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LITERATURE
3731: Creative Writing
Instructor: Craig White 1-3:50pm M, Bayou 2230 Office: 2529-8 Bayou email: whitec@uhcl.edu Office phone/hours: 281 283-3380; M 11am-1pm, 7-9pm, & by apptmt. Caveat: Data stated and contracts implied in this syllabus may change with minimal notice in fair hearings at class meetings. Course
webpage address: http://coursesite.uhcl.edu/HSH/Whitec/LITR/3731 Course Objectives: · To unlearn the conventional image of a creative writer as a tortured, solitary, neglected genius working alone in a garret producing masterpieces overnight. · To cultivate alternative images of writers working productively in disciplined routines and cooperative relations with other writers, readers, editors, etc. · To develop a friendly but rigorous creative writing class combining features of workshop and instruction, self-expression and learning. · To inculcate the attitude that each “draft” or “manuscript” presented or submitted is always a “work in progress.” · To learn constitutive and critical elements of the standard creative genres: lyric poetry, prose fiction, and drama. TEXTS: Stephen Minot, Three Genres: The Writing of Poetry, Fiction, and Drama. 7th ed. (Prentice Hall 2003) Graded Assignments (details below): Percentages listed are only symbolic of approximate relative weight; grades are not computed mathematically but by letter grades, which may include pluses and minuses. Pluses and minuses may appear on final grades. · Workshop activities, exchanges, preparation and participation 10 % · Poetry, fiction, & drama submissions (21 Feb., 4 April, 2 May) 30% · journal / portfolio (due within 36 hours of 2 May) 30% · final exam (9 May) 20% · reading quizzes 10% (highly variable if exceptionally bad) Grading attitude: Grades for manuscripts, journal, and portfolio give partial credit for a student’s effort and quantity of work as evident in submissions, but more credit for quality of work compared with other students’ work. Standards are set by students as well as by instructor. Each grade must be fair to all students and not just generous to one. Attendance policy: You are expected to attend every scheduled class meeting but are permitted one free cut. Attendance is taken primarily through reading quizzes. If you miss more than one meeting (including the first), you begin to jeopardize your status. If you continue to cut or miss (especially early classes), you should drop. Even with medical or other emergency excuses, excessive absences or partial absences result in a lower or failing grade. Counter-Objectives, or What
This Creative Writing Course Does Not Do for You · You are not to ask or expect the instructor to read and critique specimens of your writing beyond the specific course assignments. Instead, this course offers instruction and practice in developing working relations with peer groups. · Information or instruction about publishing is offered only occasionally. Publishing is a labor-intensive field in which you or an agent must promote your work at your own risk. The instructor can’t be expected to help you publish or to offer any but the broadest advice regarding publication. On the Other Hand, Here’s a Potentially Bad Thing This Creative Writing Course Doesn’t Do · This course does not reject “popular” or “genre” literature such as romance or fantasy fiction, or sentimental or greeting-card poems, for the sake of making everything properly literary or sophisticated. Good writing may appear in any genre, for any audience. Late & Early Submissions Warning · Submissions received after 36-hour due periods may be downgraded severely, especially if the student has not communicated on the issue with the instructor. The severity of grade reduction may depend on whether or not the problem is chronic and whether or not the student is generally helpful to the course. The extent of grade reduction for late submissions may not become known until the final grade report. · Students are warned not to submit assignments drastically early. Offering a completed assignment far in advance of a due date creates negative impressions on several counts. (For starters, it implies that you feel you have nothing to learn from the course. Plus, at least one of my past students who habitually tried to do this was handing in plagiarized work.) Email and
webpage contributions The course webpage features basic information about the course, some lecture notes, student models of required assignments, and some research links. The web address is http://coursesite.uhcl.edu/HSH/Whitec/LITR/3731. If convenient, install it as a “favorite” on your web browser for easy access. Each student must make several contributions to the webpage through the instructor via email or other electronic means. Required email contributions: 1. Respondent’s questions for presentations (before or after presentation) 2. poetry, fiction, and drama submissions 3. journal / portfolio 4. copies of email draft exchanges 5. final exam (optional) Optional email contributions: Readers making presentations may make paper copies, post their submission to the webpage, or both. Email address: Send all emails to whitec@uhcl.edu. Note the "c" at the end of "whitec." If you send the email to "white" only, it goes to the wrong professor. Contents and attachments: Try both of the following · Paste the contents of the appropriate word processing file directly into the email message. · “Attach” your word processing file to an email message. (My computer and most of its programs work off of Microsoft Word 2000. The only word processing program my computer appears unable to translate is Microsoft Works, though Microsoft Word is fine, as are most others. If in doubt, save your word processing file in "Rich Text Format" or a “text only” format.) If you have trouble reaching me by email, save your word processing file to a 3½“ floppy disk and give it to me. If your name is on the disk, I’ll eventually return it. Student computer access: Every enrolled student at UHCL is assigned an email account on the university server. For information about your account and password, call the university help desk at 281 283 2828. Reassurances: You are not graded on your expertise in electronic media but on your intelligence in reading literature, discussing it, and writing about it. I’ve tried similar email exercises for several semesters; a few students encounter a few problems, but, if we don’t give up, these problems always work out. Your course grade will not suffer for mistakes with email and related issues as long as I see you making a fair effort. Descriptions of Assignments: Workshop ·
Poetry
& Fiction Presentations · Drama Performance ·
Draft
Exchange & Report ·
Discussion
Starters ·
Reading
& participation expectations Poetry or Fiction Presentations Overall
expectations regarding presentations: · Each student leads 1 poetry presentation & 1 fiction presentation. · In one presentation the student will lead as the “Reader”; in the other, the student will lead as the “Respondent.” · The Reader and Respondent for each presentation must work together before, during, and after class. The choice of who functions as Reader or Respondent in which genre is decided partly by choice, partly by chance. Combined
duties of reader and respondent: · The reader and respondent will cooperate before, during, and after class in presenting and leading a class-wide discussion of a required draft and posting a brief review of the Respondent’s questions and possibly of other highlights to the webpage. · The Reader and Respondent may cooperate more extensively before and after the presentation in terms of reviewing and revising the manuscript, and during the presentation they may inform the class about changes that have already been made, but such additional collaboration is not required. Specific
duties of reader and respondent: Reader: · The “reader” is basically the author and is primarily responsible for preparing an appropriate draft manuscript that is edited and ready for reading and review. However, s/he also has the following responsibilities: · Make copies of draft manuscript for class, send electronic copy of manuscript to instructor for posting, or both. (Instructor may help with copies.) · Read manuscript (or portion) aloud to class to begin presentation. · Share manuscript with respondent at least an hour before class and preferably a day or two before class. · Reader may send manuscript to instructor for posting to course webpage. · Reader should respond to questions from Respondent and class during discussion. · Reader may comment and ask questions of class regarding manuscript. · Reader concludes by summarizing discussion, previewing possible changes. Respondent: · The “respondent” is primarily responsible for privately reading the manuscript before class and leading much of the discussion following the class reading of the manuscript by the Reader. · Immediately following the class reading, the Respondent opens the floor to “student questions” from the class. Initial questions should probably concern “global” or significant issues that affect the entire text or its direction or tone, not technicalities or word-choices, etc. · “Student questions” may continue for a while, but eventually the Respondent is responsible for asking at least one question of the Reader and at least one question of the class. These questions should be friendly, constructive, not “hostile.” The Respondent may indicate how much advance time s/he had to review the manuscript. · The Respondent is responsible for soliciting and leading discussion of the manuscript. At certain points, however, the Reader (or the instructor) may naturally take over. · The Respondent is also responsible for sending the instructor a brief review of his or her questions for posting to the course webpage. Overall format
of presentation 1. Reader & respondent are announced. Reader distributes copies of manuscript. 2. Reader makes brief introductory remarks. In the case of a poem, Reader should identify whether it’s free-verse or fixed-form, and if the latter, which form. In the case of a fictional scene, the Reader could identify whether it’s part of a larger fictional piece and, if necessary, the context of the scene. 3. Reader reads manuscript or part(s) of manuscript aloud. 4. “Student Questions”: Respondent opens floor to questions, calls on students, and follows up or mediates as necessary. Instructor may help. 5. Respondent asks Reader 1 or 2 “global” or overall questions about manuscript. Respondent may also ask specific editing questions (i. e., spelling, punctuation) as necessary, but these should probably come later in discussion. 6. Reader answers questions. Larger discussion may follow. Respondent leads, but Reader may intervene as necessary. 7. Time permitting, Respondent asks 1 or 2 questions for the class to stimulate further discussion as necessary. Respondent leads, but Reader provides answers and may intervene as necessary. Either Respondent, Reader, or Instructor may ask questions, call on students, follow up, or mediate as necessary. 8. Reader summarizes input, previews possible changes. 9. Instructor may comment as necessary regarding manuscript or discussion. (after
presentation) 10. Reader is expected to make at least some changes to manuscript in light of discussion. Instructor will be unpleasantly surprised if the exact same manuscript appears in the journal / portfolio—or explain in “account.” 11. Respondent emails instructor a brief summary of questions for posting to the webpage. Use
of webpage / frontpage during presentations, discussions, and revisions This is the first semester the course operates in a web-equipped classroom. Students are welcome to use the webpage for showing their manuscripts as much as they feel comfortable with, and they may revise using Frontpage. But students may also simply use paper copies as in traditional creative writing workshops. Drama Performances For the final drama section of our course, each student will write a 3 to 5 page (or 5- to 10-minute) dramatic scene set in our classroom and having characters with the same names as some members of the class. The featured class members will partly read and partly perform this scene in class, followed by an all-class discussion, possible revisions by the author, and possible re-performances of selected passages, as time permits. The Drama Performance assignment may appear somewhat eccentric but aims to accomplish the following goals: · The alignment of setting and characters with our classroom enables students to perceive the “production” aspects involved in writing and revising drama. · Given that this is the shortest and fastest section of our course, the uniform setting and context and character-pool relieves students of some creative burdens and makes staging more efficient. Requirements & expectations of drama performance · The classroom setting is a given. Only minimal rearrangement of seating is encouraged. But students can act like there’s more of a change than there is. · Normal clothing is expected, but a writer can ask a participant beforehand to dress in a particular outfit if helpful. No extravagant costumes! ( Or confer.) · Action: The default action in classrooms is mostly sitting and talking, but each scene must vary or break from this action at least once. Examples: a student stands up, walks in or out; two students talk among themselves separately; a student produces something from or puts something in a notebook, backpack, or pocketbook. Action may be indicated in dialogue or stage directions. · There is no obligation to be realistic to our classroom’s previous experience or knowledge. The actors and characters’ names will be us, but the characters are not limited to our personalities and histories, nor is the action in the class limited to our class’s subject. The “Sylvia” you know from class and the “Sylvia” who is a character in your scene are not necessarily the same person at all. Dr. White, your instructor, could be a Psychology professor or a high school history teacher. · The author of the scene has the option of appearing as a character in the scene, or not. The course instructor may or may not be involved. · The scenes must involve at least 3 characters with speaking parts. The instructor may or may not have a role. Requirements & expectations of drama “working script” · Script must have a title. · Complete dialogue for all characters. (No ad-libbing to be asked for.) · Minimal but adequate stage directions. · At beginning of script, “concept” sentence (Three Genres pp. 318-320) · At end of script, “theme” sentence (Three Genres pp. 405-414) Requirements & expectations of drama discussion · Author and instructor will combine to lead discussion. · Open floor to “global” questions or comments on script or theme & concept sentences. · Ask actors for questions or advice on wording, phrasing of dialogue, or “concept” and “theme” sentences. · Further questions or advice. Author revises concept & theme sentences. · Author may revise on the spot in consultation with actors. · Part of scene may be replayed with revised materials. Use
of webpage / frontpage during drama presentations, discussions, and revisions Students are welcome to use the webpage for presenting their manuscripts, and they may revise using Frontpage. For the drama presentation, however, paper copies are required. (Instructor may help.) Suggestions for developing drama script Think of types of students and the dramatic situations their presence and needs create: · the troubled student; stressed-out parent; new evangelical; recent divorcee or child of divorce; grade grubber; uninhibited sharer (the “thank you for sharing too much information” type). · Or groups: cool clique, literary society, cheerleaders, babes, feminists; bible study; jocks, studs, no-futures · Think of the social dimensions of a classroom, e. g., the desire of one student to impress or bring out or put down another student. · Dramatize the process of pulling together this assignment? · Remember conflicts or problems that arose in a class, whether initiated by students or instructor. · The opening of a class, the first day, or the first few minutes of a regular meeting are moments of maximum tension, when tones are set, personalities are displayed, and people react. Or break time itself, or the moments just before or after a class. · Everyone in class will stay in the classroom, but scenes could be written as though only part of the class is there. Draft exchanges & reports
(in-class & online) Overall
expectations regarding email draft exchanges: You may work with other students as much as you like, in person or by email or otherwise, in revising your manuscripts or helping with theirs beyond the following minimal requirements: · For the poetry or fiction assignment that a student is not presenting to class, that assignment must be edited and revised through a draft exchange. · This draft exchange involves the author having two other students read and comment on the piece, and the author responding somehow to their suggestions. · The “report” is ultimately the responsibility of the author-student who is submitting the poem or fiction piece, but parts of it may be written by the other student readers. This report must be submitted in electronic form, preferably by email. The report must also be included in the journal / portfolio. · The draft exchange may take place in person on paper, or online with email, or whatever combination of meeting, writing, phoning, or email may help. Who can be your readers? You are required to have two “readers” participate in your draft exchange. In most cases these will simply be two other students from the class. If you face a special situation, your second reader may be someone outside of the class such as your mom, roommate, or partner. You are also welcome to involve additional readers (students or otherwise) beyond the two required and report as much as you like. Consider involving our online student for your draft exchanges and reports. Justification
for draft exchanges & reports: · Critiquing either a poetry or a fiction manuscript outside of class frees up time that would be taken if each student read both a poetry and fiction manuscript. · Draft exchanges provide an exercise in non-classroom, self-directed sharing and editing of creative writing—like most creative writers do when they’re not in a course like this. Format
for Draft Exchanges & Reports: Note: The author or student-of-record is responsible for collecting his or her readers’ comments into printed and electronic form and submitting it to instructor via email. If a reader has repeatedly failed to cooperate in helping you complete the assignment, simply explain the situation in your report. · Authors doing draft exchanges rather than presentations may simply include the Draft Exchange Report with the submission of their poetry or fiction submission · Author’s overall report on draft exchange process: 2-3 paragraphs about the process by which author recruited readers, received feedback, and acted on or resisted advice. Preview remainder of report. · First reader’s comments or advice regarding the manuscript. 1-2 paragraphs. Either the reader or author may write this entry—the reader if s/he provided written feedback, by the author if it’s a summary of spoken feedback. Any way it works out, the author is ultimately responsible for getting it into written-electronic form for this report. · Second reader’s comments or advice regarding the manuscript. 1-2 paragraphs. Either the reader or author may write this entry—the reader if s/he provided written feedback, by the author if it’s a summary of spoken feedback. Any way it works out, the author is ultimately responsible for getting it into written-electronic form for this report. · Optional: additional readers’ feedback: written comments or summaries of spoken remarks. · Final comments by author on draft exchange process but especially on outcomes. What was accomplished? How did the manuscript change as a result of draft exchanges? What frustrations resulted? What has the author learned about draft exchanges generally—that is, if you did something like this in the future, how might you do it differently? 2-3 paragraphs. Here are the required headings for your Draft Exchange Report: Student Name [Manuscript Title] [Copy of Manuscript] Draft Exchange Report Author’s report on draft exchange process (2-3 paragraphs) First reader’s
feedback: (include name +-ID of 1st
reader; 1-3 paragraphs?) Second reader’s
feedback: (include name +-ID of 2nd
reader; 1-3 paragraphs?) (Optional:)
Feedback from additional readers: (1-3
paragraphs each?) Author’s final comments on outcomes, lessons of draft
exchange: (2-3 paragraphs) Online student One student enrolled in the class has had to move too far away to attend class. She will participate through a combination of online and email activities. Each in-class student is required to communicate at least once with our online student. Some students may develop a more extensive working relationship. The online student may serve as a reader for your draft exchanges. An account of your communications / relations with the online student is required for your Journal / Portfolio. Please copy communications to whitec@uhcl.edu. Other specific objectives will remain indefinite for now, depending on input from all involved. Some possibilities would include summaries of class activities (e. g., “the day in class”), sharing and reviewing of class manuscripts. Given her situation, grading for the online student is non-competitive with the rest of the class. Reading Assignments & Responsibilities Reading Quizzes: Most class meetings will feature a short, objective reading quiz based on the day’s assigned readings. · These quizzes are given one time only. If you come in after the quiz has been given, or if you miss a class, do not ask if you can take the quiz. I strongly appreciate your not asking me, and I very much dislike being asked. You risk losing more by asking than you do by missing the quiz. · Even if you don’t know the answers, turn in a quiz with your name on it for attendance records. · Answer questions as briefly and accurately as possible, as I grade them very quickly. In most cases, a few words or phrases will suffice. Complete sentences are not required. · Grades will range from “checks” for correct answers to “X’s” for no right answers to combinations of these grades with pluses or minuses for combinations of right and wrong answers. Occasionally one or two students in the class will receive a “check-plus” for answers that are not only accurate but entertaining, insightful, or otherwise impressive. · You are expected to make checks or check-minuses on all but one or two of your quizzes. Failure to take or turn in quizzes, or overall quiz grades noticeably lower than the class average, can result in a much lower overall course grade, beyond the declared weight of the quizzes. Rationale for reading quizzes: Compared to reading-based Literature courses, Creative Writing’s “workshop” organization permits little time for discussion of instructional materials. Therefore students must learn on their own and be prepared for brief discussions. In the previous course offering, students obviously did not keep up; reading quizzes were added for the final class meetings. This time we anticipate their need throughout the semester, with possible exceptions. Discussion
Starters Students will also serve informally as “discussion-starters” for reading assignments. Broad, flexible format for discussion-starter: · Identify idea, theme, problem, or issue in the day’s readings · Direct class (page numbers) to one or two brief passages in the day’s assignment and read selections, briefly commenting on application to opening theme or idea. · (The order of the first two steps may be reversed.) · If references overlap with presentations, simply acknowledge, reinforce, and extend or vary comments. · Ask a question to begin discussion. The question should follow from your reading, but it may also appeal more broadly to the challenges that the text may present to the class. You may ask more than one question, especially if the class doesn’t respond to the first question. · Lead discussion. · No requirements for written summary or email / webpage posting. Reading & participation expectations Most class meetings involve a reading assignment and a brief reading quiz near the beginning of class. Your reading will also be tested by your participation in class discussions of assigned readings led by the discussion-starters, the presentation leaders, and the instructor. If you do not participate in these discussions, the instructor will assume you have not prepared for class, and your participation grade will suffer. To define participation, let’s try the following: · At least occasionally each student should participate in discussion by specifically referring to contents or specific pages of the reading assignment. · Students should also give visible evidence of reading by “tracking” the discussion. If students appear unusually bored or clueless, they’re typically willing to blame it on the content, but it’s often a fair sign that they simply haven’t done their reading and are incapable of interest in the discussion. Descriptions of Assignments: Written Submissions Submission
of revised Poetry & Fiction manuscripts to instructor Due
Dates: · Poetry: 21 February (within 36 hours of class meeting) · Fiction: 4 April (within 36 hours of class meeting) · Drama: 2 May (within 36 hours of class meeting) · Drama submissions are submitted in two copies: one separate copy for posting to Drama Submissions page; another copy included in journal / portfolio, due within 36 hours of 2 May class meeting Format
for submission / return: · Electronic file (preferably Word or Word-compatible) emailed to instructor. · Submissions will be posted by instructor to course webpage. · Instructor will acknowledge submission by email and return submission with comments and grade by email. More specific information regarding submissions Poetry submission: · You are expected to submit one lyric poem, either free-verse or fixed-form (e. g., sonnet, ballad, or villanelle). · All poems must have a title. · You may submit 1-3 additional poems if you wish, but you are not expected to, nor do you receive any automatic credit for extra effort. · If you like, you may submit an earlier draft and an accompanying “account” of the development of one or more of your poems such as you must submit for the journal / portfolio, but this is not required and may have little if any bearing on your grade. Fiction submission: · You are expected to submit one fictional scene of 5-10 double-spaced pages. · Your fictional scene must have a title. · Your fictional scene could be a “short short story” or a scene from a longer short story, a novella, or a novel, or it may simply be a “sketch”—a fiction scene that hasn’t yet become something larger. · (Optional:) After the title you may include a brief explanatory note setting up the context of the scene, but not required. · In any case, the scene should have an identifiable beginning and conclusion with some kind of appropriate action or development between. · As with the poetry submission, you may submit an additional fiction scene if you wish, but you are not expected to, nor do you receive any automatic credit for extra effort. · As with the poetry submission, you may submit an earlier draft and an accompanying “account” of the development of one of your fiction scenes such as you must submit for the journal / portfolio, but this is not required and may have little if any bearing on your grade. Instructor’s response to submissions; relation to student journal / portfolio · The instructor will email individually to each student a grade and a response to or commentary on the submission. · In some cases, the instructor will make suggestions for further rewriting, which the student may incorporate into the “account” of the piece for the journal / portfolio. · Instructor’s remarks will be “overall” comments. Students are welcome to request a closer review and editing of the manuscript in conference. Journal
/ Portfolio Due: within 36 hours before or after class on Monday, 1 May: Students presenting drama manuscripts on 1 May may delay until 4 May. Format
for submission / return: · Electronic file (preferably Word or Word-compatible) emailed to instructor. · Submissions will be posted by instructor to course webpage. · Instructor will acknowledge submission by email and return submission with comments and grade by email. Contents of Journal / Portfolio Students may inventively vary the following order, its descriptions of parts, and specifications of lengths, but they should regard these specifics as a base to be expanded on and not ignored. All page lengths are equivalent to double-spaced pages. · Introduction (2 pages): Preview contents of journal and learning curve or accomplishments they describe. Begin process of summarizing how the journal / portfolio represents your progress in the course. Draft exchange & online student section · Copy of your own draft exchange report (1-2 pages) · Account of participation in draft exchange(s) beyond your own (1-2 pages) · Account of interaction with online student (1-2 paragraphs to 1-2 pages, depending on quantity and numbers of contacts) Poetry section · 1-3 poems: at least one poem must be accompanied by an earlier draft of the poem to go with the account of the poem’s development. · 2-page account of one poem’s development Fiction section · 1 or 2 fiction scene(s) of 5-10 pages; also include at least one page of an earlier draft, so headed. · 2-page account of one fiction scene’s development Drama section · 1 dramatic scene of 4-5 pages or 5-10 minutes (Scene must include a “concept sentence” [Three Genres, pp. 318-20] and a “theme sentence” [Three Genres ch. 41, pp. 405-414]) · 2-page account of dramatic scene’s development. This account should refer to the scene, to the “concept sentence,” and to the“theme sentence.” You should additionally include at least one page of an earlier draft, headed as such. Comment on changes and developments. Overall summary · 2-3 page summary of your progress in the course and your status as a creative writer. You might consider, What is your strongest genre? Why? Also consider which parts of the course you responded to and why. What have you learned from the course and where may you take this knowledge beyond the course? (e. g., you may carry the lessons into a professional writing career of some kind, into teaching your own classroom, or into other creative activities.) · Appendix? Here’s where you may throw in any additional materials you want me to scan over or that you want to include as part of your record. You might include drafts of other poems, fictions, or drama scenes. You might include copies of draft exchanges or any other relevant communications. You may also include copies of emails from instructor or notes from other sources, all edited as you like. (Doing more than the minimum number of poems or scenes does not necessarily gain credit toward better grades. The main purpose in allowing additional submissions is simply to offer students a chance to share additional work if they feel so inclined.) Regarding
the “accounts” that accompany your portfolio submissions: Required
information or materials: · “Germ” or “seed” of the manuscript: How did the work begin? How did the idea or inspiration come to you? What were your first words on a page? · Input from others & reactions. Whether you presented your text in class or developed it in an email draft exchange, detail the changes and reactions that followed. (This will likely be the most substantive section of the account.) · Decisions about finishing the manuscript and assessment of its current status: What are its strengths? What further development does it need? Is it part of a larger work? · Future developments: Possible publication? Additions or research required? What do you want to know how to do for this manuscript that you can’t quite do yet? These requirements may be refined as the assignment approaches. Final
Exam (Monday, 9 May 2005, 1-3:50pm) Write a 2-hour essay describing your learning experience in Creative Writing. Some overlap between this writing exercise and your summaries for your Journal / Portfolio are unavoidable—use this extra opportunity to refine and develop your comprehension and expression. The main difference will be that, whereas the Journal / Portfolio emphasizes your personal experience and your manuscripts, the final exam emphasizes the content of your learning from the Three Genres book, from lecture and discussion, and beyond. The
assignment in brief: Question / topic: As a result of taking this course, what have you learned about Creative Writing and about literature generally? Your essay may concern several highlights or dimensions of learning, but unify the material as much as possible. As an overall unifying theme, how has the course changed your ideas and skills in writing, reading, or teaching literature? Required references: Make several references (i. e., at least 3) to the assigned readings in Three Genres and several references to points raised otherwise in the course, either in lecture, class discussion, visiting writers’ comments, or instructor’s and readers’ reactions to your writing submissions or drafts. Those of you interested in teaching careers are welcome to include reflections and references regarding the teaching of Creative Writing. What aspects of the class seemed pedagogically effective, and what new ideas or elements would you introduce to creative writing instruction? (final exam description continued . . . ) Open-book,
open-notebook. Format: either in-class or email. · If you take the exam in class, just show up with paper, pen, books, and notebooks. Exam questions will be handed out at 1pm. You will be expected to finish writing by 3:50pm. · If you take the exam by email, simply sit down at your terminal with your assignment, books, and notes and write the exam during or around the final exam period. Like the in-class students, you are expected to spend no more than three hours on the exam, so please keep a log indicating when you stop and start. You are expected to email your answers to the instructor by 5pm. (Flexible time takes into account the possible interruptions when working off-campus.) · Since you have the exam question ahead of time, you may research, draft, outline, and otherwise practice your answer ahead of time as much as you find helpful. But limit your writing time to the exam period. Final Grade Report Final grades will be submitted to the registrar and students may check their grades according to the usual procedures. However, I will email each student a tally of her or his grades, usually within 10 days after the final exam period. This message should be accurate, but it will be “unofficial” in that none of its information aside from the final grade will be recorded or supported by the university registrar. The message will appear thus: LITR 3731 2003 Creative Writing STUDENT NAME Contact information (email & US Mail addresses, phones, etc.) Absences: Grade for workshop activities, exchanges, etc.: Poetry submission grade: Fiction submission grade: Drama submission grade: Journal / portfolio grade: Final exam grade: Course grade: COURSE POLICIES Attendance policy: You are expected to attend every scheduled class meeting. You may take one free cut. More than one absence jeopardizes your status in the course. If you miss more than one class (especially early in the session), you are encouraged to drop. Partial absences also count negatively. If you miss the first class, even if you are not enrolled at that time, that absence counts as your free cut. Even with medical or other emergency excuses, an excessive number of absences (full or partial) results in a lower or failing grade. More than one absence affects final grades. You are always welcome to discuss your standing in the course. Academic Honesty Policy: Please refer to the catalog for the Academic Honesty Policy (2004-2005 Catalog, pp. 74-77). Plagiarism—that is, using research without citations or copying someone else’s work as your own—will result in a grade penalty or failure of the course. Refer to the UHCL catalogue for further details regarding expectations and potential penalties. Disabilities: If you have a disability and need a special accommodation, consult first with the Health Center and then discuss the accommodation with me. Incompletes:
A grade of "I" is given only in cases of documented emergency late in
the semester. An Incomplete Grade
Contract must be completed. Late submissions: Any student who submits late materials is subject to lower grades, either in individual grades or course grades. Schedule of meetings & assignments—spring 2005 Monday, 24
January: Course introduction By end of class, everyone must identify themselves and speak once on at least one of the following topics: · Why I’m taking the course; · My experience in creative writing; · Anxieties? Possible resolutions? · My goals for the course. Student(s) responsible for communicating with online student during week following class listed above: (copy emails to whitec@uhcl.edu) ************ Monday, 31 January: Reading assignment: Three Genres, ch. 1 (pp. 1-12); ch. 3 (pp. 45-56); ch. 4 (pp. 57-71); ch. 5 (pp. 72-82); ch. 6 (pp. 83-93); Discussion starters: 1st Poetry reader: 1st poetry reader’s Respondent: 2nd Poetry reader: 2nd poetry reader’s Respondent: 3rd Poetry reader: 3rd poetry reader’s Respondent: Student(s) responsible for communicating with online student during week following class listed above: (copy emails to whitec@uhcl.edu) ************ Monday, 7
February Reading assignment: Three Genres, ch. 7 (pp. 94-104); ch. 8 (pp. 105-116); ch. 9 (pp. 117-127) Discussion starters: 1st Poetry reader: 1st poetry reader’s Respondent: 2nd Poetry reader: 2nd poetry reader’s Respondent: 3rd Poetry reader: 3rd poetry reader’s Respondent: Student(s) responsible for communicating with online student during week following class listed above: (copy emails to whitec@uhcl.edu) ************ Monday, 14
February: Course re-orientation: conclude poetry; readings on fiction & clarification of assignments Reading assignment: Three Genres, ch. 11 (pp. 138-144); ch. 12 (pp. 145-154); ch. 13 (pp. 155-166); Discussion starters: 1st Poetry reader: 1st poetry reader’s Respondent: 2nd Poetry reader: 2nd poetry reader’s Respondent: 3rd Poetry reader: 3rd poetry reader’s Respondent: Student(s) responsible for communicating with online student during week following class listed above: (copy emails to whitec@uhcl.edu) ************ 31 January-14 February: The following students are required to do Draft Exchanges & reports for required poetry manuscripts: ************ Monday, 21 February: Poetry final submissions due within 36 hours of class. Visit to class by Tina Hergenrader, M. A. in LITR UHCL 2000, author of two adolescent novels with spiritual emphasis: http://www.christinasbooks.com/Contact.htm Student(s) responsible for communicating with online student during week following class listed above: (copy emails to whitec@uhcl.edu) ************ Monday, 28
February: Reading assignment: Three Genres, ch. 14 (pp. 167-174); ch. 15 (pp. 175-181); ch. 16 (pp. 182-188); Discussion starters: 1st Fiction reader: 1st fiction reader’s Respondent: 2nd Fiction reader: 2nd fiction reader’s Respondent: 3rd Fiction reader: 3rd fiction reader’s Respondent Student(s) responsible for communicating with online student during week following class listed above: (copy emails to whitec@uhcl.edu) ************ Monday, 7
March: Reading assignment: Three Genres, ch. 17 (pp. 189-198); ch. 18 (pp. 199-208) Discussion starters: 1st Fiction reader: 1st fiction reader’s Respondent: 2nd Fiction reader: 2nd fiction reader’s Respondent: 3rd Fiction reader: 3rd fiction reader’s Respondent: Student(s) responsible for communicating with online student during week following class listed above: (copy emails to whitec@uhcl.edu) ************ Monday, 14
March: No class meeting—Spring Break ************ Monday, 21 March: Reading assignment: Three Genres, ch. 19 (pp. 209-216); ch. 20 (pp. 217-225); ch. 21 (pp. 226-237) Discussion starters: 1st Fiction reader: 1st fiction reader’s Respondent: 2nd Fiction reader: 2nd fiction reader’s Respondent: 3rd Fiction reader: 3rd fiction reader’s Respondent: Student(s) responsible for communicating with online student during week following class listed above: (copy emails to whitec@uhcl.edu) ************ Monday, 28
March: Reading assignment: Three Genres, ch. 22 (pp. 238-246); ch. 23 (pp. 247-255); ch. 24 (pp. 256-266) Discussion starters: 1st Fiction reader: 1st fiction reader’s Respondent: 2nd Fiction reader: 2nd fiction reader’s Respondent: 3rd Fiction reader: 3rd fiction reader’s Respondent: Student(s) responsible for communicating with online student during week following class listed above: (copy emails to whitec@uhcl.edu) ************ Monday, 4
April: Fiction final submissions due within 36 hours of class; readings on drama & clarification of assignments Fiction final submissions due within 36 hours of class; readings on drama, clarification of assignments, & performance of sample dramas from webpage. Reading assignment: Three Genres, ch. 31 (pp. 315-321); ch. 32 (pp. 321-333); ch. 33 (pp. 334-338); ch. 34 (343-345); ch. 41 (pp. 405-408, 411-414) Student(s) responsible for communicating with online student during week following class listed above: (copy emails to whitec@uhcl.edu) ************ 28 February-28 March: The following students are required to do Email Draft Exchanges for their required fiction manuscripts: ************ Monday, 11
April: Following Students have drama manuscript ready for class reading(s): Student(s) responsible for communicating with online student during week following class listed above: (copy emails to whitec@uhcl.edu) ************ Monday, 18
April: Discussion starters: Following Students have drama manuscript ready for class reading(s): Student(s) responsible for communicating with online student during week following class listed above: (copy emails to whitec@uhcl.edu) ************ Monday, 25
April: Following Students have drama manuscript ready for class reading(s): Student(s) responsible for communicating with online student during week following class listed above: (copy emails to whitec@uhcl.edu) ************ Monday, 2 May:
Journal / Portfolio Due within 36 hours of class (before or after);
Students presenting drama manuscripts on 2 May have until 4 May to turn in
journal. Reading assignment: bring Three Genres Following Students have drama manuscript ready for class reading(s): Student(s) responsible for communicating with online student during week following class listed above: (copy emails to whitec@uhcl.edu) ************ Monday, 9 May: final exam LITR 3731 Creative Writing 2005 Checklist
of Student Responsibilities Submissions
to instructor via email: 1-3 poems (21 Feb.,) 1 fiction scene (4 April) 1 drama scene (2 May) 1 draft exchange report (due on assigned date) journal / portfolio (2 May) final exam (may be taken either in-class or by email, 9 May) Presentation
/ response responsibilities: Presenter for one poetry or fiction presentation Respondent for one poetry or fiction presentation Presenter for one drama presentation One discussion-starter assignment (every student may not have one) Nearly every student will be asked to participate in at least one drama scene. Out
of class responsibilities: Participation in at least one draft exchange beyond your own report Communication with online student
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