Course Syllabus for Introduction to Writing Short Fiction - Fall 2005 | ENGL 2005, Lecture notes of English Language

Download Course Syllabus for Introduction to Writing Short Fiction - Fall 2005 | ENGL 2005 and more Lecture notes English Language in PDF only on Docsity! ENGLISH 2005-001 Introduction to Writing Short Fiction T TH 3:00-4:20, Coates 130 Fall 2015 Instructor: Robert Howell Office: 335 Allen Hall Office hours: TH 12-3 E-mail: rhowel3@lsu.edu Course Description We will read craft books and literary short stories from established writers with the principle goal of understanding how short fiction works. We will pay special attention to how events and characters are rendered through language in an attempt to answer several questions: What is a “literary” short story? What makes a short story successful, and what makes it fail? How can short stories remain important at a time when fiction barely scratches the public consciousness? We will also engage in several writing exercises throughout the semester, produce thoughtful responses to our classmates’ short stories, and write and revise a short story of our own. Required Texts The Making of a Story, Alice LaPlante Ron Carlson Writes a Story, Ron Carlson Readings posted on Moodle Components of Final Grade Short story = 25% Short story revision = 25% Workshop critique letters = 20% Responses to readings = 20% Writing exercises = 10% Grade Breakdown A+ = 97-100, A= 93-96, A- = 90-92; B+ = 87-89, B = 83-86, B- = 80-82; C+ = 77-79, C = 73- 76, C- = 70-72; D+ = 67-69, D = 63-66, D- = 60-62; F = 0-59 Assignment Guidelines Readings: Please bring hardcopies of all assigned readings to class. You may not use electronic devices in the classroom (including Kindles, tablets, etc.), so you’ll need to buy real paper copies of the assigned texts, and you’ll need to print any stories posted to Moodle. You must write a short (250 word) response to each assigned reading. Post these responses to Moodle by 8 PM the night before class. On days we’re discussing multiple readings, you’ll only need to respond to one. Much of our discussion will be governed by these responses, so you’ll 2 want to give them some thought. Not only will your criticism be challenged in class, but also, classmates can read what you’ve posted and are encouraged to comment on your responses in turn. How you choose to respond to these pieces is entirely up to you, with two exceptions: 1) Do not summarize the text. We’ve read it already. We care about what you thought of the piece. 2) Your response must go beyond stating merely whether you liked a piece or thought it sucked. If you really like a story, then articulate in specifics why and how the story works. Same thing if you hate a story. Ask questions of what you read, and then try to answer these questions. Consider how the piece informs, reinforces, or alters your approach to the craft. Writing Exercises: Bring two (2) MLA-formatted hardcopies of each assigned writing exercise to class on the day it is due. Like all of the writing we’ll do for this class, these exercises are meant for public enjoyment. This means that your peers and I will be reading and commenting on these exercises, with the hope that they may provide the seed for a full and successful piece of short fiction. Take these seriously but don’t stress out over perfection; these exercises are just that (exercises), so write boldly. Your short story: Bring x number of hardcopies of your draft, where x = (number of students in class) + 1; these drafts must arrive no later than the beginning of class one week before your story is due to be workshopped. Your short story must be double-spaced and stapled with a title, numbered pages, and an MLA heading in the upper left hand corner. Use only 12 pt. Times New Roman with 1” margins. If the night before a story is due you “can’t think of anything,” or are “having trouble with the ending,” the story is still due. All stories must come complete with a beginning, middle, and end. Stories are never “To Be Continued,” and they are not excerpts of novels. Critiques: Once the workshop element of the course begins, you must provide critiques for your classmates’ stories. Your workshop critique should consist of two parts: 1) line edits and marginal notes on the hardcopy of your peers’ work, and 2) a page of typed comments addressed to the writer. These comments should contain at least three brief paragraphs. The first should point out what works in the story, and why. The second, what’s not working in the story, and why. The third, a possible solution to the problem addressed in the not-working paragraph. You’ll bring two hardcopies of these critiques each week: one for your classmate, and one to be graded. If you are absent, you must e-mail me your critiques before class; I’ll see to it that your classmates get a copy. Classroom Policy Attendance: An effective workshop depends on the dedication and full participation of everyone in the class. You are allowed two (2) absences. Each additional absence will result in a half letter-grade reduction of your final grade. If you are late to class, you will be considered absent. An excused absence requires appropriate documentation; once you’ve accumulated two unexcused absences, a third absence will result in a reduction of your final grade whether or not it’s excused.