Course Syllabus

JOHN CABOT UNIVERSITY

COURSE CODE: "CW 357"
COURSE NAME: "Creative Writing Workshop: Writing Crime Fiction and Thrillers"
SEMESTER & YEAR: Summer Session I 2023

SYLLABUS

INSTRUCTOR: Aidan Fadden
EMAIL: [email protected]
HOURS: MTWTH 9:00 AM 10:50 AM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES: Prerequisites: EN 103 or 105 with a grade of C or above
OFFICE HOURS: by appointment

COURSE DESCRIPTION:
The course aims to introduce students to the modern, crime fiction genre (and its sub-genres such as police procedural, psych-thriller, and legal/courtroom thriller) focusing on key texts as models for the development of their own short fiction and novel ideas. The course will trace the broad evolution of crime writing from the 19th Century to the present day. While acknowledging the genre’s international reach, the main emphasis will be on texts in English, particularly those from North America, the UK, and Ireland. A central objective of the course is to emphasize and engage with the continuing social and political relevance of the genre, both as a forum for the discussion of contemporary issues and as a means of setting the agenda, particularly in such areas as globalization and crime, human trafficking, modern slavery, cybercrime, political extremism, and femicide. There will also be a sharp focus on avoiding the pitfalls of stereotypical representation of class, ethnicity, and gender by means of thorough research and sensitivity to the nuance of identity.

SUMMARY OF COURSE CONTENT:

Students will analyse important theoretical and practical aspects of general ‘story’ and ‘story telling’ in fiction, addressing concepts such as setting, scene, characterisation, exposition, description, conflict, crisis and resolution. There will be specific emphasis on understanding and employing more genre-specific devices including pacing, suspense, misdirection, conceal and reveal, as well as key protagonist-centred concerns such as personal and ethical dilemmas and the parts these play in plot construction.

Students will work through the various stages in the writing process including the generation and recording of ideas, prewriting, planning, plotting, drafting, revising, editing and proofreading. Ideas and drafts will be critiqued and workshopped in class. Students will receive regular critical feedback from the their instructor; however, a key emphasis will be on their becoming aware and active self editors.

The course also aims to marry creativity and craft with an awareness of the changing ‘markets’ for crime fiction and broad commercial concerns regarding obtaining publication, seeking representation, adapting ideas for other media, and maintaining intellectual autonomy, while observing appropriate ethical standards. As such, students will learn to undertake research in order to increase their knowledge of key legal concepts and terminology as well as technical awareness of the theory and practice of criminal investigation.

LEARNING OUTCOMES:

LOS 1 Students with a B.A. in English Literature possess a foundation in the traditional distinctions between literary genres as well as the ability to think beyond those distinctions in a manner consistent with contemporary literary theory and practice.

LOS 2 Students with a B.A. in English Literature possess an historical understanding of the development of literatures in English and of the influence of the literary, cultural, political, and scientific contexts on texts.

LOS 3 Students with a B.A. in English Literature possess a foundation in the principles of literary and cultural theory, along with the ability to apply these theoretical approaches in interpretations of literary texts.

LOS 4 Students with a B.A. in English Literature possess a comparative perspective on literature and an understanding of the relationship among British, American, other Anglophone literatures, and literature in translation.

LOS 5 Students with a B.A. in English Literature are able to read and write critically in response to primary and secondary literary texts.

LOS 6 Students with a B.A. in English Literature are able to conduct research competently.

LOS 7 Students with a B.A. in English Literature are able to report research findings with intellectual and academic honesty.

LOS 8 Students with a B.A. in English Literature are able to document research accurately and thoroughly, using MLA format.

LOS 9 Students with a B.A. in English Literature are able to communicate effectively and argue their thesis persuasively.

LOS 10 Students with a B.A. in English Literature are able to present and defend their arguments effectively, orally.

TEXTBOOK:

NONE

REQUIRED RESERVED READING:

NONE

RECOMMENDED RESERVED READING:

NONE

GRADING POLICY
-ASSESSMENT METHODS:

Assignment	Guidelines	Weight
Written Critiques	Reflections on and technical analyses of key texts	20%
Homework and attendance	Shorter reading and writing tasks	10%
Class Participation	Contribution to class discussion and providing feedback to peers	10%
Final Portfolio of around 4000 words	Encompassing drafting, rewriting, editing, proofreading, presentation, originality, use of technique	60%

-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the course.
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.

-ATTENDANCE REQUIREMENTS:
Attendance is mandatory.

ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.

STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.

SCHEDULE

Prof. Aidan Fadden (writing as Aidan Conway) CW357	General Focus	Discussion	In Class /Activity	The Writing Process and technique	Reading Homework	Writing Homework	Notes and Assignment deadlines
Week One: 1 (n.b.schedule may be subject to change)	Orientation, introduction to the course; what is Crime Fiction (CF)?	What fiction across the crime genres and sub-genres have you read?	Questionnaire on reading and writing habits	Writing in a particular genre; short story/novel/novella	Pdf tba on Moodle: origins and ‘blueprint’ of CF. A short story.	Write a review of a favourite novel	Poe, Doyle,
2.	The CF blueprint, genres, overview of evolution of the form; limits and possibilities	Favourite CF protagonists: Holmes, Marple, Marlow, Rebus, Scarpetta…	Placing extracts in the genres; openings; describing a murder or serious crime	Knowing the conventions	Novel and Story openings: key differences	A critique and analysis /	Keating
3.	Key elements of Story: The Detective, The PI, the Hero. Empathy and integrity. Humanity versus heroism, brilliance. Flaws and needs.	The persistence of archetypes; avoiding stereotypes; inclusivity and gender, race, class	Building a main character - finding your Holmes, Marlow, Scarpetta etc. Variations on the archetype	Writing from experience and research; team write a character; individual brainstorm	Introduction to great protagonists: Philip Marlow; Harry Bosch; Jack Reacher	Sketching out some ideas for a protagonist: biographical info, social class, job, likes, dislikes etc. Status, personal life	McKee/Connelly/Child
4.	Characterisation and character; loner and knight errant; mavericks and outsiders	Class feedback on character profiles	Presenting your protagonist in a scene: crime scene, domestic, other	The writing notebook; ideas are everywhere; drawing on your surroundings, the quotidian; daily word count	McKee on Character; Ross McDonald; Lee Child’s Reacher Novels	Develop a story idea for your protagonist with a crime at its centre / A premise for a novel	Ross McDonald: Lew Archer; film adaptation First 1000 word draft of first story idea or chapter is due
WEEK 2: 1	Sidekicks and partners; Holmes and Watson as archetype, model and stereotype	Does your protagonist need a partner? What about a team?	A scene with protagonist and partner; a superior, a boss, a suspect, a rival	Beats and scenes; Dialogue and action for character	A contemporary short story: Lehane	Develop a story with a crime at its centre / A premise for a novel	TV: True Detective S1E1; Scooby Doo; Mick Herron’s Slow Horses
2	Setting and Premise. Where to place the action and protagonist. Series and Standalone; place as character	USA v. Europe. City v. Small Town. How contemporary should it be?	Location; duration; period; level of conflict. Draft a setting for your protagonist; work on MS feedback	Research and knowledge - limitations and possibilities	Philip Kerr Berlin Trilogy (extract); Deighton Trilogy (extract) Mexico	Decide on a setting; describe the environment and its story potential	McKee; post war; small-town; metropolis; Red Harvest - ‘Personville’
3.	A crime occurs - the inciting incident; Story, equilibrium, want and need; indecision and acceptance	What does a character want? Professional, personal, emotional, romantic	Brainstorm and draft your character a backstory and a mission or goal (realisable?)	Filling in backstory succinctly; exposition dos and don’ts; show and tell	Connelly The Narrows (extract)	Write a paragraph of back story fill in for a novel. Squeezing back story into a story.	Vonnegut Story Charts; Writing Rules; E. Leonard
4.	Plot: Three Act Structure - Act I	Murder, crime, disappearance?	Building a cast of characters, suspects, friends and enemies; the story world	Narrative Voice: 1st/3rd Person; past tense vs present tense: building tension	The High Concept Thriller: McKinty ‘The Chain’ (extract)	Build a rough story line going forward involving the cast;	Plotting and pantsing; The Poet and The Narrows - sequels The revised first 2000 words of stories/novel is due.
WEEK 3: 1	‘Fun and Games’	Misdirection and red herrings in the set up; foreshadowing	Sub plots: relationships; your hero at home	POV - moving between your characters	Extremes: J.Ellroy vs. P. Hawkins (extracts)	Review feedback	See Keating on foreshadowing
2.	First major Plot Point - turning point: possibilities	Crime Fiction or Crime Thriller? International intrigue/espionage.	Present your WIP; workshop and feedback	Revising and editing as you go; planning ahead and sketching scenes	tba: How the picture gets bigger (Mankell, Connelly)	First 10-15 pages including the inciting incident; a long short story	Mankell - The Troubled Man; Connelly - The Narrows
3.	The Killer, the Villain	Serial, spree, vendetta, terror,	Sketch a profile for him/her; peer critique	First person, writing antiheroes, unreliable narrators	Extract: Thompson- The Killer Inside Me	Critique, reaction	Highsmith - Ripley; Strangers on a Train
4.	Plotting: obstacles and conflict, set backs; suspense, violence, action	How do you maintain interest and tension?	Put your protagonist in a difficult situation based on Act I set up; suspense vs. action	Keeping track of changes and drafts	R. Chandler “The Simple Art of Murder” (and other advice)	A first person monologue: make your killer sympathetic	Draft of first 3000 words of stories/ novel is due.
WEEK 4: 1	Stereotypes and archetypes: the killer	The influence of TV and film; stories as TV material	Peer review and editing of monologues	Cutting: trimming fat and killing your darlings	Lee Child foreword Crime Anthology	Revising your WIP
2.	Speech vs. Thought. Direct and indirect, tagged and freestyle. Interior monologue, ‘stream of consciousness’.	How to get inside your characters’ heads	Rewriting in different styles; peer edits and suggestions; working on MS feedback	Dialogue vs Narration: balance and benefits	Theory essay tba; McLaverty ‘Walking the Dog’	tba	Gogol’s ‘Overcoat’ - a victim of crime
3.	Overt narration and covert narration.	Writing from a victim’s POV; factuality and believability	Adapting true crime for literary purposes; flash fiction based on news event	Dialogue tags and reporting verbs	Lehane ‘Running Out of Dog’	Evaluate a contemporary story in the media	War, refugees, femicide, incels, cost of living crisis
4.	Subject, themes, symbolism, resonance; zeitgeist and relevance	What is your novel/story about? What does it mean?	Peer review and feedback on theme and symbolism	Character motivation and credibility;	S.King; Keating, (extracts)	Work on WIP for themes, symbolism, resonance; submit for feedback	Revised first 3000 words of stories/novel is due.
WEEK 5: 1	More literary approaches to narrative: Free Indirect Discourse	Humour, irony, ‘dark’ comedy and crime	Analysing an extract- Elmore Leonard. Emulating his style.	Breaking the rules - L.Child	E. Leonard 10 Rules for Good Writing	Writing or rewriting a scene in a way you would not normally do - FDI, SOC, freestyle
2.	The Final Draft and outline	Approaching publication; the industry	Pitching an idea to editors and agents; role play	Traditional v. Self publishing, hybrid publishing and promotion	Contemporary writing blog - tba	A summary of your novel/story idea and outline
3.	Proofreading and presentation		Working on MS feedback; queries and feedback	Honing dialogue when revising		Work on MS
4.	Final questions and review						Deadline for final draft of portfolio.

SELECT BIBLIOGRAPHY OF KEY WORKS FOR THE COURSE

Story. Robert McKee.

Story and Discourse. Seymour Benjamin Chatman.

On Writing. Stephen King.

The Crime Fiction Handbook. Peter B. Messent

The Best American Mystery Stories, 2010. Anthology. Ed. Lee Child; Otto Penzler

Adventures in the Screen Trade. William Goldman

Writing Crime Fiction. HRF Keating