Upper Division Courses

Matt Pitt 
TR 9:30-10:50
Core: WEM 
English Major: Writing, Elective 
Writing & Rhetoric Major: Elective 
Creative Writing Major: Upper-Division Creative Writing Workshop  

Telling truths in our lives means getting personal. Creative nonfiction accepts both the power and murkiness of memory; obsessions and concerns we grapple with in daily life; associative leaps that free our minds to develop a particular picture; and shadings in tone and temperament that may shift wildly from piece to piece.

Maybe most of all, creative nonfiction requires persistence and bravery. To enhance these qualities, we will read work spanning varied forms: personal and lyric essays, memoir, and humor and travel writing (for starters!). These works will illuminate skills essential to the genre, and also, direct your eye, and our discussions, to specific slants and structures employed by the authors.

Our practice will begin with brief prompts, picking up steam, depth, and range along the way. As the pieces grow fuller (in emotion, scope, and research), I hope you embrace twin goals: first, to develop your original, potent writing voice; and second, to embrace experimentation so that voice can match the variations of human experience.

Marcela Fuentes 
TR 11:00-12:20  
Core: N/A 
English Major: Writing 
Writing & Rhetoric Major: Elective 
Creative Writing: Upper-Division Creative Writing Workshop

A fiction writing class for students with some experience in creative writing. Student cannot receive credit for CRWT 55153 and CRWT 30343.

This course is designed as a fiction writing workshop with a focus on short stories and flash fiction. Through various methods, including discussions of published work, workshopping original student work, exploring the editing process, and one event performance, we’ll examine the genre called “literary fiction,” in hopes that our examination will inform our own creative work.

We will read many published stories; however, the primary texts for this course will be your own manuscripts. The ultimate function of a workshop is not just to polish any given piece of writing, but to prepare you to articulate your own aesthetic visions. Understanding the relationship between that vision and the work that you do—and being able to shape the work with intentionality and insight.

Students will learn to read like writers by examining narrative techniques and forms. They will have 2 opportunities to workshop during the semester: two workshops for new and original material. Additionally, students will keep an observation journal, provide formal weekly workshop critiques, attend a public reading, and develop a publishable story for submission to a literary journal by the end of the semester.

It is my hope that students will approach workshop with the desire to fall in love with writing stories, but also with the attitude that criticism is an act of faith in the writer's ability to make something better—to persist in crafting toward the truest vision of their own art—and so, honest critique is always a service to your fellow writers

Mat Wenzel  
TR 5:00-6:20
Core: WEM
English Major: Writing, Elective
Writing & Rhetoric Major: Elective
Creative Writing Major: Upper-Division Creative Writing Workshop 

What does it mean to build a connected community through poetry? In this course, we treat writing not as solitary genius, but as a collaborative, tactile practice. Assembling Voices operates as a hands-on studio rather than a traditional critique circle. You will create and maintain a physical, handmade, daily journal: a space for messy generation, collage, and daily observation. To inform our making, the class will form small "artist groups" to study full-length collections by contemporary poets, bringing a rich diversity of outside voices into our room. Instead of traditional workshopping, these groups will function as collaborative cohorts, engaging in shared writing sessions, cross-pollination of ideas, and peer support—just as working artists do. Whether you are a seasoned writer or entirely new to the genre, you will leave this course with a tactile archive of new work, a deeper understanding of contemporary literary lineages, and a portfolio of assembled poems.

Prerequisites: ENGL/WRIT/CRWT 10203 or ENGL/WRIT/CRWT 20103 or ENGL/WRIT/CRWT 2013. 

Lisa Nikolidakis
MW 5:30-6:50 
Core: N/A 
English Major: Writing, Elective 
Writing & Rhetoric Major: Elective 
Creative Writing Major: Upper-Division Creative Writing Workshop

Creative Nonfiction II is a craft-driven workshop and formally adventurous studio for students with prior experience in creative writing. Designed for advanced writers, this course operates as a creative laboratory focused on sustained inquiry, structural innovation, and syntactical experimentation. While Creative Nonfiction I explores the porous boundaries among subgenres such as memoir, personal essay, humor writing, lyric essay, and nature writing, this course moves deeper into those murky corners, examining how risk-taking and formal reinvention transform lived experience into art.

Inspired by formally inventive works such as In the Dream House and the sustained attention modeled in The Book of Delights, students will select a central topic of inquiry and return to it throughout the semester in multiple forms. Projects may include braided essays, fragmentary structures, hermit crab forms, research-inflected narratives, and hybrid experiments. Through drafting, workshop, and rigorous revision, students will produce a cohesive portfolio demonstrating depth of exploration and formal daring.  

Chantel L. Carlson 
TR 2:00-3:20
Core: WEM 
English Major: Writing 
Writing & Rhetoric Major: Elective 
Creative Writing Major: Upper-Division Creative Writing Workshop 

"I believe in the American theatre. I believe in its power to inform about the human condition, its power to heal ... its power to uncover the truths we wrestle from uncertain and sometimes unyielding realities." August Wilson

In this dramatic writing workshop, students should become familiar with the possibilities of the modern stage through the exploration of experimental playwrights (and filmed adaptations of these plays) such as Margaret Edson, August Wilson, and Samuel Beckett. Students will study the rise and fall of the character and the ever-changing identity/role of the actor. During the semester, students will also see what's going on in the world of theatre today, including theatrical adaptations, experimentations, and collaborations. Students will not only apply the principles of dramatic writing (including character and plot development, stage directions, and writing dialogue), but will also become familiar with how experimental playwrights challenged these predefined notions of theatre and created new possibilities for the stage. Because this is a writing workshop, students will be able to take advantage of a collaborative environment by receiving author-driven feedback on their own written work. In addition to quizzes, students will write several dramatic exercises/scenes, as well as complete a final project. Film students are also welcome.

Layne Craig
MWF 10:00-10:50 
Core: HUM, LT
English Major: British Literature
Writing & Rhetoric Major: Elective
Creative Writing Major: Literature and Language, Elective 

In this course, students will read a selection of British literature beginning with the late Romantic era and ending in the twenty-first century. To organize our survey of this huge array of literature, we will be concentrating on readings that depict the changing nature of city and country life in this time period. What values do writers associate with urban and rural life? How do they imagine moving between these spaces? How does literature represent issues related to urbanization, such as labor, migration, and environmental change? Among the many writers we'll be studying are Austen, Tennyson, Dickens, Wilde, Woolf, Selvon, Heaney, Rushdie, Zadie Smith, Hilary Mantel. Graded work will include exams, short papers, and a researched presentation.

Alexandra Edwards 
MW 4:00-5:20 
Core: HUM, LT, WEM
English Major: American Literature 
Writing & Rhetoric Major: Elective 
Creative Writing: Literature & Language, Elective  

The 1920s still seduce us. Jazz, flappers, speakeasies, art deco glamour: the decade constructed a narrative of itself so compelling that we're still buying it a century later. This course asks why.

We'll start by taking the fantasy seriously: what made it so appealing? What desires did it promise to fulfill? Then we'll analyze how the era's most sophisticated artists and writers embedded sharp critique within genuine pleasure, creating works that dazzle and unsettle simultaneously. We'll ask what other stories were being told at the same moment: the Klan marching down Pennsylvania Avenue, the destruction of Black Wall Street, the execution of two immigrant anarchists, and a mainstream eugenics movement that would go on to influence the Nazis. Not instead of the parties—during them.

Alongside our major literary texts, we'll work with poetry, film, archival documents, advertisements, and periodicals. You'll conduct original archival research and learn to close-read primary sources from the period. By the end of the semester, you'll read the 1920s differently. Not as a simple cautionary tale about excess, not as a paradise lost, but as a decade whose contradictions—between liberation and violence, innovation and exclusion, text and subtext—look surprisingly familiar.

Angela Mack 
TR 9:30-10:50 
Core: N/A 
English Major: Global & Diasporic 
Writing & Rhetoric Major: Elective 
Creative Writing: Literature & Language, Elective  

This is a cross-listed course between Comparative Race and Ethnic Studies (CRES) and English (ENGL) that surveys a selection of work by Black women writers and the development of a Black feminist and womanist discourse within the American diaspora. Students will read, write, sit with, think about, and explore alongside the lenses of Black feminism and womanism to journey through several genres of Black women’s writing including fiction, essays, memoirs, and poetry from the 20th and 21st centuries.

Theresa Gaul
TR 3:30-4:50 
Core: N/A 
English Major: American Literature, Early Literature & Culture
Writing & Rhetoric Major: Elective 
Creative Writing: Literature & Language, Elective  

True crime is not only a subject of interest for TV audiences, movie-watchers and readers today; it also fascinated readers in earlier periods in the United States. This course dives into the nineteenth-century U.S. novel through the lens of crime. We’ll explore how authors wrestled with questions of justice, morality, and social hierarchy, and how their portrayals of criminals reveal the fears and tensions of their time around class, race, gender, and life in rapidly growing cities. From sensational thrillers to realist narratives that probe moral dilemmas, we’ll read novels depicting robbery, murder, enslavement, sexual crimes, land theft and other transgressions, thinking not just about the crimes themselves but the social and legal systems that shaped them. The course will be discussion-based, and assignments will include daily prep writing assignments, essay exams, and a research paper on real-life crimes that may have inspired the novels we’ve read. Authors may include Susannah Rowson, Charles Brockden Brown, Harriet Wilson, Nathaniel Hawthorne, Herman Melville, William Wells Brown, Louisa May Alcott, Mark Twain, Edith Wharton, and Zitkala-Ša.

Brandon Manning
TR 12:30-1:50 
Core: CA, LT, WEM 
English Major: American Literature
Writing & Rhetoric Major: Elective 
Creative Writing: Literature & Language, Elective  

This course will survey African American literature from the peculiar institution of slavery to the present. We will move in chronological order as we think through themes, tropes, and aesthetic choices of writers during the Antebellum period, Harlem Renaissance, Jim Crow, Black Arts Movement, and this Post-Civil Rights contemporary moment. We will examine the role of race and racism as well as the vestiges of slavery as we

situate literature as an imaginative process by which writers represent, respond, or create alternatives to living in a country that as W.E.B. Du Bois asserts situates blackness as a problem. We will look to seminal figures like Harriet Jacobs, Booker T. Washington, Zora Neale Hurston, Gloria Naylor, and contextualize these figures within their historical moment while thinking about literary and cultural reverberations of their work in the present. We will engage different genres and mediums as we seek the answer to questions such as: What is African American literature? To what extent is African American literature bound to social constructions of race and racism? How have representations of blackness evolved alongside (or outside) the country’s long (often glacial) march towards freedom and justice?

Mona Narain 
TR 9:30-10:50 
Core: CA, HUM
English Major: British Literature 
Writing & Rhetoric Major: Elective 
Creative Writing: Literature & Language, Elective 

Aphra Behn, Eliza Haywood, Lady Mary Wortley Montagu, Maria Edgeworth and Jane Austen—some of these early modern women’s names are well known to us as writers while others not so much. The very notion of women writing for public consumption was considered scandalous before the early modern period in history. Male contemporaries called Aphra Behn a “punk” because she wrote plays that showed women in powerful positions making their own way in a patriarchal society. Eliza Haywood’s heroines created multiple personas to travel abroad or seduce lovers to bend gender rules. How can we forget Jane Austen’s heroine Eliza Bennet’s refusal to be part of the marriage market, shocking everyone as she turned down Mr. Collins’ proposal? Maria Edgeworth argued for female education and Lady Mary Montagu insisted that the English start inoculating their children, a practice she learnt in Turkey. These women writers were trailblazers.

In this course we will read a variety of texts in different genres by early modern women writers to understand the “rise” of the woman writer and the literary history of women’s writing in this period. We will analyze how they created a space for themselves in the literary sphere, how they participated in contemporary debates about gender roles, the institution of marriage, the role of poetic inspiration, whether women should be educated and whether women should write at all for public consumption. Assignments for the course will include seminar style discussions, quizzes, student presentations and a longer final research project.

Prerequisites: Freshman and sophomore composition (or credit therefore) PLUS another English course, or permission of instructor.

Bonnie Blackwell
T 6:30-9:40 (Includes Film Lab)
Core: N/A
English Major: Theory
Writing & Rhetoric Major: Elective
Creative Writing: Literature & Language, Elective  

This theory-based course critically examines consumer-driven participatory culture through multiple media, including magazine and newspaper serial publication, film franchises, television series, parodies, pastiches and interactive fan cultures using the case study of Sherlock Holmes, arguably the first modern fan culture. We will examine Sherlock fan cultures around the world, with a special emphasis on the US, France and Japan. We will practice drafting and revising arguments in a variety of formats, including quizzes, threaded discussions, fanfiction, informal freewrites and formal papers, culminating a fan auto-ethnography as a final project. Primary readings will include: A Study in Scarlet, The Hound of the Baskervilles, The Adventures of Sherlock Holmes. Theory readings: Henry Jenkins, Nils Clausson, Rosemary Jann, and more. Film screenings will include: the BBC series Sherlock (2009-2012), Guy Ritchie’s Sherlock Franchise, Houdini and Doyle, Miss Sherlock (JAP), Mademoiselle Sherlock (FRA), Lupin (FRA), 20th Century Fox studio series of Sherlock Adaptations, Enola Holmes and Wishbone.

Heejoo Park
TR 5:00-6:20
Core: HUM, LT
English Major: American Literature, Global & Diasporic
Writing & Rhetoric Major: Elective 
Creative Writing: Literature & Language, Elective
Additional Attributes: CRES, Asian Studies 

This course takes at its point of departure the question, "What is Asian American Literature?" What are the uses and limits of terms such as “Asian American,” “Asian American and Pacific Islander (AAPI)” and “Transpacific”? In our analysis of novels, short stories, poetry, and graphic memoirs, we will map the historical trajectories that give rise to cultural expression by Asian American writers whose genealogies extend from China, Japan, Korea, the Philippines, Vietnam, Cambodia, India, and more to merge within the United States. To that end, we will be reading writers such as Julie Otsuka, Charles Yu, Jhumpa Lahiri, Brian Ascalon Roley, Celeste Ng, Cathy Park Hong, and Ocean Vuong alongside essays, news articles, and critical texts. Through this rich body of texts, we will explore how multiple generations of Asian Americans (from workers who built the transcontinental railroad to tech professionals in the Silicon Valley) have and continue to navigate concepts of home, family, kinship, nation, diaspora, language, culture, and identity.

Hannah Jorgensen
MWF 2:00-2:50 
Core: WEM 
English Major: Theory 
Writing & Rhetoric Major: Elective 
Creative Writing: Literature & Language, Elective  

As readers of literature, we have certain tools at our disposal, like close reading to unpack how texts work. But with digital tools, we have new ways of seeing texts. In this course, we will ask how can computation help us see literature in new ways and at new scales, and likewise interrogate what the humanities can bring to the study of digital culture and computation. Course assignments will include: close reading and writing assignments, coding for text analysis, and a digital final project analyzing a corpus of texts. Familiarity with basic coding concepts is highly recommended.  

Yingwen Yu 
MWF 1:00-1:50 
Core: N/A 
English Major: Global & Diasporic, Junior Research Seminar 
Writing & Rhetoric Major: Elective 
Creative Writing: Elective

Horror is often defined in Western literary traditions as a genre that evokes fear through encounters with the unknown or the monstrous. Indigenous horror radically reframes this understanding of fear by centering Indigenous presence and lived histories. As Daniel Heath Justice reminds us “Indigenous literature affirms Indigenous presence and our present,” a present that Indigenous horror insists is haunted by colonial violence and ongoing Indigenous issues. Stephen Graham Jones observes that in Indigenous horror, “the past is not past—it is something that still walks, speaks, and demands recognition.” This course examines Indigenous horror as a decolonial and de-westernizing mode of storytelling. Students will explore how Indigenous writers and filmmakers from across the global use horror to challenge Eurocentric ideas of humanity, and fear, and to reimagine horror as a narrative of survivance. Course materials may include Never Whistle at Night (Shane Hawk), Buffalo Hunter Hunter (Stephen Graham Jones), Bad Cree (Jessica Johns), Ghost Bird (Lisa Fuller), Blood Quantum (Jeff Barnaby) and The Dead Lands (Toa Fraser).

Assessment will be based on active participation and meaning contributions to group discussions as well as various forms of writing assignments. The semester will culminate in a final project, which could be a traditional research paper, an interview project, or a creative work that engages with the course themes. As an English major seminar, this class will also help students identify and explain how the English major contribute to their practical future career and professional goals and prepare materials that explain this learning an outside audience (such as job, internship, or graduate or professional school).

Anne Frey
TR 2:00-3:20
Core: HUM, LT, WEM
English Major: British Literature 
Writing & Rhetoric Major: Elective
Creative Writing Major: Literature & Language, Elective  

In their 1802 Lyrical Ballads, William Wordsworth and Samuel Taylor Coleridge claim that they are writing a new kind of literature: poetry about and for everyday people, written in everyday language. In an age of revolution and industrialization, they think this new kind of literature can change the world--or restore the values it had lost. Can literature change the world and should it want to? We’ll assess the content and style of Romantic era literature, discussing why the Romantics seek to return to nature, how they obsess over their personal growth and development, why they use scandalous gothic plots (even as they say they hate them), and whether it’s ever ok to eat your tutor (or your tutor’s dog? if you’re in a shipwreck?) And we’ll see if you can bring yourself to sympathize with Frankenstein’s monster. Reading includes poetry and prose by Horace Walpole, Charlotte Smith, William Blake, William and Dorothy Wordsworth, Phillis Wheatley, S.T. Coleridge, Percy and Mary Shelley, John Keats, Lord Byron, and Leticia Landon, among others. Work for the class includes in-class and at-home writing.

Alex Lemon
W 1:00-3:40
Core: N/A
English Major: Elective 
Writing & Rhetoric Major: Elective
Creative Writing Major: Upper-Division Creative Writing Workshop  

Studies in Creative Writing: Flynn, Gay, Hayes & Limon—In this course students will immerse themselves in the poetics of four of today’s most important writers: Nick Flynn, Ross Gay, Terrance Hayes & Ada Limon and write original creative pieces in response to their work. Reading will include individual collections (including, Some Ether, Bright Dead Things, and Wind in a Box among others, anthologies and critical work about these poets. Assignments will orbit around students’ weekly, original creative work, but will also include short analytical essays, book reviews, a presentation, workshopping and class discussion.

Ismael Quinones 
TR 9:30-10:50 
Core: CSV, WEM 
English Major: Theory 
Writing & Rhetoric Major: Rhetorics & Cultures
Creative Writing Major: Elective

We live in a complex world. Climate change, political upheaval, and unprecedented problems present challenges to students today and future generations. In this course, we will study the long histories of ancient, modern, and radical rhetorical traditions. From ancient to present thinkers, we will thread movements of rhetorical display in history, question the what, how, and why of justice, and speculate about future paths for a rhetoric yet to come. By the end of this class, students can expect to have a well-crafted rhetorical argument around a particular moment that could be used as a writing sample for life after college.

Shuv Raj Rana Bhat
TR 12:30-1:50 
Core: WEM 
English Major: Writing
Writing & Rhetoric Major: Writing & Publishing 
Creative Writing Major: Elective 

This course is designed to acquaint you with style, stylistics and critical stylistics. At the beginning of the semester, you will be introduced to varieties of style in writing such as plain, middle, grand, simple, complex, multimodal, translingual, deviant, formal and colloquial. Familiarity with a range of styles will enable you to fully appreciate the style of great writers, objectively critique it and craft prose that is rhetorically sensitive and compelling. You will then be familiarized with stylistics, the study of the WAY sounds, words, phrases, sentences and discourses are used in texts to create certain effects on the readers. This in turn will provide you with a set of stylistic tools to probe visual rhetoric, literary writing, creative writing, journalistic writing, speeches and multimodal composition. Finally, you will be introduced to critical stylistics, which challenges the assumption that style and language are neutral and innocent carriers of meaning. Critical stylistics reveals that any stylistic choice made intuitively or consciously by stylisticians is deeply imbued with their ideologies, values, beliefs, motivations and interests. 

Stephen Boakye
MWF 11:00-11:50 
Core: WEM 
English Major: Theory
Writing & Rhetoric Major: Digital Rhetorics & Design
Creative Writing Major: Elective  

Our lives are deeply intertwined with technology, but do we truly understand how it works and how to navigate it effectively? In this course, we'll explore cyberliteracy, uncovering the challenges of being both users and creators of online content. We'll develop the digital competencies needed for functional, critical, and rhetorical engagement with the internet.

We will analyze current articles, videos, and podcasts that address critical issues in cyberliteracy, such as online privacy, misinformation, and algorithms. Through individual and collaborative research projects, you'll investigate specific challenges related to technology use and propose innovative solutions. You will apply rhetorical principles to communicate effectively in a digital environment, culminating in the creation of digital projects.

Chantel L. Carlson
TR 3:30-4:50
Core: N/A 
English Major: Elective 
Writing & Rhetoric Major: Writing & Publishing
Creative Writing Major: Internship

This 1.5 credit-hour course is for students with an interest in literary magazine publication and basic web design. Students in the course will work in every stage of the production of the semester’s print issue of eleven40seven, TCU’s undergraduate journal of the arts, and its web edition (www.1147.tcu.edu). Specifically, students will gain knowledge of and experience in (1) the history and purpose of the student literary magazine, (2) the selection, editing, and proofing of the semester’s submissions, (3) the journal’s print layout and the design of the issue’s web edition, and (4) the distribution and promotion of the completed issue. Students will also receive, as needed, practical software training. The course may be repeated for credit.

Chantel L. Carlson
TR 3:30-4:50 
Core: N/A 
English Major: Elective 
Writing & Rhetoric Major: Writing & Publishing
Creative Writing Major: Internship  

This 1.5 credit-hour service-learning course is intended for students with an interest in basic book publication, as well as community outreach. In addition to hosting art activities for the campus community, students will also be working with campus organizations, learning about the connections between art and wellness. Students

will listen to and collect stories, which will then be compiled as a series of monologues in a chapbook. Students will gain knowledge of and experience in (1) the history and purpose of monologues as a form of dramatic storytelling, (2) the collection, selection, editing, and proofing of participants’ stories, (3) the design of the chapbook’s print layout, and (4) the distribution and promotion of published chapbook. Students will also receive, as needed, practical software training. The course may be repeated for credit.

Mohammed Iddrisu
TR 2:00-3:20 
Core: WEM
English Major: Writing 
Writing & Rhetoric Major: Writing & Publishing
Creative Writing Major: Elective

This course examines how rhetorical principles shape workplace writing practices and document design across professions. Students will develop a critical appreciation of genre, audience, institutional identity, and language conventions in diverse professional and community contexts. Emphasizing ethics and rhetorical responsibility, the course explores how writing does consequential work such as shaping decisions, policies, and organizational cultures. Through analysis and production of workplace documents, students will deepen their understanding of how writing documents operate internally and externally within institutions.

Assignments include reports, proposals, and case studies of workplace documents, including analyses of AI-generated writing scandals and their rhetorical and ethical implications for professionals, audiences, and institutions/companies/corporations.

Curt Rode
MWF 10:00-11:50
Core: N/A
English Major: Writing 
Writing & Rhetoric Major: Digital Rhetoric & Design
Creative Writing Major: Elective

This section of WRIT 40363 will focus on the basics of web design to develop mobile-friendly web applications that support work in the humanities and social sciences. To this end, students should come prepared to study HTML, CSS, and JavaScript. Students will also learn the basics of database management to provide relevant and timely content for the applications they develop.

NOTE: eBook production will likely NOT be part of the focus of the Fall 2026 offering of WRIT 40363.

This is an introductory course, but it is designed for students interested in computers and working thoughtfully and creatively in digital environments.

Ashok Bhusal
TR Arranged
Core: N/A
English Major: Elective
Writing & Rhetoric Major: Internship
Creative Writing Major: Internship

Students with 60 credit hours and a Writing/English GPA of 3.0 or CUM GPA of 2.8 can receive workplace experience (and, depending on agency policy, sometimes a stipend) from companies or agencies in publishing, advertising, or other fields. Duties are arranged to fit each student’s schedule, and work opportunities may include research gathering, editing, report writing, social networking, web authoring, or document production. Students need to work a minimum of 8 hours a week during the semester to receive three hours of credit. The internship may help with career decisions; it may lead to full time employment; it answers questions about what certain jobs are like; helps to test writing abilities for various audiences in the workplace; provides on-the-job experience; and challenges certain personal assumptions or views a student may have about workplace behavior. Your work for WRIT 40273 is a space to demonstrate and reflect upon the kinds of written and oral communication done in a professional setting.

Because this is, first and foremost, a writing internship rather than a more general career internship (a get-your-foot-in-the-door, networking experience that may involve more office work than intensive writing-related activity), it’s your responsibility to negotiate on-site assignments with your supervisor to ensure they meet course outcomes. You should not be doing office work or tasks that are basically typing (data entry, etc.).

NOTE: You should set up your internship before the semester begins so you’re ready to start work no later than the second week of the semester.