop in Poetry
36919 sec. F Michael Montlack M, W 3:30 – 4:45pm
Sometimes the muses just don’t show up. Or not as often as we’d like. This workshop is designed to lure them to your door and keep them coming back—through reading contemporary poets, discussing their techniques and styles, then incorporating them in some fashion into your own poems, even if it’s just as a source of inspiration. Drafts will be workshopped and revised on a weekly basis. Topics will include Portrait, Form, Imitation, Narrative, Repetition, and Direct Address. In addition, there will be some time spent on ways to revise more bravely, going beyond line edits and actually re-seeing poems.
There will be occasional in-class writing exercises and prompts to get things started. While each assignment is meant to develop an element of craft, you will be encouraged to forge your own voice and style. One aim might be to create a foundation for a chapbook or series. By the end of the semester, five (or more) revised poems will be submitted with a process paper that reflects on what you experienced and learned while creating them—whether it’s about poetry, craft, or yourself as an artist.
Engl 32200
Prerequisite: English 22100
Drama Workshop
37069 sec. 1DE Marc Palmieri M 12:30 – 3:15pm
This is a creative writing workshop in the playwriting form. The plays must be original works or adaptations of your own prose work. We will begin the course considering the meaning of dramatic writing, tension, character, conflict, and how this ancient form is unique from other forms. We will share material aloud in class, evaluating one another’s work and sharing feedback in the classroom. Please note: We will work on stage plays, not screenplays. If you have a screenplay in progress, I suggest you adapt it into a play form. Adaptation from screenplay to a stage play format can be an enlightening exercise, and have an enormously positive effect on your screenplay and its future.
Each student will have his or her work read aloud by fellow class members. This is of particular importance in playwriting. We will work out a schedule, and students will present at least twice. All class members are eligible (and must be willing) to read parts.
List of Interdisciplinary Electives that will be counted toward major requirements
Only one course offered outside of the English Department will count toward the English major requirement
ANTH 20200: Language in Cross-Cultural Perspective
ARAB 31201 – Cinema of the Levant
ASIA 33200 – Modern Chinese Literature
ENGLE 6100C – Teaching and Reading the Modern Short Story
FREN 28300 – Literature of Contemporary France
HIST 31227 – Biography in Ancient History
JWST 23200 – Jews in Film & Fiction
PHIL 20600 – Philosophy of Science Fiction
PORT 32900 – Masterworks in Luso-Brazilian Literature
PORT 40200 – Cultures and Literature of Lusophone Africa* Email CMLL department for permission
SPAN 28300 – Masterworks in Latin American Literature
THTR 33100 – Playwriting I
*The CMLL Department will waive the pre-requisites for PORT 40200 for English majors. Texts will be taught in English, but students are welcome to read them in Portuguese.
Publishing Certificate Program Courses
NOTE: English majors and minors enrolled in the Publishing Certificate Program (PCP), can use one of the ENGL PCP courses toward both their major/minor and the Certificate. Publishing courses are open to students from all majors and require no prerequisites for registration. Students who intend to complete the Publishing Certificate must “add plan” in iDeclare.
The Publishing Certificate requires 15 elective credits (Introduction to Publishing +3 PCP-approved courses + Internship/Independent Study OR Introduction to Publishing + 4 PCP-approved courses.
PCP-approved courses may include 1 select course in art, marketing, public relations, advertising, or economics.
Engl 32501
Introduction to Publishing
37545 sec. 2LM Jennifer Buno T 9:30 – 12:00pm
A dynamic overview of the book publishing industry, including book acquisitions, editing, design, production, sales, marketing, advertising, corporate management, law and finance.
Engl 32600
Books for Young Readers
37575 sec. 2TU Kortney Nash T 6:00 – 8:30pm
Publishing for children and young adults. Licensing, merchandising, sales and marketing to all age groups and reader categories will be discussed. Includes substantial reading of children’s titles.
Engl 32700
The Editorial Process
35958 sec. 3CD Daniel Vazquez W 11:00 – 1:30pm
An in-depth look at the editorial process from a corporate and employment seeking perspective. Includes visits from authors and industry professionals.
Engl 31003 – Independent Study (3 credits)
The capstone of the Publishing Certificate Program is an internship in the publishing industry in conjunction with a 3-credit independent study with the Program director. In the semester prior to the internship and independent study, students work with the director on their applications, usually a resume and cover letters. The independent study should ideally take place in conjunction with the internship and in advance of or during the student’s last semester of study. The independent study consists of check-ins with the director and a final 8-page paper on the student’s internship experience, including a discussion of how their PCP courses prepared them for their work in publishing.