|
SYLLABUS Introduction to Creative Writing (ENGL 210-4) Fall 2009 Wheatley 2-125 Tu/Th 9:30-10:50
Jeffrey Taylor Classroom: Wheatley 2-125 Office Hours: Tu/Th 11AM-2PM Office: Wheatley 6-73 E-mail: jeffreytaylorslc@yahoo.com
Required Text:
Burroway, Janet. Imaginative Writing: The Elements of Craft (2nd Edition). Penguin Academics, 2007.
Gang, Alex. Ed. Another Book. Temporary Press, 2009.
Course Goals:
This course is an introduction to the process of writing poetry and fiction, and is designed to embolden you to think and write creatively, enable you to read and respond critically/helpfully, and introduce you to the terminology and basic elements of writing craft. In a friendly, supportive environment, we will examine a variety of published poems and stories from our text and hand-outs, as well as each other’s work, in an effort to shed light on what makes for effective writing (including, but not limited to: image, voice, dialogue, character, conflict and setting). You will be putting these ideas directly to work in the poetry and fiction you produce for class. During the course of the semester, you will complete in-class writing exercises, and out of class assignments, including individual and group exercises, free writing, and formal assignments. By working in both poetry and fiction, and receiving feedback (in the form of written and oral critiques) from your peers and from me, you will begin to develop a working understanding of how poetic and narrative techniques work. It is hoped that by the end of this course, you will have learned to write more creatively—artfully—about the things that matter to you. We all have something unique to say about the world in which we live; this course aims to help you develop the skills to deliver your poetic and fictional expressions in an artful, engaging way.
We will read and write poems with emphasis on imagery, rhythm, and voice. We will read and write fiction paying close attention to character development, conflict/plot, setting and dialogue. And the third part of the semester will be devoted to the continuation and revision of your work in both forms. Throughout the semester, we will be “workshopping” each other’s work, first in small groups and then as a class.
Course Requirements:
1. Creative Writing: You are responsible for one weekly out-of-class writing assignment, as well as in-class exercises as assigned. Most of your writing will take place out of class. These assignments will lead to a final portfolio of work that will include 4 Poems (with my permission, revisions on earlier poems may be turned in as a poem) and 1-2 stories, story beginnings or story fragments (6 – 15 pages total), all of which will go through at least one revision. Both original and revised versions of all creative work (poems and stories) are to be included in the portfolio. One revision of your choice must be a radical revision, which we will discuss at length later in the semester. While no individual poem or piece of fiction you hand in will be graded, the complete portfolio is a measure of your growth as a writer over the course of the semester. There’s no time to wait for inspiration to strike! Writing is a daily habit that must be developed. As such, it is important for both your grade and your growth as a writer to keep up with the weekly writing assignments.
***The final portfolio is due on the Thursday, December 17.***
2. Reading: You are responsible for weekly reading assignments from the text, as well as weekly hand-outs of fiction or poetry. You should be prepared to discuss each week’s reading during class. You will be responsible for writing 2 brief response papers (2-3 double-spaced pages) over the course of the semester. Response papers should focus on one of three things: 1) the way a particular craft element discussed in class is being put to use; 2) why and how a particular image, phrase, line, etc., really struck you, and why/how it’s effective; or 3) any craft-based question the poem or story raised for you. Response papers are not to be summaries of what the story or poem was about, nor litanies of what the poem or story reminded you of from your own life. Rather these papers should engage critically with something we have read, asking the question “how/why did the author do that?” Response papers will be graded.
You will also be responsible for bringing in one poem or story segment from unassigned reading to share with the class. We will spend the first few minutes of most class sessions reading and discussing these pieces.
3. Literary Reading Attendance: You are required to attend one fiction or poetry reading during the semester. There are numerous readings scheduled on campus throughout the semester, and local bookstores, other universities, and literary organizations regularly sponsor readings around Boston. You will write a short (2-3 page) response paper on the reading. Your response paper should focus on your experience at the reading, making connections, if possible, to the craft elements (voice, image, character, etc.) we discuss in class. This paper will be graded.
4. Class participation: This is an interactive, discussion-based class. Your presence and participation are necessary and required. Aside from discussing published pieces we read outside of class, and completing in-class writing assignments, you will be split into small groups where you will be required to critically read and discuss your classmates’ work. You will also have the opportunity for your classmates to critically read and discuss your own work. We will work cooperatively in what’s called a “workshop” environment. Part of this process involves written critiques of your classmates’ work. You will be required to write a total of 3 critique “letters” in response to the work of the classmates in your small group. Each letter will consist of at least one paragraph detailing what you think the strengths of the piece are, and one paragraph of questions the piece raises for you, paying attention to Burroway’s suggestions on page xxvii of the Invitation to the Writer section of the Introduction. More specific instructions for critiques and workshop participation will be given out later in the semester. These critiques will be graded.
Class participation will also include posting to the class website at least three times over the course of the semester. At least one of your posts must be one of your critique letters. The other two posts should be responses to the work or critiques of work by other students in class. You may also respond to someone’s critical response to your creative work.
5. Attendance: You are allowed no more than FOUR unexcused absences. Unexcused absences are ones you have not notified me of in advance. Please take the time to call my voicemail or email me if you find you cannot make class. In case of emergency, I appreciate contact with you as soon as possible. Don’t just disappear—let me know what’s happened to you. Please exchange phone numbers or email addresses with someone in class to find out about a class you’ve missed. If you exceed SIX unexcused absences or, for any reason, miss more than eight classes, YOU WILL FAIL THE COURSE!
Out of respect for your classmates and me, please turn cell phones off for the duration of each class period. Texting, checking messages, emailing, etc. during class is unnecessary and rude. Please also refrain from eating during class, and take care of all personal needs prior to or after class. It is disruptive to have people coming in and out of the classroom.
6. Conferences: You will be required to attend two 15-minute progress conferences with me near the midway point and the end of the semester. You should bring all of your creative work from the semester to this conference. We will discuss the state of your portfolio and any specific questions you have about how to move forward. Conferences are an important part of this course and will be graded. Please do not skip your conference appointments. As you will not be attending this class during conference weeks, missing a conference is equivalent to 2 classes and will be counted as such. I encourage you to schedule meetings with me at any other point during the semester, or show up for my office hours, to discuss your work, your progress, course expectations, readings, etc.
Grading:
Please note that you will not be graded on “talent” for this course. Rather, your grade will be a reflection of your growth and development as a writer, as well as your adherence to the course requirements outlined above. To determine your grade, I will weigh the timely completion of creative assignments; the growth displayed in your portfolio (first drafts to revisions); your critical responses to class readings, attendance at a literary reading, and responses to the work of your classmates; class participation; and class and conference attendance.
Your grade will be determined as follows:
25% - Response Papers (2 Reading Response Papers; 1 literary reading response) 25% - Portfolio (timely completion of all creative assignments; revision efforts; personal growth) 25% - Class participation/Attendance (discussion, web-posting, etc.) 15% - Workshop (3 critical response letters; discussion) 10% - Conferences
Quizzes may be given throughout the semester.
Students with Disabilities
If you have a disability and feel you will need accommodations in order to complete course requirements, please contact the Ross Center for Disability Services (M1-401) at 617-287-7430.
Plagiarism and Academic Honesty
All students are accountable to the definitions and the regulations concerning Academic Plagiarism is defined as the attempt to use or pass off as one’s own the ideas or writings of another. This includes copying from a friend, downloading material from the Internet and pretending it’s yours, or using passages either reproduced word-for-word or paraphrased from another’s writing without giving the author credit. If you’re confused about the right way to quote sources, please see me and I’ll be glad to clarify. Because plagiarism involves stealing someone’s ideas, it’s considered a serious matter in academic life. Anyone committing plagiarism risks failing the course. All students are accountable to the definitions and the regulations concerning Academic Honesty contained in the University of Massachusetts Boston “Code of Standard Conduct.” For more details see: www.umb.edu/student_services/student_rights/code_conduct.html
Week One: Course Intro; Metaphor
T 9/8 Course Intro
Th 9/10: Metaphor / Cliche
Reading Packet: Joyce Peseroff / Sylvia Plath
Week Two: Image
T 9/15: Burroway Ch. 9: Poetry (pgs. 309-325)
Th 9/17: Poetic Terms ***POEM 1 DUE***
Reading Packet: Walt Whitman / William Carlos Williams
Week Three: Voice
T 9/22: Walking Poem (In Class Assignment)
Th 9/24: I do this. I do that. ***POEM 2 DUE***
Reading Packet: Frank O’Hara / Bukowski
Week Four: Character
T 9/29: Burroway Chapter 3: Character (pg. 79-93)
Th 10/1: America / Political Literature / War
Reading Packet: Allen Ginsberg / Nazim Hikmet
Week Five: Setting
T 10/6: Burroway Chapter 4: Setting
Th 10/8: In Class Writing Assignment ***CRITIQUE 1 DUE***
Reading Packet:
Week Six: Story
T 10/13: Burroway Chapter 5: Story (pgs. 163-172)
Th 10/15: Structure / Narrative Techniques
Reading Packet: Junot Diaz “How to Date a Browngirl, Blackgirl, Whitegirl, or Halfie
Week Seven: CONFERENCES *****
T 10/20: Student Conferences
Th 10/22: Student Conferences ***Fiction Due (3-8 pg)***
Week Eight: Nature Imagery
T 10/27: In Class Writing Exercise ***POEM 3 DUE***
Th 10/29: In Class Writing Exercise
Reading Packet: ***CRITIQUE 2 DUE*** Gary Snyder / Denise Levertov
Week Nine: Revision
T 11/3: Burroway Chapter 6: Development and Revision (pg 207-222)
Th 11/5: Revision Video
Reading Packet: Bartholme “The School”
Week Ten: Dialogue
T 11/10: Group Workshops
RESPONSE PAPER DUE*** Reading Packet: Hemingway “Hills like White Elephants”
Week Eleven: Performance (oral traditions of literature)
T 11/17: Rhythms. Blues Forms in Poetry
Th 11/19: Student Readings
Reading Packet: Kevin Young / Langston Hughes
Week Twelve: No Class***Thanksgiving Break
Week Thirteen:
T 12/1: In-Class Exercise ***POEM 4 DUE***
Th 12/3: Student Workshop ***CRITIQUE 3 DUE***
Reading Packet: “Another Book” Local Writers
Week Fourteen:
T 12/8: Student Readings
Th 12/10: Student Readings
Week Fifteen: CONFERENCES *****
T 12/15: Student Conferences
Th 12/17: Student Conferences
***FINAL PORTFOLIO DUE***
FINAL PORTFOLIO WILL CONSIST OF:
A. 4 POEMS B. 2 SHORT STORY. (6-15 pages)
C. 2 READING RESPONSES (2-3 pages each) D. 3 CRITICAL RESPONSES
E. 3 POEM REVISIONS
F. 1 SHORT STORY REVISION
G. 1 Interview with a writer from “Another Book”
If you have any questions at all, don’t hesitate to ask. Come by my office any time during office hours. Or set up appointments with me. I respond to email quickly.
Have fun this semester!!!
|
||||||||||||||
 |
