Creative Writing: Introduction to Fiction & Poetry

1

Creative Writing: Introduction to Fiction & Poetry

Course: CRWRI-UA.815.021

Schedule: Tues/Thurs 12:30PM-1:45PM

Instructor: Dario Diofebi

email:

Office Hours: by appointment

OVERVIEW - We’re doing what?

This class is an introduction to Creative Writing as a collegiate discipline. Throughout the semester, we will encounter exciting work in a wide variety of forms and styles—from books you’d find in an English class, to shows you’d binge-watch on Netflix to recover from that class. We will learn how to read them as a writer, mining them for precious information on how to write stories, how to express emotion, how to steal a reader from social media for an hour or so. We will then write our own stories and poems, trying our hand at different forms of human expression, and learning how to help each other and improve. By the end of the semester, we will (hopefully) be careful and perceptive readers, brave and crafty writers, and students fully prepared for any upper-level creative writing classes you might take in the future.

STRUCTURE - Yes but how?

The class will be divided between two sections: Craft and Workshop. On Craft days, we will discuss the works of literature (and in some case movies or TV) assigned, understanding how they work and finding out what we can learn from them for our own writing. On Workshop days, we will read poems and fiction submitted by the class, providing intelligent, constructive, and empathic feedback to the author, helping each other grow as writers and respecting each other as human beings and friends.

CRAFT

-DISCUSSION
We get to spend an hour a week talking about some incredibly exciting pieces of writing, isn’t that neat? These discussions will not look like your traditional English or Comparative Literature spiel: we won’t be talking about social, cultural, or historical context, and we definitely won’t talk in circles for an hour about what the piece means. We will instead read as writers, learning how to reverse-engineer the piece, seeing how it works. Come to class ready to share your opinions, and focus not on “I like this” or “I don’t like this,” but on the reasons why you like it or you don't, on what is working and what isn’t. Note that I made it a point to include in the syllabus both great works of highbrow “serious” literature and great works of lowbrow “commercial” literature: both are equally important, and I expect the same degree of attention and focus whether we’re discussing T.S. Eliot or Pirates of the Caribbean. Not kidding, we’ll do both.

-ASSIGNMENTS
After careful consideration and much back-and-forth, I’ve decided not to assign written responses to the reading. Thank me later. To be as clear as possible: you are expected to do all of the assigned reading, every week. Optional reading is indicated as such in the syllabus. Participation in class discussions in required, and I will most definitely know if you’re not doing the reading (and grade accordingly). For the fiction part of the syllabus, you will be required to email me a selection of at least three sentences you particularly liked from the reading assignments (or five, or ten), and any sentences you particularly didn’t like, if any. This is a remarkably fun syllabus, believe me. Ask around. Nothing to worry about.

WORKSHOP

-POETRY
Our first four workshops (including the first “tutorial-level”—more on this later) will be poetry workshops, in which you will all submit between (1) and (3) poems to the class. These poems have no set restrictions in length, but I urge you not to take advantage of this freedom, either submitting a single lonely couplet or a whole allegorical poem about the afterlife in 100 cantos (I’m Italian, so been there, done that). Let’s be reasonable, yes? Class discussion will follow the rules detailed later (see: Workshop Etiquette). As you read the poems of your classmates, please be sure to provide line notes on your printed copy and a letter of feedback, both of which will be given to the poet at the end of the workshop. Please printyour feedback letter and attach itto your printed copy. However, please also e-mail mea copy of that letter with the poet’s last name in the subject line (e.g. Smith Feedback Letter). Our first workshop, in our second week of class, will be based on writing prompts given in the first two craft classes, and will be used as a sort of “tutorial-level” for what’s to come: we will learn how to make good line notes and compose useful feedback letters, and in general get acquainted with the workshop process.

-FICTION
Twice during the semester, everyone will submit 8-20 pages of fiction to be workshopped by the class. Ideally these will be short stories written specifically for the class, though you may use oneof your two rounds to submit an excerpt from a longer piece you may be working on. If you choose to do this, please be mindful of the page limit, and write a brief (no more than 500 words) cover letter giving the class any context the reading of the piece might require. Do not use the cover letter to apologize about your work, point out problems, or try to anticipate criticism that you think may come up: let the writing speak for itself. In any case, at least one of your submissions should be a complete work of fiction written for the class. Fiction should be submitted in the following format: 12-point font, double spaced, 1” margins, with the author’s last name and current page number in the upper right corner. If your work uses formatting in ways that require a deviation from this format (which is perfectly fine), please let me know before submission day. As for the poetry workshops, please provide both line edits and a feedback letter to the author (print one for the author, and e-mail one to me).
WHAT TO WRITE
Whatever you want. Both for poetry and fiction, there are no restrictions in terms of content. Experiment away, if you so wish.
WORKSHOP ETIQUETTE
Workshops are wonderful. A workshop is a collaborative effort, a nurturing, sacred place where long-lasting friendships are born, and actual personal growth is experienced. As such, the strength of a workshop depends on our commitment to one another. I can’t stress this enough: entering a workshop means entering a pact with your classmates, a promise that you will put your best effort into the work of others to help them grow. In turn, I guarantee they will do the same for you. This is maybe the only class you’ll take in which if you don’t work hard, don’t show up, don’t care much, you’re not just damaging yourself: a bad workshop-mate damages others, and I will not let that happen. So in short:

•Be present (both physically—see Attendance—and mentally—electronic devices silent and out of sight)

•Be considerate (I’ll get to that in a second)

•Do the work!

A workshop is also a vulnerable, potentially intimidating place. I am extremely aware of this, believe me. You should never worry about feeling uneasy, or anxious about it. Just come talk to me, we’re very much on the same team. Do understand that participation (turning in stories and poems, providing feedback to others) is required, so keep that in mind when registering for this class. But other than that, please feel free to talk to me about any issue you may be having.

During class discussion of a piece, I will ask the author to remain silent and take careful notes of what your classmates have to say. At the end of the workshop, I will allow time for a Q&A during which the author will be able to ask specific questions to her readers.

WHEN YOU PROVIDE FEEDBACK: be considerate, intelligent, and give productive advice. Always remember that the goal of a workshop is not to make your classmate’s piece into something you would write, but to help her make it the best version of what she wants it to be. In your feedback, try to always start with what is working, saying why it’s working and how. Talk about what surprised you, what fascinated you, what made you laugh or cry, and then say what felt confusing, vague, or yet-undeveloped. Keep the focus on the text, not the writer, and give an honest account of your reading experience. Above all, always be respectful, and mindful of power, voice, and privilege. I will pay particular attention to this, and disrespect of any kind toward anyone will not be tolerated. Understand the vulnerability that comes with submitting your work for others to read and comment on, and don’t take advantage of it.

WHEN YOU RECEIVE FEEDBACK: listen. No, but really, listen. It’s not your turn to talk. If you’re confident in your writing, there’s nothing else to add. Really listen to your peers, understand that they want to help, and remember that you chose to do this. Having a dozen very smart readers giving your piece undivided attention and care is an extremely rare, valuable gift: don’t waste it being defensive, apologetic, or worse yet, aggressive. If anything that happened in class made you in any way uncomfortable, come talk to me right away, I’m very happy to listen and to help.

FINAL PORTFOLIO

In lieu of a final exam, you’ll be asked to provide a portfolio of work on the last day of classes for me to read. The portfolio should contain (in the following order): a brief response (1000 words or less) about any one craft reading you particularly enjoyed during the semester (comparing two pieces is also acceptable), detailing why you liked it and what you learned from it; a compilation of your 10 favorite sentences from the reading list, based on the ones you’ve been marking up all semester; all of your workshop submissions (originals or copies of what I’ve marked up and handed back to you). You will also be required to include a substantial revision of either a single fiction submission or both poems.

OFFICE HOURS

You are expected to meet with me outside of class at least once this term. Failure to do so will impact your participation grade. Meeting more than once is of course possible. In fact, I encourage you to do so. To request an office hour, shoot me an email () writing your primary concern in the subject line (e.g. “Fiction Submission 2”, “Craft: Michael Chabon”, etc.) and two availabilities (time and date) in the body of your e-mail.

ATTENDANCE - What happens if I don’t show up?

Please come to class. Seriously, come. Like I said before, this is not like missing Chemistry or Comp Lit: by not showing up, you’re robbing others of your feedback and participation, and that’s just not fair. You will be allowed one unexcused absence without affecting your grade (not valid on days you are scheduled to be workshopped). Beyond that, any absence without a reasonable excuse (e.g., doctor’s note) will drop you a full letter grade. Don’t test me on this, I will do it: this class is a team effort, and if you don’t show up it just falls apart. For tardiness (10 minutes or more) I will use a three strike system: first a warning, second a partial grade deduction (i.e. A- becomes B+), third a full letter deduction (i.e. B+ becomes C+). We’re all in New York and know this city can be a mess sometimes, but we have a very reasonable time slot and, again, it’s really important that we’re all there. If you anticipate punctuality being an issue, let’s talk as soon as possible and figure it out.

GRADING - How will you grade my work?

40% Attendance/Participation/Preparation

•Being there and being on time; having done all of the assigned work; coming to class prepared (having a copy of the reading material, having printed feedback for workshops); engaging in thoughtful, critical and polite discussion of the text in front of you, both in Craft and Workshop; meeting with me in office hours.

40% Writing

•1-3 poems (any length)

•1-3 “exercise” poems from the first week writing prompts (any length)

•2 pieces of fiction (8-20 pages), of which at least one a complete short story written specifically for this class.

•Any additional assignments and/or activities

•Correctly submitting your poetry and fiction is absolutely vital to the class: texts should be submitted by the agreed upon deadlines, in the agreed upon format, and respecting the page limits. No exceptions.

•This section is not graded on talent. Jane Austen could take this class, but if she didn’t submit within the correct parameters, or coasted doing the bare minimum, she wouldn’t do well. What I’m interested in is that you do your absolute best, and that’s what I’ll be grading.

20% Final Portfolio

•As stated above, your portfolio should contain (in the following order): a brief response (1000 words or less) about any one craft reading you particularly enjoyed during the semester; a list of your 10 favorite sentences from the reading list; all of your workshop submissions (originals or copies of what I’ve marked up and handed back to you);a substantial revision of either a single fiction submission or both poems.

PLAGIARISM

Don’t even think about it. You will be reported. Consequences will be severe. This may well be the only class you’ll take in which plagiarizing someone else would be completely pointless anyway. Again: you’re not graded on talent. Just do the work.

A NOTE ABOUT PARTICIPATION

This class is, in its nature, highly interactive. Frequent verbal participation in class is both necessary and required. However, I am quite aware, trust me, that social anxiety is sometimes a tough obstacle to overcome. With that in mind, it will be my priority to make the class an open, safe environment, and it should be your priority too. Sharing our personal (sometimes very personal) writing is an act of trust, it entails authentic vulnerability, and as such must be respected and honored. If, however, you should still feel uncomfortable or unsafe at any point during class (be it Craft or Workshop, be it because of the content of the reading or the behavior of others), please come talk to me. I am no stranger to these issues myself, and I’m happy to help.

CALENDAR

N.B. The texts are to be read by their according dates – e.g. you are expected to show up having already readGeorge Saunders on 3/6. All readings are subject to change, though I will do my best to give at least two weeks notice if I’ve decided to alter the schedule.

Week 1// 1 Poets Are from Mars

1/23 – Syllabus, Q&A, and practicalstuff; Workshop Schedule

1/25 – Craig Raine, “A Martian Sends a Postcard Home”; Christopher Reid, “Arcadia” (selected poems), “Pea Soup” (selected poems); Vladimir Nabokov, King, Queen, Knave (first two pages) //OPTIONAL: Martin Amis, Time’s Arrow

Week 2// The Lives of Others

1/30 –Edgar Lee Masters, “Spoon River Anthology” (selected poems); Fabrizio De André “Non al denaro, non all’amore né al cielo” (selected songs)

2/1 – Sample Workshop

Week 3// Writing in Character

2/6 – T.S. Eliot, “The Love Song of J. Alfred Prufrock” //OPTIONAL: Robert Browning, “Porphyria’s Lover”

2/8 – Poetry Workshop 1

Week 4// All Jokes Aside

2/13 – Dorothy Parker, “Resumé,” “A Certain Lady”; Philip Larkin,“Days,” “This Be The Verse”; Sylvia Plath, “The Applicant”

2/15 – Poetry Workshop 2

Week 5// Poets Are Alive

2/20 – Kim Addonizio, “My Sword Sleep in My Hand”, “What Do Women Want?”; Billy Collins, “Dharma”, “Introduction to Poetry”; Warsan Shire, “The House”

2/22 – Poetry Workshop 3

Week 6// Telling (Short) Stories - Plots Are Fun

2/27– Michael Chabon, “The Little Knife”: Michael Chabon, “A Model World” //OPTIONAL: Michael Chabon, “Admirals,” “The Halloween Party”; OPTIONAL MOVIE: The Apartment (B. Wilder, 1960)

3/1 – Fiction Workshop 1

Week 7// Great Expectations

3/6 – George Saunders, “Escape from Spiderhead”, “CivilWarLand in Bad Decline”; OPTIONAL: George Saunders, “The Perfect Gerbil” (essay) NOTE: students are strongly encouraged to start reading next week’s assignment too

3/8 – Fiction Workshop 2

Week 8// Telling (Long) Stories - Plotting a Novel

3/20 – Suzanne Collins, The Hunger Games //ASSIGNED MOVIE: Pirates of the Caribbean - The Curse of the Black Pearl (G. Verbinski, 2003)

3/22 – Fiction Workshop 3

Week 9// Elegant Complexity - “Serious” Novels Are Stories Too

3/27 – Tom McCarthy, Remainder (first two chapters); // OPTIONAL: Zadie Smith, “Two Paths for the Novel”, “That Crafty Feeling”; OPTIONAL MOVIE: Chinatown, (R. Polanski, 1974)

3/29 – Fiction Workshop 4

Week 10// Hearing Voices

4/3 – George Saunders, “The Semplica Girl Diaries”; Grace Paley, “A Woman, Young and Old” // OPTIONAL: George Saunders, “Jon”, “Grace Paley, the Saint of Seeing”; Grace Paley, “Zagrowsky Tells”

4/5 – Fiction Workshop 5

Week 11//You, Me, All of Us

4/10 – Lorrie Moore, “How To Be an Other Woman”; Jeffrey Eugenides, The Virgin Suicides (first chapter); Vladimir Nabokov, Lolita (selected chapters) // OPTIONAL: Junot Dìaz, “Alma”; OPTIONAL MOVIE: The Virgin Suicides (S. Coppola, 1999)

4/12 – Fiction Workshop 6