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Form and Theory of the Novel Instructor: Stacey Swann Stanford University Writing Certificate Program Spring, 2012

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Form and Theory of the Novel Instructor: Stacey Swann Stanford University Writing Certificate Program Spring, 2012 Form and Theory of the Novel Instructor: Stacey Swann Stanford University Writing Certificate Program Spring, 2012 Course Description: “Read! Read! Read! And then read some more. When you find something that thrills you, take it apart paragraph by paragraph, line by line, word by word, to see what make it so wonderful. Then use those tricks the next time you write.” –W. P. Kinsella This course is primarily a literature and technique course. Students will carefully and critically read foundational and contemporary texts in the genre, always with this goal in mind: to become students of every book they read. There will be no major workshop component. Instead, students will complete smaller assignments with the goal of incorporating larger ideas of novel writing into their process. Students will develop a solid working knowledge of novel plot, structure, and other many craft issues. In this course, you will be reading three novels, “as writers.” The first is the classic, Pulitzer Prize winning novel Beloved from Nobel Laureate Toni Morrison. The second is The Yiddish Policeman’s Union, a contemporary (and genre-melding) novel from Michael Chabon, a bestselling writer who has also won the Pulitzer Prize. The third book that you will read and study will be one of your own choosing, that you may wish to emulate in some way in your own novel. This is not to say that you’re looking for an existing mold into which you could pour your text (if only it were that easy, some might say) but a working example, stylistic or structural, for something you think you’d like to pull from, because you like the effect that it had on you as a reader, and wish to recreate that effect for others. You will write pages weekly, either completing writing assignments on specific craft topics or generating pages of your novel-in-progress. Students will develop a solid working knowledge of novel voice, world creation, point of view, and other craft issues. You will begin reading and analyzing a published novel of your own choosing in Week Eight. When figuring out how to structure, shape, and ultimately revise your own novel, the best tool in your arsenal will be another novel that bears some resemblance to the one you want to write. Through structural analysis and “reverse outlining,” you will gain expertise in novel plot and structure. From the start of the course, think about what novel you might want to read closely. Here are some narrative angles to consider, as you make your selection. TIME SPAN: How much time do you want your novel to span? On one end of the extreme, we have a novel like Ian McEwan’s Saturday that spans a single day. On the other, we have Gabriel Garcia Marquez's One Hundred Years of Solitude. Each of these authors paces his scenes and jumps around in order to fill very different time lines. Do you anticipate that your novel will cover a week? A summer? A year? Thirty years? Maybe you don’t know exactly yet, but estimate and perhaps find a novel that covers roughly the same length of time. LINEARITY (OR NOT): Here is another question having to do with time. Will your novel be a more or less straight shot, a linear novel? Or do you anticipate jumping back and forth often, perhaps having several narrative strands set in different time periods that braid together? Try finding a structural model that operates similarly, so that you can see how this author negotiates movements through time. POINT OF VIEW: How many point of view characters are you working with? One? Many? Are you using first person? Close third? Multiple close third persons? Omniscient? Second person or first person plural? Some combination of the above? Find a novel that uses the same point of view strategy, to see how the author wields it. VOICE/TONE: Are you writing a novel that is darkly comic? Historical and lyrical? Postmodern with a lot of playful narrative modes? Find a novel that’s tonally similar to yours. In other words, readers of X (famous author) would also enjoy what you are trying to do. IDEA/GENRE: Perhaps you’re an idea-driven writer, and you want to look at how another idea-driven writer has used story in the service of philosophy or theory. Maybe you are writing science fiction or young adult fiction, and you want to study another practitioner of the genre who has gotten a lot of great press. This is an excellent idea. Familiarize yourself with your "competition." Know what has already been done well, so that you can break new ground. Required Reading: 1. Reading Like a Writer, by Francine Prose ISBN-13: 978-0060777050 http://www.amazon.com/Reading-Like-Writer-Guide- People/dp/0060777052/ref=sr_1_1?s=books&ie=UTF8&qid=1328470342&sr=1-1 2. Bringing the Devil to His Knees: The Craft of Fiction and the Writing Life, edited by Charles Baxter and Peter Turchi ISBN-13: 978-0472067749 http://www.amazon.com/Bringing-Devil-His-Knees- Fiction/dp/0472067745/ref=sr_1_1?s=books&ie=UTF8&qid=1328468594&sr=1-1 If Amazon is sold out, you can purchase it from Michigan Press here: http://www.press.umich.edu/titleDetailDesc.do;jsessionid=4A37B3C3297638FF47A7FD 991598DB87?id=11324 3. Beloved, by Toni Morrison ISBN-13: 978-1400033416 http://www.amazon.com/Beloved-Toni- Morrison/dp/1400033411/ref=sr_1_1?s=books&ie=UTF8&qid=1328470608&sr=1-1 4. The Yiddish Policemen’s Union, by Michael Chabon ISBN-13: 978-0007149834 http://www.amazon.com/Yiddish-Policemens-Union-Novel-P- S/dp/0007149832/ref=sr_1_1?s=books&ie=UTF8&qid=1328470671&sr=1-1 5. One novel of your own choosing Grading: Breakdown is as follows: • 50% writing exercises/meeting word count goals • 50% participation (weekly responses to published and peer work) Weekly Schedule: MONDAY: I will send out an email to the class introducing the week and directing you to the new Forum threads, including your Discussion Points about the week's readings and your weekly writing exercises. (NOTE: Because many of you may have busy work schedules, the weekend might be your preferred time to work. Because of this, I will always post up the assignments on the prior Friday so you can get a head start.) I will create the Forum threads where you will turn in your exercises, but you won't actually post them there until the next week. WEDNESDAY: Every other week, you will have a specific writing assignment to post within your small groups. Make sure this is up by Wednesday at 5pm (Pacific Time), although you may do so as early as you are ready. THURSDAY-FRIDAY: Please post your workshop responses and answers to the weekly discussion questions by Thursday evening. But again, I encourage you to join in these "conversations" throughout the week. THURSDAY: I will hold weekly office hours in the chatroom for our classroom on Thursdays (exact time to be determined). Here we can talk more informally, discussing any general questions as well as specific issues you might be having with your exercises or stories. You can get immediate feedback on your concerns from me and from your classmates. You're not required to come to office hours every week, and feel free to drop in for shorter periods of time within that hour. These chats will always be recording; the transcripts will be available in case you are unable to attend. WEEKEND: IF you want, use the weekend to get a jumpstart on reading assigned chapters and drafting your writing exercise. I won't be in the classroom over the weekend, but you're welcome to start posting for the next week whenever you're ready. The classroom is always open! SUNDAY: Every other week, you will be generating at least 500 words of your novel (See Weekly Writing Exercises and Word Limits). You will email them to me as a Word document before you go to bed on Sunday. I will be reading and responding to the Forums most weekdays, usually in the afternoons. I will not be online over the weekends. I always read every single forum post, even if I do not respond to them all. You will have access to the reading and writing assignments for the upcoming two weeks in the "Schedule" section of Blackboard. This will give you the option of getting a head start if you desire it. Keeping Your Workload Manageable As a writer, you should not be online all the time. It’s not good for your creative process to treat this class as a 5 day-a-week or 24/7 commitment. More than two or three days per week spent online for class—one day to post assignments and one or two days to follow up with comments from others—is not necessary for grading purposes and, honestly, it may not be in the best interest of your novel project. Turn your wireless card off when you’re writing, and work on your book first thing every day, before you do anything else, even class work. If you produce a page a day you’ll have a first draft in a year, and if you produce 500 words a day, you’ll have a short novel nearing completion within six months. While this is more than the requirements of this class, it’s important to see it as a viable option. Don’t let internalized social pressure lead you to focus on class at the expense of your book.
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