English 256, Personal Writing

ENGLISH 256: Personal Writing
Winter 2005

Section 02: R 6:00 - 8:55, Room 212 (DCPL)

Instructor: Stuart Barbier
Office/Phone: Campus: S-4/686-9136 (voice mail for messages, which are returned as soon as I get them)
Email: sibarbie@delta.edu (I reply to messages as soon as I read them)
Internet: http://www.delta.edu/sibarbie (this syllabus is at http://www.delta.edu/sibarbie/Syllabus256W2005.html)
English Division Home Page: http://www.delta.edu/english
Fine Arts Building Fax: 989-686-0485
Office Hours: Tuesday 2:30 p.m. – 6:00 p.m.

Wednesday 4:30 p.m. – 5:00 p.m.

Thursday 2:30 p.m. – 3:30 p.m.
(Other times by chance or appointment; if the above times/locations have to temporarily change, I will put a note on my door.)
Mail Box: Campus: S-6 (While I have a mailbox in the DCPL office, I only check it just before class.)
Adverse Weather Line: 686-9179 or 1-800-686-9179 (see http://www.delta.edu/delta/weather.html for details)

Welcome to English 256! This course, which has any approved College Composition II course, ENG 113, or permission of the instructor as a prerequisite, "requires students to draw on personal experiences and viewpoints to produce a range of writing, and read and respond to published works of creative nonfiction. Includes reading memoirs, autobiographies, journals, essays, and other subjective literary forms. Emphasizes both generating and revising writing (45-0)." (Delta College Online Catalogue 2004-2005; http://www.delta.edu/catalog/search_course.asp?course=ENG+256&Submit=View+Courses). Personal writing is also known as creative nonfiction and “the fourth genre” (among the literary genres of poetry, fiction, and drama). As Robert L. Root and Michael Steinberg explain in our course textbook:

creative nonfiction is the kind of literary writing that regularly appears in small magazines, reviews, and journals, such as The Georgia Review, Ascent, and The Missouri Review; in trade magazines, such as Harper’s, Orion, and The New Yorker; in journals focused on creative nonfiction, such as Fourth Genre, River Teeth, Creative Nonfiction, and Under the Sun; and in book-length essay and memoir collections. One of the hallmarks of this form is that the boundaries between subgenres are quite expansive. That’s because its writers often braid narrative telling with fictional and poetic techniques and combine portraiture and self-reflection with reportage and critical analysis. (xv)

In fact, Root and Steinberg see “creative nonfiction as the subject that binds together the three disparate strands in most English departments: literature, creative writing, and composition” (xv). Using the Root and Steinberg text, we will read, write, and discuss such “personal writing.”

Please note that the transferability of the course varies by college; to check how a particular college accepts the credits, go online to http://www.delta.edu/tguides/ and select the college under the second column, "Course to Course Equivalencies."

In this syllabus, I will explain what you can expect from me, as well as what I will expect from you. If you are ever unsure about something, please ask--I am here to help you succeed. J

REQUIRED TEXT

Root, Robert L., Jr., and Michael Steinberg. The Fourth Genre 3^rd ed. New York: Pearson/Longman, 2005.

• A collegiate dictionary and thesaurus are highly recommended.
• Please bring your textbook to each class.

REQUIRED MATERIALS

• A folder with horizontal pockets on both sides. Write your name in the upper-right corner of the cover (if your name cannot be easily seen, please use a label).
• A three-ring binder and three-hole-punched, college-ruled notebook paper to be used for the Reading/Writing Journal.
• A small spiral-bound notepad to use as a “commonplace book.”

• Pen or pencil and highlighter pen.
• Two 3.5-inch computer disks (IBM/PC Format) or some other compatible storage device.
• A diskette holder or wallet is highly desirable.

• Stapler and staples or paper clips.

COURSE OUTCOMES AND OBJECTIVES (also available on the English Division home page)

Upon successful completion of this course, the student will be able to:

OUTCOME 1: Generate personal writing, i.e. creative nonfiction.

Objectives:

1. Write personally about a range of subject matter.

2. Write creative nonfiction in a variety of forms, e.g. memoir, familiar essay, journal.

3. Write personally using a range of devices, e.g. controlled imagery, focus statements, self-editing.

OUTCOME 2: Revise personal writing.

Objectives:

1. Rewrite effectively by using such devices as sharpening, combining sentence/paragraphs, developing a written voice.

2. Apply techniques of revising and editing to self-created writing as well as to the writing of others.

OUTCOME 3: Interact productively with classmates and instructor for the purpose of increasing writing skills.

Objectives:

1. Give and receive verbal and written responses to personal writing.

2. Apply the concept that writing is both an individual and collaborative activity by generating and editing material that shows changes based on comments from others.

OUTCOME 4: Interpret, analyze, and evaluate a range of creative nonfiction.

Objectives:

1. Identify elements of particular pieces of literary nonfiction (e.g., tone, point of view, imagery).

2. Interpret individual works of nonfiction (e.g., memoir, essays, autobiographies).

3. Evaluate creative nonfiction using both subjective and external standards.

OUTCOME 5: Develop writing confidence.

Objectives:

1. Generate and revise a body of creative nonfiction.

2. Use verbal and written feedback constructively.

3. Evaluate progress in attitudes toward writing.

COURSE LEARNING AND TEACHING ACTIVITIES

• Reading and discussing texts (our reading assignments range from 9 to 45 pages, with an average of 24 pages per session)
• Prewriting, drafting, peer critiquing, and revising activities both in and out of class and on and off the computer
• Freewriting in and out of class (to reflect, to prompt discussion, to dialogue with me and others in the class)
• Group activities
• Individual student-instructor conferences
• Class discussions

• Possible guest speakers/short field trips

The course projects and reading assignments are designed to help you, as Root and Steinberg emphasize in the instructor’s manual, “learn to function like working writers,” which means as you are writing your own works, you are also “studying other writers and specific subgenres (the nature essay, the travel essay, the lyrical meditation, the memoir, literary journalism)” and “familiarizing [yourself] with specific elements of nonfiction (literal vs. invented truth, voice, memory, composing processes, relationship to other genres)” (3).

COURSE PROJECTS*	Percent	Due
Reading/Writing Journal critical and reflective responses to assigned and selected readings comments on drafts of other students’ work reflections on your own work-in-progress “commonplace book” entries	30	Sessions 2 - 15 (see tentative schedule, below)
Work 1: Memoir	15	Session 6
Work 2: Personal Essay	15	Session 9
Work 3: Personal Critical Essay	15	Session 12
Work 4: Literary Journalism	15	Session 15
Participation (attendance; attentiveness; homework*)	10	Sessions 1 - 15
Extra Credit: Read a book-length autobiography, diary, or memoir and write a critical and reflective response.	5	Session 14 or before

*Occasional homework assignments, not on the syllabus, may be assigned in class.

COURSE POLICIES

Grades
In general, an A represents superior, outstanding college-level work; a B, very good, above-average college-level work; a C, satisfactory, average college-level work; a C- or D, unsatisfactory, below-average college-level work; and an E, unacceptable college-level work.

Specific grading criteria will be included with each assignment. I will determine your participation grade by calculating the average of the percentages of classes attended and homework completed, as well as by considering your attentiveness in class. I will tell you what your midterm grade is, and I will hand out a grade worksheet to show you how to calculate your grade in the course at any time. If you would like help determining your grade, please ask me.

Conferences
One-on-one conferences to discuss assignments and drafts with me will take place in class throughout the semester; additional conferences outside of class that you initiate are strongly encouraged.

Style and Form for Papers
Word process each of the four “works” handed in for grading (the Reading/Writing Journal need not be word processed). (A word of caution: Because disks sometimes fail, BACK-UP your work on a second disk!!! You might also consider emailing yourself a copy as an attachment in RTF format.) Please use Times New Roman, size 12 (or a similar font) and standard margins (1" right, left, and bottom; set the top margin at .5"). On the first page, include your name, class, and date on the right. On subsequent pages, use a header consisting of your last name followed by the page number and a blank line to create a one-inch margin). Also please use two spaces after a period or other sentence-ending punctuation. Ask me any questions you have--I’m happy to help.

Attendance and Late Assignments
Regular attendance is essential for successfully completing this course. When you read through the class schedule, you will see how this course is built on collaboration among you, your peers, and me. You will most likely learn more and your grades will prosper if you consistently come to class well prepared, keep up with the readings and writing (you should find them challenging), and take the initiative for your contributions to class.

If some situation in your work or home life will prevent you from regularly attending this class, staying for the full class session, and completing the work (on time), I recommend that you drop the class now and take it when you will be able to successfully complete it. Note that a student who misses the first two classes of the semester without making prior arrangements will be automatically dropped from the course, as will a student who misses three classes in a row without contacting me. A student who misses the equivalent of two weeks of the semester may be dropped through an instructor-initiated drop or may fail the course, depending on the circumstances (please discuss the circumstances with me).

I will take attendance at the beginning of each class session. Chronic lateness and early departures are disrespectful to me and to your classmates and disrupt the learning environment; therefore, unless you have made prior arrangements, three late arrivals and or early departures will be counted as one absence in terms of your participation grade. Except for official snow days and certain special college-connected events that conflict with class, there is no such thing as an excused absence; you are simply present or absent (for whatever reason). To avoid being absent, do not schedule routine dental, medical, or other appointments during class time. You already are scheduled during your class time--you are not free to schedule something else. If you must be absent, you are still responsible for all information and assignments given during the class you missed. It is your responsibility to make arrangements--ahead of time, if possible--for missed class work. I am responsible for teaching only those who attend class. If you must be absent when an assignment is due, hand it in early or arrange for someone else to hand it in for you.

Please note that I expect you to take advantage of our entire three-hour class time; after all, you have paid for it. So come prepared to work.

Assignments are due at the beginning of class and will be downgraded one grade per calendar day late (turning in a paper late, but on the same day, will count as one day late). If you were absent when it was assigned, you are still responsible for turning it in when it is due (therefore, ask in advance or call or email me to see if additional assignments were assigned; I will reply as soon as I get your message).

Unless we have agreed on prior arrangements, I will not accept any work after Friday, April 29, at 2:00 p.m. (under my office door, S-4).

Write down the names and phone numbers or email of two students in this class whom you can call to make arrangements for obtaining anything you missed and/or turning in your work:

——————————————— ———————————————

Withdrawal Deadline
The last day to withdraw with a grade of W is Monday, March 7. The last day to withdraw with a grade of WE/WP or to be withdrawn with a grade of WI is Friday, April 8. Please see me if you are having problems with this course. I will be happy to help you individually. Also, please consult with an academic advisor before you withdraw (Campus: D-102, 686-9330, http://www.delta.edu/counsel/). If you withdraw after these dates, or if you stop coming without officially withdrawing (or being withdrawn), you will receive an E instead of a W/WE/WP/WI at the end of the semester.

Plagiarism
Plagiarism (misrepresenting the work of others as your own) is a serious offense and will result in an E for the assignment and possibly for the course. All assignments must be original work you conducted during this course; recycled work from other courses (including previous ENG 090, 111/111A/111H, 112/112H/112A courses) is not acceptable. For more information about Delta’s policies, refer to the "Integrity of Academic Work" section in the “Students' Rights, Responsibilities, and Conduct” section of the Delta College Catalog 2004-2005 or the English Division home page (http://www.delta.edu/english/plagiarism.html). If in doubt about plagiarism, please ask me for clarification.

Student Conduct
As a college student, you are expected to follow various guidelines related to your conduct. To read these guidelines, please refer to the "Students' Rights, Responsibilities, and Conduct" section in the Delta College Catalog 2004-2005.

General Education Outcomes
The Delta College faculty, in conjunction with area employers and numerous others, believe general education outcomes are important for community college graduates, whether they are going immediately into the workplace or continuing their education. Achievement of these outcomes does not occur in a single course; rather, these outcomes are achieved by experiencing them in several courses and in several contexts over an extended period of time. For details, including a list of the outcomes, please refer to http://www.delta.edu/gened/statement.html.

Computer Use Guidelines
Delta College has very specific guidelines for accessing and using electronic resources which you are required to follow. Please read the guidelines and penalties for violations, available at http://www.delta.edu/accessanduse.html. Note that the computers are not intended for playing games or “chatting.”

RESOURCES FOR WRITERS

Teaching/Learning Center
Main campus--LLIC (686-9314; http://www.delta.edu/tlc/). The professional staff and peer tutors provide free tutoring in all academic content areas, including reading and writing, as well as study skills. Please consult their web site for their hours. They also offer on line tutoring at http://www.delta.edu/tlc/TLCyber. You will need your Delta student ID number and the code for the course (ENG256).

Library
Main campus--LLIC (686-9310; http://www.delta.edu/library/). Professional librarians provide personal research assistance and library usage information; ask at the reference desk (686-9560). Please consult their web site for their hours. Note that food or beverages are not allowed in the LLIC.

Bookstore
The bookstore (686-9030, http://www.bookstore.delta.edu) is located in the commons area (N-15). Their hours are listed on their web site. Textbooks can also be purchased by phone or online.

Computers
There are computers available for use in the LLIC on the main campus (same hours as the library; for more information, refer to http://www.delta.edu/complab/). There is a Lab Assistant to help you at the circular desk by the computer pods. There are also computers in DCPL Room 117; see the DCPL office for open lab times.

You can save your work to a 3.5" disk and work on it using almost any word processing program. The trick is to save your document in RTF format when you are finished so you can open it in other programs. Also be sure to have a backup copy. Feel free to ask me for help.

Disability Support Services
If you have a documented disability and need an academic accommodation, please contact Disability Support Services in D-102 (686-9322).

Educational Advising & Counseling
The Office of Educational Advising & Counseling (D-102, 686-9330) is prepared to assist you with questions about your program of study, choosing courses, making career decisions, and many things about yourself including working with you concerning personal and professional difficulties.

Me
I will make every effort to see that this class is meaningful to you and that you improve your writing. I am happy to discuss your writing with you and to answer questions on anything which may be difficult or confusing to you, either during class, after class, or in my office by appointment or during office hours (or you can just drop by my office to see if I am free). Do not hesitate to seek help from me at any time during the semester, or to consult with me concerning your performance and your grades in the course. Like everything else in your life, your success in this class depends on your effort and attendance; you have much to offer to your classmates, to me, and to yourself.

TENTATIVE SCHEDULE OF SESSIONS

HW = Homework due in the next class. All readings are in the text. Note: It's a good idea to review the syllabus at least one session ahead of time. That way, if you have questions about what is due, you can ask before it is due.

In the instructor’s manual that accompanies our course text, Root and Steinberg assert that “in keeping with the belief that would-be writers should also be informed readers and critics, a course in composing creative nonfiction [should] center on students’ composing processes, yet at the same time . . . require regular reading in the various subgenres and class discussion of craft and composition” (3). With this in mind, here is the tentative schedule of sessions:

Session

Activities

1) R 1/13

Introduction to the course

Creative nonfiction discussion

Reading/Writing Journal Assigned

Assignment due in next class: Reading/Writing Journal entry for readings due in Session 2
HW due in next class: Write two questions/comments about the syllabus

Readings due in Session 2: 1) Introduction (xxiii); 2) Jocelyn Bartkevicius, “The Landscape of Creative Nonfiction” (275); 3) Michael Pearson, “The Other Creative Writing” (366)

2) R 1/20

The composing process and strategies

In-class writing activity related to memory and imagination to help get a memoir started

Due today: Two questions/comments about the syllabus; Reading/Writing Journal entry for readings assigned in Session 1

Assignment due in next class: Reading/Writing Journal entry for readings due in Session 3

Readings due in Session 3: 1 & 2) Mary Clearman Blew, “The Unwanted Child” (37) and “The Art of Memoir” (282); 3 & 4) Patricia Hampl, “Parish Streets” (94) and “Memory and Imagination” (306).

3) R 1/27

Memoir (Work 1) assigned

Strategies for starting and developing drafts

Prewriting

Due today: Reading/Writing Journal entry for readings assigned in Session 2

Assignments due in next class: Memoir draft (3 copies); Reading/Writing Journal entry for readings due in Session 4

Readings due in Session 4: 1) Angela M. Balcita, “Dumpling” (13); 2) Lisa D. Chavez, “Independence Day, Manley Hot Springs, Alaska” (48); 3) Judith Ortiz Cofer, “Silent Dancing” (55); 4) Michael Steinberg, “Chin Music” (223)

4) R 2/3

Craft discussion of assigned readings

Memoir workshop: Group work on rough drafts

Revision strategies

Due today: Memoir draft (3 copies); Reading/Writing Journal entry for readings assigned in Session 3

Assignment(s) due in next class: Revised memoir draft (if selected, bring enough copies for the class); Reading/Writing Journal entry for readings due in Session 5

Readings due in Session 5: 1 & 2) Simone Poirier-Bures, “That Shining Place: Crete, 1966” (433) and “Afterword: Writing ‘The Greece Piece’” (443); 3) Lynne Sharon Schwartz, “Full Disclosure” (392)

5) R 2/10

Memoir workshop: Full-class critiques on selected rough drafts

In-class writing activity to help get thinking started for a personal essay

Due today: Revised memoir draft (if selected, bring enough copies for the class); Reading/Writing Journal entry for readings assigned in Session 4

Assignments due in next class: Memoir (Work 1); three Reading/Writing Journal entries: 1) the entry for the readings due in Session 6; 2) the entry for your comments on others’ drafts of the memoir; and 3) the entry for your reflections on your own work-in-progress related to the memoir

Readings due in Session 6: 1 & 2) Phillip Lopate, “Portrait of My Body” (120), and “What Happened to the Personal Essay?” (351); 3 & 4) Scott Russell Sanders, “Cloud Crossing” (202) and “The Singular First Person” (383)

6) R 2/17

The Personal Essay (Work 2) assigned

Strategies for starting and developing drafts

Prewriting

Due today: Memoir (Work 1); three Reading/Writing Journal entries for the readings assigned in Session 5, your comments on others’ drafts of the memoir, and your reflections on your own work-in-progress related to the memoir

Assignments due in next class: Personal essay draft (3 copies); Reading/Writing Journal entry for readings due in Session 7

Readings due in Session 7: 1) Frank Conroy, “Running the Table” (62); 2) Dagoberto Gilb, “Northeast Direct” (84); 3) Rebecca Blevins Faery, “On the Possibilities of the Essay: A Meditation” (296); 4) Michael Steinberg, “Finding the Inner Story in Memoirs and Personal Essays” (405)

7) R 2/24

(M 3/7 is the deadline
to withdraw - W)

Craft discussion of assigned readings

Personal essay workshop: Group work on rough drafts

Revision guidelines

Due today: Personal essay draft (3 copies); Reading/Writing Journal entry for readings assigned in Session 6

Assignment(s) due in next class: Revised personal essay draft (if selected, bring enough copies for the class); Reading/Writing Journal entry for readings due in Session 8

Readings due in Session 8: 1) Annie Dillard, “Living Like Weasels” (76); 2 & 3) Bret Lott, “Brothers,” (128) and “Towards a Definition of Creative Nonfiction” (359); 4 & 5) Maureen Stanton, “Zion” (463) and “On Writing Zion” (471)

8) R 3/10

Personal essay workshop: Full-class critiques of selected rough drafts

In-class activity to help get thinking started for a personal critical essay

Due today: Revised personal essay draft (if selected, bring enough copies for the class); Reading/Writing Journal entry for readings assigned in Session 7

Assignments due in next class: Personal Essay (Work 2); three Reading/Writing Journal entries: 1) the entry for the readings due in Session 9; 2) the entry for your comments on others’ drafts of the personal essay; and 3) the entry for your reflections on your own work-in-progress related to the personal essay

Readings due in Session 9: 1 Jane Tompkins, “At the Buffalo Bill Museum, June 1988” (233); 2) Marianna Torgovnick, “Experimental Critical Writing” (409)

9) R 3/17

Personal Critical Essay (Work 3) assigned

Strategies for starting and developing drafts

Prewriting

Due today: Personal Essay (Work 2); three Reading/Writing Journal entries for the readings assigned in Session 8, your comments on others’ drafts of the personal essay, and your reflections on your own work-in-progress related to the personal essay

Assignments due in next class: Personal critical essay draft (3 copies); Reading/Writing Journal entry for readings due in Session 10

Readings due in Session 10: 1) Chet Raymo, “Celebrating Creation” (184); 2 & 3) Emily Chase, “Warping Time with Montaigne” (419) and “Notes from a Journey Toward ‘Warping Time’” (425)

10) R 3/24

Craft discussion of assigned readings

Personal critical essay workshop: Group work on rough drafts.

Revision guidelines

Due today: Personal critical essay draft (3 copies); Reading/Writing Journal entry for readings assigned in Session 9

Assignments due in next class: Revised personal critical essay draft (if selected, bring enough copies for the class); Reading/Writing Journal entry for readings due in Session 11

Readings due in Session 11: 1) Patricia Foster, “The Intelligent Heart” (303); 2) Steven Harvey, “The Art of Translation” (316)

11) R 3/31

Personal critical essay workshop: Full-class critique on selected rough drafts

In-class writing activity to get thinking started for a piece of literary journalism

Due today: Revised personal critical essay draft (if selected, bring enough copies for the class); Reading/Writing Journal entry for readings assigned in Session 10

Assignments due in next class: Personal Critical Essay (Work 3); three Reading/Writing Journal entries: 1) the entry for the readings due in Session 12; 2) the entry for your comments on others’ drafts of the personal critical essay; and 3) the entry for your reflections on your own work-in-progress related to the personal critical essay

Readings due in Session 12: 1) André Aciman, “In Search of Proust” (5); 2) Tracy Kidder, “Courting the Approval of the Dead” (330)

12) R 4/7

(F 4/8 is the deadline
to withdraw - WP/WE/WI)

Literary journalism assignment (Work 4)

Strategies for starting and developing drafts

Prewriting

Due today: Personal Critical Essay (Work 3); three Reading/Writing Journal entries for the readings assigned in Session 11, your comments on others’ drafts of the personal critical essay, and your reflections on your own work-in-progress related to the personal critical essay

Assignments due in next class: Literary journalism draft (3 copies); Reading/Writing Journal entry for readings due in Session 13

Readings due in Session 13: 1) Adam Gopnick, “The People on the Bus” (88); 2) John McPhee, “The Search for Marvin Gardens” (146)

13) R 4/14

Craft discussion of assigned readings

Literary journalism workshop: Group work on rough drafts.

Due today: Literary journalism draft (3 copies); Reading/Writing Journal entry for readings assigned in Session 12

Assignment(s) due in next class: Revised literary journalism draft (if selected, bring enough copies for the class); Reading/Writing Journal entry for readings due in Session 14

Readings due in Session 14: 1) Mary Elizabeth Pope, “Teacher Training” (449; optional: “Composing ‘Teacher Training’” [455]); 2) Naomi Shihab Nye, “Three Pokes of a Thistle” (161); 3) Robert L. Root, Jr., “Collage, Montage, Mosaic, Vignette, Episode, Segment” (371)

14) R 4/21

Literary journalism workshop: Full-class critiques of selected rough drafts

Revision guidelines

Due today: Revised literary journalism draft (if selected, bring enough copies for the class); Reading/Writing Journal entry for readings assigned in Session 13

Assignments due in next class: Work 4: Literary Journalism; three Reading/Writing Journal entries: 1) the entry for the readings due in Session 15; 2) the entry for your comments on others’ drafts of the literary journalism piece; and 3) the entry for your reflections on your own work-in-progress related to the literary journalism piece

Readings due in Session 15: 1) Nancy Willard, “The Friendship Tarot” (266); 2) Nicole Lamy, “Life in Motion” (115); 3) Susan Allen Toth, “Going to the Movies” (247); 4) Christine White, “Reflection Rag: Uncle Joe, Roberto Clemente, and I” (250)

15) R 4/28

Course Wrap-up

Due today: Literary Journalism (Work 4); three Reading/Writing Journal entries for the readings assigned in Session 14, your comments on others’ drafts of the literary journalism piece, and your reflections on your own work-in-progress related to the literary journalism piece. To receive this material back, please include a self-addressed and stamped envelope of sufficient size (please make sure it also has the correct postage).

(Recall that all work is due by 2:00 p.m., Friday, April 29, under my office door on campus (S-4)).