邢唷��>� ��欹�'` ��蔏bjbj$�$� 7�F�F�€CI��,,,,,,,@(2(2(28`2|�2t@ M\3\3"~3~3~3~3~3~3塋婰婰婰婰婰婰$ NhrP�疞,~3~3~3~3~3疞,,~3~3腖.?.?.?~3N,~3,~3塋.?~3塋.?.?�笿h,,鮇~3P3燦T劯D�(2�4V!KuL贚0 M1K�Q"7�Q 鮇Q,鮇€~3~3.?~3~3~3~3~3疞疞9(~3~3~3 M~3~3~3~3@@@�)/$@@@/@@@,,,,,,��English 130 (Section 02): Fiction Writing Fall 2010 SH 410 Dr. Kate Evans Thursdays 4:30-7:15 p.m. kate.evans@sjsu.edu office hours: T/Th 12;15-1:15 p.m. and by appointment office: FO 222; phone: 924-4491 揟he beautiful part of writing is that you don't have to get it right the first time, unlike, say, a brain surgeon.� Robert Cormier 揑f you are pointing out one of the things a story is about, then you are very probably right; if you are pointing out the only thing a story is about you are very probably wrong - even if you're the author.�Neil Gaiman Course Description: The focus of this course is inventing and crafting fiction. Our primary focus will be the short story, but we will also address the novel and flash fiction. Through work-shopping your pieces, as well as discussing the pieces of published writers, we will speak to the observable and the subtle aspects of fiction梖or good writing entails both skill and mystery. Prerequisite: English 71 or instructor consent. Required Books: What If? Writing Excercises for Fiction Writers by Anne Bernays and Pamela Painter Alice Fantastic by Maggie Estep Hunger by Lan Samantha Chang Student stories with copies for the class Recommended Books: Music Through the Floor by Eric Puchner Writing Fiction: A Guide to Narrative Craft by Janet Burroway Course Requirements: 1. Fiction Writing: Each student will submit stories and fiction writing activities of approximately 35-45 pages of new writing (no recycled pieces, please). You will receive a great deal of feedback on this writing from both me and the class; however, individual pieces will not be given letter grades. Instead, you will receive credit for writing the required number of pages, and for turning in 21 copies on time, at the beginning of class on the day before you workshop. If stories are particularly weak due to a 搑ush job,� and if they are not turned in on time or do not meet other requirements, that will negatively affect your overall course grade. Workshopped Story #1: approx. 6-10 pages Workshopped Story #2: approx. 10-15 pages Various small fiction writing assignments: approx. 25 pages 2. Craft Reading Responses to Classmates� Stories: For each story, write down your thoughts about the following on the student story in order to a) be prepared for discussion and b) share your thoughts with your classmates. You can type on a separate sheet or neatly handwrite at the end of the story: a) Write down in brief (no more than 1 short paragraph) what you think the story抯 main plot line, focus, patterns, repetitions are (a good way to start is to say, 揟his story is about...�). There is no judgment here, just noticing. b) Next, write about what is intriguing, surprising and/or puzzling about the piece. Always begin with positive feedback. Focus at least some of your response on craft梕.g., how the story is written. It抯 helpful to include a quote or two from the story, with page number, to illuminate a point. The following prompts might help, but by no means must you respond to each one梐nd by no means do they cover everything you might address: How does the story make you feel? What does the writer do to elicit those feelings? What抯 exciting, intriguing and/or puzzling about this piece? What do you notice about how this piece is written? Is there anything unique about its voice, structure, pacing, point of view, etc.? What do you notice about setting: Where and when the story takes place? How does this setting illuminate or enrich certain aspects of the story (or not)? What do you notice about where the story begins? Does it begin in the middle of a certain action? How might the story be different if it started in a different place, or were told from a different point-of-view? How are back-story and or back-flashes handled? What do you find intriguing/notable in terms of how the writer developed certain characters? Which character would you want to hang out with and why? What抯 left out梐nd how does that help or hurt the piece? Where does the story move fast? Slow? How does this pacing affect your experience with the story? What word choices are surprising, intriguing or confusing? What questions (about the content or the writing, or about anything else) does this story raise for you? Write to the writer: e.g., 揌i Evelyn.� You may also comment in the margins of your copy as you go along (it can be especially helpful to a writer to know what you are thinking as you read). Always make an extra copy of your comments for me to see. (Either photocopy the handwritten parts or print out an extra copy of you typed it up.) 3. Author papers: I will ask you to write short, typed papers that focus on the craft of Chang and Estep. These will be discussed in class. 4. Literary Event Paper: You must attend a literary event this semester. Write an approximately 3-page paper that briefly describes what happened at the event and examines what you feel you learned about writing during this event. You can also include what interested you most and why, what surprised you, what questions the event raised, etc. At the top of the paper, include the day and time of the event. (You may attend more literary events for Extra Credit; each one adds 1% to your grade if the paper fulfills the assignment and is well-written and virtually error-free. Write 揈XTRA CREDIT� at the top.) Literary Event Papers and Extra Credit are due no later than 2 weeks after the event. 5. Choices for the final (all of which include writing and reflection): At the end of the semester, choose one of your two stories to revise. Turn it in with the first draft, with my comments on it, attached. Staple on top (no folders, please) a typed explanation of: a) What you changed and why, b) what you learned while writing and revising this piece, c) what new insights you got into your writing overall in this course, d) any other comments or questions you have about your experience in the course. Choose one of the fiction writing activities and expand upon it, writing a longer piece of fiction (5 or more pages). Staple on top a typed reflection that includes: a) What did you learn writing this piece? b) What new insights you got into your writing overall in this course, and c) Any other comments or questions you have about your experience in the course. Write a piece of flash fiction (a short-short story, 1-3 pages; see The Vestal Review: http://www.vestalreview.net/ or http://www.vestalreview.net/). Staple on top a typed reflection that includes: a) What do you think of some of the flash fiction pieces you read online? b) What did you learn writing your piece? c) What new insights you got into your writing overall in this course, and d) Any other comments or questions you have about your experience in the course. Grading Story #1 15% Story #2 20% Additional fiction assignments 15% Workshop Written Responses and Participation 20% Literary Event Paper 10% Lan Samantha Chang Paper 5% Maggie Estep Paper 5% Final 10% 无忧短视频 Grading Policy: The Department of English reaffirms its commitment to the differential grading scale as defined in the 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. Courses graded according to the A, B, C, No Credit system shall follow the same pattern, except that NC (No Credit) shall replace D or F. In such classes, NC shall also substitute for W (Withdrawal) because neither grade (NC or W) affects students� GPA. Policies Late Work. Stories to be workshopped cannot be turned in late. We have a tight schedule, and if your story is not ready on time, you disrupt the whole class. If you do not have copies of your story ready on time, you will forfeit the points for that story, no matter what the reason (broken printer, gerbil ate your paper, etc.). To relieve stress, have your story printed and copied the day before it抯 due. Other assignments can be turned up to no more than one week late for a reduction of one grade. They will only be accepted if at the top you抳e written 揕ATE� with the original due date and the date turned in. If you抳e missed or turned in late one small assignment, consider completing an Extra Credit assignment. Please keep in mind, late assignments create extra work for me. No Work by Email. No work in my mailbox. No Exceptions. I do not accept work by email or in my campus mailbox. If you need to miss a class session, ask a classmate to turn in your work and to collect handouts and assignments for you. If you come to class with something not printed and ready to turn in, just turn it in late the next class session for reduced grade. Your Responsibility If You抮e Absent. If you miss class, contact a classmate to get notes, assignments, etc. It is your responsibility to figure out what抯 going on and to show up prepared the next class session. Please do not ask me to do extra things for you if you choose not to come to class. Because so much happens during class, it is very difficult to pass the class if you miss more than 2 class sessions. Arriving Late and Leaving Early. Don抰 do it. It抯 too disruptive to the class. Paper format: * All work must be typed. Use 12-point Times New Roman. * NAME and PAGE NUMBER must appear on each page. * Stories must be double spaced with 1-inch margins * Papers must be single-sided for the teacher (but copies for classmates for workshop may be double-sided) * Staple your papers BEFORE class. Be Fully Present. No electronic devices are to be on/used/visible during class. Disabled Student Services: Any student needing special assistance should contact Disabled Student Services, located in Administration 110, and discuss with the instructor the sort of assistance involved. Suggestions for Writing Write a story/chapter: in which a character does exactly the opposite of what you were compelled to have her/him do when you started writing. in which something 搉ot possible� happens in an otherwise realistic world. in first-person POV with a narrator who is very different from you in one basic way (e.g., gender, age, ethnicity, etc.). in third-person POV with an omniscient narrator who occasionally 揵reaks frame� and speaks directly to the reader. that takes place in the recent past, e.g. 10-20 years ago. that takes place in the near future, e.g. 10-20 years from now. with characters from three different generations. that takes place in a specific working milieu you抮e familiar with, e.g. a restaurant, bank, lifeguard tower . . . in which the main character/narrator is a happy person . . . but there is still conflict/tension. in which nothing tragic happens. . . but there is still conflict/tension. with two or three very different settings. that抯 almost all dialogue. to be continued, based on what we notice as we read and discuss. . . Workshop Guidelines BUMPER-STICKER VERSION FOR THOSE WHO ARE CRITIQUING: Do a sympathetic reading of each piece. This means you attempt to understand and communicate fully what the writer seems to be trying to do in a story (despite its flaws). Then, as needed, suggest ways to bring that vision into focus. In the class session before we will critique your work, submit ____ copies of your typed, double-spaced piece(s). Your piece(s) should be as complete as possible, and be titled. Before we discuss the piece, the writer will read aloud a passage of her/his choice. The writer will not explain, justify, or otherwise say anything related to the piece. On the day of workshop, the writer will be a 揻ly on the wall� as the class discusses the work. This gives you as a writer an opportunity to really hear what people are saying without being compelled to respond or explain. Listen carefully and take notes. Try not to judge the feedback梱ou can sort it all out later when you are home, away from the heat of the moment. You are the writer; you get to decide what to do with the feedback you get. The person to the right of the writer will begin discussion by giving a 搑eading� of the work, telling the class what it seems to be about literally and thematically. Subsequent reactions will be offered in the form of dialogue with the class. Don抰 speak to the writer because she/he can抰 respond. Begin with positive responses梬hat you liked, and why. Other responses can focus on how the piece made you feel and why. Still other responses can focus on places where you were confused or would like to know more梙onoring what seems to be the intent of the piece. Don抰 try to make it into something it抯 not. Be willing to be exploratory during workshop: ask questions, ruminate. Try to learn during critique, not just to pronounce. Ask the class, for instance, 揥hy do you think the character did X here?� Keep your criticism short and don抰 repeat yourself. Critics should not dwell. Be clear and tactful梩hen move on. Don抰 get so wrapped up in improving the writing that you lose sight of the writer. Keep in mind as we discuss that there are no definitive rules in creative writing. There are guidelines, suggestions, general rules of thumb梙owever, all of those are broken often, and well. If you are a person who tends to dominate conversation, pull back the reins so others can speak; if you are a person who tends not to talk in groups, challenge yourself to say something because we benefit from hearing all perspectives. When the critique is finished, the writer may ask a clarifying question, or may ask the class to comment on something that was not addressed. The writer may not explain or justify the piece. Writers should be humble, and most importantly, thankful that someone is taking their work seriously Giving criticism is an art in itself. We are all learners. Course Schedule (This course schedule is subject to additions and changes.) NOTE: Short reading assignments and writing exercises from What If? Writing Exercises for Fiction Writers for most class sessions. Week 1: 8/26 Introductions, beginning to write, What If? Week 2: 9/2 Workshop sign-ups Beginning to write, cont. Copies of Puchner stories distributed Week 3: 9/9 (first group of workshop stories due) Discuss workshop process Discuss Puchner stories Wednesday September 15, 7 p.m,: Eric Puchner* Week 4: 9/16 Workshop of Story #1A Lan Samantha Chang, Part 1 Week 5: 9/23 Workshop of Story #1B Chang, Part 2; Chang papers discussed Week 6: 9/30 Workshop of Story #1C Chang Papers Due Wednesday October 6, 7 p.m., Lan Samantha Chang Week 7: 10/7 Workshop of Story #1D Week 8: 10/14 Workshop of Story #1E Week 9: 10/21 Workshop of Story #1F Workshop of Story #2A Maggie Estep, Part 1 Week 10: 10/28 Workshop of Story #2B Maggie Estep, Part 2; Estep papers discussed Week 11: 11/4 Workshop of Story #2C Maggie Estep Papers due Week 12: 11/11 No class; Veterans Day Tuesday November 16, Maggie Estep, 7 p.m. Week 13: 11/18 Workshop of Story #2D Week 14: 11/25 No Class; Thanksgiving Wednesday December 1, 7 p.m., Steinbeck Fellows Reading Week 15: 12/2 Workshop of Story #2E Week 16: 12/9 Workshop of Story #2F FINAL DATE: Thursday December 16, 5:15-7:30 p.m. Final assignment due. Party! And we will discuss your experience writing or revising for the final. Be prepared to explain what you did for the final and to read aloud a passage. *All CLA Literary Events take place in the 2nd Floor Rooms of the MLK Library WORKSHOP Schedule (Sign up once under Group 1, and once under Group 2. 21 copies of your story are due the class session before the workshop date.) Story/Group Due (with 21 copies) Date of Workshop 1A 9/9 9/16 1B 9/16 9/23 1C 9/23 9/30 1D 9/30 10/7 1E 10/7 10/14 1F and 2A 10/14 10/21 2B 10/21 10/28 2C 10/28 11/4 2D *11/4 11/18 2E *11/18 12/2 2F 12/2 12/9 1A: ____________________, _____________________, _____________________ 1B: ____________________, _____________________, _____________________ 1C: ____________________, _____________________, _____________________, _______________________ 1D: ____________________, _____________________, _____________________, _______________________ 1E: ____________________, _____________________, _____________________, _______________________ 1F: _____________________, _____________________ 2A: __________________, ______________________ 2B: ______________________, _____________________, ______________________ 2C: ______________________, _____________________, ______________________ 2D: ______________________, _____________________, ______________________, _____________________ 2E: ______________________, _____________________, ______________________, ______________________ 2F: ______________________, _____________________, ______________________, ______________________ English 130 syllabus, Evans, page PAGE 9 PAGE *+56<Ub��- 5 7 8 9 � � � � � � � � !.S\ae��唛唛唛唛组柿担攤攤閡閡閡hua[U hDu�CJ h-q�CJ h-q�6丆Jh-q�5丅*CJ\乸hh�4�5丅*CJ\乸h#h顇yh�4�5�6丅*CJaJphh�4�5�6丅*CJaJph#h顇yh�4�6丅*CJ]乤Jphh顇yh�4�6丆JaJh�4�6丆JaJhu$h�4�B*CJphh�4�B*ph333hV(�B*CJphh�4�B*CJphh�4�h�4�CJh�4�!+56u�6 8 9 � � � � !RSe�� ! 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