ࡱ> kmjy ?bjbj 0r{{7 * * 8d4l-):" ((((((($*-j((()))()())8'ht(/'((0-)'.). t(.t($)(()-).* J:  San Jos State University English Department English 135, Nonfiction Writing Spring 2012 Instructor:Susan ShillinglawOffice Location:Faculty Offices 118Telephone:408-924-4487Email:susan.shillinglaw@sjsu.eduOffice Hours:T. TH: 1:00-2:45 Class Days/Time:T/TH: 4:30-5:45Classroom:Health Bld. 405Course Description Creative nonfiction is a booming field. The term includes a wide range of prose: memoir, travel writing, biography, science writing, nature writing, personal and lyrical essays, feature writing. In this class we will focus on that range. The goals of this course are to help you improve your writing; to practice research, as well as interview and observational skills; to recognize the strengths of published work; and to discuss your own and others prose. But first and foremost it is a writing course In the first part of the semester, you will turn in 10 short pieces, one per week. You will post these by the day and time indicated on the syllabus, read your groups essays before class (5 in each group), and workshop piece, usually on a Thursday. In class, you will offer critiques of your peers writing, and benefit from their critiques of your work. By the beginning of April, if not before, you should have ideas about a longer piece you wish to writeit may grow out of one of the short pieces or you may develop a new idea or work on a longer work in progress. Each student will meet with me to discuss your longer prose workthese too will be discussed in workshop at the end of the semester. You will also read several essays. Tuesdays class will usually be devoted to a discussion of the readings and the writers techniques. Grade Breakdown A. Class participation, 25%: This grade is determined by comments on your peers writing during workshops, presentations on readings, writerss journal, and discussion of prose readings. Presentations: Working in pairs, students will present a 10-minute talk on the reading for the weeknoting TWO strengths of the writing or TWO important points about the textbooks. Discussion and Workshops: Since this is a collaborative class, attendance is key. Please attend each class, arrive on time, post weekly writing by times noted on syllabus, and come prepared to discuss readings of other writers, your peers and professional writersFadiman and writers included in course reader. Writers journal: Please keep a journal and bring your journal to each class. Your journal will contain scraps of dialogue, your observations, ideas for essays, thoughts, responses to books you read, ideas to researchcomments on websites like Creativenonfiction.org, etc. I may ask you to comment on something in your journal during class. B. Short creative work posted online for class workshops (10), 40%. For the first twelve weeks of the semester, please post online a 750-1200 word piece by the date and time posted on the syllabus. This is vital, giving your peers ample time to read your work. Work not submitted on time will receive lower grades (in final portfolio). Each student will write 10 pieces. Post here (private): http://shillinglaw135.wikispaces.com/ Use this format for heading: NAME_ASSIGNMENT 1_TITLE C. Longer essay, 25% Please schedule a conference as soon as you have an idea about your longer piece. D. Portfolio and final assessment, 10% The portfolio will be turned in 1 week after your final paper has been workshopped and will include the following: 10 short pieces, original + any substantial revisions of weekly work (marked clearly as revisionsyou may choose to revise one, some, or all. The final portfolio is based on quality, not quantity). Longer essay + revisions after workshop, revisions clearly marked. Each student will have at least one conference with instructor to discuss your work. Please bring writers notebook to the conference. Review of one 91 reading/campus read event (other readings with instructor permission). Please read Zinsser, Chapter 18. Written work Please type and double space all work and include page numbers. Each week, I will comment on all your work, making suggestions and assigning a number grade. 4: Excellent work on the assignment, a superior piece of writing: thoughtful, original, imaginative, substantive. The point is supported throughout the essay. Language is sharp, style elegant. Sentences are powerful, varied. The work is error freeno spelling or punctuation errors or grammatical errors.. Posted by Wed. noon. 3: Good work, successful completion of assignment and solid writing. The readers attention is held throughout. This essay may lack some of the elegance, heft, vision, clarity of a 4 essay. The central idea is clear but may not be supported or developed throughout. Transitions may need some work, structure might need tightening. Some minor punctuation or grammatical errors. Sentence structure contributes to overall vision of the work, but may need to be tightened or varied. 2. Completed assignment, but the work may lack depth, precision, keen observation. It meets the guidelines for the assignment but does not go beyond expectations in any way. The point may be too broad or insufficiently supported. There may be spelling and grammatical errors, but not so many that they are distracting. It lacks originality, significant purpose, or point of view. 1. Unsatisfactory work. Lacks insight, originality. It may be too short, too general. Sentences may be clumsy. Grading: The Department of English reaffirms its commitment 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. In this course, as in all English Department courses, I will comment on and grade the quality of writing (grammar, organization, clarity, specificity, etc.) 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. Academic policies and English Department Student Learning Goals You are responsible for reading the 91 academic polices available online: HYPERLINK "http://www.sjsu.edu/english/comp/policyforsyllabi.html"http://www.sjsu.edu/english/comp/policyforsyllabi.html Student Learning Goals [SLG on syllabus] In the Department of English and Comparative Literature, students will demonstrate the ability to 1. read closely in a variety of forms, styles, structures, and modes, and articulate the value of close reading in the study of literature, creative writing, and/or rhetoric; 2. show familiarity with major literary works, genres, periods, and critical approaches to British, American and World Literature; 3. write clearly, effectively, and creatively, and adjust writing style appropriately to the content, the context, and the nature of the subject; 4. develop and carry out research projects, and locate, evaluate, organize, and incorporate information effectively; 5. articulate the relations among culture, history, and texts. Texts Creative Nonfiction, Philip Gerard On Writing Well, 30th Anniversary Edition: The Classic Guide to Writing Nonfiction, William Zinsser. At Large and At Small, Anne Fadiman Course reader: Maple Press Schedule January 26: Why I write exercise (Williams) [Monday January 30 by 5:00: Assignment 1 due: Select one assignment from Thinking about Memoir (2 pages)] (SLG, 3) January 31: Writing nonfiction: Gerard, Chapter 1; Zinsser, Chapters 1-7; Reader: Didion, On Keeping a Notebook, Fadiman Inset a Carrot and Eternal Ink. (SLG 1,3) Feb. 2: Workshop on Assignment 1. Amy Tan, Mother Tongue  HYPERLINK "http://blogs.law.harvard.edu/guorui/2008/02/06/mother-tongue-by-amy-tan/" http://blogs.law.harvard.edu/guorui/2008/02/06/mother-tongue-by-amy-tan/ (SLG 1,5) Feb. 7: Writing about Place: What makes one place different from another? Why does it matter? Zinsser, pp. 13-15 and Chapter 13. Gerard, Chapter 2; Reader: Wallace Stegner, At Home in the Fields of the Lord, from The Sound of Mountain Water. Barry Lopez, Stone Horse, Haines, The Writer as Alaskan: Beginnings and Reflections. Report on readings. (SLG 1,3,5) [Wednesday Feb. 8 by noon: Assignment 2 due: Write about an important place in your life and what happened there.] (SLG 3) Feb. 9: Workshop on Assignment 2. (SLG 3) February 14: Writing about Place, sensual details: John Steinbeck, My War with the Ospreys (Optional: Place in Fiction, Eudora Welty); Annie Dillard, Nightwatch; Fadiman, At Large and At Small, Preface and Collecting Nature Gerard Chapter 3. Report on reading. (SLG 1,3,5) [Wednesday February 15 by noon: Assignment 3 due: Substantial revision of important place.] (SLG 3) February 16: Workshop on Assignment 3. Fadiman, Night Owl (SLG 1,3) [Monday February 20: Assignment 4 due by 5:00, select one and write about sensual details of place: Go into nature after dark, alone, and record what you experience with as many senses as possible, considering: kinesthetics, balance, directional sense, vibration in earth, air pressure, vertigo, peripheral vision, the olfacotory landscape, air temperature, wind speed and direction, height or depth, pain, air currents, water currents, gravity, light, harmonics. Taste things. Walk along the Guadalupe River. Walk in Kelly Park. Walk in Vasona Park, along the pond. Walk at the perk ponds off Almaden Expressway and Blossom Hill Road. Hike in the Almaden Quicksilver County park. Hike Almaden Park. ] (SLG 3) February 21, What about I? Zinsser, Ch. 8-10; Reader: Writing Personal Essays: On the Necessity of Turning Oneself Into a Character, Phillip Lopate; Taking Yourself Out of the Story: Narrative Stance and the Upright Pronoun Report on reading. (SLG 1,3) February 23: Workshop on Assignment 4. (SLG 3) February 28: In class writing, Assignment 5. Fadiman: Mail (SLG 1, 3) March 1: Workshop on in-class writing. Steinbeck, Harvest Gypsies (SLG 1,2, 3,5) March 6: Writing about food: Reader: M.F. K. Fisher, The first oyster; Let the Sky Rain Potatoes, and Fifty Million Snails; Fadiman, Ice Cream Report on reading. (SLG 1,2, 3,5) [Wednesday, March 7 by noon: Assignment 6 due. a. Write about a food + research; b. write about a meal with more than food in it] (SLG 3) March 8: Workshop on Assignment 6. Fadiman, Coffee (SLG 1,3) March 13: Personality: How to capture another person. The art of interviewing. Zinsser, Chapters 11, 12. Gerard, Chapter 4. Reader, Jane Kramer, Cowboy; Gay Talese, Frank Sinatra Has a Cold; Report on reading. (SLG 1,3, 4) March 15: Fadiman, Coleridge the Runaway and The Unfuzzy Lamb In class exercise. (SLG 1, 3, 4) [Monday March 19 by noon: Assignment 7 due: Character sketch] (SLG 3) March 20: Workshop on Assignment 7. (SLG 3) March 22: Character: Family and home. Zinsser, Chapter 14, 24; Reader: R. Glendon Brunk, The Rage of Men; Lying, Lauren Slater; Wallace Stegner, Letter, Much too Late, in Where the Bluebird Sings to the Lemonade Springs. (SLG 1,3) March 26-30: Spring Break [Monday April 2, 5:00: Assignment 8 due by noon: write about your family] (SLG 3) April 3: Reader: Fadiman, Moving and A Piece of Cotton; Cokie Roberts, Wife from We Are Our Mothers Daughters; The Line Between Fact and Fiction, HYPERLINK "http://www.poynter.org/uncategorized/1500/the-line-between-fact-and-fiction/"http://www.poynter.org/uncategorized/1500/the-line-between-fact-and-fiction/ Report on reading. (SLG 1, 3 4) April 5: Workshop on Assignment 8. (SLG 3) April 10: Travel: Gerard, Chapter 5; Reader: McPhee reveals how the pieces go together and John McFee, Travels in Georgia. Report on reading. (SLG 1, 3, 4) April 12: Zinsser Chapter 13, 19. Fadiman, The Arctic Hedonist Report on reading. (1,3,4) [Monday April 16 by noon: Assignment 9 due: Travel] (SLG 3,4) April 17. Gerard Chapter 6, 10, 11. NYT travel writing (handout). Report on reading. (SLG 1,3,4) April 19: Workshop on Assignment 9. NYT travel writing (handout) (SLG 1,3,4) [Monday April 23 by noon: Assignment 10 due: Substantial revision of 4, 6, 7, 8 or 9] (SLG 3) April 24: Lyrical essay/memoir. Fadiman, Under Water Gerard, Chapter 7, 8. Handout: Once More to the Lake Report on reading. (SLG 1,3) April 26: Workshop on Assignment 10. (SLG 3) May 1: Workshop on longer piece (3 longer essays per class from May 1 to May 15). Gerard, Chapter 9. (SLG 1, 3,4) May 3: Workshop on longer piece. Zinsser, Chapters 20-22. (SLG 1, 3,4) May 8: Workshop on longer piece. Zinsser, Chapter 23. (SLG 1, 3,4) May 10: Workshop on longer piece. Zinsser, Chapter 25. (SLG 1, 3,4) May 15: Workshop on longer piece. (SLG 1, 3,4) Wed. May 23, Final exam 14:45-1700: Finish workshops on longer pieces. (SLG 1, 3,4) Suggested Reading, an very incomplete list Memoir/Autobiography Darkness Visible: A Memoir of Madness, William Styron The Liars Club, Mary Karr A Heartbreaking Work of Staggering Genius, Dave Eggers The Color of Water: A Black Mans Tribute to his White Mother, James McBride Running in the Family, Michael Ondaatje One Writers Beginnings, Eudora Welty The Glass Castle, Jeannette Walls The Kid, Dan Savage The Road to Coorain, Jill Ker Conway Biography Composing a Life, Mary Catherine Bateson Two Lives: Gertrude and Alice, Janet Malcolm Nature Blue Meridian, Peter Matthiessen Arctic Dreams, Barry Lopez The Practice of the Wild, Gary Snyder Refuge: An Unnatural History of Family and Place, Terry Tempest Williams Dakota: A Spiritual Geography, Kathleen Norris Travel Blue Latitudes, Tony Horowitz A Russian Journal and Sea of Cortez John Steinbeck Journalism The Road to Wigan Pier, George Orwell Confederates in the Attic, Tony Horowitz May you Be the Mother of a Hundred Sons: A Journey Among the Women of India, Elisabeth Bumiller Hells Angels, Hunter S. Thompson Act Five, Episode 218, This American Life. And others. 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