2250/225H

English 2250: Creative Writing

TR, 2:30-3:45, LA 212

Stephen D. Gibson

CB 407 F (1:00-2:00 & by appointment), 863-6287, stephen(dot)gibson(at)uvu(dot)edu

 

Texts and Materials:

Starkey, David. Creative Writing: An Introduction to Poetry and Fiction. Boston: Bedford, 2014. ISBN 9781457661679

Access to Canvas and MetaphorByMetaphor.com

 

Course Description: Introduces students to the basic literary elements of writing short fiction, drama, creative non-fiction, poetry, or combinations of these. Uses readings from a wide range of contemporary authors, guest speakers, workshops, and student writing to enhance the techniques and aesthetics of creative writing. Lab access fee of $7 for computers applies.

 

Course Objectives:

A Story About the Body

Robert Hass

The young composer, working that summer at an artist’s colony, had watched her for a week. She was Japanese, a painter, almost sixty, and he thought he was in love with her. He loved her work, and her work was like the way she moved her body, used her hands, looked at him directly when she made amused and considered answers to his questions. One night, walking back from a concert, they came to her door and she turned to him and said, “I think you would like to have me. I would like that too, but I must tell you that I have had a double mastectomy,” and when he didn’t understand, “I’ve lost both my breasts.” The radiance that he had carried around in his belly and chest cavity—like music—withered very quickly, and he made himself look at her when he said, “I’m sorry. I don’t think I could.” He walked back to his own cabin through the pines, and in the morning he found a small blue bowl on the porch outside his door. It looked to be full of rose petals, but he found when he picked it up that the rose petals were on top; the rest of the bowl—she must have swept them from the corners of her studio—was full of dead bees.

 

What techniques allow these words to hold our attention? What did Hass do to make this prose poem successful? What choices did he make? Is it possible for us to do similar things in our own work?

 

By the end of the semester, students should be able to:

  • Write engaging short fiction and poetry
  • Describe the basic strategies of creative writing and demonstrate the application of these techniques in their own writing
  • Provide helpful and specific feedback on the writing of others and revise their own work well
  • Prepare and submit a manuscript for publication in department’s creative writing journal
  • Demonstrate the discipline to write consistently

 

Reaching the Objectives: In order to successfully reach these goals/objectives, you must take responsibility for your own learning and participate as an active learner. The best way to learn what writers do is to do what writers do. This course gives you the opportunity to draft and revise short fiction and poetry, to join a community of writers engaged in similar tasks, and to receive feedback from a range of readers.

 

Most Thursdays you’ll have the opportunity to present your work in progress to at least one peer. Peer review will allow you to receive feedback on recently revised work. In order for it to be most useful, you should not present the same work repeatedly without making drastic revisions between reviews.  You should consistently present new work.

 

One of the most important things writers do is learn from other genres. They also actually finish (after revising) stories and poems they start. You’ll have the chance to do these things by completing two portfolios, one devoted to fiction, the other to poems. It’s possible to earn as much as one hundred points from each. Complete portfolios include the following:

  • Poetry portfolios: Complete portfolios will include five rough drafts of poems. Additionally, three of these poems will have been revised to final drafts. One of these final drafts will be a formal poem, which will indicate the ways traditional forms can be useful and even inspiring. Rough and final drafts will be clearly labelled.
  • Fiction portfolios: Complete portfolios will include two rough drafts. Additionally, one of these drafts will have been revised into a final story no longer than seven double-spaced pages. A page limit will help you learn to gauge the importance of each part of the story. Rough and final drafts will be clearly labelled.
  • Both portfolios: Remember, rough drafts let you demonstrate the revision involved in your writing. Significant revision involves major rewriting. Changes to words, small percentages of your work, and the correction of grammatical and mechanical errors are not examples of significant revision. Removing and/or adding new paragraphs, stanzas, lines and sentences, characters and images, just to mention a few possibilities, are examples of some forms significant revision might take.

Detailed descriptions of the portfolio requirements are attached to this syllabus.

 

You’ll also have the chance to write during class almost each time we meet. In-class writing provides an opportunity to record ideas, try out some of the techniques we’ll discuss, and actually rough draft parts of your short fiction and poetry. Usually I’ll collect in-class writing. Evaluations of in-class writing include zero points (if it’s not completed), three points (completed poorly), and five (completed well). By the end of the semester, in-class writing will total approximately one hundred points. Since in-class writing will often grow out of in-class events, it can’t be made up. It will be collected in the classroom as we meet. The in-class writing you’ve completed also documents your punctuality, participation, and attendance.

 

The last way you’ll show how well you understand the techniques the course identifies will be the final exam. Your work on it can earn you as many as twenty-five points. You’ll demonstrate your awareness of both fiction and poetry writing techniques.

 

Approximately three hundred and twenty-five points are possible in the class. Earning more than 93% of the total points possible in the class will result in an “A” grade, 90%-92.9% an A-, 86%-89.9% a “B+,” and so on. As the UVU Catalog indicates, “The letter grade ‘A’ is an honor grade indicating superior achievement; ‘B’ is a grade indicating commendable mastery; ‘C’ indicates satisfactory mastery and is considered an average grade; ‘D’ indicates substandard progress and insufficient evidence of ability to succeed in sequential courses; ‘E’ (failing) indicates inadequate mastery of pertinent skills or repeated absences from class.”

 

If you prefer to use a name other than the name the University officially uses, please let me know. Likewise, if you have a preferred personal pronoun, please let me know.

 

In order to protect their privacy, students must come to see me privately in my office if they wish to discuss a grade on an assignment or for the course. It is your responsibility to periodically check your grades on Canvas. The grade book function is the only part of Canvas I use.

 

If you are taking this class as part of UVU’s Honors Program, you are required to submit at least one poem and one work of fiction to a publication of your choice. You’ll need to document the submission and send that documentation to me on the day each portfolio is due. For other students this is encouraged, but not required.

 

Late Work Policy: If for some good reason you won’t be able to turn something in, contact me (preferably in advance). You’ll be able to develop the habit of meeting deadlines by turning in assignments at the beginning of class on their due dates. In order to discourage procrastination, I’ll take ten points away from the total points earned each day (not class period) an assignment is late. For example, one due on Friday but not turned in until Monday would have thirty points deducted from the total points it earns. An assignment is turned in on the day when I feel I have personally received it, not when it is left in my box, office, or in the English department. I don’t plan on grading assignments faxed to me, and I encourage you to always make and keep a copy of all the work you turn in. You can, of course, turn things in early.

 

Peer Review: “The purpose of a writing workshop is to give and receive constructive feedback . . . This is not a time to show off your polished work; it is a time to test out material you’re working on, a time to receive suggestions on how it might be improved, a time to ask a receptive audience specific questions about your work. The spirit of these workshops must be cordial and helpful. As the writer, you are not there to defend or explain your work; you merely need to find out, from others’ viewpoints, what works and what doesn’t. As a reader, you are there to help a fellow writer improve a specific piece of writing.”

–Chris Crowe

 

Classroom Behavior and Grievance Criteria: The “Student Rights and Responsibilities Code,” section VI A-X is the guide for your classroom behavior, and section XVI C is the guide for registering a formal grievance or requesting a grade change. The “Student Rights and Responsibilities Code” is available online at uvu.edu.

 

Students with Disabilities: If you have any disability that may impair your ability to successfully complete this course, please contact the Accessibility Services Department (LC 312; 863-8747; http://www.uvu.edu/asd/). Academic accommodations are granted for all students who have qualified disabilities. Services are coordinated with the student and instructor by the Accessibility Services Department.

 

Academic Honesty:

“Plagiarism, or the use of others’ words or ideas without proper attribution, is an impediment to your education and to the educational mission of Utah Valley University. Under the policy of the English and Literature Department of UVU, work that has been plagiarized must receive a failing grade. A distinction is made between unintentionally plagiarized work, which must be corrected in order to be considered for a passing grade, and intentional plagiarism, which will be forwarded to the Office of the Dean of Student Life as a disciplinary matter in accordance with UVU’s statement on Student Rights and Responsibilities. Evidence of intentional plagiarism will cause you to fail this course.”

–Utah Valley University English and Literature Department Homepage

 

Waitlist and Add Policy

It is against the policy of Utah Valley University for students who are not registered and enrolled in a class to attend it. Students who are on a class waitlist, even if they are the first on the list, are not enrolled. There is absolutely no guarantee any student on the waitlist will ever be enrolled. Students on a waitlist must wait for and respond appropriately to email notifications that allow registration and enrollment in the course. All adds and enrollments into a course off a waitlist are through the online system. Instructors cannot add students. Department administrative staff and academic advisors cannot add students.

 

Tentative Schedule

Complete the reading assignments listed below before coming to class on the specified dates. It is certainly possible to be offended by some of the language or images of some of the materials assigned in this class. I encourage you to read each work in its entirety before evaluating it. I also encourage you to evaluate materials for yourself, rather than for your peers or for me. If you are ever offended, and feel so inclined, please speak (or write) to me about it. I’m happy to discuss the issue during office hours. Your books are yours. Explore them by reading beyond the syllabus. While we will do some in class, consider doing the exercises in the book.

 

Jan 9 Introduction to the class, 71-73

Jan 11 1-13, First week story and poem

 

Jan 16 14-29

Jan 18 74-82, Workshop

 

Jan 23 30-41

Jan 25 82-88, Workshop

 

Jan 30 41-53

Feb 1 88-94, Workshop

 

Feb 6 Student conferences

Feb 8 Student conferences

 

Feb 13 53-64

Feb 15 95-103, Workshop

 

Feb 20 64-73

Feb 22 Poetry Portfolio due

 

Feb 27 153-155, 104-116

Mar 1 156-165, Workshop

 

Mar 6 117-125

Mar 8 165-175, Workshop

 

Mar 13 125-133

Mar 15 175-186, Workshop

 

Mar 20 Spring Break

Mar 22 Spring Break

 

Mar 27 134-144

Mar 29 186-197, Workshop

 

Apr 3 144-155

Apr 5 Student conferences

 

Apr 10 Student conferences

Apr 12 197-212

 

Apr 17 213-227

Apr 19 Fiction Portfolio due

 

Apr 24 Submitting work

Apr 26 Final exam preparation

 

Final Exam

2250.002 1 May 1:00-2:50

 

 

Portfolios

 

Poetry (100 points):

When grading poems, I ask myself the following set of questions:

 

Does the portfolio include five rough drafts, three of which have been revised into final drafts? Is one of the final drafts a formal poem?

 

Does the portfolio include the “first-week poem”?

 

  • Has the language of the poems been condensed and shaped? Are line and stanza breaks used with premeditation?

 

  • Do efforts to achieve rhyme or rhythm avoid stilted, unnatural language? Do efforts to achieve rhyme or rhythm add to the poems?

 

  • Can I identify images—examples of particular sensory details? Do the images stand alone?

 

  • Do the poems avoid obvious clichés? Do they include thoughtful examples of figurative language?

 

  • Does the confusion-free language of the poems avoid hiding information or riddling? Does punctuation aid the poems?

 

 

Fiction (100 points):

When grading fiction, I ask myself the following questions:

 

Does the portfolio include two rough drafts, one of which has been revised into a final draft?

 

Does the portfolio include the “first-week story”?

 

  • Do dangers to the fulfillment of a character’s desire and the character’s actions in response to those dangers lead to drama? Are scene and summary used strategically?

 

  • How successfully does characterization create the illusion of a person? Does the use of point of view add to the story?

 

  • Does dialogue reveal characters and move the plot forward?

 

  • Does the story happen in a setting readers can imagine? Is the setting used to help characterize and maintain the reader’s interest?

 

  • Does the confusion-free language of the story hold my attention? Does the language of the story avoid cliché? Can I identify images—examples of particular sensory details?