ࡱ> '` ZbjbjDD .&&}R|2222222F*B*B*B8bB$B<FUC(C(DDDDDD~UUUUUUU$XhmZxU2DDDDDU22DDU0H0H0HD2D2D~U0HD~U0H0HR"N22ODC @8]8*BFpOPdU0UOZGZ<OZ2O(DD0HDDDDDUUGXDDDUDDDDFFF(*BFFF*BFFF222222 English 71GQ (GE Area C2) So You Want to Be a Writer? Creative Writing in Three Genres Metropolitan University Scholars Experience (MUSE) Seminar San Jose State University, Fall 2010 Date/Time: MW 9:00AM 10:15AM Location: Clark Hall 127Prof. Nick Taylor Office: FOB 219 (Phone 408-924-4458) Office Hours: MW 10:30AM 1:00PM and by appointment. Email: nicholas.taylor@sjsu.eduNote: Email is the fastest way to get in touch with me.Peer Mentor This course has been assigned a Peer Mentor, a San Jose State upperclassman who can help with all matters related to life and work at ǶƵ. Our Peer Mentor is Marisa Gomez. You can get in touch with her at marisabethgomez@gmail.com. Peer Mentors also keep office hours in the Peer Mentor Center in Clark Hall. Course Description In this creative writing workshop, you'll learn how to make it as a writer of fiction, poetry, or creative nonfiction in today's rapidly-evolving marketplace. The class will be divided into three units one per genre. In fiction, we'll read work by some of the most exciting fiction writers working today, people like Denis Johnson, ZZ Packer, Kim Addonizio, and Sherman Alexie. You will write several pieces of fiction and critique the work of your classmates. In poetry, we'll read the best poets you've never heard of names like Wright, Bishop, Kizer, and Komunyakaa. You will share your poems and writing exercises with the class. In nonfiction, we'll hear from a man who took a job as a Macy's Christmas Elf and single-handedly made essay writing fun! You will write your own personal essays and read those of your peers. Finally, we will explore options for publication in all three genres. Each student will send out work for consideration, and who knows you could see your name in print before you declare a major! Introduction to MUSE University-level study is different from what you experienced in high school. The Metropolitan University Scholars Experience (MUSE) is designed to help make your transition into college a success by helping you develop the skills and attitude needed for the intellectual engagement and challenge of in-depth university-level study. Discovery, research, critical thinking, written work, attention to the rich cultural diversity of the campus, and active discussion will be key parts of this MUSE course. Enrollment in MUSE courses is limited to a small number of students because these courses are intended to be highly interactive and allow you to easily interact with your professor and fellow students. MUSE courses explore topics and issues from an interdisciplinary focus to show how interesting and important ideas can be viewed from different perspectives. Learning Objectives and Activities for this Course This course qualifies as an Area C2 (Humanities & Arts- Letters) course in your General Education requirements. It is designed to enable you to achieve the following learning outcomes: To examine the interaction of analytical and creative processes in the production and perception of significant works of the human intellect and imagination; [GE] [Met through class discussion of assigned readings and required responses in Writing Journal] To examine the significance of the historical and cultural contexts in which such works are created and interpreted; [GE] [Met by in-class discussion of assigned readings and student work] To prepare students to participate in social and cultural communities associated with artistic and literary endeavors to enrich their personal and professional lives [GE] [Met through required attendance at literary readings and Spartan Success workshops, and by participating in workshop groups] To establish a strong foundation for becoming a university-level student and scholar; [MUSE] [met by incremental assignments building toward the final portfolio, and by library research requirement] To become acclimated to both the intellectual and social activities of university life; [MUSE] [Met by required attendance at Spartan Success workshops and literary readings] To understand the form and content of assigned literary works; [English 71] [Met through in-class discussions of assigned readings and required responses in Writing Journal] To recognize the accomplishments of and issues related to writing by men and women representing diverse cultural traditions [MUSE and English 71] [Met through assigned readings and required responses in Writing Journal] To acquire through both individual and collaborative/workshop efforts of a written and oral nature the skills necessary for reading, discussing, analyzing, interpreting, andmost importantlyemulating and writing works of poetry creative nonfiction, and short fiction; [English 71] [Met through writing assignments, and through the iterative process of peer review] To communicate such skills with clarity and precision; [GE and English 71] [Met through writing assignments and written critiques of peer work] To develop an appreciation of literary works as expressions of human intellect and imagination, and as representations of diverse human cultures; [MUSE and English 71] [Met through assigned readings and review of peer work, and through thoughtful responses to both] To respond to literature through clear and effective communication in both written and oral work; [GE and English 71] [Met through thoughtful responses in Writing Journal to assigned readings and peer work] To read and respond to texts with both analytical acumen and personal sensibility; [English 71] [Met through thoughtful responses in Writing Journal to assigned readings and peer work] To write works of poetry, creative non-fiction, and short fiction that are of interest and value to the writer, to other students in the course, and to a diverse reading audience. [English 71] [Met through required writing assignments, culminating with the final portfolio] The following content and activities will be incorporated into the course as you engage in the subject matter: Diversity: Issues of diversity shall be incorporated in an appropriate manner. [GE and MUSE] Writing: The minimum writing requirement is 1500 words in a language and style appropriate to the discipline. For departments that teach C2 sections greater than 40 students, a summary shall be provided, with Certification or Continuing Certification packets, indicating how practices, feedback, and revisions in writing will be addressed with larger sections. [GE] Provide students an opportunity to: experience significant works of art in the classroom and in performances and exhibitions; understand the historical or cultural contexts in which specific works of art were created; and recognize the accomplishments of and issues related to women and diverse cultures reflected in such works of art. [GE] University scholar: Course activities should be designed to enable students to improve critical thinking skills, information competencies, critical writing and reading skills, and group interactions. [MUSE] University life: Students should attend workshops and participate in group activities to help them learn about university resources and activities and to improve in areas they have identified. [MUSE] Required Texts Anstandig, Beth, and Eric Killough, eds. A Garden of Forking Paths. (Upper Saddle River, New Jersey: Pearson/Prentice-Hall, 2007). Reed Magazine, Volume 63 (2010 edition). Reed is available for purchase at the ǶƵ Spartan Bookstore or from Prof. Taylor in class. Writing Assignments Poetry A self-portrait poem A poem containing concrete physical images A narrative, or story, poem A poem containing an allusion to another poem, work of literature, work of art, or artifact of myth, history, or popular culture. A patterned poem (either a villanelle or a sonnet) Fiction Character sketch (2pp) Scene with conflict (2-4pp) Short story (4-10pp) Creative Nonfiction Memoir piece (2-4pp) Work piece (2-4pp) Writing Journal/Notebook Responses to assigned readings. Responses to attendance at two Bay Area literary readings Responses to three Spartan Success workshops Assorted in-class writing exercises Assignment Format All material handed in (except the journal/notebook) should be typed and double-spaced with page numbers. Multi-page assignments must be stapled. Your name, the assignment title, and the date should be included at the top of the first page. Failure to adhere to these simple regulations will damage your grade in the course. Keeping a Journal / Notebook You are required to keep a journal/notebook in which you will do assigned creative writing activities inside and outside class. You will also record your responses to the assigned readings here. You are urged to write down quotes from your readings that you may want to share with your classmates. You can also use your journal to develop drafts of new material or simply to react to what is going in your imagination as you respond to ideas and work presented by others in the course. Your notebook is due at the end of the term. You will be graded on the quality and quantity of your entries. Final Portfolio On Monday, December 6, you will turn in a portfolio consisting of revised versions of the poetry, non-fiction, and fiction pieces you completed during the semester. Your manuscript must include all of the assignments you were responsible for completing during the semester. You will also include the name and address of a publication where you will submit your work. Graded portfolios will be returned on the last day of class, Wednesday, December 8. Attending Spartan Success Workshops You are required to attend three Spartan Success workshops on campus one per month and to record a short response to each in the Writing Journal. A list of Spartan Success workshops can be found at  HYPERLINK "http://www.sjsu.edu/muse/Student_Success_Programs_xformerly_MUSE_Workshopsx/"http://www.sjsu.edu/muse/Student_Success_Programs_xformerly_MUSE_Workshopsx/. Spartan Success workshops will also be posted on the bulletin boards of the MUSE classrooms, and in the Peer Mentor Center. Attending Readings / Lectures Besides reading published work, you are required to attend a minimum of two readings by poets and/or prose writers presented on the ǶƵ campus or elsewhere in the Bay Area. The Greater Bay Area is one of the world's great literary regions, where seven days a week one can attend a reading by a renowned writer at a bookstore, college, community center, or library. Readings are listed in the Sunday books sections of the San Jose Mercury News and The San Francisco Chronicle; and in Metro weekly. After attending each reading, you will write a brief response (1-2pp) in your notebook. Here are some on-campus readings I recommend attending (most are about an hour long): Eric Puchner, novelist, Wednesday, September 15 at 7:30PM in MLK Library Room 225. The CLA All-Stars: 25 Years of San Jose's Center for Literary Arts, Sunday, October 3, 6:30pm, at the California Historical Society, 678 Mission St, San Francisco. Tickets $5-$25. See  HYPERLINK "http://www.litart.org/"www.litart.org for details. Lan Samantha Chang, novelist, Wednesday, October 6 at 7:00pm in MLK Library Room 225. Carl Phillips, poet, Wednesday, October 20 at 7:00pm in MLK Library Carl Phillips, poet, in conversation with Camille Dungy, Thursday, October 21 at 1:00pm in ǶƵ University Theater. Maggie Estep, poet, fiction writer, and spoken-word performer; Tuesday, November 16 at 7:00pm in ǶƵ University Theater. 2010-2011 Steinbeck Fellows Julie Reynolds (investigative journalist) and Leah Griesmann (fiction writer), Wednesday, December 1, at 7:00pm in MLK Library, Schiro Room, 5th Floor. Class Workshop Procedures For each unit (poetry, fiction, nonfiction) the class will divide into groups of six. These will serve as your workshop groups. Your workshop group will be different each unit, so that you get to read work by all of your classmates. Every time you turn in a piece of your work, you will bring enough copies for everyone in your workshop group and your teacher and yourself (eight copies, most likely). We will then critique the pieces at home (writing directly on the manuscripts) and discuss them in workshop groups the following class period. At the end of the discussion, you will get to keep the seven marked-up copies of your work. During the workshop process students will learn to critique each other's work, which is a very different skill from being a good writer. The trick is to 1) praise what's good; 2) offer positive criticism and suggestions on how to fix itrealizing that the individual style and goals of the author may differ from your own. Grades Grades will be based on the quality and quantity of writing you do as well as the quality and constructiveness of the criticism offered during the workshops. Creative writing, though subject to the instructor's individual subjectivity, can be evaluated according to general standards used to determine how well a piece of writing works. These include: 1) Textual and/or technical competence and eloquence. 2) Imaginative risk. 3) Energy and freshness of language. 4) Effective use of metaphor and other forms of figurative language. 5) Clarity and precision of detail. 6) Capacity for mixed feelings and uncertainty. 7) Effective use of grammar, syntax, rhythm; also meter, rhyme, and other elements of poetic style and form. 8) Naturalness and believability. 9) Appropriateness of style to subject. 10) Compelling audience interest. Final grades will be the product of the following factors: Fiction 20% Poetry 20% Non-fiction 20% Class participation 20% Notebook/Journal* 20% *includes responses to two required literary readings and three Spartan Success workshops 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 ǶƵ Catalog (The Grading System). Grades issued must represent a full range of student performance: A = excellent; B = above average; C = average; D = below average; F = failure. ENGLISH DEPARTMENT GRADING STATEMENT: In English Department courses, instructors comment on and grade the quality of writing as well as the quality of ideas being conveyed. All your writing should be distinguished by correct grammar and punctuation, appropriate diction and syntax, and well-organized paragraphs. Attendance Policy If you anticipate being absent or if you are ill, please let the instructor know your situation. Two unexplained absences in a row will arouse suspicion that you are not taking the course seriously, and you will not be allowed to make up missed work. Schedule and Assignments This class meets every Monday and Wednesday starting on Wednesday, August 25. The last class is Wednesday, December 8. Class will not be held on Monday, September 6 (Labor Day). All reading assignments are in A Garden of Forking Paths unless otherwise indicated. DateClass TopicsWriting DueReading DueWeds, Aug 25 Introduction; Pass out diagnostic assignment (self-portrait poem)Mon, Aug 30POETRY UNIT BEGINS; Create poetry workshop groups; Workshop proceduresSelf-portrait poem dueTomaz Salamun, "I Have a Horse" (338); Carolyn Kizer, "To an Unknown Poet" (322); John Engman, "The Building I Live In Is Tipping Over" (304)Weds, Sept 1Melopoeia, logopoeia, and phanapoeia; Workshop self-portrait poemsTony Hoagland, "Jet" (318); Yusef Komunyakaa, "Believing in Iron" (325); Adrienne Rich, "Amends" (337); Scott Marengo, The Wedding Gift (Reed, 23)Mon, Sept 6NO CLASS LABOR DAYWeds, Sept 8Lyrical ("musical") poetry.Imagery poem due.Scott Cairns, "Interval with Erato" (299); C. D. Wright, "only the crossing counts" (346); Al Young, "Desert Footage: Three Dissolves" (347)Mon, Sept 13Narrative ("story") poetry. Workshop image poems.Ruth Ellen Kocher, "Poem to a Jazz Man" (324); Thomas Lux, "The Man Inside the Chipmunk Suit" (327); Naomi Shihab Nye, "Blood" (336)Weds, Sept 15More on narrative poetryBruce Weigl, "Anniversary of Myself" (344); Linda Gregg, "The Letter" (313); Russell Edson, "The Fall" (304); B.A. Goodjohn, Misfits (Reed, 48) Mon, Sept 20Patterned poetry (villanelle)Story poem due.Poetic Form: Villanelle (handout); Elizabeth Bishop, "One Art" (handout); Dylan Thomas, "Do not go gentle into that good night" (handout)Weds, Sept 22More patterned poetry (sonnet); Workshop story poems.Poetic Form: Sonnet (handout); William Shakespeare, "sonnet 130" (handout); Petrarch, "Sonnet 131" (handout); Edna St. Vincent Millay, "What lips my lips have kissed, and where, and why" (handout)Mon, Sept 27Allusion in poetry; "occasional poetry"Patterned poetry (villanelle or sonnet) due.Peter Nathaniel Malae, Poem not about Water Lilies (Reed, 51) Weds, Sept 29POETRY UNIT ENDS; Workshop patterned poemReponse to MUSE Workshop #1 due (in Writing Journal).Mon, Oct 4FICTION UNIT BEGINS; What is character-based fiction?; Create fiction workshop groups; Susan Minot, "Lust" (218) Alain Kerfs, Grace, Waiting (Reed 175)Weds, Oct 6More on CharacterizationRon DAlena, Holding Up the Sky for Magnolia Dunn (Reed 187); Mon, Oct 11Voice and Point of ViewCharacter sketch (2pp) due.Gish Jen, Whos Irish? (189)Weds, Oct 13Conflict (and Resolution); workshop character sketchesMichelle Dove, The Frost Queen of Louisa County (Reed 11) Chester Himes, "Prediction" (184) Mon, Oct 18More on Conflict and ResolutionSoma Mei-Sheng Frazier, Ai-Guo (Reed 124) Denis Johnson, "Work" (197); Weds, Oct 20Setting; scavenger write exerciseScene (2-4pp) due.Paul Martone, Sacred Ink (Reed 38) Mon, Oct 25Epistolary fiction exercise; workshop sceneWeds, Oct 27Pulling it all together; listen to Russell Banks, Sarah Cole: A Type of Love StoryMon, Nov 1Novel Writing: NaNoWriMo!Short story (4-10pp) due.Weds, Nov 3FICTION UNIT ENDS; workshop short storiesReponse to MUSE Workshop #2 due (in Writing Journal).Mon, Nov 8Field Trip: Class meets in ǶƵ Special Collections, MLK Library 5th FloorWeds, Nov 10NONFICTION UNIT BEGINS; Create nonfiction workshop groups; What is creative nonfiction? Discuss memoir genre.Mary Karr, from The Liar's Club (67); Nikolina Kulidzan, How Ms. Perry Changed My Life (Reed 98)Mon, Nov 15More on memoir.Nancy Mairs, "On Being a Cripple" (89); Laura Lane Donnell, Hurricane Season in Texas (Reed 114)Weds, Nov 17Writing about Work; listen to David Sedaris, Santaland DiariesMemoir piece (2-4pp) due.Thomas Lynch, The Undertaking (5)Mon, Nov 22More on writing about work; workshop memoir pieceChris Haven, The Checkout Girl (Reed 34)Weds, Nov 24Travel/Adventure writing.Work piece (2-4pp) due.Lars Eighner, Austin to Tucson: Hitting the Road (36); Kelly Stuart, Nowhere Else on Earth (Reed 152)Mon, Nov 29Workshop work pieceWeds, Dec 1NONFICTION UNIT ENDS; Discuss publication options and procedures for sending work out; pass out post-course diagnostic assignmentMon, Dec 6FINAL PORTFOLIOS AND WRITING JOURNALS DUEReponse to MUSE Workshop #3 due (in Writing Journal).Weds, Dec 8Return graded portfolios. Tearful goodbyes. Academic Integrity Your own commitment to learning, as evidenced by your enrollment at San Jos State University, and the Universitys Academic Integrity Policy requires you to be honest in all your academic course work. Faculty members are required to report all infractions to the Office of Student Conduct and Ethical Development. The Policy on academic integrity can be found at: http://sa.sjsu.edu/student_conduct. Avoiding Plagiarism Plagiarism is the unacknowledged use of somebody elses words or ideas and is considered an instance of academic dishonesty that instructors must report. You commit plagiarism by: buying, stealing, or borrowing a paper (or story, poem, etc.); hiring someone to write a paper (or story, poem, etc.); building on someones ideas without providing a citation; copying from another source or using a source too closely when paraphrasing. In other words, submit only your own work. LARC (Learning Assistance Resource Center) The Learning Assistance Resource Center is an on-campus facility that provides peer tutoring for San Jos State University students. LARC offers assistance with writing, and if you feel as if you need intensive help beyond what I can offer during office hours, please request a writing tutor. The Center is located in The Student Services Center in the 10th Street Parking Garage, Room 600. The phone number is (408) 924-2587. Disabilities Policy If you need course adaptations or accommodations because of a disability, or if you need special arrangements in case the building must be evacuated, please make an appointment with me as soon as possible, or see me during office hours. Presidential Directive 97-03 requires that students with disabilities register with the DRC to establish a record of their disability.     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