Syllabus for English 398:001, Spring 1996
Instructor: Laura Ellen Scott, Office: Robinson A481
Phone: 993-1179 (office), 425-2208 (home) Email: lscott@gmu.edu
Office hours: Mon 10:30am-1:30pm, Tues 3:30pm-7:00pm, Weds 10:30am-12:00pm,
Fri 9:00am-11:00am
Course description: English 398 used to be an introductory course in fiction writing, but due to recent changes in English Major programs, including the addition of the pre-requisite course English 396: Introduction to Creative Writing, English 398 is intended to be more of an intermediate course in fiction writing, and participants are expected to have some previous experience in creative writing evidenced by a basic understanding of the elements of fiction (plot, setting, point of view, character, theme, style, etc.) and formal expectations. Classwork for this section of 398 will include writing and submitting fiction for class review, written and oral participation in workshopping classmates' fiction, completing the fictional diary project, completing the influential authors project, and submission of a final fiction portfolio including self-evaluative introduction.
Expenses for this class:
1.You will be required to provide each class member with photocopies
of the fiction that you want workshopped. Expect to go at least twice in
the semester.
2. You need 100 index cards
3. You need a journal-style blank book or permanent bound composition book
if you are hand-
writing the diary (a regular notebook will not do). You may submit your
diary entries via
email, but you must back them up somehow. That is, if I lose the copy you
have sent to me,
you must be able to reproduce it on demand. Documents made of light are
ephemeral, so
we must exercise precautions.
Other requirements:
By January 31 you must have an email account that you check
regularly. It is via email that I will be posting important information
concerning assignments and deadlines. Also, if we experience the same kind
of bomb scare semester this year as we did last year, we may have to rely
on email and distribution lists to get our workshopping done.
Submitting fiction for class workshop: The kinds of fiction submitted
for class review (short story or novel excerpt, psychological realism or
sci-fi pornography, whatever) is the writer's choice. The only limit is
that the writer must be sincere about her efforts and about her desire
to receive feedback that will lead to revision. Do not submit work that
you feel is "done." Such work has no place in a workshop environment.
Submissions should be at least 8 pages (2000 words) in length. We
will try to workshop about two writers per period (though it usually works
out to 1 1/2), so be prepared to submit 2 to 3 times during the semester.
Beginning the fourth week of class, we will start to workshop each other's fiction. We'll set up a workshopping schedule, and writers will be expected to distribute photocopies of their typed fiction to each class member at least one class prior to the scheduled workshopping date. For example, if Cookie Mueller is scheduled to be workshopped on Monday February 26, then she should distribute copies of her story to us all during class time on Wednesday, February 21. Failure to submit fiction in a timely fashion will result in a lowered grade for the scheduled writer (and she'll have to wait till everyone else has been workshopped before she may be scheduled again), and the class period intended for workshopping Cookie's fiction will be spent on in-class writing exercises and (gasp!) lectures. If, for some bizarre reason, Cookie is able to distribute her fiction on time but is unable to attend the class session meant for her workshop, the fiction will be workshopped anyway, in her absence. Again, her grade will be lowered, and I predict that her absence will facilitate a workshop commentary that could be characterized as brutally frank. In such cases, absence does not make the heart grow fonder.
At the end of the workshopping period, I will collect signed workshopped copies of the writer's work from the class. These will be returned to the author by the next class period, along with a draft graded by me. This grade does not affect your final grade, but is intended as a guideline for revision. I base this grade on the following criteria: Originality of concept, development of concept, and language usage.
Final portfolio: On the final exam date, you are required to submit a final portfolio to me. This should include typed, revised fiction that has been workshopped in class, and a brief essay (no more than 750 typed words) evaluating yourself as a fiction writer.
Written and oral participation: For the first couple of weeks we'll be doing homework and in-class work, designed to get us up and running on the various projects. Once we begin the workshopping process, we will be doing fewer exercises and your participation in class discussion and written evaluation of classmates' fiction will be emphasized. One class period prior to individual workshops, you will receive a photocopy of the work to be discussed. You are expected to read this work carefully prior to the next class, and provide copious written comments on the manuscript. Be as specific as possible, keeping in mind that you are trying to help the author improve her work; general comments are only okay as an introduction to more specific ones. Practice close reading. An acceptible format for your comments might be to begin with your overall impressions, then discuss what works and doesn't work.
You must sign your comments. At the end of the workshopping period I will collect the marked manuscripts and grade them in my book--you are invited to come see me during my office hours to check on your response grades any time during the semester, as many times as you wish.
Your oral participation is also very important. Shyness is not an option. If you have trouble speaking up in class, use your written comments as a starting point; make substantial comments in every class.
The Diary Project: Perhaps the most important skill a fiction
writer needs is the ability to create and sustain credible, interesting
psychologies. In and effort to develop this skill, you will
be keeping a diary of a character that you create. This is not a "real"
diary in that the entries are private and have private meaning, but this
will be a fiction which uses the diary form as a "conceit." You
are, however, releived of the conventional burdens of plotting and resolution,
as the events that transpire will be driven by the character and settings
you have created. Think of it as an "open-ended" fiction. If
we're lucky, the character will grow naturally. The daily life and reality
of this character may be as fantastic as you wish, but it must also be
convincing. (Please keep in mind that "convincing" doesn't necessarily
mean realistic.)
Each week I will give you an event that must somehow be incorporated into your diary-- for example, week one's event is: a physical attack.
My expectation is that your diary will consist of at least three entries per week, and that the length of those entries will certainly vary. I will collect and grade the diaries 4 times throughout the semester. You may use material inspired by your diary for class fiction submissions, if you like.
Physical requirements: the diary may be hand-written or it may be emailed, but not both. Choose one form and stick with it.
Influential authors project: Outside readings for this class will be self-directed, culminating in a project designed to help you identify your influences. Early on in the semester, you will develop a list of 10 fiction writers whose work you deem important to your own writing development. You will write an evaluative paragraph or more about each writer, and identify what you believe are their most important works. After you turn this list in to me, we'll have a conference to discuss your choices and whatever else you want to talk about. Near the end of the semester, you will have narrowed that list down to 5 authors, providing me with bibliographies of their fiction and brief (300-500 words) surveys of their critical reception. After turning this list in, we will have another conference in which we will discuss these authers, the works you think are most important, and how they influence your writing.
Grading: I don't give plus or minus grades. A's (exceptional work) are 4 points, B's(above average) are 3 points, C's (average) are 2 points, D's (below average) are 1 point. F's (unacceptible) are 0 points. Your projects/responsibilities are broken down into a standard 100 percent scale, after which final grades are averaged on a 4 point system. 3.6 and above=A, 2.6-3.5=B, 1.6-2.5=C, .6-1.5=D, .5 and below=F. (note: 50% A work and 50% B work averages to 3.5: a B for the course.)
Fiction Portfolio (revised, workshopped fiction [25%] and self-evaluative
essay
[5%])= 30%
Written and Oral participation (includes in-class discussion [10%],
written
comments[10%], timely submission of fiction [5%], in-class exercises and
homework
[5%])=30%
Diary project (same criteria as fiction submissions)=20%
Influential authors project (lists and conferences)=20%
Failure to complete any assignment will automatically result in a grade of F for the course.
When you applied for admission to George Mason University, you signed an agreement to abide by the Honor Code. The Honor code is printed in full in your Undergraduate Catalog. Below is an excerpt from the 1994-95 catalog concerning Plagiarism:
B. Plagiarism encompasses the following:
1. Presenting as one's own words, the work, or the opinions of someone
else without proper acknowledgement.
2. Borrowing the sequence of ideas, arrangement of material, or the pattern
of thought of someone else without proper acknowledgement. (57)
Plagiarism is strictly forbidden, and the penalties are severe. Any
suspected violations will be reported to Honor committee immediately
upon discovery.
Tentative schedule of assignments--please write in names of classmates
to be workshopped next to "workshop" on this schedule:
(remember: it is necessary to submit fiction to be workshopped one class
period prior to the date you are scheduled to be workshopped)
Week one--1/22: course introduction, in-class exercises (list and hands)
1/24: developing diary character, character sketches, personal vocabulary
deck
Week two--1/29: finding stories, developing a list of influential authors
1/31: Influential authors list # 1 due, make workshop schedule
Week three--2/5: conferences
2/7: come to class to pick up first manuscripts, conferences
Week four--2/12: homework: character vocabulary deck, workshop:
2/14: diaries due w/character sketch, workshop:
Week five--2/19:diaries returned, workshop:
2/21:workshop:
Week six--2/26:workshop:
2/28: workshop:
Week seven--3/4: workshop:
3/6:(alert for the writer being workshopped on th 18th!! don't forget
to bring manuscripts today!!) workshop:
Week eight--3/11 & 3/13: Spring Break
Week nine--3/18:diary due, workshop:
3/20: diaries returned, workshop:
Week ten--3/25: workshop:
3/27: workshop:
Week eleven--4/1:workshop:
4/3: workshop:
Week twelve--4/8:diary due, workshop:
4/10: diaries returned, workshop:
Week thirteen--4/15: workshop:
4/17: workshop:
Week fourteen--4/22: influential authors list # 2 due, workshop:
4/24: exit conferences
Week fifteen--4/29: exit conferences
5/1: final diary due, closing ceremonies
Final exam period (7:30am 5/13?? double-check this)--Final portfolio
and self-evaluative essay due. Final diaries returned.