ࡱ> TVS5@ @%bjbj22 ]GXX@TTT,k)h((((((($*R%-D))%)zzz:(z(z z&|J( ݃!0:N'($;)0k)`'i-ji-$J(i-J(|0"z)) \d\English 265 Syllabus Autumn 2004, TR 10-12, MR 249 Kelly Magee Office: MR 310, Ext. 6310 Office Hours: TR 12-1 and by appointment Email: kmagee29@hotmail.com Course Objectives: To write and discuss the strange but fascinating genre that is the short story. Well focus on cultivating craft the tricks of the trade, the ways to woo your readers or grab them by the throat with particular emphasis on what makes a story work. The best stories are not the easy or obvious ones, but the ones that stick with you long after youve put them down. The ones that make you understand the world in a new way. For each unique, individual story, however, there are similar building blocks: character, plot, theme, voice, point of view, setting, and structure. Well learn the rules in detail, then learn how to subvert them, trash them, build on them, and turn them on their heads. To read short stories. Remember: your best teachers are your favorite stories. Well read a sampling in this class, but my best advice for anyone who wants to be a writer is, first, practice writing, and then, to read everything and everything you can get your hands on. Did I mention reading and writing? To live The Writers Life in all-caps for a quarter. This means youll be writing extensively both in and out of class, reading closely and carefully all assigned texts, and learning to see the world through words. Texts and Supplies: Writing Fiction: A Guide to Narrative Craft, Burroway, Sixth Edition Photocopies of stories for workshop A notebook or journal for class notes and story ideas The Bureaucratic Stuff: You are allowed a maximum of three absences for the quarter. After the third, you fail. I dont distinguish between excused and unexcused. If you must be absent more than three times, you may appeal by providing me with a formal written explanation and documentation (doctors note, funeral announcement, etc.). No exceptions. If you are absent, make sure to get any notes, handouts, or in-class assignments, from me or a classmate. There are no extensions of deadlines, and late work is not accepted. It is your responsibility to get work to me (and your classmates, if necessary) on time. Do what you have to do: put it in my mailbox, send it with a classmate, staple it to a friend, send it via carrier pigeon . . . but get it here on time. Computer excuses of any kind are unacceptable. This includes hard-drive crashes, printer jams, email mishaps, and disk betrayals. Keep back-up copies. Email papers to yourself. Store your work in your freezer. This is your writing protect it. Anything you email is your responsibility to get it to me on time and in the correct format (Microsoft Word or Rich Text format). Ill send a confirmation email for everything I receive if you dont get a confirmation, assume I didnt get whatever you sent me and make other arrangement. Please turn off phones, pagers, and any other noisemakers for class. Course includes adult material. We may discuss controversial topics, read literature containing profanity or adult situations, or discuss religious views contradictory to your own. If you suspect any of this could be a problem, please talk to me immediately. Courtesy is important both in class and in writing. Remember that this is a public forum. Play nicely. Should you encounter any difficulties with the course material, the method of instruction, or the instructor, please contact the instructor, the campus Ombudsperson, your advisor, or the Associate Dean. The Office for Disability Services (Marge Hazelett, MR 297, ext. 6247) offers services for students with documented disabilities. Any student who feels s/he may need an accommodation based on the impact of a disability should contact me privately to discuss your specific needs. Evaluation: Portfolio: 60% Daily Written Peer Critiques: 20% Workshop Participation: 20% Portfolio: A portfolio of 2 stories and 1 revision will be due in lieu of a final exam. Each story must have been turned on in time for the workshop to be eligible for the portfolio. Any story turned in late or not at all will not count toward your final grade. Note: Stories will always be turned in the day before your workshop, to give the class time to read and comment on your work. Do not wait until the day of your workshop to turn in copies of a story. Grading: The portfolio will be graded as a whole, with equal attention to the quality of writing and the revision done. Stories that receive the highest grades show a sophisticated understanding of technique, have a definite meaning or purpose, avoid clichd language and trite characters, plots, and settings, and show evidence of an emotional investment. These stories may experiment with language and structure, but not at the expense of clarity. Procedures: Everything you do and think should be double-spaced, Times New Roman, 12 point font, 1-inch margins. Number all pages. Staple, name, class, and date in upper left-hand corner. Titles centered. You may do double-sided copies to save paper, but this isnt required. Make 10 copies of stories to be workshopped, one for each member of the class and one for me. All assignments should be free from grammatical and typographical errors. Written critiques should be one page. Late work will not be accepted. Plagiarism: is the unauthorized use of the words or ideas of another person. It is a serious academic offense. Remember that at no point in the writing process should words or ideas that are not your own be represented as such. The Office for Disability Services offers services for students with documented disabilities. Any student who feels s/he may need an accommodation based on the impact of a disability should contact me to discuss specific needs. *Note: This syllabus is subject to change. Daily Schedule: Note: All reading assignments are to be completed by the day they are listed below. Thurs., 9/23: Class Introductions & Syllabus Tue., 9/28: Point of Entry Skim: Chapter 1, The Writing Process Read: Shitty First Drafts, p.18-21 Thurs., 9/30: The Form of the Short-Short Read: Bullet in the Brain, p.248-251 Tue., 10/5: Rendering Character Skim: Chapter 3, Showing and Telling Read: Linoleum Roses, p.89; Girl, p.67 Thurs., 10/7: Revealing Character Skim: Chapter 4, Characterization Read: Yours, p.130; Snow, p.302 Due: Story 1 Short-Short Tue., 10/12: Workshop Thurs., 10/14: Workshop Tue., 10/19: Creating a World Skim: Chapter 6, Fictional Place and Time Read: Which is More Than I Can Say About Some People, p.236-247 Thurs., 10/21: He, She, Me, You, and It? Skim: Chapter 7 & 8: Point of View Read: Jealous Husband Returns in Form of Parrot, p.306-311 Tue., 10/26: Workshop Read: The Things They Carried, p.90-102 Thurs., 10/28: Workshop Tue., 11/2: Workshop Read: Whos Irish? p.311-318 Thurs., 11/4: Workshop Tue., 11/9: Workshop Read: This Is What It Means to Say Phoenix, Arizona, p.384-393 Thurs., 11/11: Workshop Tue., 11/16: Workshop Read: Story, p.299-301 Thurs., 11/18: Workshop Tue., 11/23: One More Time Skim: Chapter 11, Revision Read: Dud, p.407; Happy Endings, p.64-66 Thurs., 11/25: No Class Happy Thanksgiving! 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