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| Schedule and links to readings for all class workshops |
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On Mondays, we'll workshop your writing, as assigned in class. You'll be in critique groups of 4-5 people--please bring enough copies of your manuscript for your group (as well as one for me.) Wednesdays, we'll work on craft and examine the work of professional writers. When reading assigned chapters, be familiar with the part on craft for Mondays and be prepared to discuss the stories on Wednesday. Student presentations will also take place Wednesdays as part of the story/craft explorations. Schedule may change, so pay attention in class and to this webpage.
| Week | Have these
chapters read |
Bring these completed assignments |
| Jan 22. and 24 |
Intro, syllabus, in class writing. Read Chapter One for Wednesday | Read Chapter One for Wednesday |
| Jan. 29 and 31
|
ch 2 showing and telling
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For MONDAY: At least three pages of story. Use
exercises 1, 3, or 5 on p. 21
if you need story ideas. Wednesday we'll work with Chapter 2. |
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| Feb. 5 and 7 |
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For Monday: Bring at least 3 pages, more of what you wrote last week or something different, as you are inspired. If you need help getting started, choose ex. 1 or 6, p. 77-78. Wednesday we'll work with Ch. 3. | |
| Feb. 12 and 14 | Characterization 2 Chapter 4
|
Feb. 12 we will be hosting fiction/nonfiction writer ROBIN HEMLEY in our class for discussion, particularly about the issues many of you raised regarding fiction and truth. You will receive an article he wrote about this, and here's a LINK to a short story of his available on line. If you can, plan to attend the Hemley reading at 1:00 PM in Theater 2 in the MAC.
For Monday: Assignment: Observe a real person, someone you know or don't know, for 20 minutes or so.. Write down their words, mannerisms, dress, grooming, actions, behaviors, gestures, verbal tics, physical oddities, postures, reactions--anything that makes them THEM (but not their history, biography, etc. See if you can translate some of that into behavior/speech.) Let yourself find what's less than obvious.It's best not to tell them they're being studied, of course. Later, look at the characters in your story. Are they as vivid? Wednesday: You should hand in one complete (beginning to end) draft of a story, with sufficient copies for your group, to workshop on Monday. |
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| Feb. 19 and 21
|
-Ch. 8 Point of View |
Monday: We will workshop story drafts in small groups. Wednesday: Work with Ch. 8. | |
| Feb. 27 and March 1 | Setting Ch. 5 | Monday: have written some point of view shifts. Try at least 2 shifts in point of view. Use the material you're currently working on, and don't stop the movement of the story, that is, avoid going over the same material from different characters' point of view, unless there's a specific reason you want to do that. Wed: work with Ch.5. Bring in 4 copies of a story/movement that you want workshopped next Monday either a radical revision of your earlier piece, or a different section, or a different story--your choice | |
| March 5 and 7 | Time Ch. 6
|
Monday: Workshop
stories. You are on your own--I am in New Orleans. Wednesday: |
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| March 12 and 14 | Ch. 7 Form, plot, structure |
Wednesday: Chapter 7. Your short-shorts should be done or in progress. |
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| Mar 19 and 21
|
Ch. 11: Revision |
Spring Break Read about revision anyhow (or plan ahead and do it earlier.) | |
| Mar 26 and 28 | Monday: Ch. 11 . WEDNESDAY: INDIVIDUAL CONFERENCES. | ||
| April 2 and 4 | Ch. 10 Theme Ch.9 Language |
MONDAY Chs. 9,
10. Hand in completed stories for workshopping.
April 4: Last presentations: Alexie, Butler, Saunders (make sure you read these authors) |
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| Apr 9 and 11 | Workshop |
April 9:
All class workshop: Cepsyte, Proctor, Nickels. April 11: Individual conferences. |
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| Apr 16 and 18 | Workshop | April 16: All
class workshop Collofello, Foster April 18 Conferences |
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| Apr 23 and 25 | Workshop | all class workshop both days | |
| May 1 and 3 | Workshop | all class workshop both days | |
| May 7 and 9 | Workshop if necessary and portfolios due MAY 9. | Don't forget statement explaining writing process
and revisions to each of the pieces selected as your "polished" pieces.
Include information about your growth as a writer.
Revision Statement : a brief recap of your revising ideas, not to exceed 2 pages unless you absolutely must.Explain some of the thinking and process that went into revising your work. You may want to discuss movement and timing, narrative distance and other issues of narration, clumsy phrasing or diction, uses of action and dialogue to develop plot and character. You may want to use this guide to help you frame your discussion IDEAS TO CONSIDER HERE. |
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