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 Integrity–Please 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.

* Grades–I 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 Evaluation–The 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

Writing Assignment

Reading Assignment

Conference/Wkshp

9/4

 

in-class handout

 

 


9/9

Heard Exercise #1
Narrative (draft #1)

1 Heard (WTH 1-20)
Lam; Marchant (FI)
Wisner; Dorris (IS)

 

Conference

 

9/11

 

Wilsin; Uhas (FI)
Dove; Dunn (IS)

 

 


9/16

Heard Exercise #2
Narrative (draft #2)

Heard (WTH 21-32)
Colon; Aubuchon (FI)
Schuster; Mitcham; (IS)

 

Conference

 

9/18

 

Cherry; Nye (IS)

 

 


9/23

Narrative (Class Magazine)

Heard (WTH 33-57)
Weschler; Wilkinson (IS)

Conference

 

9/25

 

Metz (FI)
Capossere; Lowe; Settenberg (IS)

 

 


9/30

Class Magazine Responses

Class Magazine

 

10/2

Heard Exercise #3

Heard (WTH 58-83)
Human Interest Topic DFD 79; 89; 135;138; 143

Workshop


10/7

Human Interest (Draft #1)

DFD 3; 25; 54; 67; 238
Fennell; Lambros; Zissler (FI)

Conference

10/9

 

Heard (WTH 84-99)
DFD 212; 146; 155;

 

 


10/14

No Class

 

 

 

10/16

 

DFD (TBA)

Workshop

 


10/21

Human Interest (Draft #2)

Heard (WTH 100-109)

Conference

 

10/23

 

Karakashian; Waechter (FI)
Shay; Ackerman (IS)

 

 


10/28

Response to Text (Draft #1)

Heard (WTH 110-120)
(Co-authored) Corey; Huddle (IS)
Kennedy (FI)

Group Conference

 

 

10/30

 


 

 


11/4

Meditation (Draft #1)

Lopez; Cooper (IS)
Ciampi; (FI)

Conference

 

11/6

 

Piyer; Hall (IS)
Lamadore (FI)

 

 


11/11

Meditation (Class Mag)

Heard (WTH 121-140)
Werthman; Frye (FI)

Conference

 

11/13

 

Charles; Lavache (FI)

 

 


11/18

Open (Draft #1)

Class Magazine

Conference

 

11/20

 

 

 

 


11/25

Open (Draft #2)

 

Workshop

 

11/27

No Class

 

 

 


12/2

Revision of any or all

Conference

 

12/4

 

 

 

 


12/9

 

 

Portfolio Workshop

 

 

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