11 FELICIA CHAVEZ – INTRO TO CNF – FALL 2010

Intro to Nonfiction Writing

Instructor: Felicia Chavez

T Th 3:55-5:10PM

Fall 2010

“We need to value the eccentric, the odd, the nontraditional; we have to be careful never to squash an interest in writing with the weight of the form’s self-importance.”

– Dave Eggers

Lovely To Meet You

Let’s be honest: we all have that mad scientist lurking within, wild-eyed and floppyhaired, cooking up hazardous hybrids that bubble and steam.  Of course, we’d never admit to it.  That part of ourselves is a thing of the past, a fleeting phase.  When pressed, we might give it a name.  Childhood.  Because adults certainly don’t experiment – at least not sober – for fear that we might, you know, embarrass ourselves.

Well, then.  Let me be the first to welcome you to Nonfiction Writing, a safe space for adults to fumble, to fail, to shine.  For the next sixteen weeks, you’ll engage in guided word experimentation, fueling the mad scientist within.  The greater you embrace fearlessness, the greater the reward.

Some Good Reads

This semester’s “mind food” reveals the elasticity of the genre, including: texts narrated in first, second, and third person; audio essays; video essays; photo essays; an art installation; a blog; a hip-hop album; and a stand-up comedy routine.

Available for purchase at Prairie Lights Bookstore:

•  What It Is (Lynda Barry)
•  Trenchtown Rock (Kamau Brathwaite)
•  Zeitoun (Dave Eggers)

Available for download on ICON:

• Sample packets 1-5
• Links to electronic source material

Also, invest in a fat 3-ring binder (and 3 hole punch) to house ALL class materials.

Include plenty of paper in your 3-ring binder to serve as your Writer’s Notebook.

My End Of The Bargain

Despite the standardization of a top-down educational system, I believe in inquiry-based learning, which is a fancy-pants way of saying that in this course, you will have ownership over your reading and writing assignments, experimenting with artistic techniques that are important to you.  The point?  To carve out an individualized, imaginative workspace to enrich your writing.  Of course, this requires a modicum of maturity on your part.  Don’t screw it up, okay?

Your End Of The Bargain 

            Show Up: Crazy, but there’s some statistical connection between classroom attendance and student performance.  That said, you may miss TWO classes for whatever reason.  (Please note, however, that if you miss your workshop date, I reserve the right to fail you.)

            Be On Time: You’re an adult.  Arrive to class on time.  I will take attendance five minutes after class begins, which means that if you show up after 4PM, you’re late.  If you are late FOUR times, you will use up an absence.

            Be Present: I define participation as your contribution to class, both in terms of quality and quantity.  To speed up the learning curve, here’s a list of major  annoyances: sleeping, listening to music, playing video games, working on other  homework, solving sudoku puzzles, engaging in side conversations, passing notes, and/or failing to bring a draft of your work to class during workshop.  The  ultimate no-no: When you are in class, you are not available to respond to phone calls or texts.  I absolutely do not tolerate cell phones.  For each of the misguided behaviors listed above, you will be asked to LEAVE CLASS and you will use up  an absence.

            Be Respectful: One of the skills we’ll focus on this semester is the ability to offer criticism – sometimes hard criticism – while honoring the work and the difficulty of the writing process.  This is especially true in a nonfiction course, where the material of a piece is also the raw material of life.  We need to comment on essays not authors, on artistic decisions rather than real-life decisions.  We need to be  honest while at the same time treating each other always with respect.

            Be Original: Plagiarism is the using of another’s language and/or ideas without acknowledging the source, or using an essay for more than one course.  You have so much to teach others, including myself.  Please be original.  The bottom line is that you won’t improve your writing if you don’t try.  Unfortunately, some students think that cheating saves time, when in fact it wastes their and their professor’s time.  Don’t cheat.  Have more respect for yourself and your professors. When in doubt, use quotations and cite sources.  Plagiarism in this  course results in one or more of the following consequences: failure of the assignment, failure of the course, and disciplinary action by the University.

            Communicate With Me: Project due dates are listed on the class schedule.  Please note that I won’t accept late work unless you talk with me BEFORE the due date. We all know when we’re falling behind or swamped with work or weighed down  under unforeseen personal circumstances.  All you have to do is communicate  with me!  Talk with me before or after class, make an appointment during office hours, and/or e-mail me AT LEAST 2 DAYS BEFORE the due date.

            Extraordinary circumstances (such as those involving police cars or ambulances)  may excuse late work, but are rare.

            Be Professional: All assignments written outside of class should be TYPED. Multiple page documents should be NUMBERED and STAPLED. 

            Keep Up With The Calendar: Check your syllabus regularly for homework assignments and upcoming due dates.

The Fine Print

Your writer-ly responsibilities this semester include:

• 5 Sample Reading Packets: These packets are meant to inspire and inform your work. Read/listen to/watch the selections that most appeal to you. Enjoy.

• Writer’s Notebook: Deconstruct our readings for greater insight. Prepare notes/ quotes/flow charts/graphs depicting the inner-workings of your favorite selections. Present your findings to the class.

• 5 Milestones: Formal opportunities for creative experimentation inspired by our reading materials. Experiment with voice, style, and substance. Have fun.

• Discussions and Presentations: Be smart, observant, interesting!

• 2 Major Projects (including an Autobiography Album and an Essay): These are the biggies that warrant workshops, like talent shows for your brilliant brain.

• Writers’ Workshop: An absolute must. You miss a workshop, you risk failure.

• Portfolio of Awesomeness: A collection of revised works. We’ll talk more about this later.

The Payoff 

Rather than obsess over grades, take advantage of this opportunity to mine your creative talents.  Bottom line: writing is fun and scary and wildly unpredictable, but if you always try your best, then it’s always “good.”  Use the books and sample reading packets as a jumping off point to delve into new territory.  Then, revise, revise, revise!  Progress is key to succeeding in this course.

You will receive written and/or oral comments on your work over the course of the semester, as well as a “guiding grid assessment” for each assignment.  Also, I will happily meet with you individually to discuss your work, just schedule an appointment via e-mail.

Know that if at any time during the semester your grade falls below a C, I will inform you immediately.  Other than that, I will not mention grades.

Here’s the official breakdown:

20 POINTS Discussions/Presentations

20 POINTS Milestones

30 POINTS Major Projects/Workshops

30 POINTS Portfolio of Awesomeness

———————————————————–

100 POINTS TOTAL

The Crystal Ball 

For your reading pleasure: a glimpse into the future.  Please note that the schedule below is subject to change.

WEEK 1 

• Tuesday, August 24th: The Great Nonfiction Experiment

Homework: Self-Portrait Exercise

• Thursday, August 26th: Malleable Memory: One Big Dysfunctional Family

Due: Self-Portrait Exercise

Homework: What It Is by Lynda Barry / Writer’s Notebook

WEEK 2 

• Tuesday, August 31st: The Writer as Artist: Imagery In Nonfiction

Due: Writer’s Notebook Presentations

Homework: Sample Reading Packet #1 / Writer’s Notebook

• Thursday, September 2nd: The Writer as Artist: Imagery In Nonfiction

Due: Writer’s Notebook Presentations

Homework: Milestone #1

WEEK 3 

• Tuesday, September 7th: In-class Imagery Exercises

Due: Milestone #1

Homework: Begin Major Project #1: Autobiography Album

• Thursday, September 9th: Autobiography Album: Workshop Etiquette

Homework: Complete Major Project #1: Autobiography Album / Write Artist

Statement

WEEK 4

• Monday, September 13th: AUTOBIOGRAPHY ALBUM DUE BY NOON

• Tuesday, September 14th: Art Gallery Workshop

• Thursday, September 16th: Art Gallery Workshop

Homework: Trenchtown Rock by Kamau Brathwaite / Writer’s Notebook

WEEK 5

• Tuesday, September 21st: The Writer As Witness: Voice in Nonfiction

Due: Writer’s Notebook Presentations

Homework: Sample Reading Packet #2 / Writer’s Notebook

• Thursday, September 23rd: The Writer As Witness: Voice in Nonfiction

Due: Writer’s Notebook Presentations

Homework: Milestone #2

WEEK 6

• Tuesday, September 28th: Putting It Together: Imagery and Voice in James Marsh’s Man On Wire

Due: Milestone #2

• Thursday, September 30th: Putting It Together: Imagery and Voice in James Marsh’s Man On Wire

Homework: Sample Reading Packet #3 / Writer’s Notebook

WEEK 7

• Tuesday, October 5th: The Writer As Critic: Point of View in Nonfiction

Due: Writer’s Notebook Presentations

Homework: Excerpt from KRS-One’s Ghetto Music: The Blueprint of Hip-Hop /

Select an “Essay Song” to present to the class

• Thursday, October 7th: The Writer As Critic: Point of View in Nonfiction

Due: Essay Song Presentations

Homework: Milestone #3

WEEK 8: 

• Tuesday, October 12th: The Writer As Critic: Point of View in Nonfiction

Due: Milestone #3

Homework: Begin Zeitoun by Dave Eggers

• Thursday, October 14th: Putting it Together: Point of View in George Carlin’s Standup Comedy

Homework: Complete Zeitoun by Dave Eggers / Writer’s Notebook

WEEK 9:

• Tuesday, October 19th: The Writer As Correspondent: Characterization in Nonfiction

Due: Writer’s Notebook Presentations

Homework: Sample Reading Packet #4 / Writer’s Notebook

• Thursday, October 21st: The Writer As Correspondent: Characterization in Nonfiction

Due: Writer’s Notebook Presentations

Homework: Milestone #4

WEEK 10:

• Tuesday, October 26th: The Writer As Correspondent: Research in Nonfiction

Due: Milestone #4

Homework: Sample Reading Packet #5 / Writer’s Notebook

• Thursday, October 28th: The Writer As Correspondent: Research in Nonfiction

Due: Writer’s Notebook Presentations

Homework: Milestone #5

WEEK 11:

• Tuesday, November 2nd: Putting it Together: Characterization and Research in Errol Morris’ Standard Operating Procedure

Due: Milestone #5

Homework: Begin Major Project #2: The Essay

• Thursday, November 4th: Putting it Together: Characterization and Research in Errol Morris’ Standard Operating Procedure

Homework: Complete Major Project #2: The Essay / Write Artist Statement

WEEK 12:

• Monday, November 8th: ESSAY #1 (A GROUP) DUE BY NOON

• Tuesday, November 9th: Workshop: TBD

      1A____________________________________________

      2A____________________________________________

      3A____________________________________________

• Thursday, November 11th: Workshop: TBD

      4A____________________________________________

      5A____________________________________________

      6A____________________________________________

WEEK 13: 

• Monday, November 15th: ESSAY #1 (B GROUP) DUE BY NOON

• Tuesday, November 16th: Workshop: TBD

      1B____________________________________________

      2B____________________________________________

      3B____________________________________________

• Thursday, November 18th: Workshop: TBD

      4B____________________________________________

      5B____________________________________________

      6B____________________________________________

WEEK 14:

• Tuesday, November 23rd: TURKEY DITCH DAY (NO CLASS)

Homework: Revise selected work(s)

• Thursday, November 25th: TURKEY DITCH DAY (NO CLASS)

Homework: Revise selected work(s) / Write Artist Statement

WEEK 15: 

• Tuesday, November 30th: Revision Workshop

      Homework: Portfolio Prep

1____________________________________________

2____________________________________________

3____________________________________________

4____________________________________________

• Thursday, December 2nd: Revision Workshop

      Homework: Portfolio Prep

5____________________________________________

6____________________________________________

7____________________________________________

8____________________________________________

WEEK 16: 

• Tuesday, December 7th: Revision Workshop

            Homework: Portfolio Prep

9____________________________________________

10____________________________________________

11____________________________________________

12____________________________________________

• Thursday, December 9th: PORTFOLIO PARTY!

THE WRITER’S NOTEBOOK

DUE IN CLASS THURSDAY, DECEMBER 9th  

Let’s say you read a text and it moves you.  You love it, or maybe you loathe it.  Either way, it evokes a response.  What next?  You might be accustomed to:

1. a) Jotting down notes in the margins (“The color blue symbolizes childhood”, or,  less eloquently, “WTF! Dump his ass, girl!”)

1. b) Underlining big words and then never looking them up in the dictionary

1. c) Starring passages that will serve as evidence for that inevitable thesis-driven essay

1. d) Reading over the weekend, then skimming the text during class discussion for something smart to say (“I remember there being a passage that was soooo

Freudian – wait, just let me find it…I know it’s in here somewhere…”)

For this class, let’s exercise some different tactics.  You’re a writer, and just like Robin Hood, writers are thieves.  The good kind.  When an essay evokes a response from you, immediately turn to your Writer’s Notebook and interrogate why.  Remember, you’re not engaging in literary interpretation.  Although it’s an excellent skill to hone, for this class, don’t concern yourself with whether or not the secret garden is a metaphor for virginity.  Instead, ask yourself, how does this thing function as work of art?  Put the essay up on blocks, so to speak.  Deconstruct its insides.  Then steal them, make them your own.

That said, fill your Writer’s Notebook with inspirational passages, images and sounds, as well as techniques for successful character development, plot pacing, time management, scene construction, point of view, and other storytelling devices.

Finally, be prepared to 1) SUMMARIZE your essay selection(s) to your classmates (as not everyone may have studied the same works), 2) SHARE your favorite passage from the essay(s), and 3) PRESENT your Writer’s Notebook findings for discussion.

You will submit your Writer’s Notebook as part of your Portfolio of Awesomeness on Thursday, December 9th.

Please note: Our essay selections represent a spectrum of life experiences, including voices that are often silenced in mainstream media.  Please honor the essayists by reading and responding with careful consideration.  

MILESTONES #1-5

DUE IN CLASS SEPTEMBER 7th & 28th, OCTOBER 12th & 26th, NOVEMBER 2nd  

Your Writer’s Notebook is crammed with tricks of the trade.  Now, put them to use!  For each section of the course (outlined below), you will craft a short creative exercise.  Using the previous week’s essay selections as inspiration, attempt a writing project that experiments with style and substance.  Be wild.  Take risks.  Surprise yourself.  Who knows, one of your Milestones might serve as the basis for Major Project #2: The Essay.       

FIRST PERSON NARRATION

The Writer as Artist: Imagery In Nonfiction

Milestone #1 Due Tuesday, September 7th

The Writer As Witness: Voice in Nonfiction

Milestone #2 Due Tuesday, September 28th

SECOND PERSON NARRATION

The Writer As Critic: Point of View in Nonfiction

Milestone #3 Due Tuesday, October 12th

THIRD PERSON NARRATION

The Writer As Correspondent: Characterization in Nonfiction

Milestone #4 Due Tuesday, October 26th

The Writer As Correspondent: Research in Nonfiction

Milestone #5 Due Tuesday, November 2nd

GUIDELINES FOR A SUCCESSFUL MILESTONE DRAFT:

* “…revealing cohesive yet complex essayistic intentions”  What the heck does that mean?  No worries.  We’ll talk more about this in class.

WRITERS’ WORKSHOPS 

SEPT. 14th & 16th, NOV. 9th, 11th, 16th, 18th & 30th, DEC. 2nd & 7th 

Here it goes, folks.  My hippie-dippy philosophy on writing workshops:

1. We’re all born creative geniuses.
2. Writing is an art form that belongs to all people.

3.The definition of a writer is someone who writes.

4. Every writer has a unique voice.
5. A workshop can occur without damage to a writer’s original voice or self-esteem.

During the next sixteen weeks, we will learn to be as critically aware of the words in our mouths as we are of the words on the page.  In this class especially, where we welcome playfulness and experimentation, it is vital that we engage in mindful communication.  Please don’t mistake your aesthetic preferences for misguided notions of “good” and “bad” writing.

To get us into the habit of communicating mindfully, I have incorporated multiple Writer’s Notebook presentations into the syllabus.  These presentations are opportunities to exercise our analytical skills, yes, but they are also geared at exercising our people skills.  Too many writers clam up when speaking in front of crowds, or else they alienate their audience with offensive remarks.  Then there are those writers who get sloppy drunk to mask their nerves.  (We’re definitely gonna work against that stereotype.)  Use these presentations to bolster your confidence as a reader/writer.  You’re brilliant and cool and funny, didn’t you know?

Our Writers’ Workshops, too, will include an out-loud component.  Here’s the routine:

GUIDELINES FOR A SUCCESSFUL WRITERS’ WORKSHOP:

SELF-PORTRAIT EXERCISE

DUE IN CLASS THURSDAY, AUGUST 26th

To kick-off our “first-person narration” sequence, I’d like for you to craft a thoughtful, inspired self-portrait.

• Use the writing we generated in class as the foundation for your self-portrait. Then, clean it up: add to it, delete from it.  Transform it as you wish.

• Carefully arrange the textual elements to create a sense of movement between pages. Remember, this is an essay: an attempt to portray complicated subject matter.

• Prepare a short presentation to showcase your self-portrait.

For Major Project #1, due by Noon on Monday, September 13th, 2010, you will craft an Autobiography Album for an in-class gallery workshop.

GUIDELINES FOR A SUCCESSFUL FIRST (MESSY) DRAFT:

MAJOR PROJECT #1: AUTOBIOGRAPHY ALBUM

DUE BY NOON ON MONDAY, SEPTEMBER 13th

For Major Project #1, you will attempt to excavate the self in a creative, tactile collage album.  The pages of your album will pay homage to your complex history: that which has impacted you, influenced you, and impressed upon you.  What languages do you speak, both real and coded?  Translate the self to page through word and image.

• Your album will include a variety of tactile elements: images and mementos, scraps and scribbles. These elements will serve as the visual meat.

• Your album will also include a variety of personal writings: interviews, stories, poetry, childhood recollections, unsent letters, lists, journal entries, song lyrics, emails, whatever moves you.

• Carefully arrange the textual elements to create a sense of movement between pages. Remember, this is an essay: an attempt to portray complicated subject matter.

• Write a short Artist Statement that reflects on your creative process, your feelings toward the work, your inhibitions about the project, and/or questions for workshop.

• Prepare a short presentation to showcase your album.

GUIDELINES FOR A SUCCESSFUL FIRST (MESSY) DRAFT:

MAJOR PROJECT #2: THE ESSAY

DUE BY NOON ON MONDAY, NOVEMBER 8th & 15th 

The choice is yours: you may build upon a Milestone project for inspiration, or you may draft an entirely new project.

• Your essay will serve as the capstone project of our first 11 weeks of class. That said, aim to demonstrate your nonfiction kung-fu skills through carefully considered narration and craft choices.

• Carefully arrange the textual elements to create a sense of movement between pages. Remember, this is an essay: an attempt to portray complicated subject matter.

• Write a short Artist Statement that reflects on your creative process, your feelings toward the work, your inhibitions about the project, and/or questions for workshop.

• Prepare a short presentation to showcase your essay.

GUIDELINES FOR A SUCCESSFUL FIRST (MESSY) DRAFT: