This workshop is a playground where participants hone their skills in writing for a multi-layered readership. We set out on an expedition to explore the imaginary worlds of children and young adults, to look at trends in writing of this kind, the dialogue between text and illustration, and test various techincal approaches. We will do inspiring exercises in class, read chapters from children‘s and young-adult books, as well as academic papers. All the while, participants work on their own story. Students are expected to keep a reading journal, participate in class discussions and review the work of their peers in a constructive manner. Exclusively for masters‘s students in Creative Writing.

Students receive training in using various historical sources as inspiration and material in creative writing. Different definitions of historical fiction will be examined, and various approaches to transforming this literary genre will be discussed. The course will cover the position of the author regarding historical, the boundaries of fiction and history, the relationship between historical accuracy and the credibilty of narrative, and what makes the past an exciting fodder for fiction. Students will be introduced to the main categories of historical content sources, such as personal and public records, photographs and artifacts. However, the main emphasis of the course will be on practising working with sources, constructing a historical setting, handling historical events, creating characters from different time periods, and the language style of various eras. Among the assignments are analyses of literary texts and creative writing excersises based on old photgraphs and other historical material. The main project of the course is a historical short story that students develop and work on under guidance until the final product is completed at the end of the course.

The number of students is limited to 15. Students who have not yet completed 60 credits in workshops have priority in registering for the course. When students who have completed more than 60 credits register, the number of credits accumulated is considered. Students with fewer credits have priority.

This course is structured like a reading circle, in which we read 6–8 selected works and examine how each author approaches their craft. Is the author preoccupied with structure, language or stylistic devices? How are the characters shaped? What drives the work, and how is it put together?

The selected texts will be intentionally diverse: for example novels, travel writing, short-story collections, nonfiction, and genre literature such as speculative fiction and horror. As we read, we reflect on the different possibilities and demands of these forms—what each form requires and where its limitations lie.

Students submit practical writing exercises that will be discussed in class. Active participation and attendance in all sessions is expected. The workshop is intended exclusively for MA students in creative writing.

This is an introductory course in creative writing. We discuss the possibilities of fiction, the creative process, construction, usage, design, copyright issues and freedom of speech. Students will receive training in editing, proofreading and group work. Authors visit as well as representatives of associations and institutions that serve literature. Participants write regularly, mainly short pieces but also longer ones. The course is required for all MA-students in creative writing. Attendance and class participation required.

If there is such a thing as a conventional structure — and there certainly is — then there must also be an unconventional one. But when is a structure considered conventional, and when is it not, and does the distinction matter?

In this course, we examine films that are regarded as formally unconventional and explore how they cohere and function. At the same time, we consider a larger question: What is a story?

Students submit practical writing exercises that will be discussed in class. Active participation and attendance in all sessions is expected. The workshop is intended exclusively for MA students in creative writing.

Immersion writing refers to a method commonly used in creative nonfiction, in which the writer works from lived experience and becomes a participant — rather than an observer — in the material at hand. The writer seeks out the subject through research, experiments, fieldwork, or direct experience. In a sense, the writer tries the story on their own skin instead of remaining at the desk.

In this course we read texts and books that employ this method, and students submit practical writing exercises.

Active attendance and participation in all sessions is expected. The workshop is intended exclusively for MA students in creative writing.

Love stories or romance novels have long been popular—and remain so today. In this workshop, we will examine the form, develop a strong sense of its many expressions, and try our hand at writing within it. We may even manage to twist it in new directions or offer a fresh perspective. Alongside our writing, we will read love stories as well as critical texts about them.

Participants’ writing will be discussed in class, and we will also welcome distinguished guest speakers. Students are expected to attend all sessions and take an active part in discussions.
This workshop is intended exclusively for master’s students in creative writing.

This course is a collaboration between IAA students in Fine Arts and Design and Creative Writing students at the University of Iceland. Students work on texts and images of whatever kind and the area of contact between visual and written language is explored. In the classes, exercises are offered which stir thought and can be utilised to spark writing and the creation of works, be it a novel, visual work, short or mini story, performance work, film script, memoir, poetry etc. Participants have to be ready to share their work with others, work on collaborative projects across artistic disciplines and be active in the emerging discussion. The course is taught at the IAA Department of Fine Arts and is exclusively for master’s students in Creative Writing at the UI and students in Fine Arts and Design at IAA.

In this course students in Practical Editorship and Theory of Publication work with creative writing students in preparing texts for publication, both in printed and digital form. The product of the course will be a text that has been prepared for publication. 

The course is intended for second year students in Creaitve Writing.

This workshop is a playground where participants hone their skills in writing for a multi-layered readership. We set out on an expedition to explore the imaginary worlds of children and young adults, to look at trends in writing of this kind, the dialogue between text and illustration, and test various techincal approaches. We will do inspiring exercises in class, read chapters from children‘s and young-adult books, as well as academic papers. All the while, participants work on their own story. Students are expected to keep a reading journal, participate in class discussions and review the work of their peers in a constructive manner. Exclusively for masters‘s students in Creative Writing.

Students receive training in using various historical sources as inspiration and material in creative writing. Different definitions of historical fiction will be examined, and various approaches to transforming this literary genre will be discussed. The course will cover the position of the author regarding historical, the boundaries of fiction and history, the relationship between historical accuracy and the credibilty of narrative, and what makes the past an exciting fodder for fiction. Students will be introduced to the main categories of historical content sources, such as personal and public records, photographs and artifacts. However, the main emphasis of the course will be on practising working with sources, constructing a historical setting, handling historical events, creating characters from different time periods, and the language style of various eras. Among the assignments are analyses of literary texts and creative writing excersises based on old photgraphs and other historical material. The main project of the course is a historical short story that students develop and work on under guidance until the final product is completed at the end of the course.

The number of students is limited to 15. Students who have not yet completed 60 credits in workshops have priority in registering for the course. When students who have completed more than 60 credits register, the number of credits accumulated is considered. Students with fewer credits have priority.

This course is structured like a reading circle, in which we read 6–8 selected works and examine how each author approaches their craft. Is the author preoccupied with structure, language or stylistic devices? How are the characters shaped? What drives the work, and how is it put together?

The selected texts will be intentionally diverse: for example novels, travel writing, short-story collections, nonfiction, and genre literature such as speculative fiction and horror. As we read, we reflect on the different possibilities and demands of these forms—what each form requires and where its limitations lie.

Students submit practical writing exercises that will be discussed in class. Active participation and attendance in all sessions is expected. The workshop is intended exclusively for MA students in creative writing.

MA-verkefni er frumsamin ritsmíð af listrænum toga, unnin á námstímanum. Hún getur t.d. verið safn sagna eða annarra lausamálstexta, ljóðasafn, ritgerðasafn, leikrit, kvikmyndahandrit, þýðing eða skáldsaga. Verkinu skal fylgja greinargerð um vinnslu þess. Meistaraverkefninu má skipta upp, t.d. þannig að 10 einingar séu teknar á haustmisseri og 20 á vormisseri. Einnig má skrifa í fleiri en einu bókmenntaformi en þó er ekki æskilegt að hafa fleiri en tvö form undir í verkefninu.

If there is such a thing as a conventional structure — and there certainly is — then there must also be an unconventional one. But when is a structure considered conventional, and when is it not, and does the distinction matter?

In this course, we examine films that are regarded as formally unconventional and explore how they cohere and function. At the same time, we consider a larger question: What is a story?

Students submit practical writing exercises that will be discussed in class. Active participation and attendance in all sessions is expected. The workshop is intended exclusively for MA students in creative writing.

Immersion writing refers to a method commonly used in creative nonfiction, in which the writer works from lived experience and becomes a participant — rather than an observer — in the material at hand. The writer seeks out the subject through research, experiments, fieldwork, or direct experience. In a sense, the writer tries the story on their own skin instead of remaining at the desk.

In this course we read texts and books that employ this method, and students submit practical writing exercises.

Active attendance and participation in all sessions is expected. The workshop is intended exclusively for MA students in creative writing.

Love stories or romance novels have long been popular—and remain so today. In this workshop, we will examine the form, develop a strong sense of its many expressions, and try our hand at writing within it. We may even manage to twist it in new directions or offer a fresh perspective. Alongside our writing, we will read love stories as well as critical texts about them.

Participants’ writing will be discussed in class, and we will also welcome distinguished guest speakers. Students are expected to attend all sessions and take an active part in discussions.
This workshop is intended exclusively for master’s students in creative writing.

This course is a collaboration between IAA students in Fine Arts and Design and Creative Writing students at the University of Iceland. Students work on texts and images of whatever kind and the area of contact between visual and written language is explored. In the classes, exercises are offered which stir thought and can be utilised to spark writing and the creation of works, be it a novel, visual work, short or mini story, performance work, film script, memoir, poetry etc. Participants have to be ready to share their work with others, work on collaborative projects across artistic disciplines and be active in the emerging discussion. The course is taught at the IAA Department of Fine Arts and is exclusively for master’s students in Creative Writing at the UI and students in Fine Arts and Design at IAA.

In this course students in Practical Editorship and Theory of Publication work with creative writing students in preparing texts for publication, both in printed and digital form. The product of the course will be a text that has been prepared for publication. 

The course is intended for second year students in Creaitve Writing.

MA-verkefni er frumsamin ritsmíð af listrænum toga, unnin á námstímanum. Hún getur t.d. verið safn sagna eða annarra lausamálstexta, ljóðasafn, ritgerðasafn, leikrit, kvikmyndahandrit, þýðing eða skáldsaga. Verkinu skal fylgja greinargerð um vinnslu þess. Meistaraverkefninu má skipta upp, t.d. þannig að 10 einingar séu teknar á haustmisseri og 20 á vormisseri. Einnig má skrifa í fleiri en einu bókmenntaformi en þó er ekki æskilegt að hafa fleiri en tvö form undir í verkefninu.

The course is run in cooperation with the state radio station: RÚV - Rás 1. Discussion will take place into the presentation of radio/audio material, various examples being examined. Attention will be given to the nature of audio communication and the possibilities of audio communication in the present media environment. Attention is also paid to concept development, interview techniques, recording techniques, dramaturgy and editing, accentuating sustainability and self-reliance. All students will complete a final project involving the making of radio programmes.

The aim of course is to introduce to students the journalistic profession with an emphasis on reporting and producing news for different media.  Main concepts and methods in newswriting are discussed, such as news values, news gathering and news construction. Students will be trained in writing in a focused, accurate and articulate manner.  Students will get a basic training in using social media to gather and distribute content.

Assignments. Students write news stories and articles for the study program´s online news site, and at times for other news media.

In the courses Communication channels I and Communication channels II, the basics of methods for the dissemination of cultural material in the humanities and social sciences are presented. Communication channels I is in the fall semester, while Communication channels II is in the spring semester. 

In Communication channels I, the students are working with a) text and images in the first half of the semester and b) short documentaries in the second half of the course. Each subject weighs 50% in the course. Concerning a) Students will receive training in article writing and discourse analysis on the one hand and use of images and image analysis on the other.  Concerning b) Students work on making short documentaries. It includes basic training in screenwriting, shooting and editing, and students work in groups on a documentary, according to a specific theme. 

There are no exams in the course. Instead, students work on projects, individual and group projects. They are the following:

1. Analysis of texts and images
2. An article with an image on a specific theme for publication, about 800 words.
3. A group project where students work on a short documentary that is shown at the end of the course. Emphasis is placed on common themes and group work in the course. The course is not taught remotely.

Training in various aspects of the writing and editing of scientific texts. Various kinds of texts (non-fiction) examined and evaluated. Training in reviewing and commenting on scientific texts and in other aspects of editorial work. The main emphasis will be on the writing of articles, but other kinds of texts will also be considered, both shorter (conference abstracts, reviews) and longer (theses, books), as well as research proposals. Discussion of guidelines for the preparation of manuscripts. Types of plagiarism and how to avoid them and find them. Texts on different subjects will be used as examples, especially writings in linguistics, literature and history. The book Skrifaðu bæði skýrt og rétt will be used as a textbook (Höskuldur Þráinsson 2015).

This course is open to students of many MA programmes in the School of Humanities, cf. the regulations of the individual subjects. Students in the MA programmes in Icelandic literature, Icelandic linguistics, Icelandic studies and Icelandic teaching can take the course as part of the MA course requirements in Icelandic literature or Icelandic linguistics. Students in the MA programme in Icelandic teaching can, however, not have this course as the only linguistics or literature course in their MA.

The basic types of documentaries will be discussed as well as methods of documentary making, editing and cinematography. Emphasis will be put on practical projects and students will be required to make at least one documentary during the course.

This workshop is a playground where participants hone their skills in writing for a multi-layered readership. We set out on an expedition to explore the imaginary worlds of children and young adults, to look at trends in writing of this kind, the dialogue between text and illustration, and test various techincal approaches. We will do inspiring exercises in class, read chapters from children‘s and young-adult books, as well as academic papers. All the while, participants work on their own story. Students are expected to keep a reading journal, participate in class discussions and review the work of their peers in a constructive manner. Exclusively for masters‘s students in Creative Writing.

Students receive training in using various historical sources as inspiration and material in creative writing. Different definitions of historical fiction will be examined, and various approaches to transforming this literary genre will be discussed. The course will cover the position of the author regarding historical, the boundaries of fiction and history, the relationship between historical accuracy and the credibilty of narrative, and what makes the past an exciting fodder for fiction. Students will be introduced to the main categories of historical content sources, such as personal and public records, photographs and artifacts. However, the main emphasis of the course will be on practising working with sources, constructing a historical setting, handling historical events, creating characters from different time periods, and the language style of various eras. Among the assignments are analyses of literary texts and creative writing excersises based on old photgraphs and other historical material. The main project of the course is a historical short story that students develop and work on under guidance until the final product is completed at the end of the course.

The number of students is limited to 15. Students who have not yet completed 60 credits in workshops have priority in registering for the course. When students who have completed more than 60 credits register, the number of credits accumulated is considered. Students with fewer credits have priority.

This course is structured like a reading circle, in which we read 6–8 selected works and examine how each author approaches their craft. Is the author preoccupied with structure, language or stylistic devices? How are the characters shaped? What drives the work, and how is it put together?

The selected texts will be intentionally diverse: for example novels, travel writing, short-story collections, nonfiction, and genre literature such as speculative fiction and horror. As we read, we reflect on the different possibilities and demands of these forms—what each form requires and where its limitations lie.

Students submit practical writing exercises that will be discussed in class. Active participation and attendance in all sessions is expected. The workshop is intended exclusively for MA students in creative writing.

This is an introductory course in creative writing. We discuss the possibilities of fiction, the creative process, construction, usage, design, copyright issues and freedom of speech. Students will receive training in editing, proofreading and group work. Authors visit as well as representatives of associations and institutions that serve literature. Participants write regularly, mainly short pieces but also longer ones. The course is required for all MA-students in creative writing. Attendance and class participation required.

If there is such a thing as a conventional structure — and there certainly is — then there must also be an unconventional one. But when is a structure considered conventional, and when is it not, and does the distinction matter?

In this course, we examine films that are regarded as formally unconventional and explore how they cohere and function. At the same time, we consider a larger question: What is a story?

Students submit practical writing exercises that will be discussed in class. Active participation and attendance in all sessions is expected. The workshop is intended exclusively for MA students in creative writing.

Immersion writing refers to a method commonly used in creative nonfiction, in which the writer works from lived experience and becomes a participant — rather than an observer — in the material at hand. The writer seeks out the subject through research, experiments, fieldwork, or direct experience. In a sense, the writer tries the story on their own skin instead of remaining at the desk.

In this course we read texts and books that employ this method, and students submit practical writing exercises.

Active attendance and participation in all sessions is expected. The workshop is intended exclusively for MA students in creative writing.

Love stories or romance novels have long been popular—and remain so today. In this workshop, we will examine the form, develop a strong sense of its many expressions, and try our hand at writing within it. We may even manage to twist it in new directions or offer a fresh perspective. Alongside our writing, we will read love stories as well as critical texts about them.

Participants’ writing will be discussed in class, and we will also welcome distinguished guest speakers. Students are expected to attend all sessions and take an active part in discussions.
This workshop is intended exclusively for master’s students in creative writing.

This course is a collaboration between IAA students in Fine Arts and Design and Creative Writing students at the University of Iceland. Students work on texts and images of whatever kind and the area of contact between visual and written language is explored. In the classes, exercises are offered which stir thought and can be utilised to spark writing and the creation of works, be it a novel, visual work, short or mini story, performance work, film script, memoir, poetry etc. Participants have to be ready to share their work with others, work on collaborative projects across artistic disciplines and be active in the emerging discussion. The course is taught at the IAA Department of Fine Arts and is exclusively for master’s students in Creative Writing at the UI and students in Fine Arts and Design at IAA.

In this course students in Practical Editorship and Theory of Publication work with creative writing students in preparing texts for publication, both in printed and digital form. The product of the course will be a text that has been prepared for publication. 

The course is intended for second year students in Creaitve Writing.

This workshop is a playground where participants hone their skills in writing for a multi-layered readership. We set out on an expedition to explore the imaginary worlds of children and young adults, to look at trends in writing of this kind, the dialogue between text and illustration, and test various techincal approaches. We will do inspiring exercises in class, read chapters from children‘s and young-adult books, as well as academic papers. All the while, participants work on their own story. Students are expected to keep a reading journal, participate in class discussions and review the work of their peers in a constructive manner. Exclusively for masters‘s students in Creative Writing.

Students receive training in using various historical sources as inspiration and material in creative writing. Different definitions of historical fiction will be examined, and various approaches to transforming this literary genre will be discussed. The course will cover the position of the author regarding historical, the boundaries of fiction and history, the relationship between historical accuracy and the credibilty of narrative, and what makes the past an exciting fodder for fiction. Students will be introduced to the main categories of historical content sources, such as personal and public records, photographs and artifacts. However, the main emphasis of the course will be on practising working with sources, constructing a historical setting, handling historical events, creating characters from different time periods, and the language style of various eras. Among the assignments are analyses of literary texts and creative writing excersises based on old photgraphs and other historical material. The main project of the course is a historical short story that students develop and work on under guidance until the final product is completed at the end of the course.

The number of students is limited to 15. Students who have not yet completed 60 credits in workshops have priority in registering for the course. When students who have completed more than 60 credits register, the number of credits accumulated is considered. Students with fewer credits have priority.

This course is structured like a reading circle, in which we read 6–8 selected works and examine how each author approaches their craft. Is the author preoccupied with structure, language or stylistic devices? How are the characters shaped? What drives the work, and how is it put together?

The selected texts will be intentionally diverse: for example novels, travel writing, short-story collections, nonfiction, and genre literature such as speculative fiction and horror. As we read, we reflect on the different possibilities and demands of these forms—what each form requires and where its limitations lie.

Students submit practical writing exercises that will be discussed in class. Active participation and attendance in all sessions is expected. The workshop is intended exclusively for MA students in creative writing.

MA-verkefni er frumsamin ritsmíð af listrænum toga, unnin á námstímanum. Hún getur t.d. verið safn sagna eða annarra lausamálstexta, ljóðasafn, ritgerðasafn, leikrit, kvikmyndahandrit, þýðing eða skáldsaga. Verkinu skal fylgja greinargerð um vinnslu þess. Meistaraverkefninu má skipta upp, t.d. þannig að 10 einingar séu teknar á haustmisseri og 20 á vormisseri. Einnig má skrifa í fleiri en einu bókmenntaformi en þó er ekki æskilegt að hafa fleiri en tvö form undir í verkefninu.

If there is such a thing as a conventional structure — and there certainly is — then there must also be an unconventional one. But when is a structure considered conventional, and when is it not, and does the distinction matter?

In this course, we examine films that are regarded as formally unconventional and explore how they cohere and function. At the same time, we consider a larger question: What is a story?

Students submit practical writing exercises that will be discussed in class. Active participation and attendance in all sessions is expected. The workshop is intended exclusively for MA students in creative writing.

Immersion writing refers to a method commonly used in creative nonfiction, in which the writer works from lived experience and becomes a participant — rather than an observer — in the material at hand. The writer seeks out the subject through research, experiments, fieldwork, or direct experience. In a sense, the writer tries the story on their own skin instead of remaining at the desk.

In this course we read texts and books that employ this method, and students submit practical writing exercises.

Active attendance and participation in all sessions is expected. The workshop is intended exclusively for MA students in creative writing.

Love stories or romance novels have long been popular—and remain so today. In this workshop, we will examine the form, develop a strong sense of its many expressions, and try our hand at writing within it. We may even manage to twist it in new directions or offer a fresh perspective. Alongside our writing, we will read love stories as well as critical texts about them.

Participants’ writing will be discussed in class, and we will also welcome distinguished guest speakers. Students are expected to attend all sessions and take an active part in discussions.
This workshop is intended exclusively for master’s students in creative writing.

This course is a collaboration between IAA students in Fine Arts and Design and Creative Writing students at the University of Iceland. Students work on texts and images of whatever kind and the area of contact between visual and written language is explored. In the classes, exercises are offered which stir thought and can be utilised to spark writing and the creation of works, be it a novel, visual work, short or mini story, performance work, film script, memoir, poetry etc. Participants have to be ready to share their work with others, work on collaborative projects across artistic disciplines and be active in the emerging discussion. The course is taught at the IAA Department of Fine Arts and is exclusively for master’s students in Creative Writing at the UI and students in Fine Arts and Design at IAA.

In this course students in Practical Editorship and Theory of Publication work with creative writing students in preparing texts for publication, both in printed and digital form. The product of the course will be a text that has been prepared for publication. 

The course is intended for second year students in Creaitve Writing.

MA-verkefni er frumsamin ritsmíð af listrænum toga, unnin á námstímanum. Hún getur t.d. verið safn sagna eða annarra lausamálstexta, ljóðasafn, ritgerðasafn, leikrit, kvikmyndahandrit, þýðing eða skáldsaga. Verkinu skal fylgja greinargerð um vinnslu þess. Meistaraverkefninu má skipta upp, t.d. þannig að 10 einingar séu teknar á haustmisseri og 20 á vormisseri. Einnig má skrifa í fleiri en einu bókmenntaformi en þó er ekki æskilegt að hafa fleiri en tvö form undir í verkefninu.

The course is run in cooperation with the state radio station: RÚV - Rás 1. Discussion will take place into the presentation of radio/audio material, various examples being examined. Attention will be given to the nature of audio communication and the possibilities of audio communication in the present media environment. Attention is also paid to concept development, interview techniques, recording techniques, dramaturgy and editing, accentuating sustainability and self-reliance. All students will complete a final project involving the making of radio programmes.

The aim of course is to introduce to students the journalistic profession with an emphasis on reporting and producing news for different media.  Main concepts and methods in newswriting are discussed, such as news values, news gathering and news construction. Students will be trained in writing in a focused, accurate and articulate manner.  Students will get a basic training in using social media to gather and distribute content.

Assignments. Students write news stories and articles for the study program´s online news site, and at times for other news media.

In the courses Communication channels I and Communication channels II, the basics of methods for the dissemination of cultural material in the humanities and social sciences are presented. Communication channels I is in the fall semester, while Communication channels II is in the spring semester. 

In Communication channels I, the students are working with a) text and images in the first half of the semester and b) short documentaries in the second half of the course. Each subject weighs 50% in the course. Concerning a) Students will receive training in article writing and discourse analysis on the one hand and use of images and image analysis on the other.  Concerning b) Students work on making short documentaries. It includes basic training in screenwriting, shooting and editing, and students work in groups on a documentary, according to a specific theme. 

There are no exams in the course. Instead, students work on projects, individual and group projects. They are the following:

1. Analysis of texts and images
2. An article with an image on a specific theme for publication, about 800 words.
3. A group project where students work on a short documentary that is shown at the end of the course. Emphasis is placed on common themes and group work in the course. The course is not taught remotely.

Training in various aspects of the writing and editing of scientific texts. Various kinds of texts (non-fiction) examined and evaluated. Training in reviewing and commenting on scientific texts and in other aspects of editorial work. The main emphasis will be on the writing of articles, but other kinds of texts will also be considered, both shorter (conference abstracts, reviews) and longer (theses, books), as well as research proposals. Discussion of guidelines for the preparation of manuscripts. Types of plagiarism and how to avoid them and find them. Texts on different subjects will be used as examples, especially writings in linguistics, literature and history. The book Skrifaðu bæði skýrt og rétt will be used as a textbook (Höskuldur Þráinsson 2015).

This course is open to students of many MA programmes in the School of Humanities, cf. the regulations of the individual subjects. Students in the MA programmes in Icelandic literature, Icelandic linguistics, Icelandic studies and Icelandic teaching can take the course as part of the MA course requirements in Icelandic literature or Icelandic linguistics. Students in the MA programme in Icelandic teaching can, however, not have this course as the only linguistics or literature course in their MA.

The basic types of documentaries will be discussed as well as methods of documentary making, editing and cinematography. Emphasis will be put on practical projects and students will be required to make at least one documentary during the course.

This workshop is a playground where participants hone their skills in writing for a multi-layered readership. We set out on an expedition to explore the imaginary worlds of children and young adults, to look at trends in writing of this kind, the dialogue between text and illustration, and test various techincal approaches. We will do inspiring exercises in class, read chapters from children‘s and young-adult books, as well as academic papers. All the while, participants work on their own story. Students are expected to keep a reading journal, participate in class discussions and review the work of their peers in a constructive manner. Exclusively for masters‘s students in Creative Writing.

Students receive training in using various historical sources as inspiration and material in creative writing. Different definitions of historical fiction will be examined, and various approaches to transforming this literary genre will be discussed. The course will cover the position of the author regarding historical, the boundaries of fiction and history, the relationship between historical accuracy and the credibilty of narrative, and what makes the past an exciting fodder for fiction. Students will be introduced to the main categories of historical content sources, such as personal and public records, photographs and artifacts. However, the main emphasis of the course will be on practising working with sources, constructing a historical setting, handling historical events, creating characters from different time periods, and the language style of various eras. Among the assignments are analyses of literary texts and creative writing excersises based on old photgraphs and other historical material. The main project of the course is a historical short story that students develop and work on under guidance until the final product is completed at the end of the course.

The number of students is limited to 15. Students who have not yet completed 60 credits in workshops have priority in registering for the course. When students who have completed more than 60 credits register, the number of credits accumulated is considered. Students with fewer credits have priority.

This course is structured like a reading circle, in which we read 6–8 selected works and examine how each author approaches their craft. Is the author preoccupied with structure, language or stylistic devices? How are the characters shaped? What drives the work, and how is it put together?

The selected texts will be intentionally diverse: for example novels, travel writing, short-story collections, nonfiction, and genre literature such as speculative fiction and horror. As we read, we reflect on the different possibilities and demands of these forms—what each form requires and where its limitations lie.

Students submit practical writing exercises that will be discussed in class. Active participation and attendance in all sessions is expected. The workshop is intended exclusively for MA students in creative writing.

This is an introductory course in creative writing. We discuss the possibilities of fiction, the creative process, construction, usage, design, copyright issues and freedom of speech. Students will receive training in editing, proofreading and group work. Authors visit as well as representatives of associations and institutions that serve literature. Participants write regularly, mainly short pieces but also longer ones. The course is required for all MA-students in creative writing. Attendance and class participation required.

If there is such a thing as a conventional structure — and there certainly is — then there must also be an unconventional one. But when is a structure considered conventional, and when is it not, and does the distinction matter?

In this course, we examine films that are regarded as formally unconventional and explore how they cohere and function. At the same time, we consider a larger question: What is a story?

Students submit practical writing exercises that will be discussed in class. Active participation and attendance in all sessions is expected. The workshop is intended exclusively for MA students in creative writing.

Immersion writing refers to a method commonly used in creative nonfiction, in which the writer works from lived experience and becomes a participant — rather than an observer — in the material at hand. The writer seeks out the subject through research, experiments, fieldwork, or direct experience. In a sense, the writer tries the story on their own skin instead of remaining at the desk.

In this course we read texts and books that employ this method, and students submit practical writing exercises.

Active attendance and participation in all sessions is expected. The workshop is intended exclusively for MA students in creative writing.

Love stories or romance novels have long been popular—and remain so today. In this workshop, we will examine the form, develop a strong sense of its many expressions, and try our hand at writing within it. We may even manage to twist it in new directions or offer a fresh perspective. Alongside our writing, we will read love stories as well as critical texts about them.

Participants’ writing will be discussed in class, and we will also welcome distinguished guest speakers. Students are expected to attend all sessions and take an active part in discussions.
This workshop is intended exclusively for master’s students in creative writing.

This course is a collaboration between IAA students in Fine Arts and Design and Creative Writing students at the University of Iceland. Students work on texts and images of whatever kind and the area of contact between visual and written language is explored. In the classes, exercises are offered which stir thought and can be utilised to spark writing and the creation of works, be it a novel, visual work, short or mini story, performance work, film script, memoir, poetry etc. Participants have to be ready to share their work with others, work on collaborative projects across artistic disciplines and be active in the emerging discussion. The course is taught at the IAA Department of Fine Arts and is exclusively for master’s students in Creative Writing at the UI and students in Fine Arts and Design at IAA.

In this course students in Practical Editorship and Theory of Publication work with creative writing students in preparing texts for publication, both in printed and digital form. The product of the course will be a text that has been prepared for publication. 

The course is intended for second year students in Creaitve Writing.

This workshop is a playground where participants hone their skills in writing for a multi-layered readership. We set out on an expedition to explore the imaginary worlds of children and young adults, to look at trends in writing of this kind, the dialogue between text and illustration, and test various techincal approaches. We will do inspiring exercises in class, read chapters from children‘s and young-adult books, as well as academic papers. All the while, participants work on their own story. Students are expected to keep a reading journal, participate in class discussions and review the work of their peers in a constructive manner. Exclusively for masters‘s students in Creative Writing.

Students receive training in using various historical sources as inspiration and material in creative writing. Different definitions of historical fiction will be examined, and various approaches to transforming this literary genre will be discussed. The course will cover the position of the author regarding historical, the boundaries of fiction and history, the relationship between historical accuracy and the credibilty of narrative, and what makes the past an exciting fodder for fiction. Students will be introduced to the main categories of historical content sources, such as personal and public records, photographs and artifacts. However, the main emphasis of the course will be on practising working with sources, constructing a historical setting, handling historical events, creating characters from different time periods, and the language style of various eras. Among the assignments are analyses of literary texts and creative writing excersises based on old photgraphs and other historical material. The main project of the course is a historical short story that students develop and work on under guidance until the final product is completed at the end of the course.

The number of students is limited to 15. Students who have not yet completed 60 credits in workshops have priority in registering for the course. When students who have completed more than 60 credits register, the number of credits accumulated is considered. Students with fewer credits have priority.

This course is structured like a reading circle, in which we read 6–8 selected works and examine how each author approaches their craft. Is the author preoccupied with structure, language or stylistic devices? How are the characters shaped? What drives the work, and how is it put together?

The selected texts will be intentionally diverse: for example novels, travel writing, short-story collections, nonfiction, and genre literature such as speculative fiction and horror. As we read, we reflect on the different possibilities and demands of these forms—what each form requires and where its limitations lie.

Students submit practical writing exercises that will be discussed in class. Active participation and attendance in all sessions is expected. The workshop is intended exclusively for MA students in creative writing.

MA-verkefni er frumsamin ritsmíð af listrænum toga, unnin á námstímanum. Hún getur t.d. verið safn sagna eða annarra lausamálstexta, ljóðasafn, ritgerðasafn, leikrit, kvikmyndahandrit, þýðing eða skáldsaga. Verkinu skal fylgja greinargerð um vinnslu þess. Meistaraverkefninu má skipta upp, t.d. þannig að 10 einingar séu teknar á haustmisseri og 20 á vormisseri. Einnig má skrifa í fleiri en einu bókmenntaformi en þó er ekki æskilegt að hafa fleiri en tvö form undir í verkefninu.

If there is such a thing as a conventional structure — and there certainly is — then there must also be an unconventional one. But when is a structure considered conventional, and when is it not, and does the distinction matter?

In this course, we examine films that are regarded as formally unconventional and explore how they cohere and function. At the same time, we consider a larger question: What is a story?

Students submit practical writing exercises that will be discussed in class. Active participation and attendance in all sessions is expected. The workshop is intended exclusively for MA students in creative writing.

Immersion writing refers to a method commonly used in creative nonfiction, in which the writer works from lived experience and becomes a participant — rather than an observer — in the material at hand. The writer seeks out the subject through research, experiments, fieldwork, or direct experience. In a sense, the writer tries the story on their own skin instead of remaining at the desk.

In this course we read texts and books that employ this method, and students submit practical writing exercises.

Active attendance and participation in all sessions is expected. The workshop is intended exclusively for MA students in creative writing.

Love stories or romance novels have long been popular—and remain so today. In this workshop, we will examine the form, develop a strong sense of its many expressions, and try our hand at writing within it. We may even manage to twist it in new directions or offer a fresh perspective. Alongside our writing, we will read love stories as well as critical texts about them.

Participants’ writing will be discussed in class, and we will also welcome distinguished guest speakers. Students are expected to attend all sessions and take an active part in discussions.
This workshop is intended exclusively for master’s students in creative writing.

This course is a collaboration between IAA students in Fine Arts and Design and Creative Writing students at the University of Iceland. Students work on texts and images of whatever kind and the area of contact between visual and written language is explored. In the classes, exercises are offered which stir thought and can be utilised to spark writing and the creation of works, be it a novel, visual work, short or mini story, performance work, film script, memoir, poetry etc. Participants have to be ready to share their work with others, work on collaborative projects across artistic disciplines and be active in the emerging discussion. The course is taught at the IAA Department of Fine Arts and is exclusively for master’s students in Creative Writing at the UI and students in Fine Arts and Design at IAA.

In this course students in Practical Editorship and Theory of Publication work with creative writing students in preparing texts for publication, both in printed and digital form. The product of the course will be a text that has been prepared for publication. 

The course is intended for second year students in Creaitve Writing.

MA-verkefni er frumsamin ritsmíð af listrænum toga, unnin á námstímanum. Hún getur t.d. verið safn sagna eða annarra lausamálstexta, ljóðasafn, ritgerðasafn, leikrit, kvikmyndahandrit, þýðing eða skáldsaga. Verkinu skal fylgja greinargerð um vinnslu þess. Meistaraverkefninu má skipta upp, t.d. þannig að 10 einingar séu teknar á haustmisseri og 20 á vormisseri. Einnig má skrifa í fleiri en einu bókmenntaformi en þó er ekki æskilegt að hafa fleiri en tvö form undir í verkefninu.

The course is run in cooperation with the state radio station: RÚV - Rás 1. Discussion will take place into the presentation of radio/audio material, various examples being examined. Attention will be given to the nature of audio communication and the possibilities of audio communication in the present media environment. Attention is also paid to concept development, interview techniques, recording techniques, dramaturgy and editing, accentuating sustainability and self-reliance. All students will complete a final project involving the making of radio programmes.

The aim of course is to introduce to students the journalistic profession with an emphasis on reporting and producing news for different media.  Main concepts and methods in newswriting are discussed, such as news values, news gathering and news construction. Students will be trained in writing in a focused, accurate and articulate manner.  Students will get a basic training in using social media to gather and distribute content.

Assignments. Students write news stories and articles for the study program´s online news site, and at times for other news media.

In the courses Communication channels I and Communication channels II, the basics of methods for the dissemination of cultural material in the humanities and social sciences are presented. Communication channels I is in the fall semester, while Communication channels II is in the spring semester. 

In Communication channels I, the students are working with a) text and images in the first half of the semester and b) short documentaries in the second half of the course. Each subject weighs 50% in the course. Concerning a) Students will receive training in article writing and discourse analysis on the one hand and use of images and image analysis on the other.  Concerning b) Students work on making short documentaries. It includes basic training in screenwriting, shooting and editing, and students work in groups on a documentary, according to a specific theme. 

There are no exams in the course. Instead, students work on projects, individual and group projects. They are the following:

1. Analysis of texts and images
2. An article with an image on a specific theme for publication, about 800 words.
3. A group project where students work on a short documentary that is shown at the end of the course. Emphasis is placed on common themes and group work in the course. The course is not taught remotely.

Training in various aspects of the writing and editing of scientific texts. Various kinds of texts (non-fiction) examined and evaluated. Training in reviewing and commenting on scientific texts and in other aspects of editorial work. The main emphasis will be on the writing of articles, but other kinds of texts will also be considered, both shorter (conference abstracts, reviews) and longer (theses, books), as well as research proposals. Discussion of guidelines for the preparation of manuscripts. Types of plagiarism and how to avoid them and find them. Texts on different subjects will be used as examples, especially writings in linguistics, literature and history. The book Skrifaðu bæði skýrt og rétt will be used as a textbook (Höskuldur Þráinsson 2015).

This course is open to students of many MA programmes in the School of Humanities, cf. the regulations of the individual subjects. Students in the MA programmes in Icelandic literature, Icelandic linguistics, Icelandic studies and Icelandic teaching can take the course as part of the MA course requirements in Icelandic literature or Icelandic linguistics. Students in the MA programme in Icelandic teaching can, however, not have this course as the only linguistics or literature course in their MA.

The basic types of documentaries will be discussed as well as methods of documentary making, editing and cinematography. Emphasis will be put on practical projects and students will be required to make at least one documentary during the course.