EN-275.70 Introduction to Creative Writing
Dr. Susan Swartwout
Office: GB 318-O; phone 651-2641, sswartwout@semo.edu, office hours: T/R 3:30 – 5:00
Course Description: Students will read,
discuss, and practice writing various forms of poetry and fiction in a
discussion-oriented workshop setting. Students are not required to have
a background in creative writing or contemporary literature. The expectation
is that each student will attend classes, complete assignments, participate
in discussions, and show progress in writing from the point at which that
particular student starts.
• Reading: We will read and discuss “traditional”
forms as well as marginalized and experimental works.
• Oral report: You will each “adopt” a contemporary
poet (someone who has been writing and publishing since 1980) who writes
poetry for adults (no Seuss, no Silverstein, although I love them both),
read one of her or his books, and give a brief presentation on the poet's
work. A good presentation will include a short biographical report
on the poet and, most importantly, your response and critique of the poet's
work based upon what we have been discussing over the semester. You can
adopt your poet by searching in Kent Library, 3rd floor, the section including
call numbers 811.54 Am640 through 811.54 292e. Browse through a few of
the books to find a poet whose poems pique your interest. Or let’s talk
about your interests, and I’ll make a few suggestions. You must choose
a book (not a chapbook) of poems by one poet, not an anthology of several
poets.
• Writing: Writing for the course will begin
with fiction writing for the first part of the semester and finish with
poetry. You will bring copies of your writing each week for members of
your workshop group. A portfolio of your own work (described below) will
be developed during the semester. Revisions are a necessary part of any
writing course. The amount of work you invest in your revisions and portfolio
will be considered in your grade as well as the final draft of the work.
All pieces included in the final portfolio must have been reviewed by your
classmates in our workshops or discussed in conference and revised.
• Journal: You’ll also keep a journal in which
you will write at least half a page at least three times a week (at least
42 entries, total). Journals are a history of your life as well as a goldmine
for story or poem ideas. Any pages that are personal may be folded over;
they will not be read. You may use the prompts that are provided or create
your own. Don’t make your journal a “dear diary” list of daily events.
Rather, concentrate on one idea or event and explore it fully.
• Discussion: Participation in workshop discussion
is crucial. We’ll develop a vocabulary of terms, identify audience(s),
and help each other to address our work clearly and imaginatively to that
audience.
• Late work is not accepted for credit.
Limited extensions of work may be granted in advance of the due date. Make-up
quizzes and tests are not given. I consider that this course should be
treated like a job you don’t want to lose. If you must be absent, be courteous
enough to call. When work is assigned, get it done by the deadline. And
yes, I do tend to give pop quizzes. Therefore, if you fear that abundant
absences may affect your quiz and assignments grade, I recommend that you
drop the course early.
1 Required Text: Burroway, Janet. Imaginative
Writing. Longman, 2003.
Portfolio: Your final portfolio will consist
of
• at least one work of short fiction, minimum
of 6 pp long
• at least four poems, each at least 14
lines in length
• your journal, minimum of 42 entries
The short fiction will consist of a well-developed
and revised work, typed and double-spaced. The poems will be revised several
times, typed, and single-spaced. Staple the first draft behind the final
draft of each work.
Conferences: I’m very happy to have a conference
with you at any time—about your work or writing or life in general.
Basis for Student Evaluation:
• final portfolio with journal - 30%
• oral presentation - 10%
• daily assignments and quizzes - 20%
• participation - 20%
• two exams on form and vocabulary - 20%
Syllabus: EN 275.70
Workshop format: A weekly writing assignment
will be given that will be due on the next meeting day (Tuesday) of each
week. Bring enough copies of your work for each member of your group—every
week. Beginning the next Tuesday, we will talk about the work we exchanged
the previous week. You are expected to have read each work and made comments
in the margins. I'll check your written comments from time to time. These
will be handed back to the author. Be sure to put your name on the final
page to acknowledge your comments.
The syllabus may be subject to revision.
Week 1: 02/20: Introduction to the course. Introduction
to fiction forms and vocabulary; group assignments
Week 2: 02/27 Voice and point of view
• reading for 02/27: read entire sections on
“Fiction” (272-282) and “Voice” (42-54), Ha Jin’s “In the Kindergarten”
and Barthelmae’s “The School” (64-73). Expect a surprise quiz.
• writing due 02/27: TYPE 2-3 pages expressing
personal epiphany: a moment or event in which something in your accepted-belief
system was challenged or overturned. BUT you must use a third-person character
other than yourself in this story. This is your experience happening to
someone else, who has a name and a different personality. You will likely
have to invent parts of the story. Even memory is fiction the very instant
that an event becomes a memory.
Bring enough copies for each person in your group
and one each for your three instructors, every writing, every week!
Week 3: 02/03 Characterization and dialogue:
sketches, names, formats, methods of revelation
• First workshop: have comments written on the
work of everyone in your group & put your name on the last page; Reading
for Tues: section on “Character” (86-98), Denis Johnson’s “Car Crash While
Hitchhiking,” and Erdrich’s “Sister Godzilla” (19-30).
• Writing (3-4 pp) due 02/03: Writing mainly
in dialogue, create a character that we learn about only through the dialogue
between that character and his or her friend(s). They should be discussing
a problem or situation that involves your character; your character's response
can tell much about his or her personality. [Note: Create character sketches,
decide on an event, then let your characters deal with it. Listen to them;
don’t force them.] Yes, bring copies.
Week 4: 02/10: Hooks, plot construction, and
closure—or building a house and leaving the door ajar
• workshop; read section on “Story” (178-189)and
Butler’s “Missing” (194-200).
• 3-4 pp. due: Decide on an event with which
you wish to create a story. Using your character that you’ve already begun
to delineate or a character you’ve been thinking about, develop further
the situation that character is in and write a short beginning draft of
your story. You may continue with elements of one of your previous writings
or you may start a new story. Bring copies.
Week 5: 02/17 Fantasy, magical realism, and the
suspension of disbelief.
• workshop; read section on “Image” (2-13) and
read online: Eudora Welty's "A Worn Path" at http://www.theatlantic.com/issues/41feb/wornpath.htm
Write a one-page response about whether Phoenix Jackson’s grandson is alive
or dead. What’s your support?
In small groups, we'll create magical-realism
stories (the Semiannual Pez Championships)
• writing due. Add to the story an internal
monologue (thoughts “spoken” to self) that your character has concerning
the situation, her- or himself, or another character. It might be something
that has concerned the character in the past, as a child. It might be a
wish that is triggered when the character is in a particular place or situation.
NO DEUS-EX-MACHINA “OH, GOLLY GEE, I WAS ONLY DREAMING” SEQUENCES. YOUR
CHARACTER IS AWAKE AND THINKING. Bring copies.
Week 6: 02/24
• workshop
• read section on “Setting” (128-138), Baxter’s
story “Snow” (147-155), and Wallace’s short-short story “Worry” (201)
• writing: Bring your finished story (and copies
for your group)
Week 7: 03/02
• workshop sharing of final revisions
• fiction exam
Week 8: 03/09 NEW GROUP ASSIGNMENTS
• Intro to poetic forms and devices. Read in
Part II, section on “Poetry” (306-321) and read in Part I, section
1, all the poems 31-36).
• Discussion of poetry “problems.” In-class
writing.
Week 9: 03/15
Spring break
Week 10: 03/23
• read all poems in section 2 (74-81). Bring
a political poem to class to read aloud. It may be the work of a published
author. If you write your own, it does not count as this week’s workshop
poem.
• first draft of poem #1 is due. Bring copies
for your group and instructors.
Week 11: 03/30
• workshop. Make sure that you have written comments
on every poem, every week. Poem #2 is due (and copies).
• read all poems in section 3 (115-120).
Quiz on poetry problems.
Week 12: 04/06
• workshop. Poem #3 is due.
• read poems on pp 156-160.
Week 13: 04/13
• workshop; poem #4 is due. Your sonnet will
be due next week.
• read handout on sonnets.
Week 14: 04/20
• workshop. In-class, the “I Love to Hate _____”
poem, first draft.
• Sonnet is due (poem #5). Read first half of
poems in section 9 (322-328).
Week 15: 04/27
• short workshop of sonnets. Presentations of
Adopted Poets begins. Poem #6 is due, a revision of the “I Love to Hate
_____” poem.
• read second half of poems in section 9 (329-335).
Week 16: 05/04
• workshop
• Presentations of Adopted Poets
• poetry exam
Finals week: Portfolios are due by Wednesday 05/12
at 4:00 p.m.