Composition Portal

This module covers some of the basic skills which will improve your academic, scientific, and professional writing. ‘Academic Writing Skills’ is ideal for those who are looking to start an undergraduate or postgraduate course, to resume/advance their academic career, or simply to improve the objectivity, accuracy, and clarity of their writing style. Eight individual lessons cover the following topics: how to structure your academic essay; how to argue in an academic essay: evidence, logic, analogy, and other reasoning skills; how to conduct a literature review; how to use citations and references accurately and effectively; things to avoid in academic writing (Part I and II); how to reduce subjective style; how to write successful funding proposals. Hamish Williams (PhD in literary studies) has written 4 books (academic and fiction) and published over 25 academic articles and chapters.

This Writer's Workshop will be for practicing the art of writing flash fiction, works that are of 500 or fewer words in length. This is a marvelous place for a new writer to begin as the size is not overwhelming. It is also a marvelous place for a seasoned writer to practice the craft of scene creation and characterization under severe creative restriction.

We will read examples of flash fiction, and provide feedback for one another on original pieces that we shall write over the length of the course. For this we will use the Collaborative Feedback Method that we use in all Space creative writing courses, a method which emphasizes kindness and curiosity while still providing rigorous and useful feedback to the writer.

What makes a good story? How can we make our characters feel like real people?

Using a combination of recorded lectures, in-class discussion and exercises, you will find out how to employ Aristotle’s precepts on character, theme and emotional catharsis to enrich your creative practice. You will also discover how Aristotle’s teleological understanding of causality can help you discover the final design of your creative work. This module will be a must for fiction authors, screenwriters and directors, RPG game masters, or anyone who wants to weave a dynamic tale!

The module will follow an 8-session structure as shown below:

Outline	8-Session Structure
Week 1	Lecture 1: Introduction to the Poetics
	Workshop 1: Your Narrative's Purpose
Week 2	Lecture 2: Character and Theme
	Workshop 2: Discovering Your Character and Theme
Week 3	Lecture 3: Structure
	Workshop 3: Unfolding Your Story's Structure
Week 4	Lecture 4: Catharsis
	Workshop 4: Sticking the Landing

Have you wanted to write a story but didn't know how to get words onto a blank page? Once the words were there, did you wonder how to find out if those words affected your reader the way you meant them to?

In this SPACE module, we will look at where ideas for stories come from. We will take our ideas from our thoughts to the page. Then we will learn, in a supportive community using the Collaborative Feedback method, how to ask for and receive the feedback our stories need to thrive.

Note: For more information about the Collaborative Feedback Method in SPACE, please check out our video here.

It turns out that writing dialogue can be tricky. A writer has to accomplish a lot through the way in which a character speaks, and how that speech is described. How do people talk to one another? Do they orate? Do they exchange fast and witty quips? Do they lecture one another to impart tons of needed exposition material? Does what they say and how they say it tell us anything about who they are?

In this class we will experiment with different ways to write dialogue and incorporate it into a story. We'll explore how details of character diction can change how a reader understands the text of what a character says. We'll do exercises designed to practice achieving particular goals Finally, students will apply what we're working on to their own writing and will receive feedback using our Collaborative Feedback method.

We're going to do a fair bit of writing, some in class, more outside of class as (optional) homework. By the end of the class a student should expect to be able to decide how a character should sound and then write dialogue that meets that goal.

We will meet to discuss strategies for revising a piece of writing, including finding your own vision for your story, big-picture developmental editing, and crafting scenes. Writers are encouraged to apply revision strategies between sessions and discuss their work during class if they want to share. Writers will also have the opportunity to explore different editing strategies to help them shape their story into their own vision.

Note: For more information about the Collaborative Feedback Method in SPACE, please check out our video here.

C.S. Lewis is one of the most prolific and influential writers of the 20th century. And yet, in his early career as an Oxford don, he viewed himself as a failed poet. Moreover, his most canonical and transformational writing happened during the most stress-filled periods of his life. This short course allows students to peek into the writing life of C.S. Lewis. Our goal is to see through the lines of printed text by visiting the letters and archival remains of Lewis in a virtual setting. Most of C.S. Lewis's papers remain undigitized and unpublished, available only locally at archives in North America and England.

As Professor Brenton Dickieson has visited these archives, he is able to invite students to appreciate C.S. Lewis's writing life by looking at the way that he consciously and unconsciously built his literary career. This course is for writers who are developing their own habits and literary life-prints, as well as folks who are curious about C.S. Lewis's life beyond the biographies and bestselling books.

We are not doing text close readings, but looking at the “paratextual” information available to us: writing drafts, letters, diary entries, manuscripts and typescripts, title, and the like.

Week 1: Lewis: Pen, Ink, Paper
• C.S. Lewis’s Single-jointed Self-Conception as a Writer
• What Lewis Says about his Writing Habits
• Legendary Bonfires, Stuffed Dolls, and American Suckers: A Story of Lewis’s Papers and Manuscripts
• The Screwtape MS. Story: Part 1

Week 2: Leaves, Bombs, Stains
• The Screwtape MS. Story: Part 2
• “Villainous Handwriting”: Charlie Starr’s Lewis Handwriting and Rough Draft vs. Fair Draft
• Reconsidering the Lindskoog Affair with Manuscript Evidence of “The Dark Tower”

Week 3: Joy, Theft, Death
• “The Quest of Bleheris”: Lewis’s Teenage Novel

Week 4:
• Is it True that Lewis Wrote in a Single Draft?
• A Grief Observed
• Tumbling Through the Wardrobe: The Discovery of Narnia
• Arthurian Torso
• A New Sketch of Lewis’s Writing Process(es)

Note: This course includes a significant amount of visual material on the screen. Please contact the SPACE team if you have visual accessibility requirements and we will do everything we can to accommodate.

In this iteration of The Music of Middle-earth, we’ll be exploring Howard Shore’s score to The Fellowship of the Ring, and seeking to better understand how the music behind Peter Jackson’s film interacts with the source material, the action on screen, and even Tolkien’s poetry.

Note: This series is not sequential, and folks are more than welcome to register for any class that interests them at any point.

In this iteration of The Music of Middle-earth, we’ll be exploring Howard Shore’s score to The Return of the King, and seeking to better understand how the music behind Peter Jackson’s film interacts with the source material, the action on screen, and even Tolkien’s poetry.


Note: This series is not sequential, and folks are more than welcome to register for any class that interests them at any point.

In this iteration of The Music of Middle-earth, we’ll be exploring Howard Shore’s score to The Two Towers, and seeking to better understand how the music behind Peter Jackson’s film interacts with the source material, the action on screen, and even Tolkien’s poetry.


Note: This series is not sequential, and folks are more than welcome to register for any class that interests them at any point.

In this module we will explore the musical storytelling of works related to the writings of J.R.R. Tolkien. This discussion-based course is not targeted to musicians, and no prior musical knowledge or skill set is required. Rather, the course seeks to discuss how music can tell stories, and how music interacts with text, poetry, and adaptation. A familiarity with the work of Professor Tolkien is very helpful.

This course will study three types of musical adaptation: music inspired by Tolkien’s writing, work that has taken Tolkien’s poetry and put it to music, and music written for adaptations of Tolkien’s work. Each of these types of composition comes with their own unique storytelling approaches and outcomes.

Session Outline

• Session 1: Johan de Meij, "Symphony No. 1: The Lord of the Rings"
• Session 2: Martin Romberg, "Symphonic Poem, Telperion and Laurelin"
• Session 3: Paul Corfield Godfrey: “The Tolkien Cycle”
• Session 4: John Sangster, "The Hobbit Suite"
• Session 5: The Tolkien Ensemble, "An Evening in Rivendell"
• Session 6: Donald Swann: “The Road Goes Ever On, a Song Cycle”
• Session 7: Howard Shore, "The Fellowship of the Ring"
• Session 8: Bear McCreary, "The Rings of Power, Season One"

What are the tools of the writer’s craft, and how can we sharpen them? In this module, we will learn about the writer’s toolkit through guided writing exercises and group discussion. We will use exercises from Ursula K Le Guin’s book Steering the Craft: A 21st-Century Guide to Sailing the Sea of Story to explore tools like pacing, narration, point of view, syntax, and diction. Practice your writing technique, hone your craft, and embark on a journey with us through the “Sea of Story.”


Note: For more information about the Collaborative Feedback Method in SPACE, please check out our video here.