邢唷��>� }��|€��欹�%` ��礝bjbj"x"x ;z@@lGH��$�(�(�(8)TT)T$F��)�H*^*^*^*�+�+�+揈旹旹旹旹旹旹$HhzJ�笶�1�+�+�1�1笶^*^*x蜤�=�=�=�1�^*^*揈�=�1揈�=�=:證�E^*�)秎,��(�2€籇 E銭0F臘RK75�KEEK+ET�+��-N�=�.0��+�+�+笶笶8��+�+�+F�1�1�1�1$$$��($$$�($$$��English 201C: Methods and Materials of Literary Production Prof. Alan Soldofsky Fall 2008 T, 7:00 � 9:45 PM, Clark Hall 131 Phone: 924-4432 Office: FO 106 E- Mail: HYPERLINK "../../2007%20Fall/ENGLISH%20201C/soldofsk@email.sjsu.edu" soldofsk@email.sjsu.edu Hours: M, T, W, 3:00 � 4:00 PM, or by appointment COURSE SYLLABUS Course Description: This course introduces Creative Writing graduate students to the resources, traditions, techniques, and culture associated with professional creative writing both inside and outside academia. The class will study the role of the individual writer within the literary and academic communities, and explore various forms of literary activity that commonly support 搕he literary life.� Students will learn to find and evaluate dominant and alternative literary magazines and publishers, book review indexes, academic journals, and online and other electronic resources. By means of this course, they will find ways to apply their knowledge of these resources that are useful in their own writing, in their other courses, and in fulfilling other requirements for the MFA. Overview of Course Objectives: A creative writer抯 work is both a personal journey toward increasingly masterful artistic expression as well as an increasing understanding of what the literary world requires of a writer as a professional. In order to succeed, a Creative Writing MFA student needs to understand how the interlocking networks within the literary, academic, and publishing communities function. To gain such an understanding, students will accomplish the following objectives in this course: Explore the traditions, conventions, sub-genres, and schools, associated with contemporary poetry, fiction, and creative nonfiction. Explore the literary tradition as it has evolved in Northern and Central California. Examine the role of the creative writer within academia. Become familiar with a wide range of literary journals, publishers, and electronic resources for creative writers. Examine the evolving genre of book reviewing, the personal literary essay, blogs, and literary forums. Gain a familiarity with some common professional forums and networks for creative writers within academe. Gain familiarity with various avenues for publication and other professional activity. Gain familiarity and experience writing a book and/or thesis proposal. Course Methods and Activities: At the start of this course, each class member will select a contemporary poet or prose writer whose career will become the subject of study. Many of the assignments and activities in the course will be based upon what students can find out about the careers of the writers they have chosen. Students are urged to get in touch with the writer they抳e chosen through email or snail mail, and to establish a correspondence through which the students can ask the writer questions relevant to the course assignments. The writers whose careers the students will want to study are those who have established a publishing track record in both periodical publication and book publishing. Writers who publish in more than one genre would be most exemplary for the class. Visits from Writers, Editors, and Publishers: Our class will occasionally host visits by Bay Area and West Coast literary professionals who will make brief presentations and take part in Q & A about matters pertinent to the course material. Some presentations will be made by writing faculty from 无忧短视频 as well as writers teaching in other academic departments. Reading List: REQUIRED: Charles Baxter, Burning Down the House: Essays on Fiction. Robert Hass, Twentieth Century Pleasures. Poets and Writers Magazine. (July � Aug., Sept.-Oct., Nov.-Dec. issues) HYPERLINK "http://www.reedmag.org/drupal/" Reed Magazine 2008 Issue. The Writer抯 Chronicle (Sept. � Oct., Nov. � Dec. issues � distributed through the Department). RECOMMENDED: The CLMP Director of Literary Magazines and Presses. James Harner, Literary Research Guide: An Annotated Listing of Reference Sources in English, 3rd edition. (To be used as a reference book.) Mark Doty, Dog Years Sandra Gilbert, Death抯 Door ON-LINE RESOURCES: Academy of American Poets HYPERLINK "http://www.poets.org/" http://www.poets.org Associated Writers Programs HYPERLINK "http://www.awpwriter.org/" http://www.awpwriter.org Poets & Writers On-Line HYPERLINK "http://pw.org/" http://pw.org New Pages (a portal to literary magazines and journals HYPERLINK "http://www.newpages.com/" http://www.newpages.com Also Mark Doty Home Page: HYPERLINK "http://www.markdoty.org/" http://www.markdoty.org/ Final Portfolio: Students are to turn in final revisions of all assigned writing in a final portfolio. The material should be prepared in standard manuscript form acceptable for submitting for publication. The final portfolio must contain the following pieces of writing: Annotated bibliography (including lesser-known periodical and book publications) Book review (1,000 to 1,500 words) Personal literary essay (2,500 � 3,500 words) Cover letter and book/MFA thesis proposal, including attached writing sample. Final versions of the annotated, book review, personal literary essay, and book/MFA thesis proposal will comprise the final writing portfolio for the course. Portfolios are due on the last day of the semester. Added to the formal graded assignments will be 搃nformal� group and classroom activities that will be considered a portion of the class participation grade. These may include (but are not limited to) other oral presentations such as leading a discussion about one of the assigned readings or presenting on particular literary network, journal, or conference. Grading: Bibliography 10% Book Review 20% Personal Literary Essay 30% 20-Minute Conference Presentation of Literary Essay 10% Book/MFA Thesis Proposal 20% Class participation 10%TOTAL 100% A NOTE ON GRADES: In English Department courses, instructors will comment on and grade the quality of student writing as well as the quality of the ideas being conveyed. All student writing should be distinguished by correct grammar and punctuation, appropriate diction and syntax, and well-organized paragraphs (stanzas). Grades given conform to the English Department and university grading policy. The Department of English is committed to the differential grading scale as defined in the official 无忧短视频 Catalog (揟he Grading System�). Grades issued must represent a full range of student performance: A = excellent; B = above average; C = average; D = below average; F = failure. A note on plagiarism: Any case of suspected plagiarism or academic dishonesty will be reported to the office of Graduate Studies for further investigation. Course Calendar: Aug. 26: INTRODUCTION: Class overview. What creative writers need to know about writing professionally. Learning literary survival skills. Researching and creating an annotated bibliography. Using the bibliography as a research tool to help complete other writing projects required in the course. Selecting an author you will write about during the semester. Making annotations梬riting for a particular audience and use. Sample bibliographies. WRITING ASSIGNED: You are to compile an annotated bibliography of books and/or magazine publications of a single author. The bibliography is intended to chronicle and help the reader understand the career of the author you have chosen to research. Select an author whose career is of interest to you, or select from a list of 无忧短视频 Lurie Chair holders in Creative Writing. INSTRUCTOR扴 ADVICE: Don抰 choose an author whose work is new to you, or a prolific writer like Joyce Carol Oates, or most one-book authors. READING ASSIGNED: From Twentieth Century Pleasures: 揜eading Milosz.� From AWP Writer抯 Chronicle, TBA.� Sept. 2: FIELD TRIP: Meet in Special Collections Room, Fifth Floor, MLK, Jr. Library. We will meet with special collections staff, 7:00 � 8:00 PM. Then plan to return to Clark 131, where the class will have a session on research techniques and tools available through the MLK, Jr. library. DISCUSSION: The uses and purposes for annotated bibliographies. Creating an annotated bibliography of a writer. The importance of tracking down an author抯 major publications in periodicals. Finding periodicals and journals. SMALL GROUPS: Begin bibliographical research. Work in groups to find online and cataloged (in-print) sources and materials. DUE: Bring to class a short list of authors you抮e considering for your annotated bibliography. WRITING ASSIGNED: Begin work on the annotated bibliography. Bring your draft and/or notes to class next week to workshop. Articles assigned in The Writer抯 Chronicle and Poets & Writers TBA. Sept. 9: SMALL GROUPS: Share bibliographic research results and workshop drafts of bibliographies. SHOW AND TELL: Show sample magazines and journals you found during the week in class. CLASS DISCUSSION: The types of literary magazines, quarterlies, little magazines, and Web-based journals that publish book reviews. Also book reviews for daily and weekly newspapers. Exploring zines, blogs, and web-based journals. WRITING ASSIGNED: Complete annotated bibliography; fair copy due next week. RESEARCH ASSIGNED: Find two or three literary magazines/journals (or weeklies) which would be your potential market for selling your book review. Bring samples of or Web links for these periodicals/journals to class. Be prepared to make a short presentation about the magazine. READING ASSIGNED: Read interviews in REED Magazine 2008, HYPERLINK "http://reedmag.org/drupal/files/u1/excerpts/2001-2020/2008_Dorothy_Allison_in_conversation_with_Gary_Shapiro__by_Gary_Shapiro.pdf" "Dorothy Allison in Conversation with Gary Shapiro" by Gary Shapiro; "An Interview with George Saunders" by Liz MacDonald EXTRA CREDIT: Prepare a thumbnail review (250 � 300 words) of REED Magazine 2008, to submit to Newpages.com. Sept. 16: WORKSHOP: Bibliography project. CLASS DISCUSSION: Book Reviews: Styles and purposes of book reviews in various types of small magazines, academic journals, slick magazines, daily and weekly newspapers, and online journals. SMALL GROUPS: Compare types of book reviews and books reviewed found in the sample magazines and journals. DUE: Annotated bibliography (final working draft梒an be revised after getting instructor response and preliminary grade). WRITING ASSIGNED: Select a book to review by the author you抮e working on or by another author of related interest. Write a working draft of the review (1,500 words) to share in small groups next week. RESEARCH: Bring copies to class two reviews of at least one book listed in your bibliography. READING ASSIGNED: In Twentieth Century Pleasures, 揊our Reviews.� Assortment of book reviews on Ana Castillo, Mark Doty, and other authors (see links on Google Groups). Sept. 23: DISCUSSION: Evaluating Reed magazine抯 most recent issue. The politics of book reviewing within the literary, academic, and publishing communities. Who writes the reviews, getting reviews published. Positive reviews, negative reviews, 搒tate-of-the art reviews. SMALL GROUPS: 1) Discuss drafts of book reviews you found. 2) Read and edit book review drafts. WORKSHOP: Selected book review drafts discussed. WRITING ASSIGNED: Continue work on your book review. READING ASSIGNED: In Twentieth Century Pleasures, 揝ome Notes on the San Francisco Bay Area as a Culture Region: A Memoir.� In Burning Down the House, 揟he Donald Barthleme Blues.� RESEARCH ASSIGNED: Find an example of a personal literary essay in a magazine or periodical to share in class. Sept. 30: GUEST SPEAKER: Joyce Jenkins, publisher of Poetry Flash. WORKSHOP: Book reviews. DISCUSSION: 1) Purposes and subjects for the personal literary essay. Examples of types. 2) Hass and Baxter essays. WRITING ASSIGNED: Finish draft of your book review (due next week). READING ASSIGNED: In Twentieth Century Pleasures, 揑mages.� In Burning Down the House, 揜hyming Action.� Essays selected from Poets & Writers magazine. Oct. 7: DISCUCSSION: 1) Hass and Baxter essays. 2) Finding ideas for personal literary essays. SMALL GROUPS: Brainstorm ideas for personal literary essays. WORKSHOP: Book reviews. DUE: Book reviews (working draft) due. READING ASSIGNED: In Twentieth Century Pleasures, 揕istening and Making.� In Burning Down the House, 揝tillness.� RESEARCH ASSIGNED: WRITING ASSIGNMENT: Begin work on your personal literary essay. Oct. 14: SMALL GROUPS: Read and edit personal literary essay drafts. DISCUSSION: 1) How to develop and revise a personal literary essay. 2) Adapting a personal literary essay for a conference presentation. 3) Writing the abstract for a proposed conference paper. PRESENATIONS/DISCUSSION: Hass and Baxter essays. READING ASSIGNED: In Twentieth Century Pleasures, 揥hat Furies.� In Burning Down the House, 揇ysfunctional Narratives, Or: 慚istakes Were Made.� RESEARCH ASSIGNED: 1) Explore the Web, literary periodicals such as The Writer抯 Chronicle, or other journals to find conference announcements and/or calls for papers in the fields of Literature, Creative Writing, or Cultural Studies. 2) Bring two calls for papers to class. WRITING ASSIGNED: For practice, write a one- to two-paragraph abstract describing your literary essay as a proposed conference paper. Oct. 21: DISCUSSION: What kinds of conferences do creative writers attend and what kinds of papers do they give? Calendar of annual academic and literary conferences attended by creative writers. How do you organize and moderate a conference panel? Online conferences and forums. Examples of recent papers and conference talks. SHOW AND TELL: Conference paper abstracts for comments and revisions. WORKSHOP: Personal literary essays (posted to class members in advance of this meeting). PRESENTATION: Using MLA Style Sheet; documenting sources. READING ASSIGNED: Explore present and past AWP program schedules. Sample conference papers. Readings from Poets & Writers Magazine and The Writer抯 Chronicle TBA. Oct. 28: DISCUSSION: 1) How to make an interesting conference presentation. Model papers. 2) Articles from Poets & Writers and The Writer抯 Chronicle. WORKSHOP: Personal literary essays (posted to class members in advance of this meeting). RESEARCH ASSIGNED: Find or create electronic materials to enhance your conference paper presentation. Think of this material as your electronic handout (you can also bring hard copy). READING ASSIGNED: Web sites of selected conferences TBA. Articles from Poets and Writers and/or The Writers� Chronicle, TBA. Nov. 4: PRESENTATIONS: First group presents their conference papers, followed by limited Q & A. Discussion of papers. WORKSHOP: Personal literary essays (posted in advance of this meeting). DUE: Personal literary essays from in-class presenters. WRITING ASSIGNED: READING ASSIGNED: Selected readings from Poets & Writers Magazine and The Writer抯 Chronicle. RESEARCH ASSIGNED: Bring in the names of at least two literary agents and two independent publishers with information about their agency and publishing house. Bring in information you抳e found online and in the library (or on hard copy) regarding how to format a book proposal. Begin working on query letters and your book/thesis proposal. Nov. 11: Veteran抯 Day桟ampus Closed Nov. 18 PRESENTATIONS: Second group presents their conference papers, followed by Q & A. Discussion of papers. GUEST SPEAKER: TBA. DISCUSSION: How to pitch an agent or a publisher. What goes into a book/thesis proposal. How to write query letters. SMALL GROUPS: Preparing to submit a book/thesis proposal. DISCUSSION: Articles from Poets & Writers and The Writer抯 Chronicle TBA. DUE: Personal literary essays from in-class presenters. READING ASSIGNED: Sample book proposals and thesis proposals (electronic handout on Google Groups). Selected readings from Poets & Writers Magazine and The Writer抯 Chronicle. Nov. 25: PRESENTATIONS: Third group presents their conference papers, followed by Q & A. Discussion of papers. WORKSHOP: Final chance to workshop personal literary essays (posted to class members in advance of this meeting). DISCUSSION: More on book/thesis proposals. Looking at samples. Strategies for sending first books to publishers. SMALL GROUPS: Edit cover letters and book/thesis proposal drafts. Also share/discuss writing samples to be included as attachments. DUE: Personal literary essays from in-class presenters. READING ASSIGNED: Selected readings from Poets & Writers magazine. Publisher抯 submission policies (handouts). WRITING ASSIGNED: Revise book/thesis proposal. Add detail. Work on sample chapter(s), stories, poems. Dec. 2 : PRESENTATIONS: Fourth group presents their conference papers , followed by Q & A. Discussion of papers. WORKSHOP: Cover letters and book/thesis proposals (posted to class members in advance of this meeting). WRITING ASSIGNED: Complete final draft of book/thesis proposal, including cover letter, synopsis (or outline) of the book抯 contents, influences and/or market research, and sample text. DISCUSSION: Discussion of cover letters and book or thesis proposal drafts posted online (on Goggle Groups). Dec. 10: DUE: Book/Thesis proposal with cover letter and attachments. PRESENTATIONS: Conference papers (remaining to be presented). WORKSHOP: Cover letters and book/thesis proposals (previously posted to class members in advance of this meeting). FINAL PORTFOLIOS DUE: You can submit a disk or electronic copies in lieu of hard copy. Absolute deadline: Dec. 12 (with the instructor抯 permission). CRITIQUE: You may schedule an appointment to meet with the instructor during finals week. Dec. 17: END OF SEMESTER CELEBRATION. 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