| Dr.
Lori E. Amy
Department of Writing and Linguistics Georgia Southern University |
P.O. Box 8026
Statesboro,
GA 30460
(912) 681-0625/fax (912) 681-0739
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When we tell a story about ourselves, our lives, the events we have experienced and the things that we think and feel, our stories can never simply re-create the thing about which we speak or write. The very act of putting something into words requires selecting some details to include and omitting others; putting events and sensations into some kind of linear order, even when we have experienced the thing about which we are speaking/writing as a mixed-up jumble of physical sensations, sights, feelings, and thoughts that cannot be easily separated from each other; emphasizing certain aspects of the event/experience and de-emphasizing others. In short, to tell a story -- even a true story-- is a narrative act that requires interpretation and draws upon the structures, symbols, and motifs available to us in our culture's language. |
| Moverover, when we tell a story, we tell it to somebody: what we imagine that our audience will think, feel, or say in response to our stories shapes what we tell and how we tell it. It is in this sense that every story we tell is in some sense a performance. When the stories we tell are about crises or traumitic experiences, our relationship to audience is especially complex. Often, we choose not to tell the stories that we think others will not want to hear, that are painful, that we feel shamed by. When we can tell such a story, we enter into an intimate relationship with our audience; in stories of crisis and trauma, the "audience" becomes a witness, and both the one who tells the story and the one who hears the story are changed by the exchange. | 
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You'll be responsible for writing approximately 20-25 pages of formal, evaluated work. You may decide how you want to submit this work. You might choose to do one long project, such as a chapter or an ethnography. Or, you might decide to do several short pieces, such as feature articles or vignettes/short-stories. Poetry can count as creative nonfiction, especially to the extent that, as Picasso says, "art is a lie that makes us realize a truth."
We'll be heavily workshopping our writing. As you can see from the syllabus, I have designed the first several weeks for reading, thinking, and reflecting. During this time, you'll be writing a good deal to each other and to me-- through email, on the class bulletin board, in freewrites in your writer's journal. This is in the nature of pre-writing-- loosening the gears and solidifying impressions, checking your responses against others'-- and is designed to help you decide what kind of writing you want to do (style, genre) and what subject matter you want to treat.
Grading
30% Writing Journal
& Workshop participation (includes Blackboard Discussion & written
assignments)
70% Portfolio of final
projects
| wk 1 | Jan. 9
Introduction: Review syllabus, portfolio, writing requirements
Assign: "Rye Harvest" by Josip Novakovich http://www.emerson.edu/ploughshares/Winter1997/Novakovich.html Jan. 11-- Discuss elements of Creative Non Fiction using Novakovich's piece Enroll in Blackboard http://www.blackboard.com/courses/WRIT4130/ Log #1-- Blackboard discussion thread: what is creative nonfiction? See my post to Blackboard's discussion board to begin |
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| wk 2 | Jan. 16--
Creative Non Fiction Mag -- http://www.creativenonfiction.org/thejournal/education.htm
The back issue on Surviving Crisis http://www.creativenonfiction.org/thejournal/articles/issue08crisis/08crisiscontents.htm seems especially pertinent to the readings I've selected for our first few weeks -- this feature also includes a number on online interviews with authors. What I would like you to do for Tuesday's class is have read and be prepared to explain the important points of one of the pieces (preferably from this issue, but you may choose another if you really really want to). We'll use this to compare rhetorical features to the Novakovich piece and to think more about what we want to write for the class. -- Log #2 discussion on Bulletin Board Jan. 18-- " " Define parameters of writing and projects |
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| wk 3 | Jan. 23--
Maus
-- See discussion Board for Writing Log
#3
Jan. 25- Maus From Breaking Crystal: Writing After Auschwitz (handout) Seealways-being-updated list of readings & Discussion Board for Writing Log #4 ------- Jan. 22 fee payment deadline |
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| wk 4 | Jan. 30--
Writing
-- Ideas and Brainstorm and Workshop -- present writing possibilities and
portfolio
plans
Feb. 1-- Writing to Locate Oneself; place, identity, language |
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| wk 5 | Feb. 6--
Ethnography:
Sitt
Marie Rose
Prep for Dr. Sikorska's visit -- prepare questions Feb. 8-- " " |
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| wk 6 | Feb. 13--
Wrap
up:-- afterthoughts from Liliana's talk, SMR; Truth- telling.
Plan week 7: anyone ready to workshop early? My draft? In-class
drafting? Time at home to write? Check workshop dates --review workshop
procedures (email, Blackboard, or hard-copy drafts to folks at least one
class session prior to workshop). Distribute Clifford handout
Feb. 15-- Discuss Clifford -- theme: writing lives, telling truths, art; Viet Nam Refugee journals http://www.worsethanqueer.com/slander/ppviet.html |
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| wk 7 | Feb. 20--
Workshop:
In-class work on drafts -- I'll have a copy of the Writer's Market with
me, so you can search pulication venues for your work:)
Check out: http://www.theatlantic.com/issues/2000/04/stephenson.htm for online poetry readings Feb. 22-- Workshop: " "
-----Feb. 20 -- last day to w/draw w/out academic penalty------ |
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| wk 8 | Feb. 27
Workshop:
Julie
Feb. 29 Workshop: Chris |
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| wk 9 | Mar. 6
Workshop:
Jen
Mar. 8 Workshop: Craig, Joe Ben |
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| OFF-- | Mar. 12-16 | ||
| wk 10 | Mar. 20
Workshop:
Jennifer, Nicole, LaKisha
Mar. 22 Workshop: Zisca, Aja, Jennifer |
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| wk 11 | Mar. 27
Peer Review Instructions Workshop: Jason, Logan, Joseph Mar. 29 Workshop: Jennifer, Nicole, LaKisha |
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| wk 12 | Apr. 3
Workshop:
Craig, Joe Ben
Apr. 5 Workshop: Zisca, Aja, Jennifer |
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| wk 13 | Apr. 10
Workshop:
Jennifer, Nicole, LaKisha
Apr. 12 Workshop: Anna |
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| wk14 | Apr. 17
Workshop:
Drew
Apr. 19 Workshop: Jason, Logan, Joseph |
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| wk 15 | Apr. 24
Revisions
and portfolio prep
Apr. 26 Revisions and portfolio prep |
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| wk 16 | Final Exam Tuesday, May 1, 5:30 - 7:30 p.m. |
Books I recommend (in no particular order)
