| Course Name | Creative Writing |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| CDM 203 | Fall | 2 | 2 | 3 | 5 |
| Prerequisites | None | |||||
| Course Language | English | |||||
| Course Type | Required | |||||
| Course Level | First Cycle | |||||
| Mode of Delivery | face to face | |||||
| Teaching Methods and Techniques of the Course | DiscussionProblem SolvingCase StudyQ&ACritical feedbackLecture / Presentation | |||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | This course aims to introduce students to the fundamentals of creative writing and storytelling. |
| Learning Outcomes | The students who succeeded in this course;
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| Course Description | The course combines theories of creative writing with applied methods of storytelling. Students will be required to creatively read, write, revise and develop stories. There will be 3 quizes, 5 assignments and a project. |
| Related Sustainable Development Goals | |
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| Core Courses | |
| Major Area Courses | X | |
| Supportive Courses | ||
| Media and Managment Skills Courses | ||
| Transferable Skill Courses |
| Week | Subjects | Required Materials |
| 1 | Introduction to the Course Course Objectives, Requirements, Assignments, Syllabus Overview - Narrative Forms throughout the History - Speech Acts, and Indirect Free Speech - Limits of Language, Limits of Experience | |
| 2 | Creative Writing Forms of Creative Writing -Creative vs. Informative/Journalistic Writing - Writing and Imagination - Concrete, Significant Details - Non-Indifferent Nature - Assignment | Janet Burroway, Imaginative Writing: The Elements of Craft, Longman Publishing Group, 2006, Chp. 2 (p. 15-44) |
| 3 | Voice Voice as Persona - Character Voice - Point of View - Bakthin, Dialogism and Polyphony | Janet Burroway, Chp. 3 (p. 47-89) Assignment 1: Write about an urban experience from a first persons point of view |
| 4 | Character Character as Desire/Image/Voice/Action/Thought - Presenting a Character - Character as Conflict - Multidimensional, Living Characters - Composite Character Construction - Social Types and Stereotypes Review of Assignment 1 | Janet Burroway, Chp. 4 (p. 94-131) Assignment 2: Write about a character in action |
| 5 | Setting as the World/Camera/Action/Mood and Symbol - Diegesis Review of Assignment 2duction to Writer’s Toolkit: Expectation, Empathy, Dilemma&Conflict | Janet Burroway, Chp. 5 (p. 135-158) Assignment 3: Write about a place from a characters point of view |
| 6 | Story as Journey/Power Struggle/Connection and Disconnection - Propp’s Dramatis Personae and ‘functions’ - 3 Act and 5 Act Story Structures Review of Assignment 3 | Janet Burroway, Chp. 6 (p. 166-190) |
| 7 | Story Development Structuring - Ethnographic and Historical Research - Revision - Editing Final Project Discussion | Janet Burroway, Chp. 7 (p. 195-208) Assignment 4: Write about an object |
| 8 | Creative Non-Fiction Essay - Documentary Writing - Experiential Writing Review of Assignm | Janet Burroway, Chp. 8 (p. 225-255) |
| 9 | Fiction Story and Plot - Character and Backstory - Action, Rhythm and Pace | Janet Burroway, Chp. 9 (p. 258-294) Assignment 5: Write a monologue from a characters voice |
| 10 | Drama Writing for Drama - Action - Time - Space - Characters - Conflict | Janet Burroway, Chp. 11 (p. 329-367) Assignment 6: Write a dialogue scene in action |
| 11 | Interactive Storytelling Hypertextuality- Non-Linear Narrative Forms - Bakhtin again, “Carnivalesque” - User Scenarios, Emergent Behavior, Affordances Review of Assignment 6 | Espen J Aarseth, Cybertext: Perspectives on Ergodic Literature, Johns Hopkins Univ Press, 1997, Chp. 1 Assignment 7: Construct an interactive storyline by using basic html tools |
| 12 | Final Project Pitching Review of Assignment 7 | Synopsis and Treatment for Final Project |
| 13 | Principles of Story Design Substance - Inciting Incident - Act Design - Scene Design - Scene Analysis - Composition - Crisis, Climax, Resolution | Robert McKee, Story: Substance, Structure, Style, and the Principles of Screenwriting, It Books, 1997, Part 3, p. 135-303 |
| 14 | Final Project First Drafts Review | Final Project Draft |
| 15 | Final Project Reviews | Final Project Submission |
| 16 | Review of the semester |
| Course Notes/Textbooks | Janet Burroway, Imaginative Writing: The Elements of Craft, Longman Publishing Group, 2006, ISBN: 9780321357403
Robert McKee, Story: Substance, Structure, Style, and the Principles of Screenwriting, It Books, 1997 ISBN: 9780060391683
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| Suggested Readings/Materials |
| Semester Activities | Number | Weigthing |
| Participation | 1 | 20 |
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | - | - |
| Portfolio | ||
| Homework / Assignments | 7 | 63 |
| Presentation / Jury | - | - |
| Project | 1 | 17 |
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | ||
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade | 7 | 63 |
| Weighting of End-of-Semester Activities on the Final Grade | 2 | 37 |
| Total |
| Semester Activities | Number | Duration (Hours) | Workload |
|---|---|---|---|
| Course Hours (Including exam week: 16 x total hours) | 16 | 4 | 64 |
| Laboratory / Application Hours (Including exam week: 16 x total hours) | 16 | ||
| Study Hours Out of Class | 14 | 2 | 28 |
| Field Work | |||
| Quizzes / Studio Critiques | - | ||
| Portfolio | 1 | 23 | |
| Homework / Assignments | 7 | 5 | |
| Presentation / Jury | - | - | |
| Project | |||
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | |||
| Final Exams | |||
| Total | 150 |
| # | Program Competencies/Outcomes | * Contribution Level | ||||
1 | 2 | 3 | 4 | 5 | ||
| 1 | To be able to have fundamental knowledge about narrative forms in cinema, digital and interactive media, and the foundational concepts relevant to these forms. | X | ||||
| 2 | To be able to create narratives based on creative and critical thinking skills, by using the forms and tools of expression specific to cinema and digital media arts. | X | ||||
| 3 | To be able to use the technical equipment and software required for becoming a specialist/expert in cinema and digital media. | |||||
| 4 | To be able to perform skills such as scriptwriting, production planning, use of the camera, sound recording, lighting and editing, at the basic level necessary for pre-production, production and post-production phases of an audio-visual work; and to perform at least one of them at an advanced level. | X | ||||
| 5 | To be able to discuss how meaning is made in cinema and digital media; how economy, politics and culture affect regimes of representation; and how processes of production, consumption, distribution and meaning-making shape narratives. | X | ||||
| 6 | To be able to perform the special technical and aesthetic skills at the basic level necessary to create digital media narratives in the fields of interactive film, video installation, experimental cinema and virtual reality. | |||||
| 7 | To be able to critically analyze a film or digital media artwork from technical, intellectual and artistic perspectives. | X | ||||
| 8 | To be able to participate in the production of a film or digital media artwork as a member or leader of a team, following the principles of work safety and norms of ethical behavior. | X | ||||
| 9 | To be able to stay informed about global scientific, social, economic, cultural, political, institutional and industrial developments. | X | ||||
| 10 | To be able to develop solutions to legal, scientific and professional problems surrounding the field of cinema and digital media. | |||||
| 11 | To be able to use a foreign language to communicate with colleagues and collect data in the field of cinema and digital media. ("European Language Portfolio Global Scale", Level B1). | X | ||||
| 12 | To be able to use a second foreign language at the medium level. | |||||
| 13 | To be able to connect the knowledge accumulated throughout human history to the field of expertise. | |||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
