W R I T I N G F I C T I O N S P R I N G 2 0 0 6 M A L I N D A M C C O L L U M

96 Wentworth St (Jewish Studies Center), Rm. 315 Office hours: Wed 12:30-3 p.m.or by appointment Email: [email protected]

Writing has laws of perspective, of light and shade, just as painting does, or music. If you are born knowing them, fine. If not, learn them. Then rearrange the rules to suit yourself.

–– Truman Capote

Welcome. This course is designed to give you the opportunity to read, write, analyze, critique, and revise literary short fiction, while experimenting with your voice and style. Together we’ll investigate some fundamental questions of short fiction: What is a story? What makes a story feel satisfying and complete?

COURSE TEXTS & LEAD CRITICS: We’ll start by discussing selections from The Scribner Anthology of Contemporary Short Fiction, focusing our attention on the stories’ technical elements. We’ll read as practicing writers looking to improve our own fiction through the study of other writers’ decisions and techniques. Discussions will be led by pairs of class members––lead critics––who should be prepared to make brief introductory comments, ask questions, and guide conversation. We’ll also read from Stuart Dybek’s collection, The Coast of Chicago, and discuss how writers develop their subjects and styles. Later in the semester we’ll read some very short stories and experiment with the short short form.

STORIES & EXERCISES: After a few weeks, we’ll begin discussing your own writing. You’ll write four one-page writing assignments (first-pagers) and two complete stories (12-25 pages). You’ll also have the option of adding or revising a scene from one of your complete stories. Please proofread, doublespace, and number your pages. Note: I do not accept late or e-mailed work. If you fail to turn in an assignment by its due date, you will receive a zero for the assignment.

WORKSHOPS, ENDNOTES, & CONFERENCES: You’ll need to turn in twenty copies of your complete stories. They will be workshopped, with class members making line edits and comments on each manuscript, both in the body of the text and in a one-page single-spaced note at the end of the work––the endnote.

When writing endnotes, make two copies––one for the writer and one for me. Endnotes make up a substantial part of your grade and must be turned in on the day they are due. Your final endnote grade will be lowered for each incomplete or missing endnote.

After your first workshop, I’ll meet with you in office hours for a story conference. But feel free to drop by my office any time to discuss the course or your writing. I’ll be happy to read any drafts or additional stories you’re working on, beyond the required assignments for this course.

READINGS: Our classroom discussions will be supplemented by readings and discussions with emerging and established writers. You’re required to attend the Stuart Dybek reading on the evening of March 23 and write a 1-page response paper to the event.

ATTENDANCE: As this class is a seminar, attendance is mandatory. Absences will dramatically affect your class participation and overall grade. After one absence (excused or unexcused), your final grade will be lowered by ten percentage points for each additional absence. (For example, if you have a B in the class, but two absences, your final course grade will be a C.) I will withdraw any student who amasses four absences. Frequent lateness will count as absenteeism; if you are tardy to class twice, an absence will be recorded. If, for some reason, you cannot come to class, you must let me know ahead of time. If you do miss a class, you are responsible for collecting and completing all the assignments and/or reading you may have missed.

GRADING: Your course grade will be based on the following:

1. Writing exercises (4) 20% 2. Story portfolio: two complete stories & optional scene revision 40% 3. Endnotes and one reading response 20% 4. Class participation (includes Lead Critic) 20% 100%

S C H E D U L E

01: 1/11 Introduction and Personal Experience & Imagination • discuss: “Bullet in the Brain,” Tobias Wolff & “This is How I Remember It,” Betsy Kemper (handouts) • in-class: This Is How I Remember It, Part I and II

02: 1/18 Shaping a Story: Plot • due: First Page 1––One Person, One Place • discuss: “Strays,” Mark Richard (S) “Pet Milk,” Stuart Dybek (S or CofC) • in-class: Three First Lines

03: 1/25 Characterization • due: First Page 2––Steal First • discuss: “The Kind of Light . . . . ,” Reginald McKnight (S) “Tall Tales . . . . ,” Kate Braverman (S) • in-class: Out Of Habit

04: 2/1 Point of View • due: First Page 3––Same Old Story • discuss: “Trauma Plate,” Adam Johnson (handout) “Note to My Sixth Grade Self,” Julie Orringer (handout) “Nebraska,” Ron Hansen (S) • in-class: Head Shot

05: 2/8 Dialogue • discuss: “You’re Ugly Too,” Lorrie Moore (S) “Emergency,” Denis Johnson (S)

06: 2/15 Imagery and Setting/Tone & Workshop (4) • discuss: “White Angel,” Michael Cunningham (S) TBA, Stuart Dybek (CofC)

07: 2/22 Workshop (4)

08: 3/1 Workshop (4)

*: 3/8 NO CLASS (Spring Break)

09: 3/15 Workshop (4)

10: 3/22 Microfiction & Workshop (4) • discuss: selections from Microfiction (handout) “Bottlecaps,” Stuart Dybek (CofC)

** 3/23 Stuart Dybek Reading

11: 3/29 Workshop (4)

• due: First Page 4––Microfiction

12: 4/5 Workshop (4)

13: 4/12 Workshop (4)

14: 4/19 Workshop (4)

• due: Story Portfolio (including optional scene revision)