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FIRST-YEAR WRITING SEMINAR
(FALL 1997)
Required Book
Berentson, Jane. Dressing for Dinner n the Naked City. Hyperion,
1994.
Donovan-Kranz, Eileen & Lad Tobin, Fresh Ink, McGraw-Hill,
1996.
Georgia Heard, Writing Toward Home, Heinemann, 1995.
Kitchen, Judith & Mary Paumier Jones, Eds.In Short, Norton,
1996.
Course Outline
I know that some of you are dreading a course called the First-Year Writing
Seminar. You are imagining the worst: you are afraid that I will give
you assignments like "Write an essay comparing and contrasting the protagonists
of The Iliad and The Red Badge of Courage," or "Describe
your most embarrassing moment," or "Write a well-researched argument on
the causes of the Civil War." And you are probably also worried that I
will subject you to lectures on the MLA Style Sheet, topic sentences,
and subordinate clauses. Worst of all, you are scared that your essays
will come back to you covered with "AWK" and "WORDY" and "D" in red ink.
I guess I should tell you that I used to teach this course just as I have
described it above and my students weren't the only ones who dreaded coming
to class; to tell you the truth, I didn't enjoy teaching Freshman Composition
in that way. I now teach the course as a workshop in which I try to give
students the freedom and support to choose their own topics and styles.
I hope that this course helps you to get better grades on your essays
in your other courses. But that is not the first or main purpose of this
course. The main purposes are to lead you to recognize the various goals
of writing (communication, learning, and pleasure), to help you to develop
your own strategies for meeting those goals, and, most of all, to make
you want to keep writing after the course is over. I now believe that
this is the best course in the college to teach for all sorts of reasons:
it is the most open-ended and the least predictable. For me, it is also
the most satisfying. But this sort of course only works if you become
intellectually and emotionally involved in it. There is no clear body
of knowledge I have to give you in this course, no set of facts or dates
or charts to memorize. Of course, I have clear goals for you this semester
and I have a number of different ways of helping you meet those goals.
But if this course works well, it will because you have made a committed
and consistent effort.
Portfolio Guidelines
I would like you to keep all of your writing that you do for this course
in a notebook or portfolio. This portfolio will make up most of your course
grade (the rest will be based on your participation in class) and will
consist of the following:
(1) Informal writing used for planning, discovery, experimentation
(eg., outlines, "maps," freewriting exercises, reading responses,
journal entries)
(2) Drafts of the five assigned essays an autobiographial
narrative, a human interest piece, an analysis of a text (which will
be co-authored), a "meditation," and an "open" essay.
(3) Three "finished" essays (see explanation below).
(4) A self-study of your portfolio which will be your only "final
exam."
Since I expect you to write a minumum of 5 pages per week in this
course, your final portfolio should include at least 75 pages of drafts,
revisions, exercises, responses, etc.
Each of the "finished" pieces must be one that I have seen at
least once in conference.
Your portfolio must include at least one example of each of the
following research methods:
Writing from personal experience and memory
Writing from observation and interviews
Writing from written (e.g.; articles, books, etc.) and electronic
(eg.; internet, video etc.) sources
* In your portfolio self-study, you will need to indicate how you
have met this requirement.
Your portfolio must include at least one example of each of the
following types of writing:
Writing to yourself
Writing to scholars
Writing to general readers
* In your portfolio self-study, you will need to indicate how you
have met this requirement, too.
Finally, since I am interested in your ability to re-vise, to
re-see, and re-configure, you must demonstrate an ability to transform
your first drafts in some significant way. This transformation might be
achieved by changing the structure, point of view, tone, evidence, etc.
in some significant way. You might decide that the transformation ultimately
does not improve the piece and you might even revert to the original form
for your "finished" piece. Still, you need to demonstrate in your porfolio
your willingness to experiment, play, reconsider, and transform.
* In your portfolio self-study, you will need to indicate how you
have met this requirement, too.
I know that some of these terms may be unfamiliar to you. Try not to
worry about that at this point. I have offered some definitions and explanations
below and all of this will make more sense as we get into the course.
* A draft is an typed essay of about 750-1,250 words
or 3-5 pages. Write about something that is important or at least interesting
to you. Write about something that you want to know more about. Experiment,
take risks. I would rather read (and rather have you write) a daring
essay that doesn't quite work than a safe essay in which you take no
chances.
* A reading response or reading narrative is a typed
page (about 250 words) in which you comment on an assignment by telling
something about what you experienced as you read it. I would suggest
that you choose a sentence or a passage that struck you as interesting
or exciting or provocative or confusing and start there.
* A co-authored essay is a single essay written by more
than one writer. It is an essay in which two or more writers share the
work and responsibility.
* "Finished" essays are the three essays that you decide
make up your best work at the end of the semester. Of course, the process
of working on an essay doesn't really finish; it's just that the deadline
arrives. And so you may keep working on these three pieces until the
date the portfolio is due. Please, note, though they must be
based on drafts that I have seen during the semester. When you include
them in your portfolio, you must attach all outlines and drafts. The
three "finished" essays will make up the most important part of your
grade. (Oh, yes, one more note: please indicate which, if any, of these
three you would like to submit for publication in next year's course
reader of student essays.)
* Conferences (Individual) : Almost every week, you will have
a conference with me to discuss your drafts, comments, anything.The
conferences will be held in my office (on the fourth floor of Carney)
and will last about 15 minutes. You will each sign up next week for
a specific time and you will keep that time for the whole semester.
Of course, you may come to see me at other times, also, but please try
to let me know in advance so I can make sure that I'll be free.
* Conferences (Group): Every once in a while, you will meet
with me with two other students (instead of meeting with me individually
that week.). These conferences will be longer, usually about 30 minutes.
* A Class Magazine is a collection of essays that includes one
piece from each member of the class. When a class magazine essay is
due, you will need to hand in 15 single-spaced copies.
* Class Participation: Very important. I know it is hard for
some people to talk in class but thoughtful participation is important
in a writing course of this type. It helps the speaker clarify his or
her positions and it helps the other workshop participants know the
effect of their writing.
* Attendence: Also very important. There are several
reasons I am so strict and grouchy about this: first, I don't like having
to repeat what I said during class. Second, (and I know this sounds
childish and pathetic), my feelings get hurt when students blow off
my class. Third, when people drop in and out, it makes it more difficult
to establish an effective writing community. Fourth, writing is a craft
which requires discipline and routine. To make progress, writers need
to make a consistent effort in and out of class. Now I realize that
there might be occasions when you need to miss class. You may
get sick or be called out of town to take care of a family problem.
If this happens, please call to tell me that you will not be in class
that day. I also realize that there might be occasions when you want
to miss class. If this happens -- if you decide to take a "mental health
day" -- you do not need to call. However, please note: if this happens
more than three times, it will affect your grade. If it happens more
than four or five times, it will likely lead to your failing the course.
* Academic IntegrityPlease review the statement on academic
integrity in the Undergraduate Catalog (p. 12) and the policy on cheating
and plagairism. The rules and conventions about academic citation can
be confusing and you may not be certain how or why you need to cite
a certain source. If you have any questions or doubts about plagiarism,
make sure that you ask me before you hand in the paper.
* GradesI will not grade any individual piece of writing.
Instead I will give the entire portfolio a single grade. Although I
will not grade any of your draft writing, I will read it, offer advice
about it, and monitor your progress. I will let you know if you are
failing the course and I will give you an estimated grade around the
seventh or eighth week of the semester. But the first and only official
grade I will give you will be your final course grade.
* Criteria for EvaluationThe grading system at BC consists
of twelve categories: A, A-, B+, B, B-, C+, C, C-. D+, D, D-, F. A is
excellent; B is good; C is satsifactory; D is passing but unsatsifactory;
F is failure. More specifically, to do poorly: cut class and conferences;
don't participate in workshops and discussions; write your drafts at
the last moment; don't work very hard on revisions; resist suggestions
from me and your classmates for improving your writing. To do well:
work hard on drafts and revisions; experiment with different forms and
approaches; participate actively in classes, workshops, and projects;
write well. I will grade your portfolio based on quantity and quality,
on thought, originality, and effort. Although I cannot give you a rigid
set of rules to follow because every essay determines its own form as
it goes along, I will show you a number of student essays which have
earned A's in my class.
Syllabus
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Writing Assignment
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Reading Assignment
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Conference/Wkshp
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9/4
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in-class handout
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9/9
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Heard Exercise #1
Narrative (draft #1)
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1 Heard (WTH 1-20)
Lam; Marchant (FI)
Wisner; Dorris (IS)
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Conference
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9/11
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Wilsin; Uhas (FI)
Dove; Dunn (IS)
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9/16
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Heard Exercise #2
Narrative (draft #2)
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Heard (WTH 21-32)
Colon; Aubuchon (FI)
Schuster; Mitcham; (IS)
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Conference
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9/18
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Cherry; Nye (IS)
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9/23
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Narrative (Class Magazine)
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Heard (WTH 33-57)
Weschler; Wilkinson (IS)
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Conference
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9/25
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Metz (FI)
Capossere; Lowe; Settenberg (IS)
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9/30
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Class Magazine Responses
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Class Magazine
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10/2
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Heard Exercise #3
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Heard (WTH 58-83)
Human Interest Topic DFD 79; 89; 135;138; 143
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Workshop
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10/7
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Human Interest (Draft #1)
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DFD 3; 25; 54; 67; 238
Fennell; Lambros; Zissler (FI)
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Conference
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10/9
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Heard (WTH 84-99)
DFD 212; 146; 155;
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10/14
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No Class
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10/16
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DFD (TBA)
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Workshop
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10/21
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Human Interest (Draft #2)
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Heard (WTH 100-109)
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Conference
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10/23
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Karakashian; Waechter (FI)
Shay; Ackerman (IS)
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10/28
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Response to Text (Draft #1)
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Heard (WTH 110-120)
(Co-authored) Corey; Huddle (IS)
Kennedy (FI)
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Group Conference
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10/30
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11/4
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Meditation (Draft #1)
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Lopez; Cooper (IS)
Ciampi; (FI)
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Conference
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11/6
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Piyer; Hall (IS)
Lamadore (FI)
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11/11
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Meditation (Class Mag)
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Heard (WTH 121-140)
Werthman; Frye (FI)
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Conference
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11/13
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Charles; Lavache (FI)
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11/18
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Open (Draft #1)
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Class Magazine
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Conference
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11/20
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11/25
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Open (Draft #2)
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Workshop
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11/27
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No Class
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12/2
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Revision of any or all
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Conference
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12/4
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12/9
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Portfolio Workshop
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