English 4420 Advanced Fiction I Calendar

by Lee Ann Mortensen, Professor at Utah Valley University


 
Updated 12/3/15 3:08 PM - subject to change

  T TH T TH T TH T TH T TH
August 25 27                
September 1 3 8 10 15 17 22 24 29  
October   1 6 8 13 15 20 22 27 29
November 3 5 10 12 17 19 24 26    
December

1

3 8

10

15

17

       

 

 

Discussions, Readings, & Exercises--subject to change

Lecture Notes and Links--subject to change

Aug. 25

What I Want You to Forget About Fiction
Syllabus & Calendar

Readings Due Before Class:

--Purchase Texts and materials!
--Get used to using Canvas to turn in your work, get grades, and get announcements. Use this Web Calendar for readings' and assignments' deadlines and details.

 

Assignments due before class:

  • Be a committed writer open to avant-garde or postmodern bliss (or realist pleasure)!
  • E.mail me your phone from your most used E.mail account: mortenle@uvu.edu. My email is the best way to ask me questions about assignments, or let me know if there are mistakes I need to correct.

 

Lecture Notes Day 1

Texts of Bliss

Aug. 27

Writing from the Postmodern Margins

Readings Due Before Class (some of these are available on Canvas Files in case you don't have your books yet)
:

--Read Syllabus--come with questions.
--Winterson's The Passion: through p. 28
--Architectures: ch. 1 Possibility Spaces
--Handout online: "Writing Itself: On Roland Barthes" by Susan Sontag (this link is a Google book chapter about Barthes' body of work that can help you understand him a bit more, but not all pages are always present).
--Handout online: finish Raymond Carver's minimalist "Why Don't You Dance?" (now on Canvas Files under Story...)

 

Assignments due before class:

  • Exercise 1: Find a short passage from one of your favorite writers and one of your least favorite writers; then write a short blog entry--300 or so words--about "why each affects you in terms of style, voice, ear, form, character, and imaginative flair" (see Architectures p. 19). Post to Canvas Discussions Ex. 1.
  • Bring Journal, and back up Daily to Dropbox or Google Docs etc!!
  • Email me from your most used email.

 

Lee's Lecture Notes:

Lecture Notes Day 2

 

Sep. 1

The Difficult Imagination, and Bliss

Readings Due Before Class:

--Winterson: through p. 65
--Architectures: ch. 7 Narrativity; ch. 5 Garbage Disposal Imagination
--Barthes' Pleasure of the Text: through p. 14 (when you read Pleasure be sure to focus on lines or phrases that makes sense or speak to you).
--Handout on Canvas Files: John Barth's "Literature of Exhaustion" (as suggested by Olsen p. 18)
--Handout: Lee's Postmodernism Laundry List

 

Assignments due before class:

  • Reading Reaction 1: A 600 word, grammatically correct, writerly reaction to a theory reading and a piece of fiction from the previous readings from the last two class periods (which idea or theory resonates most inside you, and why?; or which bit of idea or theory makes you mad, and why? and how can you use an example from a story to back up your claims?; -- or --what stylistic choices in a story strike you and why do you think that based on one of the theoretical ideas [or maybe you are a plot hag who doesn't notice style, but how does some of the theoretical writing back up what you are noticing about plot?]; what do you think it teaches you about writing fiction?). BE SURE YOU GIVE TEXTUAL EXAMPLES from our fiction readings. Upload to Canvas Discussions (or just go to Assignments and click on the assignment and it will take you to Discussions).

 

Lee's Lecture Notes:

Lecture Notes Day 3

Sep. 3

Postmodernism vs. The Real or The Transparent, and New Criticism

Readings Due Before Class
:


--Handout: New Criticism in Canvas Files
--Winterson: through p. 100
--Handout: Prose vocabulary Lee uses a lot.
--Handout: Commenting on fiction.
--Handout: Texts of Bliss (Lee's quick list)
--Handout online: Burnham's list story "Subtotals"
--Canvas Handouts: The & Now Awards--25 things; Screaming (A Mininovel)
--Barthes: bring it

Assignments due before class:

  • Exercise 2: a list story like any from The &Now--or your own kind of list--posted to Canvas Discussions Ex. 2.
  • Bring journals daily (and write in them often like many artists do who sketch all the time).
  • Travis M. will bring 16 copies of a workshop story (20 pages, double-spaced MAX)? Be sure to upload workshop 1 stories to Canvas Discussions Workshop 1 Drafts Here. Workshop Authors can workshop something they've been working on, or something new like a more fleshed exercise or journal, or from writing ideas in the interviews at the back of each chapter in Architectures, or anything in Architectures, or in Winterson, or Barthes (a story about a metaphorical strip tease?).

 

Lee's Lecture Notes:

Lecture Notes Day 4

"Workshop" level comments usually involve writing as many reactions and close readings about expectations fulfilled or thwarted as you can to help reinvigorate the story. In other words, what works and what doesn't, and why? What could the student writer do to make the story better? Be sure you are rhetorically polite. You may be handing these into me after we discuss your comments in class.


Sep. 8

Postmodernism and The Real, and New Criticism

Readings Due Before Class:

--Peer stories: Travis's. Carefully, thoughtfully read and write comments on their drafts based on their craft choices working or seemingly not working. Craft issues include as much as you can like pacing, dialogue, fleshing of characters, voice, POV, time shifts, description, narration, exposition, maximalist vs. minimalist style, cliches that get in the way etc. (critique, interpret, give advice, praise--see the Workshopping page for more ideas, or use advice ideas from ideas and interviews in Architectures); use some of language about texts of bliss; write down as many detailed reactions as you can, and be ready to talk about, and defend, these reactions in class. Lee may collect your comments so she can check them off (if you miss a class, you need to pick up manuscripts in advance outside my office CB410d or on Canvas Discussions Workshop Drafts Here! Readers please write comments ON the page and be ready to discuss those comments during class--don't hand them back until we are done with the oral workshop in class).
--Winterson: through p. 155
--Architectures: ch. 6 Beginnings p. 68+
--Handout on Canvas Files: John Barth's "The Literature of Replenishment" (as Olsen suggests p. 18)
--Barthes' Pleasure of the Text: to p. 25

 

Assignments due before class:

  • Replies to your group's Ex. 2 where you do comments by practicing the concepts we're learning about (about narrative and Freytag's triangle, about close reading of small connotations/expectations, about bliss and crisis and pleasure, about what surprises you in good ways or problematic ways), but also make comments on how it could be improved or "reinvigorated" (Olsen p. 18). You can also think about various kinds of Bliss or Juissance in the text from Barthes' Pleasure of the Text. Explain why you see what you see, or why you think something needs to change, be cut, or be added or rethought. In other words, what works and what doesn't, and why? Be sure to be rhetorically polite. The groups may be automatic or they are in Canvas Announcements. Post to Canvas Discussions Ex. 2--click Reply to add your comments under the list stories from your group.
  • Exercise 3: Outline for a Mininovel (or start your mininovel by writing the first fragment), absurdist or realist (though absurd or surreal elements create more gaps), traditional or self-aware. Using gaps and spaces, a large scope of time, the mininovel (start with an idea from your jounal) helps your readers really get to know the characters, but the reader also has to fill in a lot of the blanks thus co-authoring the piece with you (but doesn't this describe a lot of stories?). Post to Canvas Discussions Ex. 2.
  • Rebekah, Mikki will bring 16 copies of a workshop story (20 pages, double-spaced MAX)? Be sure to upload workshop 1 stories to Canvas Discussions Workshop 1 Drafts Here. Workshop Authors can workshop something they've been working on, or something new like a more fleshed exercise or journal, or from writing ideas in the interviews at the back of each chapter in Architectures, or anything in Architectures, or in Winterson, or Barthes (a story about a metaphorical strip tease?).
  • Bring journals daily (and write in them often like many artists do who sketch all the time).

 

 

Lecture Notes Day 5

New criticism

 

"Workshop" level comments usually involve writing as many reactions and close readings about expectations fulfilled or thwarted as you can to help reinvigorate the story. In other words, what works and what doesn't, and why? What could the student writer do to make the story better? Be sure you are rhetorically polite. You may be handing these into me after we discuss your comments in class.

Sep. 10

Affective Stylistics, and New Criticism

Readings Due Before Class:

--Peer Stories: Rebekah's. Carefully, thoughtfully read and write comments on their drafts based on their craft choices working or seemingly not working. Craft issues include as much as you can like pacing, dialogue, fleshing of characters, voice, POV, time shifts, description, narration, exposition, maximalist vs. minimalist style, cliches that get in the way etc. (critique, interpret, give advice, praise--see the Workshopping page for more ideas, or use advice ideas from ideas and interviews in Architectures); use some of language about texts of bliss; write down as many detailed reactions as you can, and be ready to talk about, and defend, these reactions in class. Lee may collect your comments so she can check them off (if you miss a class, you need to pick up manuscripts in advance outside my office CB410d or on Canvas Discussions Workshop Drafts Here! Readers please write comments ON the page and be ready to discuss those comments during class--don't hand them back until we are done with the oral workshop in class).
--Handout: "Affective Stylistics" from the Tyson Reader Response chapter in Canvas Files pp. 175-178
--Handout on Canvas: Stanley Fish "Affective Stylistics" on Canvas Files
(read pp. 21-33)
--Winterson: finish

 

Assignments due before class:

  • Replies to your group's Ex. 3's: comment on the mininovels of your group in Canvas Discussions. Do comments by practicing the concepts we're learning about (about narrative and Freytag's triangle, about close reading of small connotations/expectations, about bliss and crisis and pleasure, about what surprises you in good ways or problematic ways), but also make comments on how it could be improved or "reinvigorated" (Olsen p. 18). You can also think about various kinds of Bliss or Juissance in the text from Barthes' Pleasure of the Text. Explain why you see what you see, or why you think something needs to change, be cut, or be added or rethought. In other words, what works and what doesn't, and why? Be sure to be rhetorically polite. The groups may be automatic or they are in Canvas Announcements, or you can choose 4 people to reply to. Post to Canvas Discussions Ex. 3--click Reply to add your comments under the list stories from your group.
  • Kenzie will bring 16 copies of a workshop story (20 pages, double-spaced MAX)? Be sure to upload workshop 1 stories to Canvas Discussions Workshop 1 Drafts Here. Workshop Authors can workshop something they've been working on, or something new like a more fleshed exercise or journal, or from writing ideas in the interviews at the back of each chapter in Architectures, or anything in Architectures, or in Winterson, or Barthes (a story about a metaphorical strip tease?).
  • Bring journals daily (and write in them often like many artists do who sketch all the time).

 

 

Lecture Notes Day 6

Surrealist portrait of Dali! Look at surrealism to get more ideas of how to combine realist images that don't go together.

 

 

??--Handout from The & Now: Butler p. 38+ (list story)--in Canvas Files

Sep. 15

Workshopping, and Affective Stylistics, and New Criticism

Readings Due Before Class:

--Peer stories: Kenzie's and Mikki's. Carefully, thoughtfully read and write comments on their drafts based on their craft choices working or seemingly not working. Craft issues include as much as you can like pacing, dialogue, fleshing of characters, voice, POV, time shifts, description, narration, exposition, maximalist vs. minimalist style, cliches that get in the way etc. (critique, interpret, give advice, praise--see the Workshopping page for more ideas, or use advice ideas from ideas and interviews in Architectures); use some of language about texts of bliss; write down as many detailed reactions as you can, and be ready to talk about, and defend, these reactions in class. Lee may collect your comments so she can check them off (if you miss a class, you need to pick up manuscripts in advance outside my office CB410d or on Canvas Discussions Workshop Drafts Here! Readers please write comments ON the page and be ready to discuss those comments during class--don't hand them back until we are done with the oral workshop in class).
--Winterson: bring it
--Barthes: bring it
--Handout from The &Now: Deshell p. 76+ (a father's rant)--on Canvas Files
--Architectures: ch. 4 Workshop Models p. 45+
--Handout: online, "Girl" read by Jamaica Kincaid (another kind of list story with more heat, more narrative sparks; here is the text version)
--Handout: Surrealism link (on Surrealism, Freud, and Trotsky)--read first 2 pages (click File and Print Preview in your browser to see what that looks like).

 

Assignments due before class:

  • Exercise 4: Automatic Writing from Architectures p. 70, where you try to disrupt your own automatic lines of thought with more short-circuits and odd, dream-like connections. We started with phrases from headlines in the NYTimes.com, or from a random image/ad or word that came to mind. We did 10 minutes of "Automatic Writing" a la the surrealist Breton, writing everything that comes down to us without stopping, going in a new direction the minute a single idea becomes too well formed, writing L or G to come up with a new word that jars us out of a linear, causal way of thinking. The idea is that you get out of your comfort zone but also possibly tap into some of your "subconscious" obsessions. Then choose the lines or ideas or details that most speak to you, and start writing a story (finish a flash fiction, or start a longer story or novel chapter). See Lee's sample. Upload to Canvas Assignments.
  • Chris and Hyrum will bring 16 copies of a workshop story (20 pages, double-spaced MAX)? Be sure to upload workshop 1 stories to Canvas Discussions Workshop 1 Drafts Here. Workshop Authors can workshop something they've been working on, or something new like a more fleshed exercise or journal, or from writing ideas in the interviews at the back of each chapter in Architectures, or anything in Architectures, or in Winterson, or Barthes (a story about a metaphorical strip tease?).

 

 

 

Lecture Notes Day 7

Kincaid Interview--as a journalist she tried to write about subjects she strongly hated without saying that she hated them (at 33.00) like Milton Freedman (an "evil" Chicago School economist who was famous and rich from advising South American dictators on how to form their free market economies).

Sep. 17

Affective Stylistics, Neo-realism, Publishing and Workshop

Readings Due Before Class:

--Peer stories: Chris and Hyrum. Carefully, thoughtfully read and write comments on their drafts based on their craft choices working or seemingly not working. Craft issues include as much as you can like pacing, dialogue, fleshing of characters, voice, POV, time shifts, description, narration, exposition, maximalist vs. minimalist style, cliches that get in the way etc. (critique, interpret, give advice, praise--see the Workshopping page for more ideas, or use advice ideas from ideas and interviews in Architectures); use some of language about texts of bliss; write down as many detailed reactions as you can, and be ready to talk about, and defend, these reactions in class. Lee may collect your comments so she can check them off (if you miss a class, you need to pick up manuscripts in advance outside my office CB410d or on Canvas Discussions Workshop Drafts Here! Readers please write comments ON the page and be ready to discuss those comments during class--don't hand them back until we are done with the oral workshop in class).
--Barthes: bring it
--Winterson bring it
--Handout On-Line: Raymond Carver's "Viewfinder"
--Be reading Touchstones or Warp n Weave Spring 2015--you can focus on the prose
--Architectures: ch. 9 p. 105+ (round and flat characters)
--Be reading the fiction in Spring 2015 issues of Touchstones or Warp n Weave...

 

Assignments due before class:

  • Reading Reaction 2: 600 word (that's actually six hundred words minimum) reaction to one of the stories we've read from The &Now since the last reaction and something specific from the John Barth handouts you read the last few weeks (which idea or theory resonates most inside you, and why?; or which bit of idea or theory makes you mad, and why? and how can you use an example from a story to back up your claims?; -- or --what stylistic choices in a story strike you and why do you think that based on one of the theoretical ideas [or maybe you are a plot hag who doesn't notice style, but how does some of the theoretical writing back up what you are noticing about plot?]; what do you think it teaches you about writing fiction?). BE SURE YOU GIVE TEXTUAL EXAMPLES (short quotes) from the fiction and the theory readings, and do some close reading of those examples to support what you are saying about art and exhaustion. Upload to Canvas Discussions.
  • Jessica and Heather will bring 14 copies of a workshop story (20 pages, double-spaced MAX)? Be sure to upload workshop 1 stories to Canvas Discussions Workshop 1 Drafts Here. Workshop Authors can workshop something they've been working on, or something new like a more fleshed exercise or journal, or from writing ideas in the interviews at the back of each chapter in Architectures, or anything in Architectures, or in Winterson, or Barthes (a story about a metaphorical strip tease?).
 

Lee's Lecture Notes:

Lecture Notes Day 8

Post Card Story Structure:

  • Inciting Moment

  • Complication/Rising Action/Tension

  • Epiphany/Crisis/Turning Point/Point of no Return

  • Unraveling/Resolution/Denoument

 

 

Event Sep 17 Creative Writing Club opening social tonight! 6:30pm room LA228  
Sep. 22 Lee was sick...work on your stories and Touchstones  

Sep. 24

Publishing, and Workshop

Readings Due Before Class:

--Peer stories: Jessica and Heather. Some things you can comment on are in my discussion notes from the last class. Carefully, thoughtfully read and write comments on their drafts based on their craft choices working or seemingly not working. Craft issues include as much as you can like pacing, dialogue, fleshing of characters, voice, POV, time shifts, description, narration, exposition, maximalist vs. minimalist style, cliches that get in the way etc. (critique, interpret, give advice, praise--see the Workshopping page for more ideas, or use advice ideas from ideas and interviews in Architectures); use some of language about texts of bliss; write down as many detailed reactions as you can, and be ready to talk about, and defend, these reactions in class. Lee may collect your comments so she can check them off (if you miss a class, you need to pick up manuscripts in advance outside my office CB410d or on Canvas Discussions Workshop Drafts Here! Readers please write comments ON the page and be ready to discuss those comments during class--don't hand them back until we are done with the oral workshop in class).
--Bring Winterson (finished) and be ready to discuss a specific quote, detail, scene, character moment!
--Be reading Touchstones or Warp n Weave Spring 2015--you can focus on the prose
--Architectures: ch 18 publishing

 

Assignments due before class:

  • Reminder: Bring comments on stories and be ready to discuss out loud in front of others (gasp!)--everyone will say one thing abou each draft.
  • Exercise 5: Post Card Stories (Archictures p. 91 #2)--write four 100 word minimum post card stories (or a story that can fit on a post card) that follow and/or question Freytag's Triangle structures and ideology (will you comfort or discomfort the reader?), and that have a minimum of two characters. We discussed a Freytag's Template in class last time, and brainstormed some fast, though kind of Pleasury, mini-stories last time also that you might use for your own stories, or you might brainstorm your own under. You can use the main headings to guide you. Here are brainstorm examples. Upload to Canvas Discussions Ex. 5 Post Card Stories.
  • Tiffany and Mikki will make 14 copies for everyone of story/exercise (a story or novel chapter you want comments on--not one I've seen ad nauseum before, though--or you can workshop a more polished story from one of our exercises). Also post to Canvas Discussions Workshop Drafts Here!
  • Please keep the comments I give you so that you can turn them back in with your revisions.

 

 

Lee's Lecture Notes:
Workshop!

Lecture Notes Day 9

Publishing?

 

 

 

Sep. 24

due date

Touchstones submissions due by midnight via English Dept. or on the Facebook pages...you will need a cover sheet or submission form.  

Sep. 29

Minimalism, Voice, and More Pomo Metafiction and Writerly Bliss

Readings Due Before Class:

--Peer Stories: bring comments on Tiffany's story (if you miss a class, you need to pick up manuscripts in advance outside my office CB410d or on Canvas Discussions Workshop Drafts Here!).
--Touchstones
or Warp n Weave--finish the prose, and bring it
--Winterson: bring it


Assignments due before class
:

  • Cameron and James will bring 14 copies of a workshop story (20 pages, double-spaced MAX)? Be sure to upload workshop 1 stories to Canvas Discussions Workshop 1 Drafts Here. Workshop Authors can workshop something they've been working on, or something new like a more fleshed exercise or journal, or from writing ideas in the interviews at the back of each chapter in Architectures, or anything in Architectures, or in Winterson, or Barthes (a story about a metaphorical strip tease?).
  • Journal: be sure to be writing observations, descriptions, expositions, dialogue, character sketches, plot ideas etc. in your journals 3 times each week. Upload a few pages to Canvas Assignments before class--can scan (in an open lab like the library's south end), or take a picture.
  • Please keep the comments I give you so that you can turn them back in with your revisions.

 

Lee's Lecture Notes:

Lecture Notes Day 10

 

Sep.?? Warp n Weave is due by 3pm! Visit their Facebook site for guidelines.  
Oct. 1

The Erotic Body vs. The Jailed Body...

Readings Due Before Class:

--Peer Stories: bring comments on Cameron and Jame's stories (if you miss a class, you need to pick up manuscripts in advance outside my office CB410d or on Canvas Discussions Workshop Drafts Here!).
--Touchstones or Warp n Weave--finish the prose, and bring it
--Architectures: ch. 10 character metaphysics...

 

Assignments due before class:

  • Amanda and Kyla will bring 14 copies of a workshop story (20 pages, double-spaced MAX)? Be sure to upload workshop 1 stories to Canvas Discussions Workshop 1 Drafts Here. Workshop Authors can workshop something they've been working on, or something new like a more fleshed exercise or journal, or from writing ideas in the interviews at the back of each chapter in Architectures, or anything in Architectures, or in Winterson, or Barthes (a story about a metaphorical strip tease?).
  • Please keep the comments I give you so that you can turn them back in with your revisions.

 

Lee's Lecture Notes:

Lecture Notes Day 11

 

 

Oct. 6

More Blissful Pomo, and the Surreal

Readings Due Before Class:

--Peer Stories: bring comments on Amanda and Kyla's stories (if you miss a class, you need to pick up manuscripts in advance outside my office CB410d or on Canvas Discussions Workshop Drafts Here!).
--Lake's In Darkeness: through p. 70
--Pleasure of the Text
: through page 35
--Winterson: Bring it

 

Assignments due before class:

  • Reading Reaction 3 at 11:59pm: 600 words about Touchstones or Warp n Weave. Give writerly reactions to the stories that stand out most, good and bad, and why you're focusing on them. Also write down some editorial biases you notice from the Warp n Weave or Touchstones. Upload to Canvas Discussions by 11:59pm.
  • Chris will bring 16 copies of a workshop story (20 pages, double-spaced MAX)? Be sure to upload workshop 1 stories to Canvas Discussions Workshop 1 Drafts Here. Workshop Authors can workshop something they've been working on, or something new like a more fleshed exercise or journal, or from writing ideas in the interviews at the back of each chapter in Architectures, or anything in Architectures, or in Winterson, or Barthes (a story about a metaphorical strip tease?).
  • Workshop 1 Revision: Rebekah's revision 1 for Lee is due. Include my purple workshop comments with the revision. If you haven't done so, upload your draft to Canvas Assignments Workshop 1 Drafts Here which is where I'll put the grade.Bring Journal or something to work in Daily (have your journal with you all the time so you can capture great details as you go).
  • Directed Journaling from last class where we chose character questions from a 50 question list, and wrote about one of our main characters, pushing to find non-cliched concrete details to help flesh the character. These are often part of the three journals you should be writing each week.

Announcements:

  • Please keep the comments I give you so that you can turn them back in with your revisions.

 

Lee's Lecture Notes:

Lecture Notes Day 12

 

Texts of Bliss and Pleasure

 

 

 

Oct. 8

Taking Things Apart and Workshopping with Affective Stylistics

Readings Due Before Class:

--Peer Stories: bring comments Chris's stories (if you miss a class, you need to pick up manuscripts in advance outside my office CB410d or on Canvas Discussions Workshop Drafts Here!).
--Handout in Canvas: Camoin's "Sewers of Salt Lake" on Canvas Files
--Architectures: ch. 8 settings p. 95+
--Lake's In Darkeness: through p. 180
--Handout: online Pomo Laundry List
--Barthes: bring it

 

Assignments due before class:

  • Exercise 5 part 1 Due Oct. 10: Twilight Zone 600 word reaction: Watch an episode of the Twilight Zone (on Youtube: classic "Number 12 Looks Just Like You" (on Hulu, maybe for free), or the 2003 version (if these aren't available, you can watch one of the O'Henry stories below).  What pulls you forward?  What mysteries are set up in need of solving?  What's the high concept(s) that guide the theme? How is backstory (exposition) handled? Where is it too heavy handed? Where is it innovative? What's the high point? Is there an O'Henry Snap* (or a few)? Are the characters compelling and individually rendered, or are they merely there to further the plot? Or is there a mix of characters, flat and round? Is there anything dated about the characters, narrative structure, visions of the future--how would audiences now react? Is there anything prescient about the works? Upload to Canvas Discussions. *O'Henry snap (a large surprise at the end of a story like, "And then I woke up."; here is a film adaptation of O'Henry's "The Last Leaf"and "Eye of the Beholder" as examples).

  • ?? will bring 14 copies of a workshop story (20 pages, double-spaced MAX)? Be sure to upload workshop 1 stories to Canvas Discussions Workshop 1 Drafts Here. Workshop Authors can workshop something they've been working on, or something new like a more fleshed exercise or journal, or from writing ideas in the interviews at the back of each chapter in Architectures, or anything in Architectures, or in Winterson, or Barthes (a story about a metaphorical strip tease?).

  • Workshop 1 Revision: Kenzie's and Mikki's revision 1 for Lee are due. Include my purple workshop comments with the revision. If you haven't done so, upload your draft to Canvas Assignments Workshop 1 Drafts Here which is where I'll put the grade.Bring Journal or something to work in Daily (have your journal with you all the time so you can capture great details as you go).

Announcement:

  • Please keep the comments I give you so that you can turn them back in with your revisions.

 

 

Lecture Notes Day 13

 

Subtext?

Three act restorative structure

Northrop Frye's Mythoi structures

 

Oct. 10 Saturday No Class

Assignment Due:

  • Exercise 5 part 1 Due today, Oct. 10: Twilight Zone 600 word reaction: Watch an episode of the Twilight Zone (on Youtube: classic "Number 12 Looks Just Like You" (on Hulu, maybe for free), or the 2003 version (if these aren't available, you can watch one of the O'Henry stories below).  What pulls you forward?  What mysteries are set up in need of solving?  What's the high concept(s) that guide the theme? How is backstory (exposition) handled? Where is it too heavy handed? Where is it innovative? What's the high point? Is there an O'Henry Snap* (or a few)? Are the characters compelling and individually rendered, or are they merely there to further the plot? Or is there a mix of characters, flat and round? Is there anything dated about the characters, narrative structure, visions of the future--how would audiences now react? Is there anything prescient about the works? Upload to Canvas Discussions. *O'Henry snap (a large surprise at the end of a story like, "And then I woke up."; here is a film adaptation of O'Henry's "The Last Leaf"and "Eye of the Beholder" as examples).
 

Oct. 13

O'Henry, and Novel Writing

Readings Due Before Class:

--Peer Stories: bring comments on--take a break!--stories (if you miss a class, you need to pick up manuscripts in advance outside my office CB410d or on Canvas Discussions Workshop Drafts Here!).
--Architectures: bring it
--Darkeness: through p. 230
--Bring Winterson

Assignments due before class:

  • Journal: be keeping a running list of novel or story collection ideas/titles (and subplots that can go with them if you like) so we can discuss these in class.
  • Workshop 1 Revision: Chris and Hyrum revision 1 for Lee is due. Include my purple workshop comments with the revision. If you haven't done so, upload your draft to Canvas Assignments Workshop 1 Drafts Here which is where I'll put the grade.Bring Journal or something to work in Daily (have your journal with you all the time so you can capture great details as you go).
  • Rebekah and Travis will bring 14 copies of a workshop story (20 pages, double-spaced MAX)? Be sure to upload workshop 1 stories to Canvas Discussions Workshop 1 Drafts Here. Workshop Authors can workshop something they've been working on, or something new like a more fleshed exercise or journal, or from writing ideas in the interviews at the back of each chapter in Architectures, or anything in Architectures, or in Winterson, or Barthes (a story about a metaphorical strip tease?).
  • Be working on your Ex. 4 Part 2 "Twilight Zone" concept story with character--See Oct. 20.

 

 

Lee's Lecture Notes:

Lecture Notes Day 14

 

Lecture Notes Day 15

Oct. 15

Fall Break

--be reading/finishing Nick Lake's book In Darkness...

 
Oct. ?? Intersections Art and Creative Works due??  

Oct. 20

Novel Outlines, and Breaking Expectation

Readings Due Before Class:

--Peer Stories: bring comments on Rebekah and Travis's stories (if you miss a class, you need to pick up manuscripts in advance outside my office CB410d or on Canvas Discussions Workshop Drafts Here!).
--Darkness: Finish
--Barthes: pp. 35-45
--Bring Back Christopher's story so we can finish commenting.

 

Assignments due before class:

  • Reading Reaction 4: A 600 word reaction to one Winterson--what do you think it teaches you about writing fiction? about plot...Henri certainly moves from innocence to experience which Northrop Frye says is tragic (see Frye's Mythoi) ; why do you like or hate the novel's narrative arc? about characterization? about voice? about metafiction? about metaphor? about setting? about humor? about O'Henry Snaps? what stylistic or poetic choices in the novel strike you, and why? What about magical realism or the marvelous? Due to Canvas Assignments by 11:59pm.
  • Exercise 6 part 2: Twilight Zone-Inspired Story, but Now With More Character! Watch at least two or three Twilight Zone episodes (like the ones from before the break; they might be free on Hulu: "Number Twelve Looks Just Like You" or "Where is Everybody?"), and begin thinking about a concept you care deeply about, a problem with our modern society. Then write your own story inspired by this concept, a story that critiques the concept or societal problem, and play with some of techniques, ideas, structures, O'Henry Snaps etc. from the Twilight Zone or O'Henry's stories below. You'll make your story better, though, by making your characters as important as the O'Henry snap (a large surprise at the end of a story like, "And then I woke up" is highly annoying, and old fashioned; here is a film adaptation of O'Henry's "The Last Leaf" as an example, though this one is more subtle). Use more concrete setting details since you are writing a story which has no budget. Does it turn into a story you'd like to work on more, or turn into a novel? How can you make the classic O'Henry surprise reversal your own? Upload to Canvas Discussions.
  • In Class Guided Journal: Character Exercise from Architectures p. 111--we did #1, the obituary (also see John Truby on screenplay characters).
  • and Kyla will bring 14 copies of a workshop story (20 pages, double-spaced MAX)? Be sure to upload workshop 1 stories to Canvas Discussions Workshop 1 Drafts Here. Workshop Authors can workshop something they've been working on, or something new like a more fleshed exercise or journal, or from writing ideas in the interviews at the back of each chapter in Architectures, or anything in Architectures, or in Winterson, or Barthes (a story about a metaphorical strip tease?).
  • Workshop 1 Revision: Jessica and Heather's revision 1 for Lee is due. Include my purple workshop comments with the revision. If you haven't done so, upload your draft to Canvas Assignments Workshop 1 Drafts Here which is where I'll put the grade.Bring Journal or something to work in Daily (have your journal with you all the time so you can capture great details as you go).
  • Sign up to meet with Lee as needed.

 

 

Lecture Notes Day 15

Lecture Notes Day 15

 

 

 

Oct. 22 

Writing Beyond Genre, and Affective Stylistics

Readings Due Before Class:

--Peer Stories: bring comments on Jessica and Kyla's stories (if you miss a class, you need to pick up manuscripts in advance outside my office CB410d or on Canvas Discussions Workshop Drafts Here!). Be sure you print out Travis's story from last time, and give him comments on it. If you do digital commenting, Adobe Acrobat works well (you can handwrite or use text boxes and arrows anywhere), and Word's Review feature works pretty well (but all comments are on the right side). In other words, don't just give summary comments back even if it's an digital piece.
--Darkness: bring it
--Handout: O'Brien's "How to Tell a True War Story" in Canvas Files
--Architectures: ch. 12 POV
--Barthes: bring it

Assignments due before class:

  • Exercise 7: obituary for one of your main novel characters (or a character/narrator you've been working with and may want to work with more) based on ideas from Architectures p. 111 (but use some of the round character areas to help you flesh: actions, appearance, speech, thoughts and feelings). I talked about postmodern parody (mocking an original, serious text with excess and humor) and pastiche (collage of parodies) from the pomo laundry list last time, so you can also think about more absurd or mocking details for your character.
  • Jessica and Mikki will make 14 copies for everyone of story/novel chapter--not one I've seen ad nauseum before--or you can workshop a more polished story from one of our exercises, one that you might place in a story collection. Also post to Canvas Discussions Workshop Drafts Here!

 

 

 

Lecture Notes Day 16

In Class Guided Journal: novel exercise based on your character obituary (or other character work you've done), and based on Weiland's "What If" ideas--what if your character isn't who she seems to be (in my lecture notes from the 20th)

Guided Journal: using the Three Act Restorative structure to lay out your 15 chapter novel outline (from Alternative Scriptwriting, or from Tara Maya citing Blake Schneider's "beat sheets"--starting at 8:50 she details out the three act restorative into 15 sections or beats, so it's not a stretch to then lay out your novel in 15 chapters that follow the beats). You can also lay out your novel based on Campbell's Monomyth from Berkeley, or the HowToWiki with samples, outlining advice, character (4), and POV advice (6), or any other "secret" advice you happen upon since most of them deal with Feytag's Triangle structures.

Oct. 27

Consultation Day, no class, but see assignments due below--I will be grading and talking to students in my officeCB 410d most of the day (from 10AMish-9:00PMish). We'll discuss craft, manuscripts, novel and character, and theory questions.

 

Assignments Due:

  • Exercise 8: from guided journal writing during the last class (in other words, keep working with your Obituary character). From the book "What If", you can learn more about your potential novel characters either before Ex. 9 the outlined, or before Ex. 9. The "internal landscape" of our characters is important. "Literature thrives on characters who imagine, brood, fantasize, remember, and regret." Write a character "whose imagination is taken over with an obsession--an obssession with an idea, a tale, a vision--that determindes the way in which your character lives his or her life, and acts out the forward movement of a possible novel" (or story; I'll upload this What If exercise to Canvas Files later on the 22nd). This is a good way to generate some character ideas from Todorov's The Fantastic, but it's also a good way to think about the hidden aspects of your character(s), or about possible "traits" that can extend their story into a novel.

 

 

Oct. 29

Consultation Day, no class, but see assignments due below--I will be grading and talking to students in my office CB 410d most of the day (from 10AMish-9:00PMish). We'll talk about about craft, manuscripts, novel and character, and theory questions.

Assignments Due:

  • Exercise 9: A novel outline dealing with the character you've been working with, with 10-15 chapter titles and short synopses--I suggest 15 because someone named Tara Maya uploaded a video about novel outlining "secrets" (start at 8:50) that lay out 15 sections in a three act restorative/monomyth structure. You can write this based on the exercises we've been doing, look through your journal, or start from scratch: What kind of ideas-topics/narratives/characters/writerly concepts have you been obsessing about? You can go to your Journal for ideas, or start with an exercise, say, in Architectures of Possibility. See my novel and character lecture notes; see additional outlining lecture notes, and my own novel synopsis (it's only 8 chapters now, though)...
  • ?? will make 14 copies for everyone of story/novel chapter--not one I've seen ad nauseum before--or you can workshop a more polished story from one of our exercises, one that you might place in a story collection. Also post to Canvas Discussions Workshop Drafts Here!
  • Be working on your novel chapter 1 (and catching up if needed)

 

 

 

 

Nov. 3

Workshopping Feedback, and Reading Styles

Readings Due Before Class:

--Peer Stories: bring comments on Jessica and Mikki's stories (if you miss a class, you need to pick up manuscripts in advance outside my office CB410d or on Canvas Discussions Workshop Drafts Here!).
--Darkness: bring it
--Handout: Deconstruction Theory as a reading style in Canvas Files
--Architectures: ch. 13 on language
--Barthes pp. 25-36 (death of the author and other fetishes)


Assignments due before class
:

  • Make comments on peer Exercise 9 the novel outline in Canvas Discussions.
  • Cam and Hyrum will make 14 copies for everyone of story/novel chapter--not one I've seen ad nauseum before--or you can workshop a more polished story from one of our exercises, one that you might place in a story collection. Also post to Canvas Discussions Workshop Drafts Here! Lee will put hard copies outside her office CB410d if you ask.
  • In Class Guided Journal: in class dialogue work tba??
  • Be working on your novel chapter 1 (and catching up if needed)
 

 

 

 

Nov. 1 NANOWRIMO Novel Writing Month begins! You can get extra credit!  

Nov. 5

Reading Styles and the Avant-Garde

Readings Due Before Class:

--Peer Stories: bring comments on Cam and Hyrum's stories (if you miss a class, you need to pick up manuscripts in advance outside my office CB410d or on Canvas Discussions Workshop Drafts Here!).
--Le Guin Left Hand through p. 50

Assignments due before class:

  • Mikki and Heather will make 14 copies for everyone of story/novel chapter--not one I've seen ad nauseum before--or you can workshop a more polished story from one of our exercises, one that you might place in a story collection. Also post to Canvas Discussions Workshop Drafts Here!
  • Be working on your novel chapter 1 (and catching up if needed)

 

Lecture Notes Day 17

 

Nov. 10

Literary Reading Styles Continued, and the importance of Language

Readings Due Before Class:

--Peer Stories: bring comments on Mikki and Heather's stories (if you miss a class, you need to pick up manuscripts in advance outside my office CB410d or on Canvas Discussions Workshop Drafts Here!).
--Le Guin Left Hand through p. 100
--Architectures: bring it


Assignments due before class
:

  • Amanda and James will make 14 copies for everyone of story/novel chapter--not one I've seen ad nauseum before--or you can workshop a more polished story from one of our exercises, one that you might place in a story collection. Also post to Canvas Discussions Workshop Drafts Here!
  • Extra Credit: Outside Reading Reaction 1: Outside Reading Reaction 1: 600 words about a reading you've attended or watched on Youtube. There are links to readings from authors in our books, and from other authors on Canvas Home or Canvas Pages (and if not, you can get on Youtube.com and search for Ursula LeGuin Reading etc).

 

 

Lecture Notes Day 17

…(Dillard's Total Eclipse)

 

 

 

Lecture Notes Day 18

 

Lecture Notes Day 19

Nov. 12

Class Cancelled for Writing for Social Change Conference

Reading Styles Continued

Readings Due Before Class:

--Peer Stories: bring comments on ...no one's stories (if you miss a class, you need to pick up manuscripts in advance outside my office CB410d or on Canvas Discussions Workshop Drafts Here!).
--Le Guin Left Hand through p. 150
--Pleasure of the Text: pp. 37-52

Assignments due before class:

  • Chris will make 14 copies for everyone of story/novel chapter--not one I've seen ad nauseum before--or you can workshop a more polished story from one of our exercises, one that you might place in a story collection. Also post to Canvas Discussions Workshop Drafts Here!

 

Lee's Lecture Notes:

 

Lecture Notes Day 21

Nov. 17

Reading Styles and Writing Styles

Readings Due Before Class:

--Peer Stories: bring comments on Chris, James's, and Amanda's, (if you miss a class, you need to pick up manuscripts in advance outside my office CB410d or on Canvas Discussions Workshop Drafts Here!).
--Handout: Reader Response in Canvas Files
--Architectures: ch. 11 temporality;ch. 15 (Materiality 1)
--Le Guin Left Hand through p. 200
--Barthes: through p. 41


Assignments due before class
:

  • Be sure you submit evidence of your literary journal submission this semester (to Touchstones, Warp n Weave, etc.). Upload to Canvas Assignments.
  • Tiffany and Travis and Kenzie will make 14 copies for everyone of story/novel chapter--not one I've seen ad nauseum before--or you can workshop a more polished story from one of our exercises, one that you might place in a story collection. Also post to Canvas Discussions Workshop Drafts Here!

 

Lee's Lecture Notes:
probably no lecture today so we can cover everyone...

Le Guin and postmodern gender queerness

 

Lecture Notes Day 20

 

 

 

 

 

Nov. 19

Reading Styles, and Young Adult Voices

Readings Due Before Class:

--Peer Stories: bring comments on Tiffany and Travis's and Kenzie's stories (if you miss a class, you need to pick up manuscripts in advance outside my office CB410d or on Canvas Discussions Workshop Drafts Here!).
--Le Guin Left Hand through p. 250
--Handout: online, Flannery O'Connor's "A Good Man is Hard to Find" read for after thanksgiving!
--Pleasure: bring it


Assignments due before class
:

  • "Final" Journal: upload a few more photos of your most recent journaling for fiction. Give me 4 pages in PDF or JPEG randomly chosen from your journal. Upload to Canvas Assignments at 11:59pm.
  • Rebekah and Hyrum? will make 14 copies for everyone of story/novel chapter--not one I've seen ad nauseum before--or you can workshop a more polished story from one of our exercises, one that you might place in a story collection. Also post to Canvas Discussions Workshop Drafts Here!
 

Lee's Lecture Notes:

 

Lecture Notes Day 22

Nov. 24

No Class--Lee will grade, or meet with people in consultations...

Readings Due:

--Finish Pleasure (bliss) of the Text
--Le Guin: Finish


Assignments due
:

  • Reading Reaction 5: 600 writerly words about In Darkness--be sure to look at the way he builds both main characters with specific examples of details. How does he use setting? In terms of narrative, also look at either the use of multiple Freytag's Triangles (the Monomyth Hero's Journey), or look at the very frequent use of foreshadowing and critique it technically in terms of pacing and expectation. Due to Canvas Assignments, 11:59 on Wed. the 25th.

 

 

 

 

Lecture Notes Day 23

Nov. 25, 26, 27 Thanksgiving  

Dec. 1

Revising and Publishing

Readings Due Before Class:

--Peer Stories: bring comments on Rebekah's story (if you miss a class, you need to pick up manuscripts in advance outside my office CB410d or on Canvas Discussions Workshop Drafts Here!).
--Flannery O'Connor's "A Good Man is Hard to Find"
--Le Guin: bring it
--Architectures: ch. 14 endings; ch. 16 (Materiality 2)
--Begin re-reading Pleasure of the Text (ha ha)--but do bring the text

Assignments due before class:

  • Extra Credit Exercise 10:--Another Novel Chapter due to Canvas Assignments (your next chapter, or a chapter I didn't workshop; if you want this chapter to be the one for your final revision, let me know before your consultation...I would prefer to get a final revision of a workshopped story, however).
  • Cam, Jessica will make 14 copies for everyone of story/novel chapter--not one I've seen ad nauseum before--or you can workshop a more polished story from one of our exercises, one that you might place in a story collection. Also post to Canvas Discussions Workshop Drafts Here!
  • Be sure to do a course evaluation on UVLink!
  • All Late work due!
 

 

Lecture Notes Day 24

 

Be sure I get my original comments on all of the pieces you have submitted for revision. Upload to Canvas Assignments Lee's Workshop Comments.

Dec. 3

Voice, and Workshopping

Readings Due Before Class:

--Peer Stories: bring comments on Cam, Jessica's stories (if you miss a class, you need to pick up manuscripts in advance outside my office CB410d or on Canvas Discussions Workshop Drafts Here!).
--Handout on Canvas Files: "My Lucy Friend Who Smells Like Corn" from Cisneros
--The &Now: bring it
--Le Guin: bring it
--Bring Architectures
--Bring Barthes!

Assignments due before class:

  • Questions?
  • Be sure you sign up for a consultation.
  • Be sure you complete a course evaluation on UVLink!

 

Lee's Lecture Notes:

Lecture Notes Day 25

 

 

Dec. 8

Consultations and Work Day--No Class: Lee will be in CB410d between 1pm and 3:30pm--see the sign up sheet under Canvas Announcements

Assignments due:

  • Reading Reaction 6: 600 intelligent, specific and writerly words on Ursula LeGuin's Left Hand of Darkness and try to use something from Roland Barthes' Pleasure of the Text.
  • Be working on your revisions.
  • Be sure to bring a self-evaluation (Grade Justification Letter; upload to Canvas Assignments; what grade should you be getting in the class based on writing ability, revising ability, workshopping comments, readings and reactions completed on time, improvement, and overall commitment? Also think about how this fits, or doesn't fit, your Canvas grade percentages).
  • Be sure to do a course evaluation on UVLink!
 
Dec. 10

Consultations and Work Day--No Class: Lee will be in CB410d at various times between 11am and 7pm--see the sign up sheet under Canvas Announcements

 

 

Dec. 9

Event

Outside Readings: MY WORD A Night of Touchstones Readers and food 7PM CB511 (this is a first come first serve reading extravaganza)!??!!!!

...can write a 600 word reaction for extra credit due Friday

 

Dec. 10

Event

Outside Readings: Warp n Weave launch party with readings etc. at 7pm in CB 511.

...can write a 600 word reaction for extra credit due Friday

 

 

Dec. ?

Event?

Outside Readings: Peculiar launch party with readings etc. at ????

...can write a 600 word reaction for extra credit due Friday

 

 

Dec. 11 Fri. (no class) 

Revising our Work...no class, but things are due to Canvas. Grade and Revision Consultations are available in LA 114B--sign up in class or by leaving a message in Canvas Announcements under the Consultation Schedule.

Assignments due:

  • All extra credit due (like your reaction to My Word)!
  • Be sure you've given your peers workshop commenting a grade in Canvas Assignments!
  • Peer Review workshop grades for your classmates 2.0 (have they improved if they needed to?); send me a Canvas message or an email.
  • Be sure you turn in your self-evaluation (Grade Justification Letter; upload to Canvas Assignments; what grade should you be getting in the class based on writing ability, revising ability, workshopping comments, readings and reactions completed on time, improvement, and overall commitment? Also think about how this fits, or doesn't fit, your Canvas grade percentages).
  • Be sure to do a course evaluation in UVLink!
For Fun: some examples of bad writing from a contest...
Dec. 15 Consultations in CB410d--see Canvas Announcements  

Dec. 17

Thurs.

Your Final Revision

Assignments due before class:

  • Workshop Revision 2 uploaded to Canvas Assignments by 11:59pm. Be sure I get the original comments I made on your workshop draft (scanned and submitted under Lee's Scanned Comments in Canvas Assignments).
  • Extra Credit: Workshop 3 revision
  • Hurry up and turn in missing and late work!
  • Be sure to do a course evaluation in UVLink!

 

AND be sure you check your email until a month into the next semester or so in case you are missing something like a revision or reading reaction.