Tuesday, August 29, 2006
Syllabus - 1191 Introduction to Creative Writing
English 1191 Introduction to Creative Writing Section
Instructor: Virginia Bellis
Office: Hellems 09
Office Hours: Monday 10:45-12:15, Tuesday 9:15 – 10:30
Email: virginia.bellis@colorado.edu
Blog: http://1191bellis.blogspot.com/
Course Description: A practical and workshop class that introduces writers to the elements of poetry, fiction and drama, this course is open to beginning and continuing writers. Class work will include reading the work of established writers in three different genres, studying the craft of writing, and will involve considerable creative writing within and outside the boundaries of those genres. There are no prerequisites.
Students in this course will participate in a variety of possible activities, including but not limited to: in-class writing, group writing, workshop, technique-specific practices, reading and group discussion, and more. These activities are meant to support the purpose of the class, which is to familiarize the student with the writing of, and techniques of writing, poetry, fiction and drama.
Required Texts:
R. S. Gwynn, Literature, A Pocket Anthology
Janet Burroway, Imaginative Writing, The Elements of Craft
Writer's Notebook Requirement: Please purchase a writer's notebook for this class. This notebook can be as cheap or fancy as you wish, but you must have a specific notebook for this purpose, and you are required to bring it to each class. In this notebook, you will keep writer's observations, drafts, ideas, opinions on the reading or class, etc. You may be randomly asked to read from your writer's notebook, but it will not be collected or read by anyone other than you. Please have your writer's notebook purchased by Thursday, August 31.
Reading: I’ve selected the reading in this class based on two assumptions: first, that by close analysis of literary texts we learn more about how writing works; second, that reading inspires writing by keeping language moving through the brain. We will spend time both close reading our texts for the course, and discussing their effect on us as writers. We may not always plan to directly respond to or discuss our readings in this class, but what we read will, sometimes extemporaneously, enter into our assignments, our discussions, and our practice. Therefore, all reading is required reading. Arriving in class ready to discuss the readings will result in a higher grade for the course.
Attendance and Class Participation: This class will depend on your voice; attendance at each class meeting is required. This follows from a desire to make this class a cooperative learning experience, and a true creative community. You will be called upon to enter discussion, contribute your ideas, share your writing (both revised and informal), and otherwise join in class activities. Learning results from being present; there are no make-up assignments for missed participation. I am also required to state that any student who misses the first week of classes of the semester will be administratively dropped from the course.
Additionally, two unexcused absences during the semester will result in a failing grade. In order to excuse an absence, you are required to notify me prior to the class, or as soon as possible after the class of the reason for you absence. Excused absences, if they are common and reoccurring, will lower your grade.
Office hours: I have scheduled regular office hours, and I’m also available by appointment. Please come to office hours as soon as possible. This is the most effective way for me to give you individual attention and get to know you better. In general, it is best to come early in the semester, especially if you have any particular questions or concerns about your success in the class.
Assignments:
Genre writing – The course will cover three genres of creative writing, as stated above: poetry, fiction, and drama. You will submit one complete short story, 5-7 pages of drama, and 10-12 poems. Each submission will be the result of in-class practice, workshop, homework, discussion, and revision. The submission should be typed, properly formatted and should be accompanied by a writer’s letter discussing the creation and development of the piece(s).
Readings – You must attend three public readings during the course of the semester. After each reading you attend, you should turn in a one-page, handwritten summary of the reading stating who the readers were, what they read, and what your favorite piece was, and why. I will announce readings in class as I become aware of them, but you should plan to keep your eye out for readings of types that fit your style and interests.
Mid-term – The midterm is scheduled for October 12, and will cover all material through Chapter Five of Burroway, as well as any readings of poetry, fiction and drama to date. The midterm will contain both short answer and essay questions, and will test your knowledge of the concepts and terms of the craft of writing, as well as your ability to use these concepts and terms to critically read a piece of writing.
Final portfolio – Your final portfolio is a compilation of your work for the semester. The portfolio should include samples of all of your work, but should feature your best, most meaningfully revised work. The portfolio should be presented in a professional, self-respecting fashion, and not just as sheets of paper stapled. You can get creative with this presentation if you want to, but something simple and organized will suffice.
Grading: Your final grade will be based on the following:
* Attendance and Participation………………………………..20%
(including in-class writing, public readings, and reading homework)
* Daily writing exercises...........................................................20%
* 3 genre writing assignments………………………………....10% each
* Mid-term…………………………………………………….10%
* Final portfolio……………………………………………….20%
Participation includes in-class participation, written and oral responses to the assigned readings, writing and homework exercises, and your writer's notebook. Daily participation will receive a check plus, a check, or a check minus.
Daily writing exercise assignments will receive a check plus, a check, or a check minus.
Midterm, genre assignments and the final project will be given a point grade, again based on parameters you will receive when you receive each assignment.
If you attend and participate in class, and complete assignments with good effort, you can expect some form of a B in this course. In order to receive an A, you will need to show excellent effort in your creative work, exceptional growth as a writer over the course of the semester, and demonstrate a willingness to experiment and push the boundaries of your creative comfort.
Other
If you qualify for accommodations because of a disability, please submit to me a letter from Disability Services in a timely manner so that your needs may be addressed. Disability Services determines accommodations based on documented disabilities. Contact: 303-492-8671, Willard 322, and http://www.Colorado.EDU/disabilityservices
Campus policy regarding religious observances requires that faculty make every effort to reasonably and fairly deal with all students who, because of religious obligations, have conflicts with scheduled exams, assignments or required attendance. In this class, you’ll need to inform me at least ONE FULL WEEK IN ADVANCE before you miss class due to a religious observance. See full details at http://www.colorado.edu/policies/fac_relig.html
Students and faculty each have responsibility for maintaining an appropriate learning environment. Students who fail to adhere to such behavioral standards may be subject to discipline. Faculty have the professional responsibility to treat all students with understanding, dignity and respect, to guide classroom discussion and to set reasonable limits on the manner in which they and their students express opinions. Professional courtesy and sensitivity are especially important with respect to individuals and topics dealing with differences of race, culture, religion, politics, sexual orientation, gender variance, and nationalities. Class rosters are provided to the instructor with the student's legal name. I will gladly honor your request to address you by an alternate name or gender pronoun. Please advise me of this preference early in the semester so that I may make appropriate changes to my records. See polices at http://www.colorado.edu/policies/classbehavior.html and at
http://www.colorado.edu/studentaffairs/judicialaffairs/code.html#student_code
All students of the University of Colorado at Boulder are responsible for knowing and adhering to the academic integrity policy of this institution. Violations of this policy may include: cheating, plagiarism, aid of academic dishonesty, fabrication, lying, bribery, and threatening behavior. All incidents of academic misconduct shall be reported to the Honor Code Council (honor@colorado.edu; 303-725-2273). Students who are found to be in violation of the academic integrity policy will be subject to both academic sanctions from the faculty member and non-academic sanctions (including but not limited to university probation, suspension, or expulsion). Other information on the Honor Code can be found at http://www.colorado.edu/policies/honor.html and at
http://www.colorado.edu/academics/honorcode/
The University of Colorado at Boulder policy on Discrimination and Harassment
(http://www.colorado.edu/policies/discrimination.html, the University of
Colorado policy on Sexual Harassment and the University of Colorado policy on
Amorous Relationships applies to all students, staff and faculty. Any student, staff or faculty member who believes s/he has been the subject of discrimination or harassment based upon race, color, national origin, sex, age, disability, religion, sexual orientation, or veteran status should contact the Office of Discrimination and Harassment (ODH) at 303-492-2127 or the Office of Judicial Affairs at 303-492-5550. Information about the ODH and the campus resources available to assist individuals regarding discrimination or harassment can be obtained at http://www.colorado.edu/odh
Instructor: Virginia Bellis
Office: Hellems 09
Office Hours: Monday 10:45-12:15, Tuesday 9:15 – 10:30
Email: virginia.bellis@colorado.edu
Blog: http://1191bellis.blogspot.com/
Course Description: A practical and workshop class that introduces writers to the elements of poetry, fiction and drama, this course is open to beginning and continuing writers. Class work will include reading the work of established writers in three different genres, studying the craft of writing, and will involve considerable creative writing within and outside the boundaries of those genres. There are no prerequisites.
Students in this course will participate in a variety of possible activities, including but not limited to: in-class writing, group writing, workshop, technique-specific practices, reading and group discussion, and more. These activities are meant to support the purpose of the class, which is to familiarize the student with the writing of, and techniques of writing, poetry, fiction and drama.
Required Texts:
R. S. Gwynn, Literature, A Pocket Anthology
Janet Burroway, Imaginative Writing, The Elements of Craft
Writer's Notebook Requirement: Please purchase a writer's notebook for this class. This notebook can be as cheap or fancy as you wish, but you must have a specific notebook for this purpose, and you are required to bring it to each class. In this notebook, you will keep writer's observations, drafts, ideas, opinions on the reading or class, etc. You may be randomly asked to read from your writer's notebook, but it will not be collected or read by anyone other than you. Please have your writer's notebook purchased by Thursday, August 31.
Reading: I’ve selected the reading in this class based on two assumptions: first, that by close analysis of literary texts we learn more about how writing works; second, that reading inspires writing by keeping language moving through the brain. We will spend time both close reading our texts for the course, and discussing their effect on us as writers. We may not always plan to directly respond to or discuss our readings in this class, but what we read will, sometimes extemporaneously, enter into our assignments, our discussions, and our practice. Therefore, all reading is required reading. Arriving in class ready to discuss the readings will result in a higher grade for the course.
Attendance and Class Participation: This class will depend on your voice; attendance at each class meeting is required. This follows from a desire to make this class a cooperative learning experience, and a true creative community. You will be called upon to enter discussion, contribute your ideas, share your writing (both revised and informal), and otherwise join in class activities. Learning results from being present; there are no make-up assignments for missed participation. I am also required to state that any student who misses the first week of classes of the semester will be administratively dropped from the course.
Additionally, two unexcused absences during the semester will result in a failing grade. In order to excuse an absence, you are required to notify me prior to the class, or as soon as possible after the class of the reason for you absence. Excused absences, if they are common and reoccurring, will lower your grade.
Office hours: I have scheduled regular office hours, and I’m also available by appointment. Please come to office hours as soon as possible. This is the most effective way for me to give you individual attention and get to know you better. In general, it is best to come early in the semester, especially if you have any particular questions or concerns about your success in the class.
Assignments:
Genre writing – The course will cover three genres of creative writing, as stated above: poetry, fiction, and drama. You will submit one complete short story, 5-7 pages of drama, and 10-12 poems. Each submission will be the result of in-class practice, workshop, homework, discussion, and revision. The submission should be typed, properly formatted and should be accompanied by a writer’s letter discussing the creation and development of the piece(s).
Readings – You must attend three public readings during the course of the semester. After each reading you attend, you should turn in a one-page, handwritten summary of the reading stating who the readers were, what they read, and what your favorite piece was, and why. I will announce readings in class as I become aware of them, but you should plan to keep your eye out for readings of types that fit your style and interests.
Mid-term – The midterm is scheduled for October 12, and will cover all material through Chapter Five of Burroway, as well as any readings of poetry, fiction and drama to date. The midterm will contain both short answer and essay questions, and will test your knowledge of the concepts and terms of the craft of writing, as well as your ability to use these concepts and terms to critically read a piece of writing.
Final portfolio – Your final portfolio is a compilation of your work for the semester. The portfolio should include samples of all of your work, but should feature your best, most meaningfully revised work. The portfolio should be presented in a professional, self-respecting fashion, and not just as sheets of paper stapled. You can get creative with this presentation if you want to, but something simple and organized will suffice.
Grading: Your final grade will be based on the following:
* Attendance and Participation………………………………..20%
(including in-class writing, public readings, and reading homework)
* Daily writing exercises...........................................................20%
* 3 genre writing assignments………………………………....10% each
* Mid-term…………………………………………………….10%
* Final portfolio……………………………………………….20%
Participation includes in-class participation, written and oral responses to the assigned readings, writing and homework exercises, and your writer's notebook. Daily participation will receive a check plus, a check, or a check minus.
Daily writing exercise assignments will receive a check plus, a check, or a check minus.
Midterm, genre assignments and the final project will be given a point grade, again based on parameters you will receive when you receive each assignment.
If you attend and participate in class, and complete assignments with good effort, you can expect some form of a B in this course. In order to receive an A, you will need to show excellent effort in your creative work, exceptional growth as a writer over the course of the semester, and demonstrate a willingness to experiment and push the boundaries of your creative comfort.
Other
If you qualify for accommodations because of a disability, please submit to me a letter from Disability Services in a timely manner so that your needs may be addressed. Disability Services determines accommodations based on documented disabilities. Contact: 303-492-8671, Willard 322, and http://www.Colorado.EDU/disabilityservices
Campus policy regarding religious observances requires that faculty make every effort to reasonably and fairly deal with all students who, because of religious obligations, have conflicts with scheduled exams, assignments or required attendance. In this class, you’ll need to inform me at least ONE FULL WEEK IN ADVANCE before you miss class due to a religious observance. See full details at http://www.colorado.edu/policies/fac_relig.html
Students and faculty each have responsibility for maintaining an appropriate learning environment. Students who fail to adhere to such behavioral standards may be subject to discipline. Faculty have the professional responsibility to treat all students with understanding, dignity and respect, to guide classroom discussion and to set reasonable limits on the manner in which they and their students express opinions. Professional courtesy and sensitivity are especially important with respect to individuals and topics dealing with differences of race, culture, religion, politics, sexual orientation, gender variance, and nationalities. Class rosters are provided to the instructor with the student's legal name. I will gladly honor your request to address you by an alternate name or gender pronoun. Please advise me of this preference early in the semester so that I may make appropriate changes to my records. See polices at http://www.colorado.edu/policies/classbehavior.html and at
http://www.colorado.edu/studentaffairs/judicialaffairs/code.html#student_code
All students of the University of Colorado at Boulder are responsible for knowing and adhering to the academic integrity policy of this institution. Violations of this policy may include: cheating, plagiarism, aid of academic dishonesty, fabrication, lying, bribery, and threatening behavior. All incidents of academic misconduct shall be reported to the Honor Code Council (honor@colorado.edu; 303-725-2273). Students who are found to be in violation of the academic integrity policy will be subject to both academic sanctions from the faculty member and non-academic sanctions (including but not limited to university probation, suspension, or expulsion). Other information on the Honor Code can be found at http://www.colorado.edu/policies/honor.html and at
http://www.colorado.edu/academics/honorcode/
The University of Colorado at Boulder policy on Discrimination and Harassment
(http://www.colorado.edu/policies/discrimination.html, the University of
Colorado policy on Sexual Harassment and the University of Colorado policy on
Amorous Relationships applies to all students, staff and faculty. Any student, staff or faculty member who believes s/he has been the subject of discrimination or harassment based upon race, color, national origin, sex, age, disability, religion, sexual orientation, or veteran status should contact the Office of Discrimination and Harassment (ODH) at 303-492-2127 or the Office of Judicial Affairs at 303-492-5550. Information about the ODH and the campus resources available to assist individuals regarding discrimination or harassment can be obtained at http://www.colorado.edu/odh
Tuesday, August 22, 2006
Sept. 5, 2006 Assignment
Sept. 5 – Image
Reading: (12 pages)
Burroway:
Handout: “No One’s A Mystery” – Elizabeth Tallent
Writing:
Reading: (12 pages)
Burroway:
- Figures of Speech, pgs. 11-15
- “Facing It” – Yusef Komunyakaa, pg.28
Handout: “No One’s A Mystery” – Elizabeth Tallent
Writing:
- Writing Exercise Due Aug. 31
Image – Colors
Write a short story or poem in which you repeatedly use two different primary colors. Describe these colors without naming them too often – and try to find effective synonyms for the colors without being too obvious about this disguise. How would red and yellow appearing over and over again in drapes, carpets, clothing, hand-made ashtrays, or toilet bowls, affect you as a reader? Choose your pair of colors to play off emotions against each other (red for anger; blue for passivity, for example). Apply this exercise to a situation with which you are already frustrated. No more than 250 words.
* Adapted from Brian Kiteley’s The 3 A.M. Epiphany
Aug. 31, 2006 Assignment
Aug. 31 – Image
Reading: (14 pages)
Burroway:
Other:
Reading: (14 pages)
Burroway:
- “...and your journal,” pgs. xxiv-xxvi;
- Image & Imagination, pgs. 3-7;
- Concrete, Significant Details, pgs. 7-11
- "The Black Walnut Tree" - Mary Oliver p.693
- "The Fish" - Elizabeth Bishop p. 611
- 1st Writer’s Letter: goals and expectations for yourself in this class
Other:
- Purchase required texts and writer’s notebook.
- Email Virginia at virginia.bellis@colorado.edu
Required Readings by Genre
Fiction:
Gwynn:
The Yellow Wallpaper – Charlotte Perkins Gilman
Sweat – Zora Neale Hurston
Hills Like White Elephants – Ernest Hemingway
Where Are You Going, Where Have You Been – Joyce Carol Oates
How I Met My Husband – Alice Munroe (story)
Cathedral – Raymond Carver
Handouts:
No One’s A Mystery – Elizabeth Tallent
The Flowers – Alice Walker
Jealous Husband Returns in Form of Parrot – Robert Olen Butler
Poetry:
Gwynn:
“A Red, Red Rose” – Robert Burns (471)
“Sonnet 73” – William Shakespeare (476)
“Sonnet 116” – William Shakespeare (476)
“Song of Myself, 6” – Walt Whitman (527)
“The Second Coming” – William Butler Yeats (549)
“Design” and “Home Burial” – Robert Frost (558)
“The Red Wheelbarrow” – William Carlos Williams (572)
“This Is Just to Say” - William Carlos Williams (573)
“In a Station of the Metro” – Ezra Pound (574)
“The Fish” – Marianne Moore (582)
“My Papa’s Waltz” – Theodore Roethke (610)
“The Fish” – Elizabeth Bishop (611)
“One Art” – Elizabeth Bishop (614)
“Those Winter Sundays” – Robert Hayden (616)
“We Real Cool” – Gwendolyn Brooks (628)
“A Supermarket in California” – Allen Ginsberg (654)
“Diving into the Wreck” – Adrienne Rich (675)
“A Walk” – Gary Snyder (681)
“Daddy” – Sylvia Plath (685)
“The Black Walnut Tree” – Mary Oliver (693)
“The One Girl at the Boys Party” – Sharon Olds (723)
“Maybe Dats Your Pwoblem Too” – Jim Hall (738)
“Facing It” – Yusef Komunyakaa (740)
“Tu Negrito” – Sarah Cortez (743)
“The Traveling Onion” – Naomi Shihab Nye (758)
Burroway:
“Woodchucks” – Maxime Kumin (194)
“At Navajo Monument Tribal School” – Sherman Alexie (149)
Handouts:
“The Cinnamon Peeler” – Michael Ondatjiee
Drama:
Gwynn:
How I Learned to Drive – Paula Vogel
Burroway:
Eukiah – Lanford Wilson
The Philadelphia – David Ives
Gas – Jose Rivera
Handouts:
You Can Count on Me – scenes
Suggested Additional Readings: (all in Gwynn)
“The Story of an Hour” – Kate Chopin
“A Rose for Emily” – William Faulkner
“Good Country People” – Flannery O’Conner
“A Very Old Man with Enormous Wings” – Gabriel Garcia Marquez
“Crossing Brooklyn Ferry” – Walt Whitman
“The Soul Selects Her Own Society” – Emily Dickinson
“Sunday Morning” – Wallace Stevens
“The Love Song of J. Alfred Prufrock” – T.S. Eliot
A Doll’s House – Henrick Ibsen
The Piano Lesson – August Wilson
Gwynn:
The Yellow Wallpaper – Charlotte Perkins Gilman
Sweat – Zora Neale Hurston
Hills Like White Elephants – Ernest Hemingway
Where Are You Going, Where Have You Been – Joyce Carol Oates
How I Met My Husband – Alice Munroe (story)
Cathedral – Raymond Carver
Handouts:
No One’s A Mystery – Elizabeth Tallent
The Flowers – Alice Walker
Jealous Husband Returns in Form of Parrot – Robert Olen Butler
Poetry:
Gwynn:
“A Red, Red Rose” – Robert Burns (471)
“Sonnet 73” – William Shakespeare (476)
“Sonnet 116” – William Shakespeare (476)
“Song of Myself, 6” – Walt Whitman (527)
“The Second Coming” – William Butler Yeats (549)
“Design” and “Home Burial” – Robert Frost (558)
“The Red Wheelbarrow” – William Carlos Williams (572)
“This Is Just to Say” - William Carlos Williams (573)
“In a Station of the Metro” – Ezra Pound (574)
“The Fish” – Marianne Moore (582)
“My Papa’s Waltz” – Theodore Roethke (610)
“The Fish” – Elizabeth Bishop (611)
“One Art” – Elizabeth Bishop (614)
“Those Winter Sundays” – Robert Hayden (616)
“We Real Cool” – Gwendolyn Brooks (628)
“A Supermarket in California” – Allen Ginsberg (654)
“Diving into the Wreck” – Adrienne Rich (675)
“A Walk” – Gary Snyder (681)
“Daddy” – Sylvia Plath (685)
“The Black Walnut Tree” – Mary Oliver (693)
“The One Girl at the Boys Party” – Sharon Olds (723)
“Maybe Dats Your Pwoblem Too” – Jim Hall (738)
“Facing It” – Yusef Komunyakaa (740)
“Tu Negrito” – Sarah Cortez (743)
“The Traveling Onion” – Naomi Shihab Nye (758)
Burroway:
“Woodchucks” – Maxime Kumin (194)
“At Navajo Monument Tribal School” – Sherman Alexie (149)
Handouts:
“The Cinnamon Peeler” – Michael Ondatjiee
Drama:
Gwynn:
How I Learned to Drive – Paula Vogel
Burroway:
Eukiah – Lanford Wilson
The Philadelphia – David Ives
Gas – Jose Rivera
Handouts:
You Can Count on Me – scenes
Suggested Additional Readings: (all in Gwynn)
“The Story of an Hour” – Kate Chopin
“A Rose for Emily” – William Faulkner
“Good Country People” – Flannery O’Conner
“A Very Old Man with Enormous Wings” – Gabriel Garcia Marquez
“Crossing Brooklyn Ferry” – Walt Whitman
“The Soul Selects Her Own Society” – Emily Dickinson
“Sunday Morning” – Wallace Stevens
“The Love Song of J. Alfred Prufrock” – T.S. Eliot
A Doll’s House – Henrick Ibsen
The Piano Lesson – August Wilson
