邢唷��>� ��欹�g� ��€KbjbjVV 7�r<r<6CI��8F|��,x��"��,,,,,,,$ .��0�7,��7,��L,��,��,��)h�*��@鎁嗸a��jB�)�+b,0�,�)�`1�`1 �*`1��*<�"��7,7,�<��,��`1�� : English 130 (Section 01): Fiction Writing Fall 2011 Clark 316 Dr. Kate Evans M/W 3-4:15 kattacruz1234@yahoo.com office hours: M/W 12:15-1:15 and by appointment office: FO 222; phone: 924-4491 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 exploring various writing activities, work-shopping your pieces, and 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 Texts: What If? Writing Exercises for Fiction Writers. 3rd Edition. Bernays and Painter. Course Reader. Available at Maple Press, 481 E. San Carlos St.; 297-1000 Student stories with copies for the class 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, being in class to participate in the activities, and for turning in 21 copies of the longer story on time (see schedule). If stories or other assignments are particularly weak due to a 搑ush job,� if they aren抰 sufficiently edited for surface errors or if they don抰 meet other requirements, they will receive partial credit. Flash Fiction and other small assignments: approx. 25 pages Workshopped Story: approx. 12-18 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. Literary Event Paper: You must attend a literary event this semester. Write an approximately 3-page paper that carefully examines what you feel you learned about writing and the public presentation of it during this event. Think about ways you might apply any of what was said. Discuss what resonated with you, as well as any critique you might have of the event, or questions it raise. You may also investigate more about this writer online and incorporate some of your findings into your paper. At the top of the paper, include the day and time of the event. 4. Extra Credit Opportunities: If you attend more than one literary event, you may write another paper (guidelines above) for up to 2% extra credit added on to your final grade, depending on the quality of the extra credit paper. 5. Choices for Final Project (all of which include writing and reflection): Considering the feedback you received during workshop, revise your story. 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 you learned 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 3 more pieces of flash fiction. Staple on top a typed reflection that includes: a) What you learned writing this piece, b) In what ways is this piece similar to and/or different from the other flash fiction piece you wrote for this class, 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 Workshopped Story (approx. 12-18 pages w/copies)* 20% Additional fiction assignments 40% Workshop Written Responses 20% Literary Event Paper 10% 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. * To receive full credit, story will be a complete story (a strong draft), will show evidence that you have considered the story craft we抳e discussed in class, and will be carefully edited for correct format and surface errors. Policies Late Work. No late work accepted for any reason (broken printer, gerbil ate your paper, etc.). All exercises will be used in class in some way, so if you haven抰 completed them you will not be able to participate full. And for workshop, we have a tight schedule; if your story is not ready on time, you disrupt the whole class. To relieve stress, have your story printed and copied the day before it抯 due. In addition, if you haven抰 written your responses to students stories on the day of the workshop prior to class (and are ready to provide the extra copy of your comments for me), you are not fully prepared to give quality feedback to your fellow writers. 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. 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 3 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. * On first page of story, put Group and # (e.g., B3) * Stories must be double spaced with 1-inch margins * Staple your papers BEFORE class. Be Fully Present. No electronic devices are to be on/used/visible during class. This is an old-fashioned, non-technology-driven class. No use of internet, laptops, cell phones or any other electronic devices is permitted 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. Low-energy or clich� story moves to avoid: Don抰 begin with your character waking up in bed in the morning and turning off the alarm clock. That抯 a 搕hroat-clearing� maneuver, and the real beginning of your story is likely elsewhere. We will discuss a variety of other ways to open stories. Don抰 have a trick ending (e.g., your character wakes up and it was all a dream, or at the end we find out the narrator is really a lizard). If you twist your story around to make it 揻it� such an ending, it invariably comes off as corny or awkward. There抯 a difference between a trick in a story and a surprise. Jokes have tricks, which are called punchlines. Stories have surprises (often several) that authentically evoke a response in the reader. Don抰 have your characters say what they mean! Don抰 kill off a character just to end the story. See if you can avoid death in the story. If you can抰, consider having the death be something that has already happened, or that happens part-way through the story instead. When writing as story, DO: Try different things. 揤eering off� in unexpected directions can add juice to a story. Play against type: e.g., a sexy (but not lecherous) grandfather, a doctor with a drinking problem, an ornery (as opposed to angelic) cute little girl, a popular teacher whose secret wish is that her husband would die� Give your characters mixed feelings. Consider this: 揟he best stories aren抰 good vs. evil but good vs. good.� Leo Tolstoy knew what he was talking about. The human experience is complex. Learn from what you read. Read like a writer, noticing how the writer develops a character, makes you care about something that happens, uses the perfect word, moves from scene to scene梬hatever it is that the write seems to do well. Whenever you have a question about writing (such as 揾ow do I end a story?�), look to how other writers do it. Have fun! 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.) WeekDateWhat抯 on Tap1 2W 8/24 M 8/29 W 8/31Introduction to class; creation of groups; beginning to write Bring What If? book; Beginnings (Part One); Reader delivered to class (bring cash); card with your name and picture due. Beginnings of stories, continued2 M 9/5 W 9/7No class (Labor Day) Sudden, Flash, Micro, Nano: The Short Short Story (Ch. 11)3 M 9/12 W 9/14Flash Fiction piece due (bring 4 copies to class) Read Greer in Reader. Andrew Sean Greer, 7 p.m., Engineering Auditorium 1894 M 9/19 W 9/21Characterization (Ch. 2); Read 揋ryphon� (p. 287) Characterization (Ch. 2); Read 揟he Pillows� (p. 240)5 M 9/26 W 9/28Point of View (Ch. 3); read 揌ow to Talk to a Hunter� (p. 340) Point of View (Ch. 3); 揕eave of Absence� (p. 401)6 M 10/3 W 10/5Dialogue (Ch. 4) Read 揑ona Moon� (Thon) in Reader7 M 10/10 W 10/12Read 揟u B扴havt� (Thon) in Reader Melanie Rae Thon, Tuesday 7 p.m., MLK Library 2nd Floor Meeting Rooms The Interior Landscape of Your Characters (Ch. 5), 揈leven� (p. 316) 8 M 10/17 W 10/19Plot (Ch. 6) Plot (Ch. 6); 揝ome of Our Work with Monsters� (p. 298)9 M 10/24 W 10/26Catch-up, catch-all day Read Handler in Reader; Group A stories due w/21 copies Daniel Handler (Lemony Snickett), Eng. Auditorium 189, 7 p.m.10 M 10/31 W 11/2Workshop A1 & A2* Workshop A3 & A4; Group B stories due w/21 copies11 M 11/7 W 11/9Read Dungy in Reader; Workshop B1 & B2 Camille Dungy, MLK Library 2nd Floor Meeting Rooms, Tuesday 11/8, 7 p.m. Workshop B3 & B4; Group C stories due w/21 copies12 M 11/14 W 11/16Workshop C1 & C2 Workshop C3 & C4; Group D stories due w/21 copies13 M 11/21 W 11/23Workshop D1 & D2; Group E stories due w/21 copies No class (Thanksgiving)14 M 11/28 W 11/30Workshop D3 & D4 Workshop E1 & E215 M 12/ 5 W 12/7Workshop E3 & E4 Catch-up, catch-all day; discuss Final Project. Literary Event papers due. Optional Extra Credit due. FINAL: THURSDAY DECEMBER 15, 12:15-2:30. Final Project due. Come to class on time, prepared to talk a bit about what you did and to read an excerpt to the class. *To receive credit for Workshop days, you must read the student stories in advance, write a Craft Reading Response (2 copies; one for writer, one for Kate梟ot accepted late, no exceptions) and participate in class discussion. Groups Group A 1. 2. 3. 4. Group B 1. 2. 3. 4. Group C 1. 2. 3. 4. Group D 1. 2. 3. 4. Group E 1. 2. 3. 4. 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