Effective: Late Spring 8-Week, 2018/2019

ENGL 207: Introduction To Creative Writing I - Multigenre

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  Course Description

Introduction to the writing of fiction, creative nonfiction, and poetry.

Prerequisite: ENGL 112

Proctored Exams: Midterm



  • Burroway, Janet. Imaginative Writing: The Elements of Craft. 4th. New York: Longman, 2014.  
    • ISBN-978-0-13-405324-0

MBS Information

Textbooks for the course may be ordered from MBS Direct. You can order

For additional information about the bookstore, visit http://www.mbsbooks.com.

  Course Overview

This course is an introduction to the craft of writing poetry, fiction, and creative nonfiction. We will discuss elements of craft that are particular to each genre and universal for all three. You should be able to identify the elements of craft and attempt to use them with increasing proficiency as your writing evolves throughout the session. We will do peer reviews but most of our critique in this course will be of professional work of contemporary writers. We will engage in craft analysis, locating different elements like character, significant details, and many more to figure out why each is successful. Because great writing can only come from those who are great readers, this is a reading intensive course. At the midterm, in lieu of a final oral presentation, you will take a proctored exam that analyzes your knowledge of craft and the readings we’ve covered up to that point to ready you for workshop. In this course, you will not be graded on your creativity but rather your attempts at employing the craft skills we have learned each week as well as your responses to the readings and your peers.

  Technology Requirements

Participation in this course will require the basic technology for all online classes at Columbia College:
  • A computer with reliable Internet access
  • A web browser
  • Acrobat Reader
  • Microsoft Office or another word processor such as Open Office

You can find more details about standard technical requirements for our courses on our site.

  Course Learning Outcomes

  1. Demonstrate the crafts of poetry, short fiction, and literary essay writing.
  2. Demonstrate the process of creative writing, including drafting, workshop, and revision.
  3. Analyze the work of peer and professional writers, paying special attention to elements of craft and genres.


Grading Scale

Grade Points Percent
A 900-1000 90-100%
B 800-899 80-89%
C 700-799 70-79%
D 600-699 60-69%
F 0-599 0-59%

Grade Weights

Assignment Category Points Percent
Discussions 200 20%
Writing Exercises 100 10%
Unit Assignments 150 15%
Writing Workshops 200 20%
Portfolio 250 25%
Midterm Exam 100 10%
Total 1000 100%

  Schedule of Due Dates

Week 1

Assignment Points Due
Introduction 0 Wednesday
Discussion 1: Imagery 20 Sunday
Exercise 1: Riddle Poem 25

Week 2

Assignment Points Due
Discussion 2 20 Wednesday
Discussion 3 20 Sunday
Exercise 2: Persona Poem 25
Proctor Information N/A

Week 3

Assignment Points Due
Discussion 4: Character 20 Wednesday
Discussion 5: Setting 20 Sunday
Unit 1 Assignment: Poem 50

Week 4

Assignment Points Due
Discussion 6: Fiction and Story 20 Wednesday
Exercise 3: The Lake 25 Sunday
Midterm Exam (Proctored) 100

Week 5

Assignment Points Due
Discussion 7: Response to "Last Night" 20 Wednesday
Unit 2 Assignment: Short Story 50 Sunday

Week 6

Assignment Points Due
Discussion 8 20 Wednesday
Discussion 9 20 Sunday
Exercise 4 25
Sumbit work for Workshop 1 to Discussion 0

Week 7

Assignment Points Due
Discussion 10: Response to Slouching Toward Bethlehem 20 Wednesday
Writer's Workshop 1 100
Submit your work for Workshop 2 to the Discussion 0 Sunday
Unit 3 Assignment: Memoir Chapter 50

Week 8

Assignment Points Due
Writer's Workshop 2 100 Wednesday
Final Portfolio 250 Saturday
Total Points: 1000

  Assignment Overview


Discussion postings should be well thought out and well written; they should deepen our understanding of the subject. Once you have posted, you must also respond to at least one other student in the class. I encourage you to respond to a different student for each topic. Everyone in the class should get some peer feedback every week if you are vigilant about responding to a variety of people. The bulk of the learning in the course will happen in this dialogue. The first of two weekly Discussions—both post and responses—is due Wednesday each week; the second is due Sunday.

Writing Exercises

You will have two types of writing experiences in this class: short writing exercises and longer, more formal writing in each of the three genres. The exercises are more directive and designed to help you use the tools of creative writing we’ve studied and discussed in the class. The longer writing assignments (poem, short story and memoir) give you more leeway for experimentation. I will still be looking for a concerted effort on your part to utilize the tools we’ve discussed up to that point and to see that you’ve incorporated some of the feedback I’ve given you on the shorter exercises. I will respond to all of these written pieces; two of your longer pieces will be used for a writer’s workshop, where you will also get the benefit of peer feedback. Which two you workshop is entirely up to you. (Submit these writings to the Dropbox.)

Writer's Workshop

In Weeks 6 and 7, you will post a piece (any of the longer assignments—poem, short story, or memoir chapter) to workshop with your classmates in the Discussions area. This is your opportunity to have a group of intelligent beings (your peers!) discuss and take seriously your creative work. Be grateful for their time and know that this will make you a stronger writer. An important caveat: Do not defend your work in the workshop Discussions; “keep your natural defensiveness in check” (Burroway 12).  

Submitting your work: Do not provide an introduction or epilogue, as your work should not need addendum explanation. If it does, there is likely something not working within it. Let the writing speak for itself. Just let the class know what genre you are submitting in.

Responses: For each workshop, you must respond to 5 of your peers’ pieces. Each response should address at least 3 elements of craft (not “I liked” but rather “This works because…”). This is challenging to do well, but I expect you to give it a try. Talk about what works as well as what doesn’t. Use specific examples. All responses must be considerate and constructive. The more specific your critique, the easier it is for the writer to hear it.

Learning how to be a good reader is an important skill for creative writers and one that takes as much time to develop as learning how to be a good writer. If you can learn to be a sharp and astute critic of the work of others, eventually you will be able to apply it to your own work.

Do NOT respond to comments on your work for the entire week that your peers critique your work. After that week, if you have questions about their comments, you may pose them. Do not defend your work. (i.e., Avoid questions like, didn’t you see that I was trying to make the vampire a kinder, gentler monster?). Use what you can from the feedback; it may change your way of thinking about a piece and open you up to a new approach.

Midterm Exam

The midterm exam will be composed of short- answer questions, testing your understanding of concepts in the course. You will also be given a short passage and may be asked to identify a simile or metaphor or another element of craft in the passage. Some questions might ask you to apply what you have learned so far by taking a cliché and making it fresh, changing a passage to make it more sinister, etc. You will have 2 hours to complete the exam.  The Content area includes a study guide for the exam. This is not an open-book test. Be prepared, and please submit your proctor information on time (by end of Week 2). 

Final Portfolio

Your final portfolio will be submitted in Week 8. It should include:
  • 2 revised Dropbox Exercises (any 2 of riddle poem, persona poem, lake fiction, Brevity CNF)
  • 1 revised Unit Dropbox Assignment (Unit Poem, Unit Short Story or Unit Memoir Chapter)
  • a 1-2 page response to one work we read for class that changed your thinking about creative writing or opened you up to new approaches
  • a letter to me (1-2 pages) that details your growth in the class as a writer, what place creative writing holds in your future, and what professional writers, whose works you read in Burroway or in the course environment during this session, you enjoyed the most
  • a 1-2 page explication of your revised Unit Assignment, defending the revision choices you made, explaining what worked and what didn’t, and discussing what you might do for this piece in the future

  Course Outline

Click on each week to view details about the activities scheduled for that week.

  • Chapter 1 (entire chapter)
  • Chapter 2 (pp. 15-27, 39-43)
  • Additional readings (links in the course Content area)
    • Anglo-Saxon Riddles
    • Sylvia Plath’s “Metaphors”
    • May Swenson’s “Living Tenderly”
Introduce yourself to the class and the instructor. Where are you in the world? What do you do when you’re not in school? Why did you sign up for a creative writing class? Who are some of your favorite authors? Favorite books? Post anything else you think is appropriate to share with the class. This is our first impression of you. Make a good one!
Discussion 1: Imagery
Select one of the assigned poems that you read this week. What is the subject of the poem? In other words, what is literally going on? Pick three of your favorite images from that poem. Remember, in writing, imagery is not simply about sight. What sense impressions does each image try to relate to other than sight? Why might this writer have chosen each of these images? Does each image contribute to an overall mood? What is that mood?
Exercise 1: Riddle Poem

Write a poem about yourself. Who are you? Where are you from? What qualities best define you? What relationships define you? What images best convey you?

The form of this poem is a riddle in the tradition of the Anglo-Saxon riddles we’ve read. Write your poem as if the reader had to guess the answer. The answer to the riddle should be: you!  Just dive in here. Follow assignment guidelines and I’ll grade with the assumption that we haven’t learned all the rules of poetry yet, just the necessity of imagery.

  • Your poem should be at least 10 lines long (and may be as many more as you like).
  • Use concrete images, including at least two metaphors, and at least two similes.
  • Ask at least one question in the poem.
Otherwise, the form is open: rhyme or don’t rhyme, make the lines themselves as long or as short as you would like. Strive to make your language fresh and surprising (Look at the contemporary poem by Sylvia Plath for an example of some just-picked, super-fresh diction.) Riddles are traditionally playful (see the Anglo-Saxon Riddles), so feel free to be funny as well as serious.
  • Chapter 3 (pp. 47-61, 85-89)
  • Chapter 10 (entire chapter)
  • Additional readings (links in the course Content area)
  • Seamus Heaney’s “Bog Queen”
  • Cate Marvin’s “A Windmill Makes a Statement”
  • Melissa Range’s “The Rope,” “The Harpoon” and “The Warhorse”
Discussion 2
How did you define poetry before reading Chapter 10? Has your definition changed or expanded? Explain and give concrete examples from the readings (show that you’ve read Burroway).
Discussion 3
This discussion is intended to be a warm-up for the workshops later in the session. This may be the first time you are posting creative work for someone other than your instructor. Although these are not meant to be revised works, you may wish to consult the guidelines for providing feedback in workshops (See Course Documents at the top of the course Content area). Consider this a mini-workshop. Remember writers, don’t defend your work, but be grateful that someone is giving you feedback!
  1. Select and complete ONE of the following “Try this” Exercises – 3.1 (p. 49), 3.2 (p. 52), 3.3 (p. 53) or 3.6 (p. 58). These are meant to be quick exercises (Spend about 15 minutes writing and then stop, even if you don’t get to a conclusion). Don’t worry about revision, but you should proofread and use spellcheck. Post what you come up with.
  2. For the exercise you selected, discuss how you attempted to apply what Burroway discusses in the corresponding chapter section. For example, if I chose 3.6, then I would discuss how I tried to work with point of view (POV) and the first/second person POV.
Exercise 2: Persona Poem
For this assignment, you’ll write a poem from the point of view of another person (or a thing). You might choose someone you know, like a family member or a friend; you might choose to imagine the life and thoughts of a historical, literary, or mythological character, like Zeus, Jimi Hendrix, Keats or Cleopatra. You might also write from the point of view of a celebrity or a TV character (even a cartoon or Muppets character). You could even choose to personify an inanimate object or something in nature, like a weapon, a car, an animal, a computer or a tree. The possibilities are endless!

Writing a persona poem allows you to imagine the thoughts and feelings of another person (or thing). To do this, you need, first of all, to be able to empathize with the experiences of someone/something very different from you and to look for commonalities. You might, in some cases, need to do some research in order to understand the person’s/thing’s historical and cultural contexts. This kind of poem also allows you to experiment with diction, style, and voice, since you will be writing in another person’s/thing’s voice instead of your own.

Submit your poem to the Dropbox by Sunday night.

Formal requirements:
  • Each poem must be at least 16 lines long (and may be longer if you like).
  • Write this one in multiple stanzas. Make sure there are spaces between each. Think of the function of a stanza as a section or paragraph of the greater whole of the poem. (Caveat: Published poets invariably do not center their poems; they left justify them.)
  • Enjamb at least 2 lines (Burroway 305-306).
  • Persona poems should be written in the first person POV (the “I” voice).
  • Use your persona’s name in your title (look at the readings for examples) so your readers know who is speaking in the poem.
Proctor Information
Submit your proctor form to the appropriate Dropbox folder by the end of the week. Remember to “Save” the form before placing it in Dropbox. See the Content area for more information.
  • Chapter 4 (pp. 94-108, 127-130)
  • Chapter 5 (pp. 135-148,154-157)
Discussion 4: Character
Select one of the poems from the end of Chapter 4 and discuss how it demonstrates some or all of the lessons of character presentation discussed by Burroway earlier in the chapter (i.e., character as desire, image, voice, action, thought, presented by the author, conflict, and stock and flat characters).
Discussion 5: Setting
Select one of the poems at the end of Chapter 5. How many ways does the poem conform to Burroway’s definition of setting as the world, as a camera, as mood and symbol and/or as action?
Unit 1 Assignment: Poem
This assignment has very few formal requirements. The subject and type of poem you choose to write are entirely up to you. You must attempt to use the skills we’ve been working on (please don’t submit poems you’ve written prior to this class). For those who would like more constraints check out some of the “Try this” exercises in the chapters we’ve read. If you would rather try something formal, try out a sonnet (make sure you look up the formal requirements of a sonnet, if you do so). Another option would be to write a place poem. Check out Chapter 5 for ideas.

Spend a lot of time in revision with this piece and work to polish this into a gem of imagery and double-meaning that can still be ascertained by the reader. Strive for clarity over obscurity, showing over telling, and concrete over abstract. Remember, good poetry is grammatical.

Submit your poem to the Dropbox by Sunday night.

Formal requirements:
  • The poem must be at least 14 lines long but no more than 40.
  • You must apply skills we’ve already started working on up to this point: figurative language, imagery, details, voice, avoiding cliché where appropriate, interesting line breaking (enjambment), etc.
  • Because you’ve only turned in 1st person writing up to this point, you may NOT use 1st person for this assignment—only 2nd (in which the reader is the you) or 3rd (you can choose what distance).
  • Make sure your poem is formatted correctly. (A title is absolutely essential.)
  • Chapter 6 (pp. 166-175, 187-190)
  • Chapter 9 (entire chapter)
Discussion 6: Fiction and Story
This post is intended to be another warm-up for the workshops later in the session. Keep in mind the guidelines for providing feedback.

From Chapter 9, spend no more than 15 minutes attempting “Try This” 9.8 (p. 270). The point is not to produce something polished but to dive into story writing. Spellcheck your work, then post what you wrote. 

Then sketch out the rest of the story. Make a chronological list of major events of the story. Rearrange this list for a plot, which should suggest not only the order of events as they are told but also cause and effect. Post both lists!
Exercise 3: The Lake
Although you’re now working in a new genre, fiction, the writing still needs to account for the craft tools we’ve discussed so far. This one, especially, focuses on character and setting. Just as in poetry, feel free to make stuff up. It’s fiction, after all. Story is important for your understanding of character but this exercise does not want you to reveal too much of it.

The following exercise is from John Gardner’s The Art of Fiction. Write a 1-3 page description of a lake as viewed by a young man who has just committed murder. Do NOT mention the murder. Do NOT focus mainly on the character; focus mainly on the lake.

Submit your description to the Dropbox by Sunday night.
Midterm Exam (Proctored)
You must take your midterm exam between Monday and Sunday this week. You will have 2 hours to complete the exam; it must be taken in a proctored setting. See the information below and in the Content area of the course about locating an approved proctor.
Salter’s “Last Night” (link in the course Content area)
Discussion 7: Response to "Last Night"
  1. From what point of view is the story told? 1st person, 2nd or 3rd? Limited or omniscient? Something else? What is the effect of this point of view on the story?
  2. Where does the first instance of conflict appear in the story?
  3. What is the climax or turning point of the story? Why?
  4. Although the resolution of this story doesn’t resolve all of the characters’ issues, why does the story feel complete? What is the resolution?
Unit 2 Assignment: Short Story
For this assignment, you must write a short story that has a beginning, a middle, and an end and is at least 6 pages in length. Your subject is entirely up to you, but you should attempt to use what we’ve been working on in class. Sketch out a plot chart to help you get started. Think about the main character and what he/she wants more than anything. What’s standing in the protagonist’s way?

Make sure you spend some time revising. Read through to make sure you have fully realized scenes and not all summary. The climactic point of the story should be a scene. Are there enough details about the setting to make it a real atmosphere for your characters? Do you have too many details that slow down the narrative or not enough to paint the setting?

For anyone who wishes to have further help getting started, check out any of the “Try This” exercises. Let your imagination guide you but remember interesting fiction often comes from some element of truth. Perhaps you are nothing like your main character but at some point you’ve both felt betrayed, for example. Think about how that felt, what you did in response, etc. You probably have moved on by now, but does your character?

As always, make sure the work is as clean and grammatically sound as possible. Submit your story to the Dropbox by Sunday night.
  • Chapter 7 (entire chapter)
  • Chapter 8 (entire chapter)
  • Workshop Guidelines (links in the course Content)
Discussion 8
Select one of the readings at the end of the chapter. How does it conform to the rules of creative nonfiction? How is the piece similar to fiction?
Discussion 9
After reading Chapter 7, develop a revision plan for the unit piece you are likely to include in your portfolio. Do you need to outline or make a quilt? What are the major weaknesses with the piece and how do you intend to address them?
Exercise 4
After familiarizing yourself with Brevity Magazine, try to produce a piece that focuses on anyone or anything but you that the editors might consider publishing. For example, write a profile of someone who is well-known where you live or write about a local issue or place.

The longest pieces Brevity accepts are 750 words and all submissions must be nonfiction. As a result, this exercise only requires 750 words. Brevity looks for “clear, concise, vivid prose.” Still, don’t be afraid to use images like a poet. Make sure each is important. Try to focus on one incident or character. Put a lot of work into significant details and consider where the essay takes the reader. Look at how published writers in Brevity end their essays.

You can write this in first person, if you wish, but remember, this should not be about you. This is an attempt at literary journalism. You can move beyond who, what, when, where and why (although those should be registered, too) to a greater place of understanding and making sense of an incident or a person, so long as the person isn’t you! This means some form of research will be necessary for this piece. You may need to interview a subject, look up information about the topic you are interested in, or observe the goings on of a place that fascinates you.
Sumbit work for Workshop 1 to Discussion
Post the first piece you want your classmates to workshop in the Writer’s Workshop 1 Discussion forum: your choice—either your poem or your short story.
Didion’s Slouching Towards Bethlehem (link in the course Content area; be patient when the PDF is loading—it can take several minutes before you will be able to scroll beyond page 1.)
Discussion 10: Response to Slouching Toward Bethlehem
What craft techniques does Didion employ throughout the essay? Draw on all our craft targets over the last 6 weeks to help you answer. How would you characterize the voice of the essay? How do the craft techniques Didion employs help create this voice or set this tone?
Writer's Workshop 1

Respond to 5 pieces offered in the Workshop. Try to engage at least 3 bullet points on the appropriate workshop guideline sheet.

Submit your work for Workshop 2 to the Discussion
Post the second piece you want your classmates to workshop: your choice—your poem, short story, or memoir chapter.
Unit 3 Assignment: Memoir Chapter
Imagine you intend to write a memoir about your life story up to this point. Perhaps you’d have a couple sections on childhood or one on college. It may help to initially sketch out all the sections of your memoir. Then select one and write it. Imagine it is one chapter in your longer life story. The more focused it is, perhaps on one major life event, the better. This will help you to create scene over summary and develop characters.
  • The writing must be in the 1st person, a typical feature of contemporary memoir.
  • The sound of the piece should almost be fictional, in that a story is developing, as are characters and scenes—another convention of the genre. However, everything must be true or at the very least true to your memory of what you are writing about.
  • If you need to, call/write to friends and family members who could help fill in any blanks. Research is important even when you write about yourself.
  • Write at least 6 pages for the assignment.
  • As always, make sure the work is as clean and grammatically sound as possible. Submit your memoir chapter to the Dropbox by Sunday night.
“Life after Intro to Creative Writing” (link in the course Content area)
Writer's Workshop 2
Respond to 5 pieces (people you didn’t workshop previously). Try to engage at least 3 bullet points on the appropriate workshop guideline sheet.
Final Portfolio
The final portfolio should include revisions: 2 revised Dropbox Exercises (any 2 of riddle poem, persona poem, lake fiction, Brevity CNF) and 1 revised Unit Dropbox Assignment (Unit Poem, Unit Short Story or Unit Memoir Chapter). Also, include a 1-2 page response to one work we read for class that changed your thinking about creative writing or opened you up to new approaches—here you can talk about the impact on your own work as well. Also, include a letter to me (1-2 pages) that details your growth in the class as a writer, what place creative writing holds in your future, and what professional writers whose works you read in the course and enjoyed the most. Finally, include a 1-2 page explication of your revised Unit Assignment. In it, you will defend the revision choices you made, explain what worked and what didn’t, and discuss what you might do for this piece in the future.

  Course Policies

Student Conduct

All Columbia College students, whether enrolled in a land-based or online course, are responsible for behaving in a manner consistent with Columbia College's Student Conduct Code and Acceptable Use Policy. Students violating these policies will be referred to the office of Student Affairs and/or the office of Academic Affairs for possible disciplinary action. The Student Code of Conduct and the Computer Use Policy for students can be found in the Columbia College Student Handbook. The Handbook is available online; you can also obtain a copy by calling the Student Affairs office (Campus Life) at 573-875-7400. The teacher maintains the right to manage a positive learning environment, and all students must adhere to the conventions of online etiquette.


Your grade will be based in large part on the originality of your ideas and your written presentation of these ideas. Presenting the words, ideas, or expression of another in any form as your own is plagiarism. Students who fail to properly give credit for information contained in their written work (papers, journals, exams, etc.) are violating the intellectual property rights of the original author. For proper citation of the original authors, you should reference the appropriate publication manual for your degree program or course (APA, MLA, etc.). Violations are taken seriously in higher education and may result in a failing grade on the assignment, a grade of "F" for the course, or dismissal from the College.

Collaboration conducted between students without prior permission from the instructor is considered plagiarism and will be treated as such. Spouses and roommates taking the same course should be particularly careful.

All required papers may be submitted for textual similarity review to Turnitin.com for the detection of plagiarism. All submitted papers may be included in the Turnitin.com reference database for the purpose of detecting plagiarism. This service is subject to the Terms and Conditions of Use posted on the Turnitin.com site.


There will be no discrimination on the basis of sex, race, color, national origin, sexual orientation, religion, ideology, political affiliation, veteran status, age, physical handicap, or marital status.

Student Accessibility Resources

Students with documented disabilities who may need academic services for this course are required to register with the office of Student Accessibility Resources. Until the student has been cleared through this office, accommodations do not have to be granted. If you are a student who has a documented disability, it is important for you to read the entire syllabus as soon as possible. The structure or the content of the course may make an accommodation not feasible. Student Accessibility Resources is located in Student Affairs in AHSC 215 and can be reached by phone at (573) 875-7626 or email at sar@ccis.edu.

Online Participation

You are expected to read the assigned texts and participate in the discussions and other course activities each week. Assignments should be posted by the due dates stated on the grading schedule in your syllabus. If an emergency arises that prevents you from participating in class, please let your instructor know as soon as possible.

Attendance Policy

Attendance for a week will be counted as having submitted any assigned activity for which points are earned. Attendance for the week is based upon the date work is submitted. A class week is defined as the period of time between Monday and Sunday (except for week 8, when the work and the course will end on Saturday at midnight.) The course and system deadlines are based on the Central Time Zone.

Cougar Email

All students are provided a CougarMail account when they enroll in classes at Columbia College. You are responsible for monitoring email from that account for important messages from the College and from your instructor. You may forward your Cougar email account to another account; however, the College cannot be held responsible for breaches in security or service interruptions with other email providers.

Students should use email for private messages to the instructor and other students. The class discussions are for public messages so the class members can each see what others have to say about any given topic and respond.

Late Assignment Policy

An online class requires regular participation and a commitment to your instructor and your classmates to regularly engage in the reading, discussion and writing assignments. Although most of the online communication for this course is asynchronous, you must be able to commit to the schedule of work for the class for the next eight weeks. You must keep up with the schedule of reading and writing to successfully complete the class.

No late discussion posts will be accepted.

The grades for writing assignments submitted late will be reduced by 10% of the total points possible for the assignment each day it is late.  After 3 days, a late assignment can no longer be submitted.

Course Evaluation

You will have an opportunity to evaluate the course near the end of the session. A link will be sent to your CougarMail that will allow you to access the evaluation. Be assured that the evaluations are anonymous and that your instructor will not be able to see them until after final grades are submitted.

Proctor Policy

Students taking courses that require proctored exams must submit their completed proctor request forms to their instructors by the end of the second week of the session. Proctors located at Columbia College campuses are automatically approved. The use of ProctorU services is also automatically approved. The instructor of each course will consider any other choice of proctor for approval or denial. Additional proctor choices the instructor will consider include: public librarians, high school or college instructors, high school or college counseling services, commanding officers, education service officers, and other proctoring services. Personal friends, family members, athletic coaches and direct supervisors are not acceptable.

  Additional Resources

Orientation for New Students

This course is offered online, using course management software provided by Desire2Learn and Columbia College. The course user guide provides details about taking an online course at Columbia College. You may also want to visit the course demonstration to view a sample course before this one opens.

Technical Support

If you have problems accessing the course or posting your assignments, contact your instructor, the Columbia College Helpdesk, or the D2L Helpdesk for assistance. Contact information is also available within the online course environment.

Online Tutoring

Smarthinking is a free online tutoring service available to all Columbia College students. Smarthinking provides real-time online tutoring and homework help for Math, English, and Writing. Smarthinking also provides access to live tutorials in writing and math, as well as a full range of study resources, including writing manuals, sample problems, and study skills manuals. You can access the service from wherever you have a connection to the Internet. I encourage you to take advantage of this free service provided by the college.

Access Smarthinking through CougarTrack under Students -> Academics -> Academic Resources.