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JOHN CABOT UNIVERSITY

COURSE CODE: "EN 285"
COURSE NAME: "Literature and Creative Writing: How to Read Like a Writer"
SEMESTER & YEAR: Fall 2024
SYLLABUS

INSTRUCTOR: Elizabeth Farren
EMAIL: [email protected]
 HOURS: MW 10:00 AM 11:15 AM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES: Prerequisite: EN 110 with a grade of C or above
OFFICE HOURS: TBD by appointment only
COURSE DESCRIPTION:
To supplement their traditional university study of composition and literary analysis, this course provides students with the opportunity to develop skills at reading literature as a source of help in improving their own writing. Designed primarily for students interested in creative writing, this course focuses on the reading of literature from the point of view of the practice, or craft, of fiction writing. This is a reading and writing intensive course. Students in 200-level literature classes are required to produce 4-5,000 words of critical writing.
SUMMARY OF COURSE CONTENT:
This class consists of writing workshops, peer reviews, lectures, discussions of assigned readings, in-class writing exercises, and possible excursions to literary events. The readings will correspond to the writing genre of interest, and will provide a foundation and model for the writing assignments themselves. The workshop process allows students to develop critical thinking skills, editorial awareness, and pushes students toward self-improvement along with the adaptation of literary techniques. The workshop process assists students with the discovery of their own aesthetic sensibilities and principles, and allows students to hone in on their writing strengths, their weaknesses, and the way their work and words are interpreted by their contemporaries. 
LEARNING OUTCOMES:
Upon completion of the course, students will be familiar  with writing techniques specific to the production of fiction, poetry, and nonfiction. Students will learn the habits of daily writing, will gain ability and fluency in the creation of ideas, will have improved their imaginative reach, their editorial skillset, as well as their critical thinking abilities. Students will learn about the necessity of revision, and they will gain in confidence as they improve their knowledge of the foundations of three different genres of writing. 
TEXTBOOK:
Book TitleAuthorPublisherISBN numberLibrary Call NumberCommentsFormatLocal BookstoreOnline Purchase
A Swim in the Pond in the RainGeorge SaundersRandom HouseISBN-10 ‏ : ‎ 1984856030     
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Creative AssignmentStudents are required to write one piece of short fiction.25%
Midterm PresentationsStudents are required to give presentations to the class as a means of showcasing their close reading skills 25%
Final Term PaperStudents are required to write a final paper for the class.25%
ParticipationStudents are required to participate in daily discussions of the selected works and to participate in all classroom activities, as well as complete all in-class and out-of-class (homework) exercises and assignments.. Quizzes may also apply.25%

-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 REQUIREMENTS AND EXAMINATION POLICY

This course provides an introduction to the creative practice of writing fiction, poetry, nonfiction, and stage/screen writing, while probing major issues of literary aesthetics. This course satisfies the General Distribution requirement in English Literature. Students who are more than 15 minutes late may be counted as absent. Students who use their phone during class may be counted as absent. Laptops are permissible if the course is hybrid.

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

Syllabus is tentative and subject to change--final syllabus will be available on Moodle on the first day of class

 

Week 1: Syllabus distribution & Course Intro to Close Reading, Setting the story, creating a compelling world

Read:  Chekhov’s “The Cart” Pages 1-35 SPR

Week 2:   Suspense and Expectation; language and desire  

Read pages 36-60 SPR, read Roald Dahl’s “Pig”

Week 3:   Sentences: the power of saying and the power of omission

Read Amy Hempel’s “In the Cemetery where Al Jolson is buried,” Christine Schutt’s “Blood Jet”

Week 4:  Paragraphs: the organization of space and time 

Read Chekhov’s “Gooseberries” and “A Swim in the Pond in the Rain” in SPR pages 311-346

Week 5: Dialogue: the construction of plot and character through speech

Read Denis Johnson’s “Emergency”; Junot Diaz’ “Drown”

Week 6: Surrealism: Read Dino Buzzati’s “The Elevator”

Week 7 Character: Read SPR 349-378 Tolstoy’s “Aloysha the Pot

Week 8: Student Presentations: on a selected text from one of our readings. Those not presenting must read the stories and participate in presentation by asking questions. Guidelines TBA.

Week 9 : Student Presentations: on a selected text from one of our readings. Those not presenting must read the stories and participate in presentation by asking questions. Guidelines TBA.

Week 10: Details & the Poetry of Prose: 

Read Patricia Lockwood “A Winged Thing”

Week 11:  Voice, Music & Style: in class writing

Read Toni Morrison “Sweetness”  and Cynthia Ozick’s “The Shawl”

Week 12:  Special Guest lecture 

Readings TBA 

Week 13: Reading and rereading, the storyteller’s tasks

Read Nabokov’s “Signs and Symbols” and essay “Good Readers and Good Writers”; Creative assignment due (up to 2000 words)
Week 14:  Imitation…lessons learned. Student workshop and critique.

Reading Student Work

Week 15: Exam Week

Final Critiques Due (2000 words)

 
SessionSession FocusReading AssignmentOther AssignmentMeeting Place/Exam Dates
Week 1INTRODUCTION: Introduction to the course; introduction to fiction; introduction to the elements of craft; focus on image and setting; in class writingTBAMicro Fiction Assignment; Longer Fiction assignment 
Week 2FICTION: focus on voice and character; introduction to the workshop; first in class workshop of microfictionTBAContinue writing Longer Fiction Assignment and prepare oral and annotated critiques of microfiction 
Week 3FICTION focus on dialogue and characterization through details; in class dialogue assignment; continuation of microfiction workshop TBAPrepare critiques with oral and annotated comments of final microfictions; longer fiction due 
Week 4FICTION: focus on story, structure, and plot; workshop of longer fiction assignmentTBAPreparation of revised draft; prepare peer critiques 
Week 5FICTION: focus on language, musicality, and sentence and paragraph structure; continued workshop of longer fiction assignment TBAPrepare peer critiques  
Week 6FICTION: focus on close reading and close analysis; reading and re-reading; final fiction workshop TBATiny nonfiction assignment 
Week 7CREATIVE NONFICTION: introduction to creative nonfiction; voice, the “I,” and being the protagonist your own work; in class writing assignmentTBAPrepare for discussion of tiny nonfiction 
Week 8CREATIVE NONFICTION: Form, Fact vs Truth; continued tiny nonfiction workshop TBABe prepared to discuss tiny nonfiction; longer creative nonfiction assignment due 
Week 9CREATIVE NONFICTION: focus on the use of fictional techniques to enhance non-fiction; workshop of creative nonfiction pieceTBAPrepare peer critiques; revision of creative nonfiction 
Week 10CREATIVE NONFICTION: student readings and discussion of oral performance of the written word TBAMIDTERM PORTFOLIO DUETBA
Week 11POETRY: introduction to poetry; form vs free verse poetry; in class writing assignmentTBAPreparation of first poem 
Week 12POETRY: focus on imagery, sounds, and lines; workshop of first poemTBAFirst poem due; prepare peer critiques  
Week 13POETRY: focus on metaphor, literary techniques, music, density, and intensity; continued workshop of second poemTBASecond poem due; prepare critiques 
Week 14 POETRY: focus on line editing, the imaginative possibilities of poetry, revision, discussion of final portfolio preparation and organization, workshop of third poem, time allowingTBAThird poem due; prepare peer critiques 
Week 15POETRY: final workshop and portfolio dueTBAFINAL PORTFOLIO DUETBA