ENGL 210-5: Introduction to Creative Writing
Spring 2009
TTh: 8 – 9:15 AM

Instructor: Lily Rabinoff-Goldman
Office Hours:  Thursday, 9:15 – 11 or by appointment
Office: 6th Floor, Rm. 19
e-mail: lilyrg@gmail.com 

Required Text: 
Burroway, Janet.  Imaginative Writing: The Elements of Craft (2nd Edition).  Penguin Academics, 2007. 
Course Packet Texts – available on our course website at www.litandwriting.umb.edu 

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. 

During the first two thirds of the course, we will read and write poems with emphasis on imagery, rhythm, and voice, and we will read and write fiction paying close attention to character development, conflict/plot, setting and dialogue.  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: 
You will be handing in the following materials over the course of the semester: 
-	In-class writing assignments
-	1 weekly out-of-class writing assignment
-	2 Craft response essays responding to readings from the course packet/textbook (due 3/3 and 4/7)
-	3 Responses to a literary event (Due 2/26, 3/36, and 4/16)
-	Reader critiques to your classmates’ writing
-	A piece of published writing (poetry or fiction) that you love
-	Final Portfolio (Due 5/18)

A more in-depth analysis of the 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 complete poems (4-6 total pages)
-	1-2 complete 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 final portfolio, for a total of 22-40 pages of work.  
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 May 18, the Monday after classes end.  If you would like your portfolio back from me, please include a self-addressed, stamped envelope in which I can mail it to you.*** 

2.	Reading: 
-	You are responsible for weekly reading assignments from the text, as well as occasional hand-outs.  You should be prepared to discuss each week’s reading during the first class meeting of each week.  
-	You will be responsible for writing: 2 brief Craft Response Essays in response to reading done for the course(1 - 2 double-spaced pages) over the course of the semester (one in response to a single poem, one in response to a piece of fiction). Craft Response Essays 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. Craft Response Essays 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?” Craft Response Essays 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:  As a class, we will attend 3 Literary Readings during class time.  You will write one short (1-2 page) response paper on the reading of your choice (due within 1 week of the scheduled reading).  Your response paper should focus on what you found interesting or uninteresting about the reading, and how hearing the work helped or didn’t’ help illuminate the text.  This paper will be graded. 
	The readings are as follows:
	Wednesday 2/25: Andrea Cohen and Jill McDonough
Monday 3/23: Helen Elaine Lee, UMB Bookstore
Monday 4/13: Dick Laurie and Michael Cerelli, 11am, UMB Bookstore

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 “workshop” your classmates’ work and be “workshopped” by your classmates.  Part of this process involves written critiques of your classmates’ work.  You will be required to write a total of 6 Classmate Critiques in response to the work of the classmates in your small group.   Each such letter will consist of at least the following: 2 things you felt were strengths of the piece, two inquiries into or questions about the piece, and one helpful suggestion.  Pay special attention to Burroway’s suggestions on page xxvii of the Invitation to the Writer section of the Introduction for help with this.   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 your work to the class website prior to workshops.  
Finally, I may announce quizzes on vocabulary or works we’ve read.  These would be graded and count toward your participation grade. 

5. Attendance:  You are allowed no more than THREE 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 3 unexcused absences or, for any reason, miss more than 6 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.  Weeks 6 and 15 (see schedule for dates) are set aside entirely for these.  To this conference, you are expected to bring all of your creative work (poems, fiction, revisions) produced so far.  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 3 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 Craft Response Essays; 1 Literary Reading Response)
25% - Portfolio (timely completion of assignments; revision efforts; growth; self-assessment)
25% - Class participation/Attendance (discussion, web-posting, quizzes, etc.)
15% - Workshop (6 Classmate Critiques; discussion)
10% - Conferences 

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
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

Please Note:  All reading assignments in bold are from Imaginative Writing.  All other reading assignments in packet.

I am bringing in a piece of writing on: ___________________________

Week	Theme	Reading Assignments	Writing Assignments	
1/27 & 1/29	Class Intro			
1/29	Metaphor	•	Invitation to the Writer (pgs. xxi – xxviii) 
•	Plath “Metaphors” 
•	Collins “Litany”
•	Giovanni “Cotton Candy on a Rainy Day”	Poem 1: Metaphor poem
Due Tuesday 2/3	
2/3	Image	•	Chapter 1: Image (3-15)
•	Dillard “The Giant Water Bug” (pgs 15-16)
•	Collins “Snow Day” (pgs 27-28); 
•	Komunyakaa “Facing It” (pgs 28-29) 	In-class writing exercise	
2/5	Image II	•	Chapter 9: Poetry (309-319) 
•	Dobyns “How to Like It”
•	Williams “This is Just to Say” and “Red Wheelbarrow”
•	O’Hara “The Day Lady Died
•	Ginsberg “To Aunt Rose” 
•	Toomer “Face”
•		Poem 2: Image Poem
Due Tuesday 2/10	
2/10	Voice	•	Chapter 2: Voice (pgs. 37-50)
•	Trowbridge “Kong Looks Back on His Tryout With the Bears” (pg 70)	In-class writing exercise
	
2/12	Voice II	•	Whitman “Song of Myself” (parts 1-3) 
•	Cisneros “You Bring Out the Mexican in Me” 
•	Paley, “Here”
•	Brooks “We Real Cool”
•	Alexie “House Fires”
•	Olds “Wonder”	Poem #3: Voice Poem due Tuesday 2/17	
2/17	Poetic Forms	•	Chapter 9: Poetry (pgs 320-333)
•	Appendix “A Basic Prosody” (pgs. 375-382) 		
2/19	Poetic Forms II	•	Shakespeare Sonnets
•	Haiku handout	Poem #4: 
1 Sonnet or 3 Haiku due Tuesday 2/24
	
2/24 	Revising Poetry	Mary Oliver Revision essay
*** Poetry Reading Monday 2/23 ***	Choose 1 poem to revise for 2/26 – bring in 2 copies of the original and the revised version to class	
2/26	Revising Poetry II			
3/3 & 3/5	Conferences
•	Bring all 4 poems to your conference!
•	Craft Response essay #1 due on Poetry	
3/10 	Character	•	Chapter 3: Character (pgs 79-93); Jhumpa Lahiri “Interpreter of Maladies” (pgs. 100-117)	•	In-class exercise
	
3/12	Character II	•	Hempel “The Most Girl Part of You”
•	Diaz “How to Date a Browngirl, Blackgirl, Whitegirl, or Halfie”	•	1-3 p. fiction focusing on character E-Mailed to Lily by Sunday 3/15, 5pm	
3/16 – 3/22	Spring Break: No Classes	
3/24 & 3/26	Setting	•	Chapter 4: Setting (pgs. 131-142)
•	Baxter “Snow” (284-293)
•	Barthelme “The School” (146-149)

*** Literary Reading 3/23 ***	3-5 pages of fiction focusing on setting due Thursday 3/26	
3/26	Setting II	•	Percy “Refresh, Refresh” 
•	Mattison “In Case We’re Separated”		
3/31 	Story	•	Chapter 5: Story (pgs. 163-172)
•	Nelson “Stitches” 
•	Wolff “Say Yes”	•	In-class exercise
	
4/2	Story II	•	Chapter 8: Fiction (pgs. 273-284)
•	Hemingway “Hills Like White Elephants”
•	Bloom “Sleepwalking”	•	6-8 pages of fiction focusing on conflict
*** Post your fiction (no more than 8 double spaced pages) to the class website by 5pm Thursday for workshops next week ***
•		
4/7	Fiction Workshop part I	•	Classmates work for workshop: 
•	Tuesday: 1st three stories for your group
*** No class Thursday 4/9 ***
	•	In Class Revision exercise
•	2nd Craft Response Essay Due
•	1 Critical Response to Classmate work (2 copies)
	
4/14	Fiction Workshop part II	•	2nd three stories for your group

*** Poetry Reading 4/13 ***	•	1 critical response to classmate work (2 copies)
•	Post 1 revised poem by 7pm for Thursday’s workshop 
•	Write Classmate Critiques for 2 classmates’ revised poems 
	
4/16	Poetry Revision/	•	Thursday: Read poems by your group-mates
	•	In-class poetry revision exercise
	
4/21 	Revising Fiction	Carver “Cathedral”	In-class revision exercise	
4/23	Revising Fiction II	TBA	•	Post your REVISED fiction (no more than 10 double spaced pages) to the class website by 5pm SUNDAY  4/26 for workshop next week	
4/28 	Fiction Workshop	•	Alexie “What You Pawn I Will Redeem”
•	Classmates work for workshop: 1st three fiction for your group	•	1 Critical Response to Classmate work (2 copies)	
4/30	Fiction Workshop	•	Thursday: 2nd three fiction pieces for your group	•	1 Critical Response to Classmate work (2 copies)	
5/5 & 5/7	Conferences	
5/12 & 5/14	Class Readings	
5/18	FINAL PORTFOLIO DUE 5/18!
•	4 poems, originals and revisions
•	6-15 pages of fiction, original and revisions