WRT 114: Writing Culture:
Introduction to Creative Nonfiction (3 credits) Spring 2020
Instructor: B. D’Amato
Contact info: bdamato@schools.nyc.gov
COURSE DESCRIPTION
Writing 114 provides an introduction to creative nonfiction (CNF), a genre that encompasses many kinds of prose: memoirs, biography, travel writing, science writing, and literary journalism, to name a few. CNF writers almost always—in some way or other—focus on the tensions that emerge between individuals and the world around them. Thus, the title of this course, “Writing Culture,” refers to writing about oneself and others in the context of a broader culture. How do we negotiate cultural norms, expectations, rituals, and practices? How does culture shape us as individuals? To what degree do we absorb or resist our cultural influences? And how do we, as individual actors and witnesses to our world, shape the culture in which we live? These are just a few of the many questions we’ll ask ourselves as we move through this course.
In this class, we’ll read and reflect upon a variety of creative nonfiction texts*, as well as compose our own essays. You’ll have the freedom to explore a wide range of topics and experiment broadly with voice, style, form, and the use of research to enrich your writing.
Rather than present reality as a series of raw facts, CNF writers borrow techniques of fiction writing—description, anecdote, scene construction, characterization, and dialogue—to tell dynamic and compelling true stories. The crucial distinction between creative nonfiction and fiction is that nonfiction purports to tell the truth with very little embellishment, while fiction claims to be “made up.” Creative nonfiction also draws from poetic approaches to language, including imagery, metaphor, tone, and shifts in point of view and perspective. We’ll study these building blocks of creative nonfiction and use them in the composition process.
Since this is an intensive writing class, we’ll often engage in writing workshops in class, including brainstorming and freewriting activities**, and structured peer critiques. You will need to come to class prepared to write. All students will need a dedicated notebook for this purpose.
COURSE LEARNING OUTCOMES
- Students will read and critically engage with creative nonfiction texts representing a diverse range of topics, subgenres, and perspectives.
- Students will learn about, and put into practice, conventions and characteristics of creative nonfiction.
- Students will compose a series of creative nonfiction texts, and take them through the processes of composing.
- Students will explore relationships between research and creative nonfiction, and learn conventions for incorporating research into their texts.
- Students will develop an awareness of audience, and work to construct an ethos and voice that responds to audience needs and expectations.
- Students will experiment with voices, styles and forms.
- Students will reflect on their writing processes.
REQUIRED TEXTS:
- Tell It Slant: Creating, Refining, & Publishing Creative Nonfiction, 2E – Brenda Miller & Suzanne Paola (McGraw-Hill, 2012)
- In Short: A Collection of Brief Creative Nonfiction – eds. Judith Kitchen & Mary Paumier Jones (WW Norton, 1996)
- In Fact: The Best of Creative Nonfiction – ed. Lee Gutkind (WW Norton, 2004)
- Supplemental texts designated in the course syllabus; recommended writing handbook
MAJOR COURSE ASSIGNMENTS & GRADE REQUIREMENTS:
| Unit 1 Portfolio
(10-15pp., comprised of multiple shorter essays, & a reflective essay) |
15% |
| Unit 2 Personal/Lyric essay
(personal/lyric essay, 6-8pp., incl. reflective essay component) |
20% |
| Unit 3 Culture essay
(writing about culture, 6-8pp., incl. reflective essay component) |
20% |
| Unit 4 Literary Journalism essay
(literary journalism, 6-8pp., incl. reflective essay component) |
20% |
| Unit 5 Culminating Portfolio
(20+ pp., including at least one substantively revised CNF essay, preface/reflective essay, and showcase components) |
15% |
| All other informal writing and class participation
(incl. in-class writing exercises, notebook entries, workshop participation & peer review, research notes, critical reading responses, etc.) |
10% |
WRITING PROMPTS
You are to write on a daily basis based on the writing prompts as presented in Appendix 2. Some prompts will help you generate or select ideas about a certain topic, others will guide you through a writing process. Each prompt aims at either developing the content of your essay or sharpen the craft of refining one. Although your responses to the prompts will not be collected on a daily basis, they will, however, serve as the basis for your participation in class such as class discussions, workshops, or peer reviews. I’ll make a note on a daily basis the status of your response. Your response to the daily prompt is due the next day or class and will be collected on a weekly basis depending on the unit requirements. The quantity of your responses will make up 50% of your total grade for Unit 1 and 30% for Unit 2, Unit3, Unit 4, respectively.
WORKSHOPS***
Writing is about community and communication. Feedback is vital for writers to improve their craft. You also need to know how your work is being perceived by an audience. A writing workshop is a supportive space where writers work together to enhance each other’s work. At times, you may be asked to make your drafts available for peer critique before class so there will be time for your peers to read and comment on your work. See Ch. 15 of Tell It Slant on sharing your work for more information on the workshop process.
GENERAL COURSE POLICIES
Special Needs and Accommodations
Syracuse University welcomes people with disabilities and, in compliance with the Rehabilitation Act of 1973 and the Americans with Disabilities Act, does not discriminate on the basis of disability. Students who require special consideration due to a learning or physical disability or other situation should make an appointment to see me right away.
Use of Student Academic Work
It is understood that registration for and continued enrollment in this course constitutes permission by the student for the instructor to use for educational purposes any student work produced in the course, in compliance with the federal Family Educational Rights and Privacy Act (FERPA). After the completion of the course, any further use of student work will meet one of the following conditions: (1) the work will be rendered anonymous through the removal of all personal identification of the student(s); or (2) written permission from the student(s).
Academic Integrity
Syracuse University sets high standards for academic integrity. Syracuse University students are expected to exhibit honesty in all academic endeavors. Cheating in any form is not tolerated, nor is assisting another person to cheat. The submission of any work by a student is taken as a guarantee that the thoughts and expressions in it are the student’s own, except when properly credited to another.
Those standards are supported and enforced by your instructor, SU faculty and Project Advance administrators. The presumptive sanction for a first offense is course failure (SU grade of F), accompanied by the transcript notation “Violation of the Academic Integrity Policy.” Students should review the Office of Academic Integrity online resource “Twenty Questions and Answers About the Syracuse University Academic Integrity Policy” and confer with your instructor(s) about course-specific citation methods, permitted collaboration (if any), and rules for examinations. The policy also governs the veracity of signatures on attendance sheets and other verification of participation in class activities. Additional guidance for students can be found in the Office of Academic Integrity resource: ”What does academic integrity mean?”
For a more detailed description of the guidelines for adhering to academic integrity in the College of Arts and Sciences, go to: http://academicintegrity.syr.edu
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*Appendix 1: creative nonfiction texts with study questions
**Appendix 2: writing prompts organized by unit
***Appendix 3: workshop heuristics
CALENDAR
Please note the class schedule is subject to change. You are responsible for keeping up with any assignment changes. For discussion questions or notes on selected creative nonfiction texts, please refer to Appendix 1; for complete descriptions of each writing prompt, please refer to Appendix 2: WRT114 Unit by Unit Writing Prompts; for detailed workshop ideas, please refer to Appendix 3: Heuristics
UNIT I: Introduction: What Is Creative Nonfiction? / Flash Nonfiction Writing (4 Weeks)
Assignments: writing portfolio of flash non-fiction, approximately 10-15 pp.; separate reflective essay (2-3 pp.) Due 10/5/2015.
Week 1: Introduction to creative nonfiction / genre, ethics, and craft
Wed 9/9: Focus: Genre
Welcome! Introduction to the Course Syllabus; What is CNF?
Unpack “Why I Write?” by Terry Tempest Williams; Respond to Unit 1 #1 prompt: Why do you write?
Homework: 1) Read the course syllabus & student manual. 2). Read and annotate Brett Lott, “Toward a Definition of Creative Nonfiction”. What is CNF? ; 3) Read “The Body of Memory,” Tell It Slant: Ch.1 pg 3-16 and make note of at least one strategy of using each of the five senses to inspire your writing.
Thur. 9/10: Focus: Craft
Read “Twenty Ways to Talk about Creative Non Fiction” pdf (80-84);Discuss “Toward a Definition of Creative Nonfiction” (PDF) “; Read “Three Voices” by Bhanu Kapil In Short 45-47; share strategies elicited from “The Body of Memory”; Respond to Unit 1 #2 prompt
Homework: Read Tell It Slant: xiii-xvi; Lee Gutkind, “The Creative Nonfiction Police?” In Fact, xix-xxxiii; Mimi Schwartz, “Memoir? Fiction? Where’s the Line?” (PDF);
Fri. 9/11: Focus: The ethics of truth-telling
Unpack “Memoir? Fiction? Where’s the Line?” and “The Creative Nonfiction Police?” Read “Leap” by Brian Doyle (pdf). What makes the narrative believable? What kind of truth does the narrative reveal? Respond to Unit 1 #3 prompt.
Homework ( Over a 4-day weekend) : 1) Read the essay, “On the Street” (In Short, 144-145) and write a response to Unit 1#3A Writing Prompt. 2) Red and annotate “Where to Begin,” Tell It Slant: xiii-xvi; “The Basics of Good Writing in Any Form,” Tell It Slant: Ch. 13: 163-180 (Provide an observation and example for each basic strategy discussed in the chapter) 3) Respond to Unit 1 Writing Prompt#3B. 4) Read Joan Didion, “On Keeping a Notebook” (PDF)( Optional)
Weeks 2-3: Exploring the craft of creative nonfiction / finding your material
Mon: 9/14 No Class
Tue. 9/15 No Class
Wed. 9/16 Focus: craft (Review Notes on Craft)
Unpack “The Basics of Good Writing in Any Form”; Read “Museum Piece” by David Huddle, In Short pp. 183-184; Respond to Unit 1 #4 prompt.
Homework:1) Continue working on your character sketch based on the prompt. 2) Read Mimi Schwartz, “The Special Power of Present Tense” (PDF)
Thur. 9/17 Focus: tense
Unpack “The Special Power of Present Tense” (PDF); Read “Blues Merchant” by Jerome Washington pp. 85-86; Respond to Unit 1 #5 prompt.
Homework: Read and annotate Scott Russell Sanders, “The Singular First Person” (PDF) and Mimi Schwartz’s “Voice Lesson”( pdf)
Fri. 9/18 Focus: Point of View, Voice
Unpack “The Singular First Person” (PDF); share your understanding of “writing essays as a risk” and “In the era of prepackaged thought, the essay is the closest thing we have, on paper, to a record of individual mind at work and play”; Read “Locker Room Talk” Stephen Dunn, In Short pp. 149-151; Discuss: what creates voice? Respond Unit 1 # 6 prompt.
Homework: 1) Continue searching for your “ burning question” through writing; 2)Read Tracy Kidder, “Making the Truth Believable” (PDF)( How does the point of view matter in writing CNF?); 3) Read “Three Spheres “ by Lauren Slater In Fact 3-23
Week 3
Mon. 9/21 Focus: Point of View
Unpack Kidder’s “Making the Truth Believable” (PDF); Read “ Three Fragments” by Charles Simic, In Short 191-192; Respond to Unit 1 #7 prompt.
Homework: 1) Go back to the scene you rendered in response to Unit 1 Prompt #3 or #3A, and rewrite it in the 3rd person point of view. Don’t just translate the scene sentence by sentence, but REWRITE the scene without the first draft in front of you. Think about what you can see from this other point of view, what you can say, what other forms of knowledge you’re privy to, what you know about the other characters involved in the scene, what you know about the history and context shaping this moment. 2) Review the essay Lee Gutkind’s “The Creative Nonfiction Police?” In Fact: pp. xix-xxxiii; 3) Read “Mix-Blood Stew” by Jewell Parker Rhodes
Tue. 9/22 Focus: Ethics of revelation, fact-checking, tone, and writing for an audience
Unpack “The Creative Nonfiction Police?” & “ Mix-Blood Stew”; Read “ Last Shot” by Tobias Wolff, In Short 57-59; Respond to Unit 1 #8 prompt
Homework: 1) Read “My Mother in Two Photographs, Among Other Things” In Short 138-141; 2) and bring in 3-4 family photos (individual family member or family together) for a writing activity tomorrow. Read and annotate “Writing the Family,” Tell It Slant: Ch. 2 ( 17-24)
Wed. 9/23 Focus: Writing the Family
Discuss the issues and strategies involving “Writing the Family,” 17-24, i.e. How to negotiate some tricky issues involved in the family topic? Why is it crucial to approach the big issues by focusing on the smallest details? How can you combine the objectivity of a researcher with the subjectivity of the biographer? Respond to Unit 1 #9 prompt.
Homework: 1) Read four essays collected in Short–“The Fine Art of Sighing” by Bernard Cooper 301-303, “Growing up Game” by Brenda Peterson 115-119, “Buckeye” by Scott Russell Sanders 247-250, “ Hands” by Ted Kooser 128-130. Write down your observations of how each author uses small details to portray the family member.2) Respond to Writing Prompt Unit 1 #9A.
Thur. 9/24 no class
Fri. 9/25 Focus: Writing about the family
Work in small groups of four to discuss one of the assigned essays from previous night’s reading . Respond to Unit 1 #10 prompt.
Homework: 1) Read Tell It Slant: Ch. 12: “The Particular Challenges of CNF,” 145-162 and brainstorm ideas for revision; 2) Incorporate some ideas from the essay to revise a piece you have written 3) Share it with a member from your writing group; 4) Read and comment on your group members’ work.
Week 4: Cultivating a voice and writing for an audience / revision work
Mon. 9/28 Focus: Writer’s Workshop (Handout: Strategies for Productive Workshopping)
Unpack “The Particular Challenges of CNF”; Make a list of Dos and Don’ts for revision workshop; Review strategies for Productive Workshopping” (handout); peer review the 1st piece of writing.
Homework: 1) Read Noah Lukeman, “The Comma” (PDF); 2) Continue revising your work by taking into consideration your classmates’ comments; 3) Review “Three Spheres “ by Lauren Slater ( Pay attention to word choice, use of punctuation, and choice of verb tense).
Tues. 9/29 Focus: The Beginning, Diction, Syntax, Punctuation
Unpack “To Begin the Beginning by Deneen L. Brown,” (PDF); Respond to Unit 1 #11 prompt.
Homework: 1) Visit Tropes and Schemes” (Teaching Resource / http://rhetorica.net) to help you with revision; 2) Respond to Unit 1 Writing Promt#11A 3)Bring the storyboard to the class to share. Guiding questions for each essay will be provided.
Wed. 9/30 Focus: complicate 1 piece of writing ( Handout: Craft Questions)
Unpack “Three Spheres “& “Mix-Blood Stew” in two small groups; Share the storyboard in a small group and discuss “horizontal movements” and “vertical movements” in the essay; respond to Unit 1 #12 prompt
Homework: 1) Expand and complicate your writing by adding either horizontal or vertical movement or both.2) Share your revised essay with two of your classmates, one of whom will focus on diction, the other syntax and punctuation. Bring in your comments for the 2nd workshop.
Thur. 10/1 Focus: Revision- word choice, punctuation and syntax
Share the moves Rhodes or Slater makes horizontally and vertically in her essay respectively; In groups of three, share comments specifically about diction, syntax and punctuation on one another’s essay.
Homework: Work on portfolio – flash non-fiction, approximately 10-15 pp.; separate reflective essay (2-3 pp.) Due 10/5/2015.
Fri. 10/2 Focus: Portfolio
Discuss the contents and format for the writing portfolio; Discuss Unit 1 Critical Reflection;
Share the grading rubric for the portfolio.
Homework: Complete your writing portfolio for Unit 1.
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UNIT II: Personal Essay / Lyric Essay (4 Weeks)
Assignments: Select one piece of flash non-fiction from your Unit 1 portfolio and develop the piece into a personal or lyric essay, OR choose a new topic (6-8 pp.); separate reflective essay (2 pp.) Due Oct. 30.
Week 5: What is the Personal Essay? / The self as a social actor
Mon. 10/5 Revisit the personal essays we have read
Read and discuss Ch. 9 in class “The Tradition of the Personal Essay,” Tell It Slant, 89-105; Review “the burning question” each author explores in the essays “Three Spheres,” and Peterson’s, “Growing Up Game” explores; respond to Unit 2 #1 prompt.
Homework: 1) Read J.P. Rhodes’s “Mixed-Blood Stew” or “Why I Ride,” In Fact 395-418 and “Gathering the Threads of History,” Tell It Slant, Ch. 6, 55-62; 2); Use the Brainstorming Exercise: Finding a Topic for your Personal Essay (heuristic) to continue exploring your “burning question”. 3) Bring a paragraph or two of your writing to share in your group.
Tue. 10/6: Focus-historical context
Unpack “Gathering the Threads of History”; in a small group based on the reading assignment, discuss how Rhodes and Richman use historical contexts in their essays (“Mixed-Blood Stew” & “Why I Ride,” In Fact 395-418), to expand the writing or complicate its meaning? Respond to prompt.
Homework: 1) Continue your writing initiated by the prompt (Unit 2 #2). 2) Read Phillip Lopate, “On the Necessity of Turning Oneself Into a Character” (PDF)
Wed. 10/7: Focus- Self as a character
Unpack “On the Necessity of Turning Oneself Into a Character”; Read “An End to Still Lifes” by Carol Bly, In Short 185-190 (framing, dialogue, quirks) (Refer to questions in Appendix 1); respond to Unit 2 #3 prompt.
Homework: 1) Read “Judyth Har-Even, “A Walk Through the Jewish Divorce Ceremony,” In Fact, 269-287 ( How does the author become a character and her life an intense drama? How does the author even use dramatic acts to develop her narrative? ) 2) Respond to Writing Prompt Unit 2 #3A.
Thur. 10/8 Focus-Self as a Character/social actor
Continue exploring Lopate’s ideas; discuss “Growing Up Game” (Refer to Appendix 1 for questions); Respond to Unit 2 #4 Writing Prompt.
Homework: 1) Continue working on the writing you started on the prompt. 2) Read Stephen Corey, “A Voice for the Lonely,” In Short 178-182; Read and annotate “Secrets: Beginning to Write Them out” by Sandra McPherson (How to write about secrets?); 3) Respond to Writing prompt Unit2 #4A
Fri. 10/9 Focus: Writing about Secrets
Unpack “Secrets: Beginning to Write them Out” (PDF) by Sandra McPherson ; read “Stonehenge and the Louvre Were Cool” by Carol Lucci Wisner,253-258 (refer to discussion questions in Appendix 1); discuss the author’s approach to secrets in “Three Spheres”; respond to Unit 2 #5 prompt.
Homework: 1) Read “Meredith Hall, “Shunned,” In Fact, 49-70 (refer to Appendix 1 for discussion questions). 2) Laying out all your writing together, do you see any connection among them? Can you see a possibility to put all the fragmented writing together and tie them together by a title or form? 3) Read Tell It Slant, Ch. 10, “Playing with Form: The Lyric Essay…” 107-126 Gretel Ehrlich 4) Email 1-2 pages of your exploration of the burning question to your group members. Be sure to read your peers’ essays before the workshop and bring three copies of your 1st draft to the class on Tuesday so we can workshop it in a small group of 3.
Weeks 6-7: The lyric essay / researching the “self”
During Weeks 6 and 7, we will focus more on crafting an essay: how essays move, how they are structured, how essayists use the white space of the page, how they incorporate figurative language and lyrical turns of phrase, and how they leverage images to complicate the meanings they wish to draw forth in the essay. We will also incorporate research as a way of enriching the essay. In this case, research isn’t limited to google searches, but also involves place observations, interviews, fact-checking, etc.
Mon. 10/12 no class ( Columbus day)
Tue. 10/13 Focus- Lyric Essay
Unpack “Playing with Form: The Lyric Essay…”; read and discuss “A Match to the Heart,” 219-220 ; respond to Writing Prompt Unit 2 #6; Use notes from “Playing with Form” and our discussions about various lyric essays to provide writerly suggestions to your peers.
Homework: 1) Read Brenda Miller, “A Braided Heart: Shaping the Lyric Essay,” TIS, 234-244. What does it mean to write a “braided” essay? Make some observations and bring them to the class to share.2) Use the suggestions from your peers or me as well as ideas from Miller to help you continue shape the form of your essay by playing with its structure.
Wed. 10/14: Focus-Montage essay
Unpack “A Braided Heart: Shaping the Lyric Essay”; discuss “Montage” by Lee Gutkind, Keep It Real, 103-108 (PDF); discuss “What specific techniques can we use to create a montage essay?; read “Three Fragments” by Charles Simic, In Short 191-192 and discuss the techniques Simic uses in his essay; respond to Unit 2 #7 prompt.
Homework: 1) Read Richard Rodriguez, “Proofs,” 48-54 and incorporate craft you learn from this piece to our own writing. 2) Read and annotate “Researching Your Own Life” by Michael Pearson (PDF). 3) Find some photos or any other artifacts that can help you recall a specific scene related to your personal essay. Bring them to the class for a writing exercise.
Thur. 10/15 Research
Unpack readings; respond to Unit 2 #8 prompt
Homework: Do research about the background of your writing and see in what larger context you can situate your personal narrative. Expand your writing by adding your researched information that could lend itself to more universal truth. 2) Read Brian Doyle, “Being Brians,” 163-173
Fri. 10/16: Focus-Linking or piecing together the fragments
Discuss “My Children Explain the Big Issues” by Will Baker, In Short 133-135 (How does Baker piece his different pieces together leaping over time, place and subject?) & “Being Brian’s” (How does Brian Doyle piece his responses together?) Respond to Unit 2 #9 prompt.
Homework: 1) Read “The Search for Marvin Gardens” by John McPhee and make observations of how the author uses the moves he makes in a monopoly game to braid his fragments together. 2) Respond to the Writing Prompt Unit 2 #9A 3) Bring some thoughts about “braiding” the fragments to share in class.
Week 7
Mon. 10/19 Focus- Braiding the fragments
Introduce Eula Biss, “The Pain Scale” in class, and discuss in conversation with “The Search for Marvin Gardens.” Respond to Unit 2 # 10 prompt; share in small groups ways you may consider to braid or piece the fragments.
Homework: 1) Read Christiane Buuck, “France in Twenty-Five Exposures” (pdf); 2) Consider the ideas we have shared in class today and work on piecing your writing together.
Tue. 10/20 Focus–Collaging exercises
Discuss “France in Twenty-Five Exposures”; respond to Unit 2 #11 prompt.
Homework: 1) Google-share your draft. Provide each other with feedback on some of the connections you see across these fragments. 2) Bring 3 hard copies to share in a small group. 3) Read Ander Monson’ “I Have Been Thinking About Snow” (pdf)( Refer to questions in Appendix 1)
Wed. 10/21: Focus-Collaging workshop (Handout: The Art of Critique)
Workshop collage essays; identify and share strategies for connecting the fragments; identify and share strategies that work effectively to connect the fragments; look into gaps in between. Discuss: Do you need to bridge the gaps or can they be meaningful white spaces? How does Monson use a particular form to be an integral part of his essay? How successful is his intent? Why? Respond to Unit 2 #12.
Homework: 1) Continue working on connecting and shaping your essay. 2) Read Jill Lepore’s “The Prodigal Daughter”( pdf) and respond to discussion questions in Appendix 1 .3) Bring your observations of or questions about “ The Prodigal Daughter” to the class for discussion tomorrow.
Thur. 10/22 Focus- developing/expanding/shaping the essay
Unpack “The Prodigal Daughter” and Adam Gopnik’s “Driver’s Seat” (How does each author “braid” various scenes together?)Respond to Unit 2 #13
Homework: 1) Continue expanding the essay. 2) Read “The Writing Process and Revision,” Tell It Slant, Ch. 14, 181-192; 3) Read Pico Iyer, “In Praise of the Humble Comma,” In Short, 79-82
Fri. 10/23 Focus- revision
Discuss readings and revision strategies.
Homework: 1) Use ideas from the class discussion about revision to help you refine your work; 2) When publishing work, writers usually have to adhere to a strict word count limit. Word count limitations force an awareness of diction and syntax that might not otherwise be obvious. Use Heuristic#1 to help you “slim” your piece.2) Bring 2 copies of the 1st draft of your lyric essay for workshop tomorrow.
Week 8: Revision work- Developing the personal/lyric essay
Mon. 10/26: In-class writing / conferencing on rough drafts
Workshop lyric essays. Share the two versions (the original and revised) with the group; provide feedback.
Homework: 1) Read Sondra Perl and Mimi Schwartz, “Workshopping a Draft” (PDF); 2) Continue working on the revision.3) Share your draft with two other members in your group online. Use Heuristic #2 to help you provide productive feedback.
Tue. 10/27 Focus-Small group workshops
Discuss “Workshopping a Draft”; Share your draft-in-progress in groups of three, and work to brainstorm ideas for additional scenes each person could compose; share your prepared responses and written feedback.
Homework: Use the feedback you received from your peers to continue working on your essay.
Wed. 10/28 Focus-Revision: point of view and verb tense
Point of View and Verb Tense Workshop. We’ll use the passages in Heuristic #3 to examine closely the writer’s choice of point of view and verb tense. Respond to Unit 2 #13 prompt.
Homework: 1) Consider pov and verb tense for your revision. 2) Read Mimi Schwartz, “Research and Creative Nonfiction: Writing so the Seams Don’t Show” (PDF)
Thur. 10/29 Focus-Revision: writing in the gaps
Discuss “Research and Creative Nonfiction: Writing so the Seams Don’t Show” (Refer to notes and question in Appendix 1); reflect on how Lepore incorporates her research about Jane Franklin into her essay in the “The Prodigal Daughter”; respond to Unit 2 #14 prompt.
Homework: “How can you weave information and personal experience together to make the world of “line and rule” and the world of “our hearts and imagination” feel like one?” Mimi Schwartz.
Fri. 10/30 Focus– Revision and One-on- One conference
Revision workshop: Read back over your own draft. Consider the transformation of the main character in this essay, which may be you or someone else. Who is this person at the end of the essay, versus the person we meet at the beginning? What is the central reason for the change? The transformation may be subtle or more explicit. It may be that you are the main character, and by the end of the essay, you’ve begun to understand certain things that you weren’t clear on at the beginning. Work to further illuminate this transformation, either through additional reflective writing or through adding scenes; individual conferencing
Homework: 1) Finish your essay (develop one piece of flash non-fiction into a 6-8 pp. personal or lyric essay) Due Nov 2. 2) Write a critical reflective essay.
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UNIT III: Writing About Culture (4 Weeks)
Unit 3 Assignments: sustained essay (6-8 pp.) that engages with an aspect of culture that you are either part of or witness to; separate reflective essay (2 pp.) Essay due 11/30/2015.
Week 9: What is culture? / Finding your material
Mon. 11/2 Focus: What is culture? Finding your material
Read White Men Can’t Drum ” by Sherman Alexie, In Short 152-156 discuss, “Three Yards” by Michael Dorris, In Short 203-205; respond to Unit 3 #1 prompt.
Homework: 1) “‘Taking Place’: Writing the Physical World” Tell It Slant, Ch. 3, 25-38 (Jot down some ideas of how to write about the physical world and bring them to the class for discussion); 2) Read two short essays from In Short -John Lane, “Natural Edges,” 261-263 and Jerry Ellis, “Into the Storm,” 233-236; and review Jana Richman’s, “Why I Ride,” In Fact, 395-418 (As you read, take notes on the following: How does the author of each essay describe or define the natural world? How does each author approach the place as a character? In Richman’s piece, how does she blend culture into nature writing?) 3) Continue exploring your memories of a place to which you feel connected. Use the heuristic #13 “Finding your Materials” to generate a list of places you have written about. You may find some photos, do research to see the changes made to the place or ask your family members about their memory of the place, etc. Take notes during your “investigation”.
Tue. 11/3 Election Day No School
Wed. 11/4 Focus- place and culture
Discuss readings and brainstorming exercise assigned for HW; respond to Unit 3 #2 prompt.
Homework: 1) Continue with the writing about a place based on the writing prompt. 2) Read one of the listed essays and observe how the author connects or infuses the place with discussion of a particular culture: “Going Native” by Francine Prose, In Short 356-367, “Field Trips” by Stuart Dybek (pdf) , “The Usual Story” by Fred Setterberg In Short 87-89 3) Read Andre Aciman, “A Literary Pilgrim Progresses to the Past,” PDF and take notes on how identity and culture are explored through environment and place. What are some of her thoughts about writing about a place that you resonate with? Bring your notes to the class for sharing.
Thur. 11/5 Focus–Writing about a special place in your memory or home
Unpack “A Literary Pilgrim Progresses to the Past,” PDF(Refer to the questions in Appendix 2.; share your notes of how her thoughts about writing a place resonate with you personally; discuss in small groups ,based on the reading, how each author writes about culture through a place in “Going Native” ,“Field Trips” and “The Usual Story”; respond to Unit 3 #3 prompt.
Homework: 1) Continue with writing about a place or home. Consider using “Three Yards” by Michael Dorris, In Short 203-205 and “Sanctuary ” by Jane Moress Schuster In Short 244-246 as models. 2) Read
“Thank You in Arabic” by Naomi Shihab Nye(pdf) ( Consider: What does home mean when “ home is away”? 3) Reflect briefly on Richman’s “Why I Ride” (How is her identify shaped by the place, Utah, where she has deep family history? Why is Utah the ultimate home to her?)
Fri. 11/6 Focus- place as an identity/”home”
Discuss “ place as an identity” theme in “Thank You in Arabic” & Why I Ride” ; respond to Unit 3 #4 prompt.
Homework: 1) Continue writing about “home”; 2) Read and annotate Barry Lopez’s “Landscape and Narrative” (PDF) (Consider: How does Lopez define exterior and interior landscapes?) 3) Read Gretel Ehrlich’s “From The Solace of Open Spaces”.
Week 10: Writing About Culture / researching the self and the larger world
Mon. 11/9 Focus- Place, culture, identity (exterior landscape vs interior landscape)
Unpack readings; in small groups, discuss the quotations from Lopez’s essay in Appendix 1 & how Gretel Ehrlich, in her essay, explores the relationships between Wyoming’s wide open landscape and the language used by the cowboys, the culture of exclusion, and the characteristics of WY people ; respond to Unit 3 #5 prompt.
Homework: 1) Continue exploring the relationships between your interior landscape and the external landscape and 2) Read “The Clan of One-Breasted Women” by Terry Tempest Williams and Adam Hochschild’s “World on a Hilltop”.
Tue. 11/10 Focus: place as a canvas set in a cultural or historical context
Discuss in two smaller groups “The Clan of One-Breasted Women” and “World on a Hilltop”
- How does each author use the place as a canvas set in a cultural or historical context in which s/he paints its people?
- What cultural issues does each author explore? How are the issue directly linked to the place? Why do they bear distinctive marks of the places described?
Respond to Unit 3 #6.
Homework: 1) Continue your writing about the place and culture. 2) Read “Present Tense Africa” by William Harrison in pdf .3) Share a piece or a portion of your writing about a place with two group members online. Give each other feedback (Refer to the heuristic about “Strategies for Productive Workshopping”). Be ready for the workshop during the next class.
Wed. 11/11 Veteran’s Day No Class
Thur. 11/12 Focus-Travel: Foreign Places, Different cultures
Discuss “Present Tense Africa” by William Harrison( Refer to questions in Appendix 1); Workshop in a small group the piece of your choice by referring to ideas from Heuristic#4 about “Strategies for Productive Workshopping” and Heuristic#5 about asking “Craft Questions.
Homework: 1) Use the notes from the workshop to help you expand the essay. 2) Read John Calderazzo, “Running Xian,” 168-171 ; Tim O’Brien, “LZ Gator, Vietnam, February 1994,” 60-619 ; Cynthia Ozick, “The Shock of Teapots,” In Short 68-71 (Consider the tone of each author when describing or exposing a foreign culture)
Fri. 11/13: Focus- Travel, foreign place and foreign culture
Discuss the representation of foreign culture in “Running Xian”, “LZ Gator, Vietnam, February 1994”, and “The Shock of Teapots” (How does the author’s description of the culture serve as an unbiased introduction to the reader? Is there any tension caused by the unfamiliar culture? How does s/he describe the tension?); respond to Unit 3 #7 prompt.
Homework: 1) Consider exploring the “foreignness” of the culture you have been writing about. What makes it foreign to you? How does your rejection to or acceptance of it reveal who you are? Use Stephen Dunn’s “Locker Room Talk,” 149-151 as a model to explore “foreign” culture in a familiar place.
2) Read the essays -Madison Smartt Bell, “Sa’m Pèdi,” 331-355 ( Consider: Why does the place the author writes about require extensive research to expose its culture? What are the parts that are informational? How does the author share her personal views with the reader toward the issue?)
Weeks 11-12: Developing the culture essay / revision
Mon. 11/16 Focus- Researching about a place
Unpack “Sa’m Pèdi” and “The Naked Citadel”. In a small group, discuss how the author uses research to expose culture and enhance the reader’s interests as well as the strategies the author uses to expose her personal views toward the issue; respond to Unit 3 #8 prompt.
Homework: 1) Do research to expand the scope and enhance the interests of your essay. Continue working on your essay by incorporating some research in your essay. Consider why and how. Share in class your strategies or struggles. 2) Review “Using research to Expand Your Perspective” Tell it Slant 71-84
Tue. 11/17 Focus: research
Discuss: What kinds of non-traditional research might work well in grounding an essay on culture and place? How do we add information and make it a seamless part of the essay? Share ideas and examples (your own or from published essays-, “Sa’m Pèdi” and “The Naked Citadel”) to integrate researched information to your essay in an organic way.
Research workshop in pairs.
Homework: Work to add complexity to your essay. Add reflections, analysis and insight into your experience and observation into the larger culture or subculture. Think about why you frame the discussion of the place and culture in a certain way and what helped you make the choice. Bring in a hard copy of whatever you may have written for a workshop tomorrow.
Wed. 11/18 Focus –Revision
Workshop on revising the content and craft of a lyrical essay (refer to Heuristic #14); work on revision individually or “walk up”/schedule/call for a one-on-one conference with the teacher.
Homework: Work to complete the essay. Find an appropriate form to suit the content. Focus on adding lyricism to your essay- imagery, figurative language, avoidance of cliché, word choice that is innovative and precise, attention to phrasing, the rhythm of your sentences. Be prepared to share your examples in the workshop. Print out a hard copy of your essay and bring it to the class.
Thur. 11/19 Focus: Revision-Lyricism
Continue revising the content and craft of the lyrical essay (refer to Heuristic #14); work on revision individually or have a one-on-one conference with the teacher.
Homework: Use your notes from the workshop to revise or complete your essay. Share your writing with a friend or family member and ask if the way you treat the subject matter sounds fair. What does your friend think of the tone of your essay? If the tone is not clear, how can you make it clearer considering your own intention? Take notes of your friend’s feedback and your revision and bring them to the class for the workshop.
Fri. 11/20 Focus-Revision
We’ll work on establishing a pact with the reader in your lyric essay. Consider the
- tone, context, precise choice of language,
- ethical treatment of subject matter, ethical representation of subjects, and
- mature, in-depth, well-researched approach to the topic.
Continue the revision individually or have a one-on-one conference with the teacher.
Homework: Continue working on the essay. Focus on crafting scenes, strong characterization and place description. Bring a copy of your essay with a specific highlighted scene, a character and place description to share in the workshop.
Mon. 11/23 Focus- Revision
We’ll workshop the scene description and character portrayal-
- Did you include strong detail rendered through interesting language and well-crafted scenes?
- How vivid are the characterizations and place descriptions? Can the reader see what you see through the detailed descriptions?
Continue the revision individually or have a one-on-one conference with the teacher.
Homework: Proofread your essay. Check the sentence structure, word choice, use of verb tenses, point of view, and use of punctuation.
Tue. 11/24 Focus-Revision
We’ll workshop on proofreading. Did you use…?
- Variety of sentence structure to create rhythm and pacing and punctuation to make the reader “hear it” the way you imagine the essay sounding.
- Precise word choice and verb tenses
- Appropriate point of view to treat the topic ethically and fairly
Continue the revision individually or have a one-on-one conference with the teacher.
Homework: Continue working on your essay. If you still have questions about the essay, bring them in for a conference or class discussion.
Wed. 11/25 Focus-Writing a critical reflection
Use questions in Heuristic #7 to guide your critical reflection on the Place and Culture essay.
Homework: Unit 3 essay and the reflection are due Nov. 30.
Thur.- Fri 11/26-11/27 Thanksgiving no class
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Unit 4: Literary Journalism (5 Weeks) Week 13-Week 17
Assignments: literary journalism piece (6-8 pp.) Due 1/7/2016; separate reflective essay (2 pp.) Due 1/8/2016
Week 13: What is literary journalism? / finding your material
Mon. 11/30 Focus-Literary or New Journalism
Unpack “Literary or New Journalism” Tell It Slant, pp. 97-99; Review Tobias Wolff’s “Last Shot,” 57-59 (In Short) & Sarah Vowell’S “What He Said There” (PDF) ( refer to appendix 2 for discussion questions); respond to Unit 4 #1 prompt.
Homework: Read one of the assigned essays- “Consider the Lobster” (PDF) by David Foster Wallace, or “Invisible Man” (PDF) by Lawrence Otis Graham. Identify each author’s use of scene, exposition, description, dialogue, imagery, metaphor, lyricism in his essay.
Tue. 12/1 Focus- craft: scene, exposition, description, dialogue, imagery, metaphor, lyricism
Discuss and share observations from one of the essays-“Consider the Lobster” or “Invisible Man”. Refer to the key points in Heuristic #15 from Appendix 3 for discussions; respond to Unit 4 #2 prompt.
Homework: 1) Do a “quick and dirty “research to find out a little more about each character. Whose life stories are more accessible? Who seems to strike a louder cord to your inner voice? 2) Read “Every Profile is an Epic Story” by Tomas Alex Tizon, and Kelly Cherry, “A Note About Allen Tate,” 172-174.
Wed. 12/2 Focus- Finding Good Topics
Read and unpack “Finding Good Topics: A Writer’s Questions” by Lane Degregory; respond to Unit 4 #3 prompt.
Homework: Review “World on a Hilltop” by Adam Hochschild. Consider the strategies suggested by Degregory and identify corresponding details from “World on a Hilltop” to understand how the author purposefully selects his materials to develop his story on a specific topic.
Thur. 12/3 Focus-character sketches
Discuss “Every Profile is an Epic Story” & “World on a Hilltop” (How is the subject complicated through contradictions? How does the author look for the person’s pain to understand his/her? What is the subject’s “quest” in the story? What’s so “epic” about the subject’s story? ); respond to Unit 4 #4 prompt.
Homework: 1) Continue with your research and narrow down your choice about the person you will spend more time researching and writing. 2) Read “Profiles” (PDF) by Jacqui Banaszynski 3) Read Alissa Quart, “When Girls Will Be Boys” (PDF)
Fri. 12/4 Focus: Profiles, Range and Scope
Discuss “Profiles” ( refer to the notes in Appendix 1) ; Identify three different types of profiles in A. Quart’s “When Girls Will Be Boys”; identify passages that are niche or paragraph profiles; respond to Unit 4 #5 prompt.
Homework: 1) Continue with the paragraph profile writing; 2) Read Beverly Lowry, “The Shadow Knows” (PDF)
Weeks 14-15: Researching, interviewing, and reporting
Mon. 12/7 Focus- Niche profile, research
Read and discuss “Using Research to Expand Your Perspective,” Tell It Slant, Ch. 8, 71-86 & Mark Kramer’s “Reporting for Narrative: Ten Tips” (Refer to the notes in Appendix 1); in a small group, unpack “The Shadow Knows” (consider which parts of the story are based on research, which parts on reporting; how the author uses research to frame her narrative or dig deeper into the story); generate a list of ideas of research or reporting for your own essay; respond to Unit 4 #6 prompt.
Homework: 1) Read “The Salvation of Whiskey” by Courtney Hytower, (PDF / Student Essay) before continuing to work on the niche profile of one of the subjects of your narrative. 2) Read Isabel Wilkerson, “Interviewing: Accelerated Intimacy” (PDF) 3) Read 1/3 of “Gone Girl: The Extraordinary Resilience of Elizabeth Smart” by Margaret Talbot (PDF)
Tue. 12/8– Focus-Interview
Unpack “Interviewing: Accelerated Intimacy”; discuss “Gone Girl: The Extraordinary Resilience of Elizabeth Smart” ( refer to questions in Appendix 1 for discussion); respond to Unit 4 #7 prompt).
Homework: 1) Continue preparing your interview questions and writing your profile essay; 2) Read passages in profile, Ariel Levy’s “Either/Or: Sports, Sex, and the Case of Caster Semenya” (PDF) that are based on research, reporting or interviews respectively. What is the issue that the author really tackles? How does the author reveal her subjectivity? How does Levy make Semenya’s case carry universal meaning? Select a passage that implies either a specific craft or meaning and be prepared to share with the class for the next day’s discussion.
Wed. 12/9 Focus- Reporting and the narrative idea
Unpack “The Narrative Idea” by David Halberstam (PDF) ( Refer to the notes in Appendix 1) ; discuss “…the Case of Caster Semenya” by Levy. How does Levy’s reporting illustrate these ideas in her profile writing of Semenya? Respond to Unit 4 #8 prompt.
Homework: 1) Clearly articulate the central idea of your story. Add whatever you may need to turn the idea into a story. 2) Read “Getting Ready from Nickle and Dimed” by Barbara Ehrenreich (PDF) and examine how she turns an idea about poverty into a story.
Thur. 12/10 Focus: the beginning
Discuss “Getting Ready from Nickle and Dimed” (How does she turn an idea about poverty into a story?); unpack “To Begin the Beginning” ( refer to the Key points in Appendix 1); respond to Unit 4 #9 prompt .
Homework: 1) Continue working on an effective beginning. 2) Read Kelley Benham, “Hearing Our Subjects’ Voices…” (PDF) 3) Read George Saunders, “Buddha Boy” (PDF).
Fri. 12/11 Focus- Subjects’ voice
Unpack readings (Refer to the notes and discussion questions in Appendix 1); respond to Unit 4 #10 prompt.
Homework: 1) Continue working on adding dialogues to the scenes you have written. 2) Read Mark Bowden’s “Finders Keepers: The Story of Joey Coyle” (In Fact,189-225) ( Refer to Appendix 1 for questions)
Week 15 Focus: Developing narrative
Mon. 12/14 Focus–when the writer is uncertain about the subject or topic
Unpack “Narrative J School for People who Never Went” by Adrian Nicole LeBlanc (PDF); Discuss “Finders Keepers: The Story of Joey Coyle” & (Refer to the notes and questions in Appendix 1); respond to Unit 4 #11 prompt.
Homework: 1) Continue probing into your narrative and use yourself as the “thermometer”. How far have you gone into the reporting and researching? What else needs to be done? Have you been writing scenes as you gather information about events and actions? 2) Read “Yaeger” by Tom Wolfe (PDF)
Tue. 12/15 Focus-strategies for interviews
Unpack “Not the Killing But Why” (Refer to the notes in Appendix 1); discuss “Yaeger” ( refer to the discussion questions in Appendix 1); respond to Unit 4 #12 prompt.
Homework: Continue writing the profile; Read excerpts from Raffi Khatchadourian, “Transfiguration: How Dallas Wiens Found a New Face” with particular attention to the story’s structure.
Wed. 12/16 Focus-story structure
Read and unpack “A Story Structure” by Jon Franklin, WTS, 109-111(Refer to the notes in Appendix 2); discuss “Transfiguration: How Dallas Wiens Found a New Face”; Consider: How does the author structure the story? How does the structure reveal meanings that are beyond the story itself? Respond to Unit 4 #13 prompt.
Homework: 1) Continue working on the story structure; 2)Read selected passages from“The Naked Citadel” by Susan Faludi (PDF)
Thur. 12/17 Focus- “Summary vs Dramatic Narrative”
Read and unpack “Summary vs Dramatic Narrative” by Jack Hart (TTS 111) ( Refer to the notes inAppendix 1); discuss “The Naked Citadel” ( Respond to the questions posted in Appendix 1); respond to Unit 4 #14 prompt.
Homework: 1) Continue working on the summary and dramatic narrative. 2) Continue reading “The Naked Citadel” by Susan Faludi
Fri. 12/18 Focus: “Weaving Story and Idea”
Read and unpack “Weaving Story and Idea” by Nicholas Lemann( TTS 112) (Refer to the notes in Appendix 1) ;discuss “The Naked Citadel” ; respond to Unit 4 #15 prompt.
Homework: 1) Write an ending for your essay and bring a hard copy of the ending for the next class. 2) Evaluate eh ending of “The Naked Citadel”.
Weeks 16-17: Focus-Revision
Mon. 12/21: Focus- “Ending”
Read and unpack Bruce DeSilva’s “Endings,” TTS,116-121 (Refer to the notes in Appendix 1); work in pairs to analyze and evaluate each example of the ending in Heuristic #8; respond to Unit 4 #16 prompt.
Homework: Revie the ending and work on completing the 1st draft of your essay by 12/23. Bring in a copy of the 1st draft to the next class for peer review.
Tue. 12/22:
Individual conferencing and peer review.
Homework: Complete the first draft. Consider incorporating some of your peer’s suggestions. Bring in two copies of your 1st draft for the revision workshop.
Wed. 12/23 : Revision Workshop ( See Heuristic #9)
Work in a group of three for peer reviews and revision. Refer to Heuristic #9.
Homework: Revise your essay based on the workshopped ideas for revision. Continue working on the revision during the holiday break. You will need to exchange your essays with the same group members for the 3rd peer review.
Week 17
Mon.–Wed. 1/4 -1/6 Revision Essay due 1/7/2016.
Thur. 1/7 Reflection
Discuss questions in Heuristic #10 to review critically of the literary journalism unit.
Homework: Reflection due on 1/8/2016.
Fri. 1/8
Students share excerpts from their profile writing in class.
Share reflections.
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Unit 5 Revision and Reflection (2 Weeks)
Unit 5 Assignments: Final Portfolio: Comprehensive revision of one creative nonfiction piece, minor revisions to all other portfolio pieces, student readings, and reflective essay. Due 1/22/2016
Weeks 18-19: Revision work, workshopping, practice reading work out loud
Mon. 1/11
Review Portfolio Assignment (Heuristic #11) and rubric (Heuristic #11A). Students make decisions about their final portfolio contents and design.
Homework: Work on the final portfolio. Your final project for WRT 114, due 1/22/2016, should contain 20-25 pp. of your best/revised writing for this course, including at least one global revision piece, and an introduction.
Tue. 1/12 Focus–Large and small group workshopping
Workshop on adding concrete detail to the essay, verb tense and strengthening use of verbs
Collaging exercises / Conversations on titling and framing
Wed. 1/13
Review prompts from previous units that aimed at adding narrative and reflection, filling in the gaps, building transitions, and cutting unnecessary prose
Thur. 1/14
Experiment with different starting points for the essay; punctuation workshop.
Fri. 1/15
Student work on the Final Portfolio
Mon. 1/18 No Class, Martin Luther King Holiday
Tue. 1/19
Mark-up exercises with printed drafts-in-progress; Reading peer drafts and providing in-depth feedback.
Homework: Work on the final portfolio.
Wed. 1/20
Reading peer drafts and providing in-depth feedback
Homework: Work on the final portfolio.
Thur. 1/21
Reflect critically on the final portfolio assignment; work in small groups to discuss questions about the portfolio in Heuristic #12.
Homework: Complete the critical reflection.
Fri. 1/22 Final Portfolio and critical reflection due.