ENGL 210: Introduction to Creative Writing

ENGL 210: Introduction to Creative Writing

T/R 8:00-9:15 AM, Building, Room

Instructor: Peter Picetti

Office Hours: Wheatley 06-111, T/R 9:30-11:30

Required Texts and Materials:

• Burroway, Janet. Imaginative Writing: The Elements of Craft (3rd Edition)
• A notebook, brought to class every day.
• In-class handouts, or links and texts from the class Wiki or email, distributed weekly.

Course Objectives:

This course will allow you to explore your imagination and extend your writing skills. In a supportive and creative environment, we will look at what other poets and writers have accomplished. We will do this in an attempt to better understand the craft and process of creative writing. We will learn how to discuss certain aspects of craft as well as how to become good editors and critics of our own work, as well as the work of others.

The process of writing is also a process of discovery. We will strive to discover not only the mechanics of poetry and fiction, but also embark on a larger objective of discovering details and aspects of our lives and the world around us. We will look at each pedestrian in the North End, each conversation in Dorchester, and each flower along the Charles in a fresh and more poignant manner.

More importantly, we will discover what you want to say. Each one of you brings to this class an important perspective and experience that should be heard. We will learn how to best communicate these qualities effectively, with the goal of creating fiction and poetry for others to read and enjoy.

Course Methods:

In order to create well-crafted work, we must first understand the craft. Following our course text, Imaginative Writing, we will expand our vocabulary and understanding of the craft of writing. What is a metaphor? How can we use and manipulate images to create larger meaning through metaphor? We will answer questions like these and learn how to manipulate language to our own gain by doing a lot of reading and writing. To complete our objectives we will write in the beginning of every class period, exploring different aspects of poetry and fiction. We will also read a number of different styles of fiction and poetry from an eclectic selection of writers. Critical reading and writing will allow us to explore what we want to say in our own work, and how to say it well—becoming good readers as well as good writers.

Evaluation:

Please note that you will not be graded on talent for this course. Your grade will be a reflection of your growth and development as a writer, as well as your adherence to the course requirements outlined above. To determine your grade, I will weigh the timely completion of creative assignments; the growth displayed in your portfolio (first drafts to revisions); your critical responses to class readings, attendance at a literary reading, and responses to the work of your classmates; class participation; and class and conference attendance.

Your grade will be determined as follows:

35% - Participation: attendance, notebook, class discussions, workshop letters, individual conferences, timely completion of assignments, quizzes.

30% - Papers: 1 craft paper, 1 reading response paper, and mid-semester self-assessment.

35% - Portfolio: 10 pages of polished work, two revision efforts, journal excerpts and reflection; final self-assessment.

Participation:

You are expected to come to class prepared and ready to participate. This includes having read the texts for that class period. This course thrives off our engagement with the texts and with each other—some of our best learning comes from these discussions. When we start workshop, you are expected to have critically read and commented on your peers’ work. Weekly writing assignments count toward your participation grade during class. Also, no cell phone use during class. If I notice you are using your phones I will mark down your participation grade. However, if you have an emergency that requires you to keep your phone on, please let me know before class.

Attendance:This course requires us to be active participants in class. You are expected to show up on time to every class period. Being late/leaving early more than twice will negatively affect your grade. You are only allowed two unexcused absences, and if you are absent four or more classes you will be at risk of failing the course. Please email me if you are going to be absent.

Notebook: Every writer needs a notebook. We will be using ours for in-class writing assignments as well as one weekly out of class writing assignment. These are the minimum requirements. I encourage you to keep this notebook handy to jot down thoughts or observations as the come to you throughout the day and throughout the semester. Please date each entry. These notebooks are yours. I will not read them, but may periodically ask you to turn them in to count toward your participation grade. Please bring this to each and every class, and complete your weekly assignment—this is not something you can cram for.

Conferences:We will have two individual conferences this semester. They are a place for us to have a conversation about your work, and to address any reservations you or I may have about your progress in the course.

Workshop Letters: You are required to write each member of your workshop a letter. Specific guidelines to follow.

Papers:

Note: All writing assignments must be typed, double-spaced (single for poetry) in Times New Roman, 12 pt. font, and stapled. Your name, my name, the assignment, and the date must appear, double-spaced and in that order, on the top left of the assignment. Spelling and grammatical errors will affect your grade.

You are required to submit three short papers (Craft Response, Literary Reading Response, and a Mid-Term Self-Assessment). Literary Reading Response guidelines are below; the rest to follow.

Literary Reading Response:You are required to attend one literary reading either on campus or off. Check out the Global Voices Reading Series, put on by the MFA Program and the English Department, for great on campus readings. After you attend a reading of your choice, submit a 2-3 page report on what you observed both about the writer’s work and the performance itself—due the last day of class, but a week after the reading would be best.

Portfolio:

This is a final collection of your writing to be turned in at the end of the semester. The Portfolio will include: cover sheet; 10 pages of completed writing; 2 drafts leading up to final draft (for each creative piece); final self-assessment; and 2 short examples of what went on in your notebook, and a reflection about the course. Specific guidelines to follow.

Policies:

Students with disabilities: If you have a disability and feel you need accommodations please contact the Ross Center, UL 211, 617-287-7430

Plagiarism: Plagiarism is defined as the attempt to use or pass off as one’s own the ideas or writings of another, whether knowingly or unknowingly. If you need assistance on the proper citation of sources please see me for assistance. Anyone who commits plagiarism risks failing this course. Please consult UMass Boston’s “Code of Standard Conduct” ( for more details.

Weekly Schedule:

NOTE: This schedule is subject to change. Any and all changes will be announced in class and posted on the class Wiki.

All chapters are from the Burroway Text, Imaginative Writing

All other texts/materials will be distributed in class or made available on the class Wiki.

All weekly assignments will be announced in class and posted on the class Wiki.

WEEK 1: 9/3 Introduction

T: Course Introduction, syllabus review, and in class reading of Reginald Shepherd’s“Why I Write”

R: Chapter (1-12); Carolyn See’s “What’s Your Material?”

WEEK 2: 9/10Fiction

T: Chapter 9 (264-74); Tobias Wolff’s “Powder” (pp. 284-7)

R: Anne Lamott, “Shitty First Drafts”; Benjamin Percy, “Refresh, Refresh”

WEEK 3: 9/17Poetry

T: Chapter 10 (294-310); Plath “Stillborn” (312), Paley “Fathers” (314)

R: Robert Pinsky, “Shirt”;William Carlos Williams, “This is Just to Say”;

Tracy K. Smith, “Sci-Fi”;Denise Levertov “The Secret”

WEEK 4: 9/24Image and Setting

T: Chapter 2 (13-36); Collins “Snow Day” (38); Jamaica Kincaid “In the Night”

R: John Cheever“The Swimmer”; Robert Frost “Design”;Elizabeth Bishop “The Fish”

WEEK 5: 10/1 Image and Setting

Chapter 5

WEEK 6: 10/8Voice and Character

WEEK 7: 10/15 Voice and Character

WEEK 8: 10/22 Conferences

Individual 15 minute meetings during scheduled class time on Tues., Oct. 22 and Thurs., Oct. 24. *Self-assessment DUE

WEEK 9:10/29Story and Dialogue

WEEK 10: 11/5Story and Dialogue

*Paper #1 DUE

*Also DUE: Copies of the poem you would like workshopped next week.

WEEK 11: 11/12 Poetry Workshop

*Poetry workshop letters DUE

WEEK 12: 11/19Development and Revision

*Also DUE: Copies of the story you would like workshopped next week.

WEEK 13: 11/26Fiction Workshop

*Fiction workshop letters DUE

WEEK 14:12/3TBD

*Paper #2 Due

WEEK 15: 12/9 Course Wrap-Up

***FINAL PORTFOLIOS DUE BY 2:00 P.M. WEDNESDAY, DECEMBER 18, 2013***