ENGL  4120 – Advanced Creative Writing

Dr. Alison Umminger

Office Hours:  T/Th 9:30-10:30 a.m., and 2-3 p.m., or by appt. in TLC 2241

Email:  aumminge@westga.edu

Required texts and other readings/materials

• Madison Smartt Bell, Narrative Design
• Dana Johnson:  Break Any Woman Down
• Denis Johnson:  Jesus’ Son
• Ann Charters, The Story and Its Writer (TSAIW)

Course Goals

• Students will achieve enhanced fluency in writing within the genre of short fiction and become conversant with issues of technique in that discipline
•  Students will understand the defining characteristics of short fiction.
• Students will learn how to submit their writing to literary journals and magazines.
• Students will learn to offer and receive constructive criticism in a public forum.
•  Students will demonstrate in both oral and written work a discipline-specific critical facility through convincing and well-supported analysis of related material.

Requirements and Overview:

This class will look at the short story from a writerly perspective, and require students to complete and workshop at least two longer stories (10-20 pages) along with a number of weekly responses  (total of 35 pages of polished, revised fiction due in portfolio form at semesters’ end).  As a craft text, we will be using Madison Smartt Bell’s Narrative Design.  Our attention in this class will be on the contemporary short story, and we will read excellent, recent collections such as Denis Johnson’s Jesus’ Son and Dana Johnson’s Break Any Woman Down.  We will also be reading from the recent anthology The Story and Its Writer.  Students will develop skills as active readers and writers, with attention not only to craft and form, but to thematic content and relevance.  I expect active engagement with and respect for the work of fellow students, and some familiarity with fiction writing.  This is primarily a workshop class, but active reading produces good writing, thus the longer reading list.

Time in class will be divided fairly equally between reading/writing exercise days and “workshop.”  Students will also conference with me at mid-semester to discuss their first stories and progress in the class.

Attendance and Participation:

Attendance and active participation are ESSENTIAL for this class to run smoothly.  If you miss more than 3 classes, expect your grade to reflect your lack of participation. 

Classroom Respect:

The current fiction landscape comprises a true breadth of styles, interests, and expressive techniques.  Each writer brings to the table her own individual aesthetic preferences, and his own skill level at this time.  I expect for each of you to be respectful of each others’ work, to treat every other student as a “writer in apprenticeship” and tailor you comments accordingly.  Part of being a mature writer is recognizing that a work can be good, but you might still not like it.  Your job is to help the writer make the work “good,” not to make it something you, personally, think is fabulous because of the content or style being like your own, or something you like anyhow.  The beauty of writing is that our own affinities are a matter of taste, but there is MUCH to be learned from writers whose opinions and techniques are nothing like our own.

Workshop and Written Responses:

Once the semester gets going, we will be workshopping 4-5 stories per week.  I expect for you to write one page typewritten letters to each student being workshopped, addressing their work on both a craft and content level.  You will be bringing two copies of your “letter” to class, one copy of which will go to the writer, and one copy of which will go to me.  I expect these letters to be thoughtful, respectful, and critical.  “This is fabulous and I have nothing to say” or “This just isn’t up my alley” are equally pitiful responses.  They show a lack of critical engagement, and a lack of respect for the writers’ ability to improve.  And ALL stories can improve from first to final draft.

Grading:

Final Portfolio – including all drafts of 2 stories:     600 points

Participation and Critiques of Other Students:       200 points

In-Class Exercises and short assignment:            200 points --- 1,000 points total

Schedule:

(all readings are to be done for the day that they are assigned)

August 16th –  INTRO TO CLASS

August 21^st  –  Read “Unconscious Mind” and “Linear Design” in Narrative Design

                        Also, read “Daisy’s Valentine” & analysis in Narrative Design

            ASSIGNMENT:  Write your own contract with yourself for the semester as to the kind of

            writing/exploration you would like to do.  Set up at least two specific, concrete challenges

            for yourself in terms of material you would like to explore, goals you’d like to set for your

            own improvement.

August 23rd –  Read “Car Crash While Hitchhiking,” “Dundun,” “Work,” and “Emergency” in

                        Jesus’ Son;  Read “Modular Design” in Narrative Design

August 28th –  Read “Dirty Wedding” “Beverly Home” and “Steady Hands at Seattle General” in

            Jesus’ Son;  Read “Red Hands” and analysis in Narrative Design

            IN CLASS EXERCISE  (How to Begin Stories)

August 30th –  Read “Markers” and “Break any Woman Down” in

                                    Break Any Woman Down

                        Read “Hear that Long Train Moan” and analysis in Narrative Design

September 4th –  Read “Clay’s Thinking” and “Three Ladies Sipping Tea”

                                    In Break Any Woman Down

                        Read “Signs of Life” and analysis in Narrative Design

                        IN CLASS EXERCISE (Voice and writing outside your experience)

September 6^th –  CHARACTER DEVELOPMENT SHEET/EXERCISE

                        Read:  “Shiloh” “The Lone Ranger and Tonto Fistfight in Heaven” and

                        “Some are Born to Sweet Delight” in TSAIW.

September 11^th –  How to Write Good Dialogue!

                         Read “Hills Like White Elephants,” “Black Man and White Woman in Dark

                        Green Rowboat” and “Where are You Going, Where have you Been” in TSAIW

                        IN CLASS EXERCISE -- DIALOGUE

September 13^th –  Read “The Dead” in TSAIW

                                    Handout – How to End the Story

September 18^th  –  IN CLASS EXERCISE – BRING FIRST 5 PAGES OF STORY – 3 copies

September 20th –  Read all O’Connor Stories and related commentary in TSAIW

September 25^th –  O’Connor (cont’d)

                            FIRST STORIES HANDED OUT FOR WORKSHOP

September 27^th –  WORKSHOP

October 2^nd – WORKSHOP

October 4^th –  WORKSHOP

October 9^th –  WORKSHOP

October 11^th –  NO CLASS – FALL BREAK

October 16^th –  WORKSHOP

October 18^th --  WORKSHOP  -- sign up for conferences

October 23^rd  – Conferences, no class

October 26^th  –  Read Carver and all related commentary in TSAIW

October 30th –  Read “Incarnations of Burned Children,” “Happy Endings” and “How to Date a

            Browngirl, Blackgirl, Whitegirl, or Halfgirl” in TSAIW

November 1^st –  WORKSHOP

November 6^th –  WORKSHOP

November 8^th –  WORKSHOP

November 13^th –  WORKSHOP

November 15^th –  WORKSHOP

November 20^th –  WORKSHOP

November 22^nd – THANKSGIVING BREAK

November 27^th –  Revision Exercises, read “Drinking Coffee Elsewhere” in TSAIW

November 29^th –  Revision Exercises, read “Depth Charge” and analysis in Narrative Design

December 4^th – EVALUATIONS – FINAL PORTFOLIOS DUE