English 280: Introduction to Creative Writing
Instructor: Garrett Bryant
Email: gmbryant11@gmail.com
Meeting Time: T/TH 12:30-1:45pm
Class Location: HH 150
Office Hours: TBA
Office: AL 276
English Dept. Office: AL 226
Dept. Phone: (619) 594-5307
To begin, an epigraph: “I hope I don’t teach you how to write but how to teach yourself how to write.”
—Richard Hugo
Course Description:
Through careful study of craft and technique, English 280 provides an introduction to the theory
and practice of poetry and fiction. We will begin with poetry and end with fiction, closely examining
poems and short stories of published authors that will inspire your own development as a writer.
You will produce your own original works of poetry and fiction during this course. We will write in
and out of class, and share what we create. As a community, we will support one another through
thoughtful discussion and critique. Serious and original work emerges from dedication to writing as
a process. This class, “The Lyricism of Poetry & Fiction,” will allow you to discover your own
audacity and music as you question and articulate your own human experience. Together, we will
strive to contribute to the larger conversation of what is at stake in literature and the worlds we
inhabit and imagine.
This is an Explorations course in the Humanities and Fine Arts. Completing this course will
help you to do the following in greater depth:
1) analyze written, visual, or performed texts in the humanities and fine arts with sensitivity to their
diverse cultural contexts and historical moments;
2) describe various aesthetic and other value systems and the ways they are communicated across
time and cultures;
3) identify issues in the humanities that have personal and global relevance;
4) demonstrate the ability to approach complex problems and ask complex questions drawing upon
knowledge of the humanities.
Required Books & Materials:
— Course Reader
— A folder for handouts
— A writing journal for in-class writings and reflection assignments
— Access to a computer and printer
— A copy card to make copies of your work for peer workshops
This is an Explorations course in the Humanities and Fine Arts. Completing this course will
help you to do the following in greater depth: 1) analyze written, visual, or performed texts in the
humanities and fine arts with sensitivity to their diverse cultural contexts and historical moments; 2)
describe various aesthetic and other value systems and the ways they are communicated across time
and cultures; 3) identify issues in the humanities that have personal and global relevance; 4)
demonstrate the ability to approach complex problems and ask complex questions drawing upon
knowledge of the humanities.
Course Objectives:
Throughout the course of this semester, you will:
— evaluate and articulate elements of craft and technique for poetry and fiction.
— employ these elements in your own imitations & creative pieces.
—tune your understanding of the writing process to strengthen your ability to engage with the craft
of writing.
— become excellent, analytical, critical readers who learn about form, technique, and craft from
everything you read and discuss.
— participate clearly & effectively in peer workshop settings, giving thoughtful & constructive
feedback to your fellow writers.
— define clear goals to apply and direct your own course as a writer & scholar of writing.
Course Requirements & Assignments:
This class is based on a 200-point scale.
Grade Breakdown:
— Rough Drafts of Poems – 20 points
— Rough Draft of Stories – 20 points
— Readings & Quizzes – 20 points
— Participation & Attendance – 20 points
— Journal – 20 points
— Literary Events & Office Hours – 10 points
— Poetry Portfolio – 40 points
— Short Story Portfolio – 40 points
— Final Recitation – 10 points
Rough Drafts of Poems (10%) and Short Stories (10%) 20% (40 points)
You will turn in poems throughout the first half of the semester and then short fiction pieces (600
words or less) and 1 longer fiction piece (1,000 words or more) throughout the second half of the
semester. Grading will be based on assignments being on time and crafted to the best of your ability.
All writing should reflect understanding of the skills and techniques learned so far.
Readings & Reading Quizzes 10% (20 points)
Readings are due on the date they appear in the calendar. Reading responses will be written in your
journal. Reading quizzes may occur. Any quiz will occur during the first five minutes of class.
Consider this as just one more reason you need to be present and prepared for class.
Participation and Attendance (including workshop responses) 10% (20 points)
Participation amounts to 10% of your grade, and this means I expect you to share thoughts,
responses, questions or insights at least once every class. Participation also includes your discussion
questions and comments about readings and your responses in workshop to peer work. Obviously,
in order to participate, you must be present in class, so your attendance is required for this.
Journal 10% (20 points)
You are required to keep a journal that you will turn in with your midterm poetry portfolio and again
with your final fiction portfolio. You will use the journal for three things:



In-class prompts. I will provide you with writing prompts that hopefully will help you apply
some of the craft skills we’re studying. Take these prompts seriously – they will only help
you grow and develop as writers.
Story/poem reflections. You are required to write a 1-page (2 pages if it is a “smaller”
journal) reflection about the stories/poems assigned for reading that day.
An on-going list of favorite lines, phrases, or pieces of dialogue from the assigned readings
throughout the semester. Use this list to document your engagement with our readings.
Literary Events and Office Hours 5% (10 points)
You are required to meet with me at least once during the course of the semester to discuss your
work. These “conferences” must be scheduled with me ahead of time. You are also required to
attend two literary events for which you will write a 1-2 page response of your impressions for
each. Additional office visits and literary events are welcome and encouraged. Lots of live literature
happens in and around SDSU; I’ll post a list of readings on Blackboard, and you can also check out
poetry slams, open-mic nights, and other events around town. Your 1-2 page review should
include details about the venue, the readers, and your response to the experience. Please
turn in your reviews within one week from the events you attend.
Poetry Portfolio: 20% (40 points)
Revised versions of 3 poems and the rough drafts with my comments, along with two in-class
poetry prompts (polished) will make up your midterm poetry portfolio. Note that if you do not turn
in rough drafts with your revisions, your portfolio will be considered incomplete.
Short Story Portfolio: 20% (40 points)
Revised versions of 2 stories (one short, one long) and the rough drafts for each with my
comments, along with two in-class prose prompts (polished) will make up your final fiction
portfolio. Note that if you do not turn in rough drafts with your revisions, your portfolio will be
considered incomplete.
Recitation: 5% (10 points)
You will memorize and recite a poem of your choice (14 lines or longer) to be performed on the day
of the final exam and potluck. As poetry is an oral tradition, this is your opportunity to engage with
the history of the art-form, and to bring a poem to life as a performative piece.
General Policies:
Electronic Devices: No cell phones. No iPods. No laptops. These are not necessary items, and
deter from our engagement with each other and with art. If you absolutely must
(itcan’twaitigottatakethiscallormymom’sgonnagivemetheswitch) use your phone, step outside. If I
see it out during discussion, I will nicely ask you to put it away (I may even throw something at you),
and the second time I will ask you to leave.
Formatting: All assignments should be typed, size 12, Times New Roman, double-spaced for
response papers and stories, single-spaced for poems (unless the poem desires to be shaped to
another aesthetic). Keep all drafts of your work, including hand-written drafts, to include in your
portfolios.
Attendance: Attendance is necessary. A maximum of two excused or unexcused absences are
allowed per semester. Any further absences will reduce your participation grade (5 points per
absence). Always try to be on time for class. If you are consistently late, 3 “lates” will count as 1
absence. If you are going to be more than 15 minutes late, please do not come in and disturb the rest
of us who managed to arrive on time. Instead, make good use of your absence and enjoy yourself
elsewhere.
Late Work: I will not accept any late work. It is your responsibility to make sure your work arrives to
me or my mailbox prior to the class period on the day it’s due. I will not accept any emailed
assignments.
Giving & Receiving Criticism: We will discuss together before our first workshop the nature of
giving and receiving criticism or feedback. Our aims are to help the writer improve, so be specific,
balance honesty and sensitivity, and get beyond aesthetic preference. Read carefully enough to
determine what the author is aiming to accomplish. We are here to help one another to succeed.
When receiving criticism, take notes and listen to collect information, but remember you may
choose which responses are useful to your revisions. Remember that your peers are addressing your
work and not you personally. *********There will be absolutely no hair-pulling, cell-phoning, eyerolling, name-calling, day-dreaming, day-drinking, trash-talking, patronizing, sarcaticizing, or
belittlement. SERIOUSLY. You will get one private, verbal warning, and the second time it
happens, I will kick you out of class.
Academic Integrity: Plagiarism includes: copying the ideas or writings of someone else and claiming
them as your own work, collaborating with someone else on an assignment, and/or resubmitting
work that you have done for another class. DON’T DO IT. Anyone caught plagiarizing will not
only fail that assignment, but is likely to fail the class and will also face disciplinary action in
accordance with the San Diego State University policy. You are responsible for reviewing SDSU’s
policy on academic dishonesty at http://csrr.sdsu.edu.
Disability Services: If you are a student with a disability and believe you will need accommodations
for this class, it is your responsibility to contact Student Disability Services at (619) 594-6473. To
avoid any delay in the receipt of your accommodations, you should contact Student Disability
Services as soon as possible. Please note that accommodations are not retroactive, and that I cannot
provide accommodations based upon disability until I have received an accommodation letter from
Student Disability Services. Your cooperation is appreciated.
See me for help: Talk to me. Let me know if you would like to discuss a reading, talk through ideas
for a poem or story, are struggling in any way, are having trouble understanding the course material,
know in advance that you have to miss class, etc. Office hours are there for a reason. I check and
answer my email regularly. Other support services on campus include English Department drop-in
tutoring, library resources, and SDSU’s Center for Counseling & Psychological Services (619) 5945220.
Other Useful Numbers:
Public Safety: (619) 594-1991
Center for Student Rights and Responsibilities: (619) 594-3069
Counseling and Psychological Services: (619) 594-5220
Center for Intercultural Relations: (619) 594-7057
Course Calendar*
*NOTE: Expect additional handouts to supplement readings. Course Calendar is subject to
adjustments throughout the semester.
WEEK 1: Intro to class, what is poetry?
TH
1/22 Syllabus, introductions, etc.
WEEK 2: Getting Started, How to Tell a Story
T
1/27 Getting Started
Richard Hugo “Writing Off the Subject”
Marianne Moore “Poetry”
Archibald MacLeish “Ars Poetica”
TH
1/29 How to Tell a Story
Marianne Boruch “My Son and I Go See Horses”
Mark Halliday “Summer Planning”
William Stafford “Traveling Through the Dark”
Ralph Dickey “Father”
Tess Gallagher “Black Silk”
Philip Larkin “High Windows”
WEEK 3: Imagery & Intensity, Portraits of Things
T
2/3 Imagery & Intensity
Adrienne Rich “Diving Into The Wreck”
Mark Doty “Tiara”
William Carlos Williams “This Is Just To Say”
Ezra Pound “In a Station of the Metro”
Theodore Roethke “I Knew A Woman”
Langston Hughes “Harlem”
Elizabeth Bishop “The Shampoo”
Louise Gluck “The Untrustworthy Speaker”
Terrance Hayes “The Woofer (When I Consider the African American)”
Sandra Alcosser “By The Nape”
Th
2/5 1st Poem Due. Copies for entire class.
Portraits of Things
WEEK 4: Workshop
T
2/10 Workshop
Th
2/12 Workshop
***the rest of the course schedule is to come
“You write in order to change the world, knowing perfectly well that you probably can't, but also
knowing that literature is indispensable to the world....The world changes according to the way
people see it, and if you alter, even by a millimeter, the way...people look at reality, then you can
change it.”
—James Baldwin