BYU Sci-Fi/Fantasy Writing Class Notes (Transcript Overview)

Orson Scott Card planned to teach a creative writing class on campus in the eighties, but he couldn't teach it for various reasons.
A BYU literature professor who loves science fiction started teaching a class on how to write science fiction and fantasy so the signups would still have a class. This class began around $1985$ and continued to be offered.
The narrator was a BYU student from $1994$ to $2000$ and didn’t take the class until February (year not specified).
In February, David Wolverton, also known as Dave Farland, began teaching the class after Doc Smith (the original professor) had medical issues and stepped down.
The opportunity to learn from a professional writer was exciting to the narrator, who soon discovered the class’s value beyond what typical college instruction offered.

This class became the single most valuable class the narrator took during their BYU years because it filled gaps other professors left unaddressed, such as:
- how to build a compelling character,
- how to take a plot structure and adapt it to a unique, original story,
- and how to handle actual publishing processes and contracts.
Before taking the class, the narrator had already written $8$ novels but didn’t know how to refine them for publication.
Dave Farland eventually retired from teaching and moved on to other projects; the class faced a potential cancellation.
In $2004$ , the professors asked Brandon (the narrator) to teach the class, since the class would otherwise be canceled.
Brandon accepted and has taught the class since $2004$ . He notes that his career has benefited greatly from the class, and he sees it as a crucial, ongoing resource.
He considers the class a pivotal moment in his career—perhaps the most influential factor in getting him published, about $20$ years prior to the present recollection.

The class is framed as a nuts-and-bolts approach to writing, focusing on:
- Plot
- Setting
- Character
- Business (the publishing and contract side)
The course runs two weeks on each of the four focus areas, with interstitial segments.
Interstitials involve bringing in other writers to discuss areas where Brandon feels weaker, to broaden the learning scope. Examples include:
- Mary Robinette Cole being invited to discuss writing short fiction (the transcript spells her as "Mary Robinette Cole").
Guest contributors are brought in to provide practical, real-world insight that goes beyond what the main instructor can cover alone.
The course explicitly assumes the goal of becoming a professional writer in science fiction and fantasy within the next $10$ years, but it also makes clear that this is not a required goal for every student.
The class maintains a practical, results-oriented orientation rather than solely exploring craft in the abstract.

The instructor distinguishes this class from others that focus on theme or inner writing soul; the emphasis here is on concrete techniques for building market-ready work.
The class aims to bridge the gap between writing as an art and writing as a profession by teaching:
- how to craft compelling characters,
- how to structure plots to be original and engaging,
- and how to navigate publishing contracts and getting work published.
There is an explicit effort to bring in experts to cover areas the main instructor may not know as well, ensuring a broad and practical skill set.

The class significantly accelerated the narrator’s career, serving as a turning point toward publication.
The narrator emphasizes that other professors may teach related topics (e.g., theme), but this class answers specific, practical questions about writing craft and the publishing process.
The class is treated as a long-term resource to keep available for new writers, reflecting its perceived value and effectiveness.

Early experiences in the program included discussions of theme and inner writing voice, but these were not sufficient for practical publication guidance.
The class complements more theoretical instruction by providing hands-on guidance about turning ideas into publishable work and navigating the business side of writing.
It integrates the foundational belief that craft (plot, setting, character) must be coupled with an understanding of the market and publishing realities to be successful.

The course highlights the tension in the arts between creative ambition and market demands, including questions like:
- What are you aiming to publish, and when?
- How will you earn money from your writing?
The instructor notes that this kind of pressure and expectation is common among friends, family, and others outside the writing profession, and the class addresses how to manage those expectations.
The class’s approach is designed to prepare students for real-world outcomes—whether or not they ultimately become professional writers—by focusing on actionable skills and industry literacy.

Orson Scott Card: originally intended to teach a BYU creative writing class in the eighties.
Doc Smith: the professor who started the class but stepped down due to medical issues.
David Wolverton (Dave Farland): professional writer who took over teaching the class after Doc Smith; later retired from teaching.
Brandon (the narrator): BYU student who took the class, later took over teaching it in $2004$ .
Mary Robinette Cole: invited to discuss writing short fiction (transcript spells the name as such; real figure is commonly Mary Robinette Kowal).

The class began as a way to keep a popular creative writing opportunity going when its intended instructor became unavailable.
It grew into a highly valuable, practical program focused on the nuts and bolts of writing for publication in science fiction and fantasy.
Two weeks are dedicated to each core area (plot, setting, character, business), with guest lectures and interstitials to cover gaps.
The course explicitly targets the goal of becoming a professional writer within the next decade, though participation does not require this goal.
The program emphasizes real-world outcomes—publishing, contracts, and career trajectory—alongside craft.
A strong emphasis on collaboration with established writers helps fill knowledge gaps and provide industry insight.
The class is portrayed as a pivotal element in the narrator’s career and a model resource worth maintaining for future students.