ࡱ> g cbjbjVV ;r<r<^Z  z z z z z  8 |B! eQ&V"#(6#6#6#~$H%<% PPPPPPP$T=W Qz '~$~$'' Qz z 6#6#HQ,,,'z 6#z 6#P,'P,,2(JL8N6#pta(tL.P5Q0eQLWU)fW\8N8N8Wz pN`%h &J,V&<&%%% Q Q*H%%%eQ''''W%%%%%%%%%  @: San Jos State University Department of English and Comparative Literature ENGLISH 201C: Methods and Materials of Literary Production Instructor:Prof. Alan SoldofskyOffice Location:FO 106Telephone:408-924-4432Email:soldofsk@email.sjsu.eduOffice Hours:M T W 3:00 4:30 PM,Class Days/Time:T 7:00 9:45 PM Classroom:Clark Hall 129 Course Description This course introduces Creative Writing graduate students to the resources, traditions, techniques and culture associated with professional creative writing both inside and outside academia. The class will study the role of the individual writer within the literary and academic communities, and explore various forms of literary activity that commonly support the literary life. Students will learn to find and evaluate dominant and alternative literary magazines and publishers, book review indexes, academic journals, and online and other electronic resources. By means of this course, they will find ways to apply their knowledge of these resources that are useful in their own writing, in their other courses, and in fulfilling other requirements for the MFA. Overview of Course Learning Objectives: A creative writers work is both a personal journey toward increasingly masterful artistic expression as well as an increasing understanding of what the literary world requires of a writer as a professional. In order to succeed, a Creative Writing MFA student needs to understand how the interlocking networks within the literary, academic, and publishing communities function. To gain such an understanding, students will accomplish the following objectives in this course: Explore the traditions, conventions, sub-genres, and schools, associated with contemporary poetry, fiction, and creative nonfiction. Explore the literary tradition as it has evolved in Northern and Central California. Examine the role of the creative writer within academia. Become familiar with a wide range of literary journals, publishers, and electronic resources for creative writers. Examine the evolving genre of book reviewing, the personal literary essay, blogs, and literary forums. Gain a familiarity with some common professional forums and networks for creative writers within academe. Gain familiarity with various avenues for publication and other professional activity. Gain familiarity and experience writing a thesis proposal for the English Department Graduate Committee to approve. Course Methods and Activities: At the start of this course, each class member will select a contemporary prose writer or poet whose career will become the subject of study. Many of the assignments and activities in the course will be based upon what students can find out about the careers of the writers they have chosen. Students are urged to get in touch with the writer theyve chosen through email or snail mail, and to establish a correspondence through which the students can ask the writer questions relevant to the course assignments. You should select someones whose work you know or have a strong interest in reading. The writers whose careers the students will want to study are those who have established a publishing track record in both periodical publication and book publishing. Writers who publish in more than one genre would be most exemplary. You should allow an average of 4 to 6 hours per week for this class to stay current with the assigned reading and writing. If you read more slowly, you should allow for more time. Visits from Writers, Editors, and Publishers: Our class will occasionally host visits by Bay Area and West Coast literary professionals who will make brief presentations and take part in Q & A about matters pertinent to the course material. Some presentations will be made by writing faculty from 91 as well as writers teaching in other academic departments. Reading List: REQUIRED: Charles Baxter, Burning Down the House: Essays on Fiction. Robert Hass, Twentieth Century Pleasures. Poets and Writers Magazine. (July Aug., Sept.-Oct., Nov.-Dec. issues)  HYPERLINK "http://www.reedmag.org/drupal/" Reed Magazine 2011 Issue. The Writers Chronicle (Sept. Oct., Nov. Dec. issues distributed through the Department). RECOMMENDED: James Harner, Literary Research Guide: An Annotated Listing of Reference Sources in English, 3rd edition. (To be used as a reference book.) ON-LINE RESOURCES: Academy of American Poets  HYPERLINK "http://www.poets.org/" http://www.poets.org Associated Writers Programs  HYPERLINK "http://www.awpwriter.org/" http://www.awpwriter.org Poets & Writers On-Line  HYPERLINK "http://pw.org/" http://pw.org New Pages (a portal to literary magazines and journals  HYPERLINK "http://www.newpages.com/" http://www.newpages.com Also The New Yorker Podcast:  HYPERLINK "http://www.newyorker.com/online/blogs/books/2009/05/tobias-wolff-reads-denis-johnson.html" The Book Bench Seminar Project Due Dates: Annotated Bibliography Sept. 13: List of potential writers for bibliography project. Sept. 27: Working draft (for instructors comments). Dec. 6: Completed project (in final portfolio). Book Review Sept. 27: Select book to review. Select periodical or online publication for submission Oct. 4: Post drafts posted to class members for discussion and critique. Oct. 18: Working draft due (for instructors comments). Dec. 6: Completed project (in final portfolio). Personal Literary Essay (Conference Paper) Oct. 13: Abstract posted to class members for discussion and critique. Nov. 1: Working drafts posted to class members for discussion and critique. Nov. 15 Dec. 6: Conference paper in-class presentation. (Turn in essay to the instructor with your presentation). Dec. 6: Completed project (in final portfolio). MFA Thesis Proposal Nov. 22:Content section drafted and posted to class Google Site for comments. Nov. 29: Influences section drafted and posted to class Google Site for comments. Dec. 13: Completed thesis proposal and writing sample can be turned in separately from final portfolio. Final Portfolio Students are to turn in final revisions of all assigned writing in a final portfolio. The material should be prepared in standard manuscript form acceptable for submitting for publication. The final portfolio must contain the following pieces of writing: Annotated bibliography (including lesser-known periodical and book publications) Book review (1,000 to 1,500 words) Personal literary essay (2,500 3,500 words) MFA thesis proposal, including attached writing sample. Final versions of the annotated, book review, personal literary essay, and /MFA thesis proposal will comprise the final writing portfolio for the course. Portfolios are due on the last day of the semester. Added to the formal graded assignments will be informal group and classroom activities that will be considered a portion of the class participation grade. These may include (but are not limited to) other oral presentations such as leading a discussion about one of the assigned readings or presenting on particular literary network, journal, or conference. Grading Bibliography 10% Book Review 20% Personal Literary Essay 30% 20-Minute Conference Presentation of Literary Essay 10% Book/MFA Thesis Proposal 20% Class participation 10% TOTAL 100% A NOTE ON GRADES: In English Department courses, instructors will comment on and grade the quality of student writing as well as the quality of the ideas being conveyed. All student writing should be distinguished by correct grammar and punctuation, appropriate diction and syntax, and well-organized paragraphs (stanzas). Grades given conform to the English Department and university grading policy. The Department of English is committed to the differential grading scale as defined in the official 91 Catalog (The Grading System). Grades issued must represent a full range of student performance: A = excellent; B = above average; C = average; D = below average; F = failure. A note on plagiarism: Any case of suspected plagiarism or academic dishonesty will be reported to the office of Graduate Studies for further investigation. University Policies Academic integrity Avoiding Plagiarism: Plagiarism is the unacknowledged use of somebody elses words or ideas and is considered an instance of academic dishonesty that instructors must report. Repeated instances of plagiarism will result in a students expulsion from the University. You commit plagiarism by: 1. Buying, stealing, or borrowing a paper or creative work; 2. Hiring someone to write a paper or creative work; 3. Building on someones ideas without providing a citation; 4. Or copying from another source or using a source too closely when paraphrasing. In other words, submit only your own work. To learn how to cite sources accurately and forthrightly, consult your handbook. Students should know that the Universitys  HYPERLINK "http://www.sa.sjsu.edu/download/judicial_affairs/Academic_Integrity_Policy_S07-2.pdf" Academic Integrity Policy is availabe at http://www.sa.sjsu.edu/download/judicial_affairs/Academic_Integrity_Policy_S07-2.pdf. Your own commitment to learning, as evidenced by your enrollment at San Jose State University and the Universitys integrity policy, require you to be honest in all your academic course work. Faculty members are required to report all infractions to the office of Student Conduct and Ethical Development. The website for  HYPERLINK "http://www.sa.sjsu.edu/judicial_affairs/index.html" Student Conduct and Ethical Development is available at http://www.sa.sjsu.edu/judicial_affairs/index.html. Instances of academic dishonesty will not be tolerated. Cheating on exams or plagiarism (presenting the work of another as your own, or the use of another persons ideas without giving proper credit) will result in a failing grade and sanctions by the University. For this class, all assignments are to be completed by the individual student unless otherwise specified. If you would like to include in your assignment any material you have submitted, or plan to submit for another class, please note that 91s Academic Policy F06-1 requires approval of instructors. The instructor reserves the right to revise the requirements and to notify students of such revision in a timely manner, e.g., "subject to change, announced at least one class meeting in advance. Campus policy in compliance with the Americans with Disabilities Act "If you need course adaptations or accommodations because of a disability, or if you need special arrangements in case the building must be evacuated, please make an appointment with me as soon as possible, or see me during office hours. Presidential Directive 97-03 requires that students with disabilities register with the DRC to establish a record of their disability." Calendar of Readings (In the South Bay Region) (Attend at least one reading. Write a 500 1,000 word impressionistic review describing a few of the poems works and receive extra credit for your course participation grade.) 91 Campus Readings Presented by the Center for Literary Arts (free admission) ENGL 201C: Fall 2011 Schedule of Activities and Assignmentswith Links NOTE: The calendar lists work assigned by week. The assigned readings will be presented by individual groups and discussed in class on the Monday dates listed below. Following discussion of assigned readings, the workshop of students work will begin. The instructor reserves the right to revise this schedule and to notify students of such revision in a timely manner, e.g., "subject to change, announced at least one class meeting in advance." Week 1: Aug. 30CLASS OVERVIEW. Skills and resources creative writers must possess in order to begin writing professionally. Learning literary survival skills. Researching and creating an annotated bibliography. Using the bibliography as a research tool to help complete other writing projects required in the course. Selecting an author you will write about during the semester. Making annotationswriting for a particular audience and use. Sample bibliographies. WRITING ASSIGNED: You are to compile an annotated bibliography of books and/or magazine publications of a single author. The bibliography is intended to chronicle and help the reader understand the career of the author you have chosen to research. Select an author whose career is of interest to you, or select from a list of 91 Lurie Chair holders in Creative Writing. INSTRUCTORS ADVICE: Dont choose an author whose work is new to you, or a prolific writer like Joyce Carol Oates, or most one-book authors. READING ASSIGNED: From Twentieth Century Pleasures: Reading Milosz. From AWP Writers Chronicle, TBA. Week 2 Sept. 6FIELD TRIP: Meet in MLK, Library Room 213, with Toby Matoush, English Dept. Resource Librarian, 7:00. DISCUSSION: The uses and purposes for annotated bibliographies. Creating an annotated bibliography of a writer. The importance of tracking down an authors major publications in periodicals. Finding periodicals and journals SMALL GROUPS: Begin bibliographical research. Work in groups to find online and cataloged (in-print) sources and materials. DUE: Bring to next weeks class a short list of authors youre considering for your annotated bibliography. WRITING ASSIGNED: Begin work on the annotated bibliography. Bring your draft and/or notes to class next week to workshop. Articles assigned in The Writers Chronicle and Poets & Writers TBA. Week 3 Sept. 13SMALL GROUPS: Share bibliographic research results and workshop drafts of bibliographies. MINI-PRESENTAIONS: Show sample magazines and journals you found during the week in class. CLASS DISCUSSION: The types of literary magazines, quarterlies, little magazines, and Web-based journals that publish book reviews. Also book reviews for daily and weekly newspapers. Exploring zines, blogs, and web-based journals. WRITING ASSIGNED: Complete annotated bibliography; fair copy due next week. RESEARCH ASSIGNED: Find two or three literary magazines/journals (or weeklies) which would be your potential market for selling your book review. Bring samples of or Web links for these periodicals/journals to class. Be prepared to make a short presentation about the magazine. READING ASSIGNED: Read interviews in REED Magazine 2011. EXTRA CREDIT: Prepare a thumbnail review (250 300 words) of REED Magazine 2010, to submit to Newpages.com or other appropriate publication. Week 4 Sept. 20 Week 5 Sept. 27DUE: Annotated bibliography (final working draftcan be revised after receiving instructor response and preliminary grade). WORKSHOP: Selected bibliographies. CLASS DISCUSSION: Book Reviews: Styles and purposes of book reviews in various types of small magazines, academic journals, slick magazines, daily and weekly newspapers, and online journals. SMALL GROUPS: Compare types of book reviews and books reviewed found in the sample magazines and journals. WRITING ASSIGNED: Select a book to review by the author youre working on or by another author of related interest. Write a working draft of the review (1,500 words) to share in small groups next week. RESEARCH: Bring copies to class two reviews of at least one book listed in your bibliography. READING ASSIGNED: In Twentieth Century Pleasures, Four Reviews. Assortment of book reviews on Eric Puchner, Lan Samantha Chang, Carl Phillips, and other authors (see links on Google Groups). DISCUSSION: The politics of book reviewing within the literary, academic, and publishing communities. Who writes the reviews? Getting reviews published. Positive reviews, negative reviews, state-of-the art reviews. SMALL GROUPS: 1) Discuss drafts of book reviews you found. 2) Read and edit book review drafts. WORKSHOP: Selected book review drafts discussed. WRITING ASSIGNED: Continue work on your book review. READING ASSIGNED: In Twentieth Century Pleasures, Some Notes on the San Francisco Bay Area as a Culture Region: A Memoir. In Burning Down the House, The Donald Barthleme Blues. RESEARCH ASSIGNED: Find an example of a personal literary essay in a magazine or periodical to share in class. Week 6 Oct. 4GUEST SPEAKER: Joyce Jenkins, publisher of Poetry Flash. WORKSHOP: Book reviews. DISCUSSION: 1) Purposes and subjects for the personal literary essay. Examples of types. 2) Hass and Baxter essays. WRITING ASSIGNED: Finish draft of your book review (due next week). READING ASSIGNED: In Twentieth Century Pleasures, Images. In Burning Down the House, Rhyming Action. Essays selected from Poets & Writers magazine. Week 7 Oct. 11 HYPERLINK "http://www.litart.org/" \l "Fall" Melanie Rae Thon reading 7pm: Reading and book signing. MLK Library 225/229. Class to meet when reading ends (approximately 8:00 P.M.) DUE: Book reviews (working draft) due. DISCUCSSION: 1) Hass and Baxter essays. 2) Ideas for personal literary essays. SMALL GROUPS: Brainstorm ideas for personal literary essays. WORKSHOP: Selected book reviews. READING ASSIGNED: In Twentieth Century Pleasures, Listening and Making. In Burning Down the House, Stillness. WRITING ASSIGNMENT: Begin work on your personal literary essay. Week 8 Oct. 18SMALL GROUPS: Share and edit abstracts (and papers-in-progress) for personal literary essay. DISCUSSION: 1) How to develop and revise a personal literary essay. 2) Adapting a personal literary essay for a conference presentation. 3) Writing the abstract for a proposed conference paper. PRESENTATIONS/DISCUSSION: Hass and Baxter essays. READING ASSIGNED: In Twentieth Century Pleasures, What Furies. In Burning Down the House, Dysfunctional Narratives, Or: Mistakes Were Made. RESEARCH ASSIGNED: 1) Explore the Web, literary periodicals such as The Writers Chronicle, or other journals to find conference announcements and/or calls for papers in the fields of Literature, Creative Writing, or Cultural Studies. 2) Bring two calls for papers (CFPs) to class. WRITING ASSIGNED: For practice, write a one- to two-paragraph abstract describing your literary essay as a proposed conference paper. Week 9 Oct. 25DISCUSSION: The kinds of conferences creative writers attend and the kinds of papers they give. Calendar of annual academic and literary conferences attended by creative writers. How to organize and moderate a conference panel. Online conferences and forums. Examples of recent papers and conference talks. SHOW AND TELL: Conference paper abstracts for comments and revisions. WORKSHOP: Personal literary essays (posted to class members in advance of this meeting). PRESENTATION: Using MLA Style Sheet; documenting sources. READING ASSIGNED: Explore present and past AWP program schedules. Sample conference papers. Readings from Poets & Writers Magazine and The Writers Chronicle TBA. Week 10 Nov. 1DISCUSSION: What kinds of conferences do creative writers attend and what kinds of papers do they give? Calendar of annual academic and literary conferences attended by creative writers. How do you organize and moderate a conference panel? Online conferences and forums. Examples of recent papers and conference talks. PRESENTATIONS: Conference paper abstracts for comments and revisions. WORKSHOP: Personal literary essays (posted on Google Sites to class members in advance of this meeting). PRESENTATION: Using MLA Style Sheet; documenting sources. READING ASSIGNED: Explore present and past AWP program schedules. Sample conference papers. Readings from Poets & Writers Magazine and The Writers Chronicle TBA. Week 11 Nov. 8 HYPERLINK "http://www.litart.org/" \l "Fall" Camille Dungy Poetry Reading, 7pm:. MLK Library 225/229 Class to meet when reading ends (approximately 8:00 P.M.) PRESENTATIONS: First group presents their conference papers, followed by limited Q & A. Discussion of papers. DUE: Personal literary essays from in-class presenters. WORKSHOP: Personal literary essays (posted in advance of this meeting). DISCUSSION: Writing a thesis proposal. English Dept. practice and expectations. READING ASSIGNED: Selected readings from Poets & Writers Magazine and The Writers Chronicle. Sample thesis proposals. Week 12 Nov. 15PRESENTATIONS: Second group presents their conference papers, followed by Q & A. Discussion of papers. GUEST SPEAKER: TBA. DUE: Personal literary essays from in-class presenters. DISCUSSION: What goes into a book/thesis proposal. How to select thesis advisers. EDITING SESSION: Edit cover letters and book/thesis proposal drafts. Also share/discuss writing samples to be included as attachments. DISCUSSION: Articles from Poets & Writers and The Writers Chronicle TBA. READING ASSIGNED: Sample thesis proposals (electronic handout on Google Groups). Selected readings from Poets & Writers Magazine and The Writers Chronicle. Week 13 Nov. 22 PRESENTATIONS: Third group presents their conference papers, followed by Q & A. Discussion of papers. DUE: Personal literary essays from in-class presenters. WORKSHOP: Final chance to workshop personal literary essays (posted to class members in advance of this meeting). DISCUSSION: More on book/thesis proposals. Looking at samples. Strategies for writing content section and selecting the writing sample. READING ASSIGNED: Selected readings from Poets & Writers magazine. Publishers submission policies (handouts). WRITING ASSIGNED: Revise book/thesis proposal. Add detail. Work on sample chapter(s), stories, poems. Week 14 Nov. 29PRESENTATIONS: Fourth group presents their conference papers , followed by Q & A. Discussion of papers. DUE: Personal literary essays from in-class presenters. WORKSHOP: Thesis proposalsfocus on content section(posted to class members in advance of this meeting). WRITING ASSIGNED: Complete final draft of thesis proposal and writing sample. (You may include work from the past which you may likely not use in your thesis.) DISCUSSION: Strategies for writing the influences section. Week 15 Dec. 6WORKSHOP: Thesis proposalsfocus on influences section(posted to class members in advance of this meeting). DISCUSSION: Common flaws in thesis proposals that require revision to meet the standards of the English Department Graduate Committee. FINAL PORTFOLIOS DUE: You can submit a disk or electronic copies in lieu of hard copy. All assignments should be included, except thesis proposals can be submitted on Dec. 13 if extra revision is needed. Week 16 Dec. 13 Final MeetingEnd of the semester celebration, place TBA.      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