J 395/359T Reporting and Writing Nonfiction Books

SPRING 2012/M 3-6/ CMA 3.130

Bill Minutaglio Clinical Professor, Journalism 471-9050 (office) 799-3676 (cell) E-mail: [email protected]; [email protected] . These emails are linked to each other and I often use the AOL one to respond to students. Office: CMA 5.134 D

Mailbox: Is in the Journalism Department Office, CMA 6.144 **Put my name on anything you leave for me

Office Hours: WF 11-1 and by appointment ______

Class Objective:

This course will explore the work needed to produce Narrative Storytelling, Narrative Nonfiction proposals/pitches, Narrative Nonfiction sample book chapters, and magazine writing. The course is geared toward the practical realities of producing longer stories that, in turn, can lead to books. Focus will be placed on Narrative Storytelling techniques that can be applied to longer magazine pieces as well as books: Story arcs, plots, characters, the writer’s voice, “back stories” and recreated history/events/dialogue. There is a twin emphasis: On writing and on developing a “plan” to convey your writing proposal to editors, publishers and literary agents.

There will be input from accomplished nonfiction authors, magazine writers, literary agents, book editors, book consultants, members of the Texas Institute of Letters and The Texas Book Festival.

Independent Inquiry:

This course carries the Independent Inquiry flag. Independent Inquiry courses are designed to engage you in the process of inquiry over the course of a semester, providing you with the opportunity for independent investigation of a question, problem, or project related to your major. You should therefore expect a substantial portion of your grade to come from the independent investigation and presentation of your own work.

Writing:

This course carries the Writing flag. Writing flag courses are designed to give students experience with writing in an academic discipline. In this class, you can expect to write regularly during the semester, complete substantial writing projects, and receive feedback from your instructor to help you improve your writing. You will also have the opportunity to revise one or more assignments, and to read and discuss your peers' work. You should therefore expect a substantial portion of your grade to come from your written work.

Learning Outcomes:

1. Students will learn to identify, prepare and create sample nonfiction book proposals as required to practice effectively as a professional in print or digital mediums. Students will be able to demonstrate accurate, effective and clear writing as required to create proposals and sample chapters. 2. Students will learn to be open to diversity. 3. Students will understand ethical principles regarding the practice of nonfiction book writing.

Outcome1: Students will learn to identify, prepare and create sample nonfiction writing and book proposals, as required to practice effectively as a professional in print or digital mediums. Students will be able to demonstrate accurate, effective and clear writing as required to create proposals and sample chapters. • Method 1: Students should have completed J315 or J380W or the equivalent and each student must identify, prepare and create proposals and chapters-in-progress. • Metric 1: The instructor will evaluate accurate, effective, clear reporting/writing as per an Assessment Grid (Appendix 1).

Outcome2: Students will learn to be open to diversity. • Method 1: Students should have completed J315 or J380 or the equivalent that requires diversity awareness in all news writing and they will demonstrate that awareness in this course. • Metric 1: The instructor will evaluate diversity awareness in topics and sources.

Outcome3: Students will understand ethical principles regarding the practice of narrative journalism and nonfiction book writing.

• Method 1: Students will have completed J315 or J380 or the equivalent that introduces information about the First Amendment, as well as instruction in accuracy and libel, and they will demonstrate that awareness in this course. • Metric 1: The instructor will evaluate awareness of and practice of ethical principles in each story.

Course Requirements:

Each student will be required to identify book topics and to turn in four working draft versions of “sample writing” or “sample of the writing that will be in the book.” As well, each student will turn in four working draft versions of a “business plan.”

Each working draft will expand on the previous version in terms of length and scope.

Final versions of the “sample writing” and the “business plan” will be due at the end of the semester. On the last day of class, each student will turn in:

1. A 20-pages-and-up narrative nonfiction work of journalism that can serve as a “sample chapter” for a proposed book and/or a possible magazine piece.

2. A 20-pages-and-up “business plan” suitable for shipping to literary agents and/or editors and publishers, along with the “sample chapter.” Assessment:

1. Timing: Miss deadlines and your highest potential grade may drop sharply.

2. Grades: Writing assignments will be graded on the skill with which you use language, organization and solidly reported content to illustrate and satisfy your topic – and the degree to which you improve your skills over the course of the semester. See Appendix I for a detailed assessment grid.

Writing assignments will also be graded on whether or not you adhere to these items (all of which are outlined below):

--“How Your Writing Assignments Must Look” --“Requirements for Business Plan” --“Requirements for Sample Chapters”

A = exceptional (quality, NOT QUANTITY, goes above and beyond expectations)

* work is worthy of a professional portfolio; * addresses every major subheading or element in the assignments and requirements, including deadlines * demonstrates concept mastery; * demonstrates highest fidelity to standards for attendance; * demonstrates highest achievement on Assessment Grids (Appendix 1)

B = excellent (superior quality, NOT QUANTITY, in meeting expectations)

* work is worthy of a professional portfolio; * addresses most subheadings or elements in the assignments and requirements, including deadlines; * demonstrates content mastery; * demonstrates high fidelity to standards for attendance; * demonstrates high achievement on Assessment Grids (Appendix 1)

C = acceptable (satisfactory quality and quantity in meeting expectations)

* needs substantial revision to be worthy of a professional portfolio; * addresses about half the subheading or elements in the assignments and requirements, including deadlines; * demonstrates some fidelity to standards for attendance; * demonstrates average/acceptable achievement on Assessment Grids (Appendix 1).

D = unacceptable quality (does not meet expectations)

* needs substantial revision to be worthy of a professional portfolio; * addresses less than half the major subheadings or elements in the assignment and requirements, including deadline; * demonstrates low fidelity to standards for attendance; * demonstrates below average achievement on Assessment Grids (Appendix 1).

F = no credit (effort not worthy of credit)

* needs substantial revision to be worthy of a professional portfolio; * addresses no more than one major subheading or element in the assignments and requirements, including deadline; * demonstrates low fidelity to standards for attendance; * demonstrates below average achievement on Assessment Grids (Appendix 1)

Percentage Breakdown of Grades:

Three working versions of the “sample chapter” and of the “business plan” – 30%.

Final version of your “sample chapter” and “business plan” – 50%

Class participation, in-class assignments, visit to instructor in office hours or by appointment – 20% Attendance:

n You are required to make at least two visits to instructor during office hours or by appointment. More visits are welcome, encouraged. n You may be graded down after 2 unexcused absences. n You may be marked down for a half an absence for arriving more than 10 minutes late.

Required Texts:

-- Telling True Stories, Mark Kramer, et al -- Thinking Like Your Editor: How To Write Great Serious Nonfiction-and Get It Published, Alfred Fortunato & Susan Rabiner

How Your Writing Assignments Must Look:

All written assignments must be double-spaced. You MUST have this information AT TOP OF front page: n Your name n Instructor Name n Course Name n Date assignment is turned in n NAME OF THE ASSIGNMENT

Here is an example: Joe Smith Minutaglio/Writing Nonfiction Books 1/26/12 1st Version

Requirements for “Business Plan”:

1. You will produce 4 working versions of a business plan. 2. The first version will contain a SYNOPSIS of your book/story -- a clear description of your topic/subject. 3. The second version will contain a SYNOPSIS; A DESCRIPTION OF YOUR TARGET AUDIENCE; A DESCRIPTION OF COMPARABLE BOOKS. 4. The third version will contain a SYNOPSIS; A DESCRIPTION OF YOUR TARGET AUDIENCE; A DESCRIPTION OF COMPARABLE BOOKS; A CHAPTER OUTLINE. 5. The fourth (final version) will contain a SYNOPSIS; A DESCRIPTION OF YOUR TARGET AUDIENCE; A DESCRIPTION OF COMPARABLE BOOKS; A CHAPTER OUTLINE; YOUR BIOGRAPHY; YOUR PLANS TO HELP MARKET YOUR WORK

Requirements for Sample Writing:

1. You will produce 4 working versions of your sample writing. The final version is one that would be suitable for shipping to literary agents and/or publishers.

2. Each working versions will contain some of these elements: They will be written in narrative style. They will be anecdotal, have a plot, be written with a beginning-middle-and-end. They will be broken into compartments or sections. They will have vivid writing. They will be free of spelling and grammar problems. They will be heavily researched. They will have intimate details – and will also address larger themes.

Suggestions:

Please refrain from non-class-related technological endeavors during class hours (text messaging, cell phoning, web surfing, etc.). Study the book sections/reviews in these publications: The New Yorker, The New York Times, Austin American- Statesman, Austin Chronicle, Washington Post. Read The Texas Book Festival site. Read the University of Texas Press site. Read the sites of major literary agents.

Religious Holy Days Observance Policy: The Texas Education Code specifies that an institution of higher education shall excuse a student from attending classes or other required activities, including examinations, for the observance of a religious holy day, including travel for that purpose. A student whose absence is excused under this subsection may not be penalized for that absence and shall be allowed to take an examination or complete an assignment from which the student is excused within a reasonable time after the absence. A student who misses classes or other required activities, including examinations, for the observance of a religious holy day should inform the instructor as far in advance of the absence as possible, so that arrangements can be made to complete an assignment within a reasonable time after the absence. http://www.utexas.edu/student/registrar/catalogs/gi03-04/ch4/ch4g.html#attendance

Students with Disabilities:

Please notify your instructor of any modification/adaptation you may require to accommodate a disability-related need. You will be requested to provide documentation to the Dean of Student's Office in order that the most appropriate accommodations can be determined. Specialized services are available on campus through Services for Students with Disabilities.

Students may request appropriate academic accommodations from the Division of Diversity and Community Engagement, Services for Students with Disabilities, 471- 6259.

http://www.utexas.edu/diversity/ddce/ssd/

Policy on Scholastic Dishonesty:

Do not plagiarize, make up quotes or make up facts.

The University defines academic dishonesty as cheating, plagiarism, unauthorized collaboration, falsifying academic records, and any act designed to avoid participating honestly in the learning process. Scholastic dishonesty also includes, but is not limited to, providing false or misleading information to receive a postponement or an extension on a test, quiz, or other assignment, and submission of essentially the same written assignment for two courses without the prior permission of the instructor.

By accepting this syllabus, you have agreed to these guidelines and must adhere to them. Scholastic dishonesty damages both the student's learning experience and readiness for the future demands of a work-career. Students who violate University rules on scholastic dishonesty are subject to disciplinary penalties, including the possibility of failure in the course and/or dismissal from the University.

http://deanofstudents.utexas.edu/sjs/acint_student.php.

The University Honor Code:

“The core values of The University of Texas at Austin are learning, discovery, freedom, leadership, individual opportunity, and responsibility. Each member of the university is expected to uphold these values through integrity, honesty, trust, fairness, and respect toward peers and community.”

COURSE SCHEDULE – (subject to change; please note our industry professional often have to change their schedules)

JAN. 23: n Syllabus Review n EMPHASIS POINT: YOU MUST BE RESEARCHING YOUR IDEA IMMEDIATELY. DO NOT WAIT. START RIGHT NOW. n The Voice Above The Babble: Writing Long Stories & Books Amid Information Overload n What Is Narrative? n The Micro vs. Macro n The Biographical Narrative n Assignment: Bring to class Jan. 30 a 500-word tentative topic outline for your book. Present it, defend it, explain it. n Assignment: Research guest speaker and read sample of his work online. n Assignment: Read pages 3-30 in Kramer

JAN. 30: n Due: 500-word topic outline of your book idea. Present it, defend it. n Be prepared to add constructive criticism and advice to your colleagues as they present their topic outlines. n The boilerplate business plan. n Guest: Patrick Beach, author. Finding your book ideas. How to move from being a “journalist” to “author.”

FEB. 6: n The sample chapter. Review of the elements in a sample chapter. n Guest: Bill Crawford, author of 20 books/veteran writer/editor. Getting published. n Assignment: Reading from Fortunato.

FEB. 13: n Preparing an Outline. n How Harrington, Smith, Hillenbrand, Junger,Larson structure their work. n Recreating History n Assignment: Reading in Kramer n Guest: Joe Nick Patoski. Author of several books, including major biographies of Selena, Willie Nelson, Stevie Ray Vaughan, the geography of Texas, the Dallas Cowboys. Researching your books. n Assignment: Research Steve Davis.

FEB. 20: n Due: 1st working draft versions of your business plan and your sample chapter. Each of them will be 5 pages long. n Read, critique sample chapters. n Assignment: Read pages 97-124, Kramer.

FEB. 27: n Guest: Lari Bishop, veteran editor/publisher with major commercial presses. Now based in Austin with Greenleaf Publishing. n Narrative execution – bridging your stories with intimate details and bigger themes.

MAR. 5: n Guest speaker: Steve Ungerleider, author of 6 books, former undergrad at UT-Austin. Organizing your work. n Due: 2nd working draft versions of your business plan and your sample chapter. Each of them will be 10 pages long. n Critiques. n Assignment: Reading in Kramer.

MAR. 12-16 – NO CLASS, SPRING BREAK

MAR. 19: n More critiques. n Practical realities – agents. n Assignment: Reading in Fortunato.

MAR. 26: n Field Trip (Tentative): University of Texas Press, with editor Allison Faust

APR. 2: n Due: 3rd working draft versions of your business plan and sample chapter, each 15 pages long. n Guest: Author/Literary Agent Jim Hornischer n Critiques

APR. 9: n Undoing your work. Reinventing the material you are wedded to. Self- editing. n More critiques n Assignment: Study New York Times Bestseller lists for 2010-until now and find the book yours is most similar to in terms of style and/or topic. Bring results to class. Discuss trends you noticed on the lists.

APR. 16: n Trends, e-books, Kindle, self-publishing, self-marketing. n Editorial Budget Meeting: Status report on final versions. What’s missing? n Due: Present your analysis of New York Times Bestseller lists. n Guest (Tentative): Literary Agent David Hale Smith, with Inkwell Management in New York

APR. 23: n In-class: You put your sample chapters/sample writing on the screen in the room. n In-class: Biggest hurdles – be prepared to present 5-10 minute analysis of your work this semester, outlining your biggest hurdle and how you overcame it. n Guest (Tentative): Clay Smith, literary director of The Texas Book Festival

APRIL 30: n Due: Final versions of 20-page business plan and 20-page sample chapter n Course Instructor Survey n Additional resources – The Mayborn Conference, etc. n Goodbyes

APPENDIX I

Assessment Grid for J395/359

1. The work shows narrative writing.

0 1 2 3 4

2. The work contains intimate details AND sweeping themes.

0 1 2 3 4

3. The work demonstrates a consistent thread and plot.

0 1 2 3 4

4. There is a powerful ending.

0 1 2 3 4

5. Grammar, spelling and punctuation are correct.

0 1 2 3 4

6. The work avoids clichés.

0 1 2 3 4

7. The work is clearly composed, structured, written.

0 1 2 3 4

8. The work shows evidence of intensive research/reporting.

0 1 2 3 4

9. The work has the necessary “business plan” material/research.

0 1 2 3 4