English 338: Creative Writing
Wintersession 2001-2002
M-Th 5:30-9:00pm, JGM 104
Dr. Anna Leahy
Department of EFLJ / Division of LAS
Missouri Western State College
I won’t hold regular office hours but can be reached at amleahy@missouriwestern.edu or 271-4316 and am happy to meet with students in this course.
This section of English 338 is a writing workshop designed to encourage students to explore the art of poetry, prose poetry, and the very short story. Students will read from Robert Pinksky’s The Sounds of Poetry, Friebert and Young’s Models of the Universe, and The Best American Poetry 2001. Students will compose their own creative pieces and will discuss as writers both the published work and the student work. Special attention will be given to issues of form, voice, image, and the distinctions and commonalities between poetry and short prose. The course is as much an exploration of the creative writing process as it is about the end products; therefore, revision is stressed heavily and the final portfolio is weighted most heavily in calculating course grades.
Always bring all books so that we can use them as references during discussions.
While individual students must determine their goals for the course, I suggest the following goals for the class as a whole:
q to form a supportive and critical community of creative writers
q to learn ways to read not just as readers but as writers
q to develop ways to talk about written work as writers ourselves
q to write a variety of imaginative poems and short prose pieces
q to significantly revise several pieces to move beyond what one knows
q to make active, informed choices about drafting and revising
q to recognize individual strengths and possibilities as creative writers
q to move beyond a comfort zone and what one can already do or imagine.
Because of the scheduling of winter session courses and this course’s focus on the creative writing process, the final portfolio (75%) and participation (25%) will determine your course grade.
All activities not directly represented in the final portfolio are considered part of participation. Out-of-class work is required; this reading and writing is preparation for in-class work and is considered as part of participation. The more time you spend out of class, the greater the strides possible in your own writing. Try to read and write every day, even over the “break.”
The final portfolio materials should be placed in a plain, two-pocket folder with your name on the front of the folder and on each piece included in the folder. In the right pocket, place the final drafts of five creative pieces and a 600-word statement that discusses the relationship between your own writing process and an element such as form or image that is important in your work. In the left pocket, place earlier drafts of four of the creative pieces; the drafts (minimum of two, with the first being the one you turned in initially) must show significant (not just tinkering) revision for at least three of those pieces. Your portfolio must represent both poetry and prose. Late final portfolios are not acceptable and will result in a failing course grade.
Each absence beyond one will lower your course grade by a full letter. Any absences or partial absences affect the participation portion of your course grade.
A C-range grade represents acceptable, college-level work. You must complete all portfolio work to earn a C or higher. A-range grades in this course generally represents work that shows evidence of both significant talent and significant effort. B-range grades usually represent evidence of either significant talent or significant effort. D-range and failing grades are reserved for substandard, incomplete, or plagiarized work.
All out-of-class, written work must be typed.
Though imaginative writing can push the constraints of traditional assumptions about language, grammatical errors are unacceptable in a 300-level course.
Other Policies
Students with disabilities that inhibit work in the course must notify me in writing within the first two class meetings so that adjustments can be considered.
No food or beverages (other than water) are allowed in carpeted areas.
The Mochila Review welcomes additional staff members at any time. Manuscript evaluation will be done in December and January so please let me know if you’re interested in working on Missouri Western’s international literary journal.
Other relevant policies can be found in your student handbook.
Introduction to the course and each other. Generating ideas. Looking at models.
Read “”Accent and Duration” (Pinsky). Bring one typed, single-spaced page that discusses a poem (from The Best American Poetry 2001) you appreciate and a poem (from same text) that you find lacking; do not choose a poem listed on this schedule; be prepared to present your ideas to the class. Generating ideas.
Because MWSC holds Commencement at 7pm, we will not meet as a class. Instead, you are required to complete additional work for Thursday.
Read “Syntax and Line,” “Technical Terms and Vocal Realities,” and “Like and Unlike Sounds” (Pinsky); possible quiz. Make a copy of “The Rider” or “Ma Ramon” (Best American) and scan six consecutive lines. One new, complete, and polished poem (not prose) due.
Read the work of Ponge, Bishop, Edson, and Clary (Models of the Universe); possible quiz. Three new, complete, and polished creative pieces (poetry and/or prose) due; bring enough copies of one of these for the entire class. Discussion of poetry and prose: what’s what?
Workshopping.
Read as assigned in class; possible written response. Workshopping. Generating revision—what’s significant in the context of this course?
Instead of meeting as a class, I will meet with students in individual conferences.
Read the work of Stein, H.D., Simic, and Andrews (Models of the Universe). Read “Her Garden,” “The Emperor of China,” “Seven Deadly Sins,” “His Costume,” and “Here” (The Best American Poetry 2001). Write a one-page, single-spaced response to one assigned piece from each textbook. Three new, complete, and polished creative pieces due; bring enough copies of two of these pieces for the entire class. Small-group workshopping.
Read as assigned in class. Workshopping. Possible brief conferences.
Read as assigned in class. Workshopping.
Final Portfolio due. You will responsible for reading one selection from the podium to the audience; bring enough copies of that piece for the entire class. NOTE: we could meet in an alternative location.