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“Thinking the event is the story
is the biggest mistake of student writers. The transformation of the self is
the story.” -- Claire Dederer.
English 312: Creative Nonfiction
Van Noy
COURSE DESCRIPTION
Creative nonfiction includes a wide spectrum of
writing, from old-fashioned essays to literary journalism to
"faction"(?) to memoir to nature writing to
impressionistic bits no one has a name for. This “fourth genre”
reports on events, places, and lives using techniques traditionally used by
fiction writers and poets, including scene, dialogue, setting,
characterization, point-of-view manipulation, and focus on language to
dramatize events observed by the author, often through immersion. The
result, ideally, is a true story packed with information, power, clarity,
even beauty.
Aims and Goals: In this class we may write and respond
to life-changing moments, ones that don’t necessarily have to come from
familiar milestones (birth, graduation, death) but grow out of smaller
irritants or awakenings that bring on a new understanding or sometimes a
crisis of identity and doubt.
We will look at where the situation of a nonfiction narrative ends and the
story begins. According to Vivian Gornick, the situation is what
happened or happens, whereas the story “is the emotional experience that
preoccupies the writer: the insight, the wisdom, the thing one has come to
say.” The “creative” in creative nonfiction seems to include the art
balancing a crisp, clear, forceful narration of the factual situation with
the depth of story. For Phil Gerard, “Nonfiction is in the facts.
Creative nonfiction is in the telling.” Very often, it’s not what you write
about but how.
Questions we will consider while writing: Who tells the story? At what place
should I begin? How do I capture my reader's attention? How do I build
suspense?
COURSE REQUIREMENTS
Two of three papers:
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memoir or essay
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a paper involving reportage, is more audience
than writer-based, and involves some research (may include interviews or
being “on assignment” or immersion)
·
an essay (perhaps “braided” or lyrical or one
that otherwise plays with form) that may involve your New River observations.
A writing journal that includes exercises from Writing Life Stories,
your river observations and other assignments. Though we will do some
exercises in class, please type (and save) these entries. I typically ask for
hard copies but since we may go online, hand in through D2L. All writing done
for this course might be shared with your classmates and should be written with
such an awareness of audience in mind. Also, please
turn these in on the day they are due. Ideally, before class. If late, they
may be penalized.
Participation as “visiting writer” for two essays. The rest of the class (or
group) will read these essays ahead of time and write responses to these
readings, using a peer review sheet. During the visiting writer presentation,
the writer may read their draft (and perhaps their generic disclaimer) and
discuss some of their writing process and goals for the piece. YOU MUST BE
PRESENT ON THE DAY YOU ARE SCHEDULED TO BE A VISITING WRITER, or your paper
may be penalized when submitted as a final draft.
Any class about writing is also a class about reading. You will be expected
to do all of the assigned readings and be prepared
to talk about them in class. This will require that you do careful and
thoughtful readings of the works -- a quick scanning of an essay or article
will not be sufficient. You will be expected to read each assignment more
than once, with pen or pencil in hand to make responses and take notes as you
go, to complete responses about readings, and to come to class prepared to
talk about the readings. Many of the readings will come from handouts and are
listed on the schedule. They may also be posted to the web or to a D2L site.
We are also producing our own texts in the, class,
and you will likely read many essays from your peers. But be forewarned, I
may (or you may) see something and get inspired and assign additional
material.
Texts:
Bill Roorbach, Writing Life Stories (Revised Second Edition). * You must buy and bring to class (used
copies 10 bucks)
COURSE POLICIES
Also, though it is standard advice in a writing class to not get too hung up
too soon in the writing process and to write "shitty first drafts"
(SFDs), your writing will benefit more if the draft you produce for your turn
as visiting writer or conference is written as if it was a final version. It
doesn't make sense for your reader to even comment if the draft will need to
be completely re-written. Therefore, write your SFD early, sit it on for a
few days, and then revise before you post (5:00) the night before your turn
as visiting writer.
Presence, Preparation, Participation: As with
any class, attendance is expected. Unlike many classes, however, this one
will include in-class writing or reading exercises and discussion almost
every session. The material covered in these exercises and discussions will
be vital to your success in writing your essays and cannot be made up by
looking at a classmate's notes. Missing class will usually mean missing
in-class assignments and discussions and that will add up when the time comes
for the final grade. Missed in-class exercises or quizzes cannot be made up.
You will earn a point for every class you are there. If you are there but
without books or materials, or you excessively check your phone, or are
late--not full credit. You will earn points for being prepared for workshops
and conferences too. 20 pts.
Discussion: The essence of any course about writing is communication.
Consequently, a free and open class discussion is essential to our gaining a
better understanding of the work or ideas at hand. We will work together to
explore the ideas, readings, and other assignments in the course. All classes
succeed (or fail) depending on the quantity and quality of the discussions.
Your participation in class discussions and visiting writer workshops is
vital and required. This means coming prepared to talk about readings and
workshop papers, listening to your classmates' comments, and giving all
members of the class an opportunity to talk.
Conferences: You are required to have periodic individual conferences
with me, which could be virtual or in the office. At conferences we will
discuss reading or writing assignments for the course. We will work together
on paper topics, discuss where you are having trouble, and to
try to figure out the best way to improve. Our time will be most
productive if I have a draft to
consider in advance of our conference. You will get the most out of
conferences if you prepare for them--think about how your work is going, what
is working, where you are having trouble, what questions you have for me.
Then show up on time, ask questions, and take notes about what we discuss (it
is very easy to forget the details of conference).
Attendance at conferences is mandatory.
Quizzes: We will likely have short quizzes to ensure you are doing the
reading. You may get points just for having the book (or they may be open book), so bring it. These
will be a combination of multiple choice and short answer. You may be asked
to name sense invoked in a scene, a key object or thing, an action, an idea.
Inclusivity: All are welcome: any age, ability, race, religion, gender
orientation. If seeking accommodations through the CAS, please let me know.
Engagement: Research shows we are happier and
healthier when we engage with each other. Even before class starts,
talk with your neighbor—how was your weekend? What are you doing for lunch?
Better yet, what did you think of the reading? How is your story coming
along? Then, continue to keep your phone off your phone and in your pocket or
backpack. When they are out, they become a distraction to you, to your
classmates, and to your instructor. Also, they prevent the visitation of
divine holy spirits. Laptops can be equally distracting. Take notes with a
pen—underline in your book.
GRADING
The primary basis for your grade will come
from your portfolio, which should include
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Pts
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Item
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40
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2 finished and revised essays (about 10-14
pages total) and the drafts that preceded them
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10
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A final self-evalution
that reflects on the writing (introduces it) and the writing experiences in
class.
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30
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Fifteen (about) journal entries
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Add to that,
Criteria for
Evaluating Papers
In order to give you a sense of where you stand in the course earlier
on, you will turn in a brief mid-semester portfolio to which I will assign a
provisional grade. You must do this for the first paper but are encouraged to
do it for the second and third papers as well. You can revise your paper as
many times as you want before the final self-evaluation. During conferences,
we should discuss your progress and your goals for the rest of the semester.
As an example of how close autobiography and fiction can be, and how their
related methods interweave, consider Philip Roth’s The Facts—which is
not the facts at all. The book purports to give the true dope on the life of
Philip Roth, as distinguished from the life of his creation, alter ego, and
stooge, Zuckerman. But in The Facts, Zuckerman, a fiction, enters
unbidden (well, no, not unbidden—invited, rather)
and from the sidelines emits challenges, ironic comments, and Bronx cheers as
his author goes through the charade of telling his true life story.
--Wallace Stegner
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