Introduction to Creative Writing EN221.04 S02 T/TH 1:30-2:45

Professor: Connie Griffin Office: McGuinn 529-A

Office Hours: T/TH 12:00-1:30 And By Appointment

Voice Mail: 617/552-0557 E-Mail: griffinc@bc.edu

Introduction to Creative Writing provides a forum for exploring fiction and poetry writing. During the first half of the course we will focus on elements of fiction, including character development, point of view, setting and scenes, as well as thematic resonance. We will explore narrative techniques such as flashback, stream of consciousness, internal monologue, and dialogue. And, we will explore the effects of imagery, metaphor, and symbolism. Finally, we will work toward the development of a voice and style that is uniquely yours. During the second half of the semester we will focus on prose poems and the fundamentals of poetry, including imagery and metaphor, diction, tone, and voice, rhythm and repetition, as well as form and free verse.

Class time will take the form of a writing workshop. Workshops include in-class pre-writing exercises, small and large group readings and discussions of your and others’ writings, both peer and published. A successful writing workshop requires everyone’s participation, so come to EVERY CLASS, come ON TIME, and come prepared to share your work and to respond to others’ with a reader’s interpretive feedback.

Prose writings should be 1 1/2 to 3 pages, typed, double-spaced, paginated, and stapled. Place your name, the date your paper is due, the writing assignment, and a working title for your piece on the first page. Bring a total of five copies of each and every paper to class with you, including a self-reflection (discussed below). This is important! A workshop cannot happen without the work under discussion in front of us. When it is your turn to "workshop" with the large group you will need to bring 16 copies of your work, including your self-reflection. If you miss your workshop your work will be returned to you with student/teacher comments at the next class. Except in emergencies you will not be given another date for workshop.

Write and attach a one-page self-reflection and about three thought-provoking questions or concerns you would like us to address about your writing. Your self-reflection might include, among other things: 1) what you are attempting to achieve in your piece; 2) how successful you think you have been in achieving your purpose; 3) any difficulties you are having with the piece. Always type and staple your self-reflection and questions to the backs of all five copies of your writings (16 when workshopping).

I hold to a strict policy on attendance and timeliness; absence and tardiness diminish the cohesion of a group that is working creatively together and will lower your grade. More than two absences from the writing workshop will constitute grounds for failure of the course; more than three tardinesses will drop your grade to at least the next level. Excused absences are for illness and emergencies; do not squander them! I reserve the right to refuse late papers.

Your final grade will result from the following: 1) the quality and timeliness of your writing over the course of the semester (70%); 2) class participation in peer discussions and large group workshops (30%).

Texts for the course:

On Writing Short Stories. Ed. Tom Bailey. Oxford UP, 2000.

Creating Short Fiction. Damon Knight. St. Martin’s Griffin, 3rd Ed.

A Poetry Handbook. Mary Oliver. Harvest/Harcourt Brace, 1994.

Writing Poetry. Shelley Tucker. GoodYear Books, 1992.

Introduction to Creative Writing (EN221.04)

Course Calendar

January 15: Introduction of Syllabus; Course Overview; Student Introductions; Rdg: "Developing as a Writer" (Knight 1-27).

January 17: Class: Pre-writing techniques; Rdg: Character and Pt of Vw(Bailey 28-47); "The String," Maupassant (Bailey 127); "Beginning a Story" (Knight 105-122; 138-9).

January 22: Discuss Characterization; Pt of View; Realization; pre-writing; Rdg: Theme/meaning (Bailey (47-60); Situation (91-92); "The Lady with the Pet Dog" (132); "Hills Like White Elephants" (145).

January 24: Sm Grps; Class Discussion of "Lady" & "Hills" in Bailey; pre-writing; Rdg: Francine Prose, "What Makes A Short Story?" (Bailey 3-12); Joyce Carol Oates, "Reading as a Writer" (Bailey 13-27).

January 29: Discuss: Student Reader-Response Guidelines; Due: Short Story/Moment (sm grps)

January 31: Class Discussion of Readings; Rdg: "Viewpoint" (Knight 122-137); "A & P," by Updike (Bailey 211); "The Shawl," Cynthia Ozick (Bailey 207).

February 5: Due: Short Story/Character Revelation through situation; sm grps/reader response; Rdg: Andre Dubus, "The Habit of Writing" (90-96) and his "A Father’s Story" (288); "Controlling [Shaping?] a Story" (Knight 143-172).

February 7: Class discussion: Dubus’ and Knight’s differing approaches to the writing process; Rdg: Robert Coles, "Why Write?" (Bailey 97-111); "I Stand Here Ironing," Olsen (149).

February 12: Due: Short Story/Points of View; (sm groups).

February 14: Discuss Thematic Resonance; in-class pre-writing;Rdg. "Sonny’s Blues," Baldwin (183).

February 19: Due: Short Story/set in present, draws on Flashbacks; (sm groups); Discuss "Ironing"; Rdg: Flannery O’Connor, "Everything That Rises Must Converge" (Bailey 171); Louise Erdrich, "Saint Marie" (Bailey 227).

February 21: Class discussion: above short stories: character, point of view, situation and its impact, realization (character or reader), and thematic resonance. Rdg: "Bullet in the Brain," Wolff (Bailey 311).

February 26: Due: Short Story/using internal monologue and dialogue to move story along; sm grps; Rdg: Frank Conroy, "Writer’s Workshop" (Bailey 80-89)

February 28: Prepare for large group workshop; revision guidelines; distribute student work (3).

MARCH 3-10 SPRING BREAK

March 12-26: LARGE GROUP WORKSHOP; distribute student work class before (3).

MARCH 3-10 SPRING BREAK

March 12-14: LARGE GROUP WORKSHOPS;

Rdg. "Shorts": "Old Chestnuts," "Refuge."

March 19-21: First "Short" Due on the 19th (no reflection; questions are fine; 5 copies)

LARGE GROUP WORKSHOPS

Rdg. "The Bear," "Valor," "Around the Corner"; Also, Mary Oliver’s A Poetry

Handbook: Introduction, Getting Ready, Reading Poems, Imitation, Sound, More

Devices of Sound (pages 1-34); Shelley Tucker’s Writing Poetry: Introduction, Metaphors, Similes, Personification (vii-49).

March 26: Due: "Short" (1-page; 15 copies); Discuss Readings (Shorts, Prose Poems, and Poetry)

Rdg. Oliver: The Line, Some Given Forms, Verse that is Free, Diction, Tone, Voice, Imagery (35-108); Tucker: Imagery (50-60); Symbol (132-132; select some of the exercises on pages 135-137 and work with them on your own).

March 28: PASSOVER/EASTER BREAK

April 2: Due: "Short" or Poem; Discuss Poetic Devices; student writings and in-class exercises; Rdg. Oliver: Revision (109-111), Workshops and Solitude (112- 116); Tucker: Alliteration (61-66), Synesthesia (127-131), Tone (119-126), Repetition (72-78), Onomatopoeia (67-71).

April 4: Class canceled.

April 9: Due: "Short," Prose Poem, or Poem (5 copies). Rdg.

April 11: Discussion of readings, poetic devices, and poems.

April 16: Due: "Short," Prose Poem, or Poem (5 copies).

April 18: Discussion of readings, poetic devices, and poems.

April 23: Due: "Short," Prose Poem, or Poem (15 copies);

LARGE GROUP WORKSHOP (POEM OR "SHORT")

April 25: LARGE GROUP WORKSHOP (POEM OR "SHORT")

Rdg. Oliver: Solitude and Conclusion (116-122); Knight, "Being a Writer" (Part 6: 183-198);

April 30: Due: Portfolio (one final revision of a short story or essay; final revisions of three poems or "shorts"; SELF-REFLECTION on your writing process over the semester and feedback on the workshop (2-3 pages).

LARGE GROUP WORKSHOP (POEM OR "SHORT")

Schedule a final conference.