Advanced Writing -- English 492
Spring 1999

Goals

Methods

Texts and Other Expenses

Schedule

On-Line Resources Participation and Attendence

Other

Course Goals:

 Our goals this semester are to 1) familiarize ourselves with various genres of writing found in contemporary news/culture magazines and journals, 2) to analyze those genres with an eye toward producing imitations, and 3) to compose pieces of writing that are of a publishable quality.

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Course Methods: 

The course is designed as a reading and writing workshop. This means that what we learn will be the result of what we share with each other. We're going to read together, write together, critique together, talk together, and revise together. Together we're going to explore what it means to be a writer in the field of news/culture magazines and journals. Together we're going to decide upon the conventions of various genres. Together we're going find topics and develop theses and do research and talk about organization and edit our work. Together we're going to make the course one we look forward to attending, one that makes better writers of all of us.

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Texts and other expenses:

 --Gutkind, Lee. The Art of Creative Nonfiction: Writing and Selling the Literature of Reality.

--Shaughnessy, Susan. Walking on Alligators: A Book of Meditations for Writers.

--Issues of journals or magazines. We'll talk about what's appropriate and what's not. You'll probably have to buy 5 or 6 magazines or journals.

--Copies of your work for workshopping and sharing.

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Course Requirements:

     1.  Daily Meditation: We'll start each day by having one person share their thoughts about one of the meditations in Walking on Alligators. When it's your day, you need to select a meditation, practice reading it so that your presentation is smooth and graceful. Follow up your reading with some comments on how this meditation is important to your own writing life. Then you need to lead us in a brief (5-7 minute) writing exercise that "connects" to the meditation. Keep your responses to these meditations in a manila folder or a three ring binder. Not completing and filing this assignment will have an adverse affect on your grade.

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    2. Papers:

     a. A letter to the editor of the Daily Sentinel. (This has to be submitted to the paper, by e-mail or by mail before the end of the semester. I want us all to have been published in that column before the end of the semester, but if we all send our letters in at the same time, some of us will get nixed out. So, while one letter will be due early in the semester, you don't have to submit that one to the paper. You can submit a later to the paper later.) 5% -- 1 short page.
    b. An editorial or opinion piece. 10% -- 3 pages
    c. A book review. 12% -- 4 -5 pages
    d. A feature article. 14% -- 6-8 pages
    e. A piece of creative non-fiction. 19% -- 10 - 12 pages

     The first draft will be read and responded to by two of your classmates. The second draft will be read by me. This draft will be graded. The third draft is part of your final portfolio.

    Each piece must be accompanied by a writer's note. The note for the first draft should perform the following tasks: 1) clearly state your thesis or organizing idea and discuss HOW the piece is organized. 2) explain what you were trying to accomplish (as in describe, persuade, argue, discuss, explore, explain, compare, contrast) and why this is important. 3) discuss areas that you feel are problematic or that you'd like specific feedback about. The note for the second draft should include all of the above;, it should also describe the changes you made to the piece in response to the feedback you received from your classmates.

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    3. Responses: Responses to drafts will be the responsibility of editorial boards. The class will be divided into groups and each group will be responsible for responding to three or four essays for each assignment. Each group will read the essays, discuss the positive and negative points of the essays, and compose a response to the essays that will help the writer revise the piece. The responses will be submitted to the writer. The writer will assign a grade to the response that reflects how helpful the response was in helping her or him revise the essay. The grade is a group grade; all members of the group will receive the same grade for the response. The average of the grades on the responses is worth 10% of your final grade.

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     4. A Research/Writing/Reading Journal: This journal is a record of all the work you do for the semester. It reflects your commitment to and your involvement in your writing projects. The journal should be divided into three parts: a) bibliography -- where you record sources you've discovered through your research, b) reading journal -- where you record quotations and notes as you read, and c) ideas and drafts -- where you jot down brainstorming, looping, clustering, exercises; ask questions; sketch outlines; attempt initial drafts and record examples from your own experience. Use loose-leaf paper and keep it organized in a 3 ring binder or 3 separate manila folders. You don't have to cart the whole journal around with you all the time, but you should be able to put it together in the appropriate manner easily. The journal is worth 15% of your grade.

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     5. Final Portfolio -- Each editorial board will work with their own texts for the semester to produce a journal or magazine of their own. You need to select the texts, organize them in some way (think about theme, genre, "departments," etc. ), edit the texts, make layout decisions, put the whole thing together. The journal or magazine must include an editorial piece that comments on your process and rationale for selection, organization, and layout. Each individual member of the board must also submit a separate letter which discusses what he or she has learned as a writer and a reader over the course of the semester. The portfolio is worth 15% of your final grade. The grade will be assigned to the entire group.

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Class Attendance and Participation

     Show up for class. You’ve got to come to class to do well in the class. In order to share your responses and to help us construct a shared meaning of the texts we’ll read and write, you have to be here to participate in the discussions. But, because I know that life can get complicated, everybody gets three free absences. After three, you lose a third of a letter grade for each absence. (That is, if you have a B for the class, but you’ve missed 5 classes, your final grade will be a C+.) You will also be penalized for coming into class late – three "lates" equals one absence.

 Turn work in on time. Late work will not be accepted. I'm adamant about this. There will be no exceptions to this rule. If you don't have the writing in your hand in class on the day we're going to be working with it, you don't get credit for it -- you will receive an "F" for that assignment. Do your work ahead of time. Print your essay or response out the night BEFORE it's due. Don't wait until the last minute to dash something off. Be sure you back up all the work you do on your computer so that you have a copy on your hard drive and a copy on disk. I will not accept excuses of ANY sort for late work – computer, printer, and disk problems included.

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Schedule 

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Week 1 Week 2 Week 3 Week 4 Week 5
Week 6 Week 7 Week 8 Week 9 Week 10
Week 11 Week 12 Week 13 Week 14 Week 15
Week 16 Finals Week

Summer!

Summer!

Summer!

Week 1  
Wed. Jan. 13 Introductions
Fri. Jan. 15


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Bring in a piece of your writing that you think is really good -- 2 paragraphs max.

 

Week 2  
Mon. Jan. 18 Bring in letters to the Editor -- from anywhere. What are the conventions? What rhetorical strategies are effective? In-class imitations.
Wed. Jan 20 Workshop letters in class. Decide who's going to submit to the Sentinel or the Criterion when. Form editorial boards.
Fri. Jan. 22

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Letters due to Classmates. Don't forget writer's notes. Take in class time to compose responses to letters.

 

Week 3  
Mon. Jan. 25 Letters due to me. Don't forget writer's notes.

Bring in editorials or opinion pieces. Read selections. In-class imitations.

Wed. Jan. 27 Small groups. What are the conventions of opinion writing? What rhetorical strategies are effective? Brainstorm for topics.
Fri. Jan. 29

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Research day.

 

Week 4  
Mon. Feb. 01 Report on research. Bring in draft of opinion piece.

Workshop opinion pieces in class.
Wed. Feb. 03 Bring in book reviews. Read aloud. In-class imitations.
Fri. Feb. 05

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Opinion pieces due to classmates. Don't forget writer's notes. Editoral Board Workshops.

 

Week 5  
Mon. Feb. 08 Responses due to Writers on Opinion pieces.

Small groups. What are the conventions of book reviews? What rhetorical strategies are effective?

Wed. Feb. 10 Blind book reviews. In class writing. Share blind reviews.
Fri. Feb. 12

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Opinion pieces due to me. Don't forget writer's notes.

Share blind reviews.

Bring in books you're planning on reviewing. Share in small groups and brainstorm for ideas.

 

Week 6  
Mon. Feb. 15 Book reviews due to classmates. Don't forget writer's notes. Editor Board Workshops.
Wed. Feb. 17 Bring in feature articles. Reading aloud.

In-class imitation.

Fri. Feb. 19

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Responses due to book reviews.

Read Gutkind, pp 1-32

Small groups. How do feature articles work? What rhetorical strategies are effective? How do feature articles incorporate the tools of creative non-fiction Gutkind details?

 

Week 7  
Mon. Feb. 22 Bring in a draft of feature article. Workshop.
Wed. Feb. 24 Research day.
Fri. Feb. 26

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Book Reviews due to me. Don't forget writer's notes.

Discuss revisions. Read selections.

 

Week 8
Mon. Mar. 1 Draft of feature article due to classmates. Don't forget the writer's note. Editorial Board Workshops.
Wed. Mar. 3 Read Gutkind, 33-66. Scene building, framing, structure. Bring in an example of your own writing where you've employed one of the devices Gutkind details in this section.
Fri. Mar. 5

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Read Gutkind, 161-209. Discussion.

Journals due for review.

 

Week 9  
Mon. Mar. 08 Read Gutkind, 69-106. Brainstorming for topics. Making a plan.
Wed. Mar. 10 Response due to feature article. Share responses.
Fri. Mar. 12

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Bring in a piece of creative non-fiction you like. Share pieces.

 

Week 10
Mon. Mar. 15 Bring in a draft of creative non-fiction. Workshop.

Draft of feature article due to me. Don't forget writer's note.

Wed. Mar. 17 Conferences -- feature article
Fri. Mar. 19

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Conferences -- feature article

 

Week 11  
Mon. Mar. 22 Spring Break
Wed. Mar. 24 Spring Break
Fri. Mar. 26

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Spring Break

 

Week 12  
Mon. Mar. 29 Bring in draft of creative non-fiction. Workshop.
Wed. Mar. 31 Bring in draft of creative non-fiction.

In-class revision/writing

Fri. Apr. 02

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Draft of Creative non-fiction due to classmates. Don't forget the writer's note.

Editorial Board Workshop.

 

Week 13  
Mon. Apr. 05 Responses due to creative non-fiction.  Share.
Wed. Apr. 07 Conferences -- creative non-fiction
Fri. Apr. 09

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Conferences -- creative non-fiction

 

Week 14  
Mon. Apr. 12 Draft of creative non-fiction due to me. Don't forget the writer's note.

Revision/Editing
Wed. Apr. 14 Revision/Editing
Fri. Apr. 16

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Revision/Editing

 

 

Week 15  
Mon. Apr. 19 Editorial Boards Meet
Wed. Apr. 21 Editorial Boards Meet
Fri. Apr. 23

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Editorial Boards Meet

 

 

Week 16  
Mon. Apr. 26 Sharing
Wed. Apr. 28 Sharing
Fri. Apr. 29

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Sharing
Portfolios and Journals Due

 

 

Finals Week  
Wed. May 5th @ 10:00

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Portfolio Returned.