LITERATURE 3731: Creative Writing            Fall 2003-4, UHCL

Instructor: Craig White            10:00am-12:50pm M, Bayou 3233

Office: 2529-8 Bayou            email: whitec@uhcl.edu

Phone: (281) 283-3380                Office Hours:  T 2-4, Th 5-7 & by appointment

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 cultivate 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)

Murfin & Ray, The Bedford Glossary of Critical and Literary Terms. 2nd ed. (Bedford / St. Martin’s 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, general participation 40 %

·        Grades for submissions of poetry & fiction 20%

·        journal / portfolio (date) 40%

 

Grading attitude: Grades are assigned partly for effort and quantity of a student’s work as evident in submissions but especially 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 without comment or penalty.  Attendance may not be taken systematically, but if you miss more than one meeting (including the first), you begin to jeopardize your status in the course.  If you continue to cut or miss (especially early classes), you should drop the course.  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 shun “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 also 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

This course has a webpage featuring basic information about the course, 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. draft manuscripts of at least 2 poems &1 fiction scene

3. journal / portfolio

4. copies of email draft exchanges

Optional email contributions: Readers making presentations are welcome to email their draft manuscripts to the instructor a day or so ahead of the presentation, at which time they can be posted to the webpage and mailed to the entire class for pre-reading, but this is not required.

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

·        Email Draft Exchange

·        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.”

 

·        As with all presentation assignments, the choice of who functions as Reader or Respondent in which genre is decided partly by choice, partly by chance.

 

·        The Reader and Respondent for each presentation must work together before, during, and after class.

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. (Instructor may help.)

·        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 must refer to either Three Genres or Bedford Handbook at some point during the reading or discussion. (May be coordinated with Respondent)

·        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 questions from the class. With experience, the nature of the questions invited or volunteered may be refined. For instance, initial questions should probably concern “global” or significant issues that affect the entire text or its direction or tone.

·        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 may naturally take over. The Respondent may help the Reader summarize at end of discussion and may help Reader with references to Three Genres or Bedford Handbook.

·        The Respondent is also responsible for sending the instructor a brief review of his questions and possibly of other discussion highlights for posting to the course webpage. Should manuscripts be included?

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. Respondent opens floor to questions, calls on students, and follows up or mediates as necessary. Instructor may help.

 

5. Respondent asks 1 or 2 specific but significant questions of Reader. 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 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 and possibly other discussion highlights for posting to the webpage.

 

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.

 

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. Your instructor could be a Psychology professor.

·        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.

Suggestions for developing drama script

Think of types of students and the dramatic situations their presence and needs create:

·        the troubled student

·        the stressed-out parent

·        the new evangelical

·        the recent divorcee

·        the grade grubber

·        the uninhibited sharer (the “thank you for sharing too much information” type).

 

Or groups:

·        cool clique, literary society, cheerleaders, babes

·        the feminists

·        the 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 another student.

·        Consider dramatizing 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 always seem like moments of maximum tension, when tones are set, personalities are displayed, and people react.

·        Break time itself, or the moments just before or after a class, could also be dramatized.

·        Everyone in class will stay in the classroom, but scenes could be written as though only part of the class is there.

 

Email Draft Exchanges (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 an email draft exchange.

·        In an email draft exchange, “the mailer” sends one or more manuscripts via email to at least two other students, plus copy to instructor. The mailer should also send an email note explaining contexts and asking for specific help.

·        The emailed students (“reviewers”) review your manuscript, evaluate it, and make suggestions

·         The mailer responds to the reviewers with comments about changes and revised manuscript. (This cycle may be repeated as often as profitable.)

·        Email exchanges must contain self-explanatory critical contents, but these contents may follow up, refer to, summarize, or preview in-person exchanges.

Justification for email draft exchanges:

·        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.

·        Email draft exchanges provide an exercise in non-classroom, self-directed sharing and editing of creative writing.

Format for email draft exchanges:

·        Title your email as follows: email draft exchange [your name]

·        Send email and attachments to at least two other students & copy to instructor (whitec@uhcl.edu)

·        Replies should be “reply all” so that other students in the exchange and instructor can see all responses, avoid duplication, and build on comments.

·        Mailer must save or copy all messages for journal / portfolio appendix.

 

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. Since the course has no exams, testing students’ reading is a problem that we must solve by other means.

            Your reading will be partly 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 so are incapable of following the discussion.

Descriptions of Assignments: Written Submissions

Submission of revised Poetry & Fiction manuscripts to instructor

Due Dates:

·        Poetry: 29 September (within 36 hours of class meeting)

·        Fiction: 3 November (within 36 hours of class meeting)

·        Drama submissions will be included in journal / portfolio, due within 36 hours of 1 December 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 two lyric poems, one free-verse and the other in some more traditional form such as the 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.

·        This fictional scene could be a “short short story” but might as well be a scene from a longer short story, a novella, or a novel. You may include a brief explanatory note following the title and setting up the context of the scene.

·        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.

Journal / Portfolio

Due: within 36 hours before or after class on Monday, 1 December: Students presenting drama manuscripts on 1 December may delay until 5 December.

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.

 

·        2 to 5 poems: at least 1 poem must be fixed-form, 1 free verse; at least one poem must be accompanied by an earlier draft of the poem.

·        2-page account of one poem’s development

 

·        1 (or 2) fiction scene(s) of 5-10 pages each; also include at least one page of an earlier draft, so headed.

·        2-page account of one fiction scene’s development

 

·        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.

 

·        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: copies of email draft exchanges with online and in-class students. You may also include copies of emails from instructor or notes from other sources, all edited as you like. Commentary by student following exchanges is welcome but not required.

(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 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:

Journal / portfolio 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 (2002-2003 Catalog, pp. 76-78).  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

Monday, 25 August:

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.

 

Monday, 1 September: Labor Day Holiday—no meeting

 

Monday, 8 September (Last day to drop class with refund):

Reading assignment: Three Genres, ch. 1 (pp. 1-12); ch. 3 (pp. 45-56); ch. 4 (pp. 57-71); ch. 5 (pp. 72-82)

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:

4th Poetry reader:

4th poetry reader’s Respondent:

 

Monday, 15 September:

Reading assignment: Three Genres, ch. 6 (pp. 83-93); 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:

4th Poetry reader:

4th poetry reader’s Respondent:

 

Monday, 22 September:

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:

4th Poetry reader:

4th poetry reader’s Respondent:

 

(September 26: last day to apply for fall 2003 graduation)

 

Monday, 29 September:

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

 

1-29 September: The following students are required to do Email Draft Exchanges for their required poetry manuscripts:

 

Monday, 6 October:

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:

 

(13-18 October: mid-semester week)

 

Monday, 13 October:

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:

 

Monday, 20 October:

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:

Monday, 27 October:

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:

Monday, 3 November:

Fiction final submissions due within 36 hours of class; readings on drama & clarification of assignments

 

Reading assignment: Three Genres, ch. 28 (pp. 291-294); ch. 31 (pp. 315-321); ch. 32 (pp. 321-333); ch. 41 (pp. 405-414)

Discussion starters:

 

6 October-3 November: The following students are required to do Email Draft Exchanges for their required fiction manuscripts:

 

Monday, 10 November:

Reading assignment: bring Three Genres

 

Following Students have drama manuscript ready for class reading(s):

 

Monday, 17 November:

Reading assignment: Three Genres, ch. 33 (pp. 334-342); ch. 34 (pp. 343-350);

Discussion starters:

 

Following Students have drama manuscript ready for class reading(s):

 

Monday, 24 November:

Reading assignment: bring Three Genres

 

Following Students have drama manuscript ready for class reading(s):

 

Monday, 1 December: Journal Due within 36 hours of class (before or after); Students presenting drama manuscripts on 1 December have until 5 December to turn in journal.

Reading assignment: bring Three Genres

 

Following Students have drama manuscript ready for class reading(s):

 

Monday, 8 December: final exam period