English 309: Creative Nonfiction
Fall 2015 | Dr. Terry Lee
W1—T Th 11-12:15 Ferguson 222
W2— T Th 3-4:15 McMurran 257
Office: McMuran 201b | Office Hours: W 2-4; TTh 1:30-2:30
757-594-7686
Texts
Style & Grammar requirements
Requirements
Course Policies
Class Texts
Required
• Writing for Story, Franklin
• Rosa Lee, Dash (purchase on your own from a bookstore)
• The Orchid Thief, Orlean
• The New Yorker (readings from online)
• Writing Tools, Clark
• Readings assigned from online sources
Optional:
• The New New Journalism, Boynton
• Essentials of English, inexpensive and widely available
Where to find good creative nonfiction:
• The New Yorker
• Harper's
• New York Times
• Washington Post
• National Geographic
• Rolling Stone
• Fourth Genre
• Hippocampus
• Creative Nonfiction
• Riverteeth + (50 magazines that publish CN)
• Brevity
• New Pages.com (dozens of literary magazines)
STYLE REQUIREMENTS
• Use 12 point Courier (or New Courier).
• Double-space all work.
• List all of your sources by name and with a phone number contact.
• Be sure that all of your information is factually correct: it may be fact checked.
• It is assumed that you have mastered the language. That said, we all need refreshers and we all can learn more about our language and its use. We all need a solid handbook, and need to use it. The Essentials of English handbook, seven bucks at amazon.com, is cheap and solid.
Requirements:
All papers must be double-spaced in 12-point Courier or Courier New.
Prepared work with punctuation, grammar and technical control problems—and/or poor proofreading—will be marked down.
• In-class writing—20%
Unannounced: These are brief, analytical in-class and take-home writing assignments based on recent reading and reading for the day. You will be asked to write in class or assigned a take-home assignment due the next class. Alternatively, you may be asked to do some reporting and writing in and/or out of class.
Additionally, in-class assignments may have an analytical question about assigned readings. For instance, you may be asked to analyze the structure of a piece or its use of character. You should always bring to class underlined print copies of texts, to include marginal notes. Some in-class writing will allow use of your marked up texts; some will be closed-book quizzes.
• Researched Persuasive Essay—20%
(1,000 words) Due Sept. 15
A persuasive essay on a current topic of interest to you, as well as your readers. Integrates research from a broad range of sources, including the library online databases.
• Researched creative nonfiction story proposal & annotated bibliography
1,000-1,500 words Due 10/15
This will be a story that you have thought about and researched since the beginning of the semester. It will be both authoritative and engaging. You may continue working on the topic in your persuasive essay, if you like.
Follow this numbered format:
1) Complete description of your topic.
2) Why it is relevant to a reader today?
3) Who is your audience?
4) Working annotated bibliography with embedded links to online sources. Guidance on how to develop an annotated bibliography. How your annotated bibliography must look.
• Come-Along-With or Day-in-the-Life Narrative—20%
(1,500-2,000 words) Due 11/10
Your research here could be a ride-along with a Newport News police officer, working the morning shift at Regatta's, shadowing a physician for a day... and so on. This story will be built from your observation and interviewing. Build the story with scenes.
• Researched creative nonfiction: narrative story, narrative essay, or magazine-style (RCNF story)—40%
(2,000 words) Due 12/3
A fairly short, but well-researched, well-reported piece of creative nonfiction. The story will be authoritative in its use of put-you-there sensory writing, extensive research, narrative structure, and, whenever possible, an emotional element. It should clearly be the product of 6 weeks of work.
General Course Policies, Disability Help and Student Success
Coming Late to Class, Walking in and Out of Class.
These count as absences. (See "Absences" below.)
Food & Phone
Class is neither a cafeteria nor lounge. When I start eating chicken nuggets and texting friends in class, so can you.
Office Hours
My door is always open, and I am happy to see you during my office hours, as well as other times that I'm in my office—drop by or call or e-mail to see if I'm in. You are welcome anytime to come by and talk about your class work in general, or about a specific reading or essay draft on which you are working.
Attendance
Not Attending Class Can Result in Failure of Course
You may miss one week of class without any penalty or consequence. You are responsible for the material covered, of course, and I draw my exam questions from material covered in class, class discussion and lecture, as well as from our texts.
Additional absences will result in reduction of your final course grade.
That means that a "B" in all of your coursework can become a "C," if you have excessive absences. It also means that a passing grade for the course can become a failing grade for the course.
In the case of an emergency, contact me as soon as possible. Emergency absences can be excused, and I may ask for documentation.
Complete All Work
You must complete all work by the last day of class to receive a passing grade.
Incompletes
Given only in extraordinary circumstances. Plan to complete work by last day of class. Not completing the work results in an "F," not an "I."
Disabilities:
In order for a student to receive an accommodation for a disability, that disability must be on record in the Dean of Students’ Office, 3rd Floor, David Student Union (DSU). If you believe that you have a disability, please contact Dr. Kevin Hughes, Dean of Students (594-7160) to discuss your needs. Dean Hughes will provide you with the necessary documentation to give to your professors.
Students with documented disabilities are required to notify the instructor no later than the first day on which they require an accommodation (the first day of class is recommended), in private, if accommodation is needed. The instructor will provide students with disabilities with all reasonable accommodations, but students are not exempted from fulfilling the normal requirements of the course. Work completed before the student notifies the instructor of his/her disability may be counted toward the final grade at the sole discretion of the instructor.
Student Success:
I want you to succeed in this course and at CNU. I encourage you to come see me during office hours or to schedule an appointment to discuss course content or to answer questions you have. If I become concerned about your course performance, attendance, engagement, or well-being, I will speak with you first. I also may submit a referral through our Captains Care Program. The referral will be received by the Center for Academic Success as well as other departments when appropriate (Counseling Services, Office of Student Engagement). If you are an athlete, the Athletic Academic Support Coordinator will be notified. Someone will contact you to help determine what will help you succeed. Please remember that this is a means for me to support you and help foster your success at CNU.
Academic Support:
The Center for Academic Success offers free tutoring assistance for CNU students in several academic areas. Staff in the center offer individual assistance and/or workshops on various study strategies to help you perform your best in your courses. The center also houses the Alice F. Randall Writing Center. Writing consultants can help you at any stage of the writing process, from invention, to development of ideas, to polishing a final draft. The Center is not a proofreading service, but consultants can help you to recognize and find grammar and punctuation errors in your work as well as provide assistance with global tasks. Go as early in the writing process as you can, and go often!
You may drop by the Center for Academic Success to request a tutor, meet with a writing consultant, pick up a schedule of workshops, or make an appointment to talk one-on-one with a University Fellow for Student Success. The Center is located in Newport Hall, first floor, room 123.
Our aim in this course is to write well-researched stories that people want to read— stories that engage, inform, and entertain readers. To become better writers, we will read and critically analyze creative nonfiction— also known as literary journalism, narrative journalism and the literature of fact. We will sharpen our abilities to analyze the written work of writers, to report accurately and to write for story.
This class requires all students to travel off campus throughout the semester to report and do interviews as part of their creative nonfiction studies, but you don't need a vehicle.
Goals of the class:
• To develop skills in observing and reporting the world around us.
• To sharpen research skills so as to develop breadth and depth in creative nonfiction writing.
• To develop writing skills in narrative nonfiction.
• To study and apply techniques in story development, such as characterization and scene building.
• To study and critique nonfiction stories to understand technique and structure.
Assignments
• 8/25
• Introduction to creative nonfiction: Essay, Narrative, Research.
• "Drugs, Sweat & Fear,"
New York Times, Diana Spechler
• 8/27
THE PERSONAL ESSAY
• "The Inheritance," Joyce Maynard
• Clark, 1-30, "Nuts & Bolts"
______________________
9/1
THE PERSUASIVE ESSAY
• "Demanding More from College,"
New York Times, Frank Bruni
New York Times, Frank Bruni
9/3
Nicholas Kristoff
• "Why Men Need Women,"
Adam Grant
• Clark, 31-56, "Nuts & Bolts"
______________________
9/8
THE NARRATIVE STORY: Overview & Shorts on Character
• Clark 124-137: Reports vs. Stories;
Dialogue as Action; Reveals Traits of Character
• "A Spotlight on Calcutta's Red-Light Children," Lynda Richardson
• Walter Salb, Matt Schudel, Washington Post
9/10
THE NARRATIVE STORY: Researched Magazine Personality Profile (aka long-form style)
• "The Lone Star," Dan Halpern The New Yorker, August 22, 2005. Available on ProQuest Online. Enter in search window: the lone star dan halpern.
• Clark 155-158: "Place Gold Coins along the Path"
______________________
9/15
THE MAGAZINE-STYLE STORY
• "Pregnant With Complications (pdf),"
Lisa Belkin, NYTimes Magazine (online)
• Clark 142-149: "Foreshadow events
and conclusions; Suspense and
Internal cliffhangers"
• Persuasive Essay Due today
9/17
• "The Women's War," Sara Corbett, NYTimes Magazine
• Franklin: Stalking the true story (70-90)
______________________
9/22
NARRATIVE AND NARRATIVE ESSAY
• Michael Pollan on "narrative."
• "An Animal's Place," Michael Pollan
9/24
• "Mrs. Kelly's Monster," Franklin (28)
• Franklin: structure (91-121)
______________________
9/29
THE COME-ALONG-WITH or DAY-IN-THE-LIFE NARRATIVE
Finding story in the work-a-day world...
• Mark Kramer, Reporting & Coming Back with a Notebook Full of Narrative
• "Cops," Lauren Price, Lookout
• "The Accidental Celebrity: Attica Chef Ben Shrewry," Adam Sachs, bon appetit
10/1
• "The Heroes, The Healing," Neil Shea
____________________
10/6
STYLE & THEME IN BOOK-LENGTH NARRATIVE
• The Orchid Thief, Orlean (3-152)
10/8
• The Orchid Thief, Orlean (153-end)
____________________
10/13
• Fall break
10/15
• Researched creative nonfiction story proposal due. (See "Requirements" for details.)
• One third of class meets. Bring typed photocopies of your proposal to workshop. (sign up)
____________________
10/20
• One third of class meets. Bring typed photocopies of your proposal to workshop. (sign up)
10/22
• One third of class meets. Bring typed photocopies of your proposal to workshop. (sign up)
____________________
10/27
• Rosa Lee, Dash
• Come-along story roundtable
10/29
• Rosa Lee, Dash
____________________
11/3
• Rosa Lee, Dash
•Come-along story roundtable
11/5
• Rosa Lee, Dash
____________________
11/10
• Come-Along-With or Day-in-the-Life narrative due today
• Building a working story outline
11/12
• Clark 165-179, "Writing from Different Cinematic Angles," and "Report and Write for Scenes"
• Franklin 70-90 "Stalking the True Short Story" (reprise)
• workshop
____________________
11/17 —Small-group meetings
• Class presentation of Researched RCNF story (your successes, your challenges) + 250-word paragraph on how you are using research in the story. (sign up for class today, 11/19 or 11/24)
• "By The Skin of My Teeth," J.T. Hosack, Jr., (handout)
• Bring 10 copies of something that you are working on for your story, a scene setter, nut, outline... and so on.
11/19—Small-group meetings
• Class presentation of Researched RCNF story + 250-word paragraph on how you are using research in the story. (sign up)
• "By The Skin of My Teeth," J.T. Hosack, Jr., (handout)
• Bring 10 copies of something that you are working on for your story, a scene setter, nut, outline... and so on.
Friday, 11/20
• 4-5 p.m.: Extra office hour
____________________
Monday, 11/23
• 11-12 p.m., office hour
• 12-2 p.m: Make-up class in McMurran 200C
11/24
• Story revision—no class
11/26
• Thanksgiving
____________________
12/1
• "Addicted to Distraction," Tony Schwartz, New York Times
12/3
• "Waking Suzanne," Crystal Hamlett
Comprehensive Assessment
Tuesday, 12/8
• Researched Creative Nonfiction Story due in class.
Section 01—11 a.m.
Section 02—2 p.m.