ENGH 396: Intro to Creative Writing
Fall Semester 2015
Course Policies
Section 003 (MW 12:00-1:15 PM Robinson B 102)
Instructor: Robbie Maakestad
Office: Robinson A468
Office Hours: 1:30-2:30 M
or by appointment
English Office: Robinson A487
English Office Phone: 703-993-1160
E-Mail: rmaakest@gmu.edu
COURSE DESCRIPTION AND OBJECTIVES
In order to create an introduction to the craft, terminology, and techniques of creative
writing, we will pursue these learning goals:
1. Further our knowledge of both the craft and art of creative writing.
2. Gain an understanding of and learn to apply general writing craft elements such
as point of view, voice, story arc, dialogue, description, and scene/summary.
3. Grow in our knowledge of genre: creative nonfiction, fiction, and poetry.
4. Endeavor to explain how written work affects both readers and writers. By
studying literature as a writer – considering it as a craft as well as an art – we will
come to a better understanding of what goes into creation of that literature.
5. Work together in small-group workshops, and individually after those workshops,
in order to explore and practice the discipline of revision.
Together, these learning goals allow us to see writing as a process of art, craft, and
discipline, which will benefit not just our ability to write creatively in this course, but
also our ability to meet the creative and critical demands required of us in the future.
ACADEMIC REQUIREMENTS
Each of you will be responsible for preliminary drafts of writing assignments, written
critiques of classmates’ work, various reading and writing exercises that will aid our
understanding of the discipline and craft of creative writing, and four finished writing
projects (along with four critical analyses): a submission in each of the three genres
(fiction, creative nonfiction, and poetry) and one final project (your choice of genre).
Class time will be divided accordingly: lecture and discussion, small group discussion, inclass writing, and small group and whole-class workshops.
Major assignments:
 Fiction submission – 150 points; 50 points Critical Analysis (Grade to be kept only
if your final project is NOT fiction)
 Creative nonfiction submission – 150 points; 50 points Critical Analysis (Grade to
be kept only if your final project is NOT creative nonfiction)
 Poetry submission – 150 points; 50 points Critical Analysis (Grade to be kept only
if your final project is NOT poetry)
 Writing exercises and general participation – 100 points (60/40, respectively)
 Workshops and Peer Critiques – 100 points
 Final Expansion Project – 150 points; 50 points Critical Analysis (plus another 200
points as this grade replaces one provisional grade as noted above)
TOTAL = 1000 points
REQUIRED TEXT
Burroway, Janet. Imaginative Writing: The Elements of Craft. 4th ed. Boston: Longman,
2014. ISBN: 9780134053240.
(Lots of $ at bookstore)
OR
Burroway, Janet. Imaginative Writing: The Elements of Craft. 3rd ed. Boston: Longman,
2011. ISBN: 978-0205750351
($8 on Amazon used)
GENERAL COURSE POLICIES
RESPECT
Respect for other students and your instructor in our classroom is essential to a healthy
classroom dynamic. We may discuss ideas and concepts that challenge your current
thinking, so we all must respect one another and be open to new ideas. In addition,
private conversations during class discussion or lecture times are inappropriate. Show
courtesy to other students and your instructor.
TECHNOLOGY
You will be expected to refrain from using cell phones or other communication devices
in the classroom. Use of iPads and laptops should be limited to times when I ask you to
pull out your computers for in-class use and in-class writing. Even if it seems that it isn’t
“bothering anyone,” checking your e-mail, your Facebook, or surfing the web during
class is rude to your instructor and fellow classmates. I expect you to be an engaged
member of the class.
ATTENDANCE & ABSENCES
Attendance is expected, though I believe it’s your responsibility to take ownership for
investing in your own education, so I won’t be keeping attendance. If you miss a class,
you should obtain assignments or any updated schedule/assignment information from a
classmate in order to be prepared for the next meeting. I do, however, require
attendance for workshops and the final week of class. Missed in-class work may not be
made up. In order to learn most affectively and get as much as you can out of this
course, in addition to your participation grade, I’d recommend regular attendance. Let
me know if you do have to miss a class, and we can work something out. It is also your
responsibility to get workshop drafts to and from those in your group.
WORKSHOP
Workshop participation and attendance is mandatory. You will turn in a copy of your
critique to me, as well as the other members of class/your group, which will go into your
participation grade. Workshop is not a time to disparage or rudely comment on the
work of others. Remember, written critiques balance positive and critical comments,
though criticism should certainly be constructive and focused on the writing, not on the
writer or the writer’s ability. If there are problems with feedback you receive, do not
hesitate to contact me. Workshop should be a safe space where we work together to
better one another’s writing; thus, the amount of effort you put into commenting on
the work of others should be just as much as you put into producing your own work.
SUBJECT MATTER
This course will ask you to write whatever you want to write about, but do recognize
that there is a line between what is appropriate and not appropriate in a classroom
setting, especially with regard to what is being shared with your classmates, who may
not share your values. I respect your privacy and truly believe that this class should
allow you creative freedom, so all I will ask is that you use common sense with regard to
what is/is not appropriate to write in an academic setting. If you are unsure/nervous or
have a hunch that something might be questionable, please, please, PLEASE discuss your
ideas with me in advance of bringing them to workshop. My desire is for this class to be
a safe place for all of us.
PREPARATION
You will be expected to come to class prepared to discuss readings, share your work,
and comment on other students’ work. Being prepared for each class is vital in creating
a classroom that is conducive to learning – take notes on the assigned readings as this
allows you to remember the material more fully. Back up your work as you’re
responsible for turning work in on the due dates. You are also expected to regularly
check your Mason email for updates to the schedule and assignments.
GRADING RATIONALE
Creative writing is both an art and a craft. While it is debated by many whether art can
be graded, craft can be evaluated. In particular I will look for:
 Adherence to and mastery of genre conventions
 Structure and form as they pertain to your genre and subject
 Masterful use of narrative voice and point of view
 Engaging employment of language
 Excellence of writing mechanics
 Improvement through revision (final project only)
 Creativity and innovation within genre conventions
DUE DATES
Assigned work will have a due date and you will be expected to meet this requirement.
Missed in-class work may not be made up unless you have an excused absence (see
below). I will accept the major projects late, but your paper will be penalized a letter
grade for each class period overdue (ABC as maximum grade). The major projects
will NOT be accepted after a week past the due date and you will receive a score of 0.
ACADEMIC DISHONESTY
Presentation of someone else's work as your own is dishonest and may result in failure
of the course. This includes intentional plagiarism and unintentional plagiarism (failure
to cite sources), as well as something that you have previously written for another
course that has not been cited. See Mason’s official plagiarism statement for more
information.
THE UNIVERSITY WRITING CENTER
I encourage you to take your projects to the University Writing Center, located in
Robinson A114. It’s one of the best free resources available to you on campus. You can
schedule a one-on-one 45-minute appointment with a trained tutor to help with any
phase of the writing process on the website (http://writingcenter.gmu.edu) or by calling
the office at 703-993-1200.
COURSE ADAPTATIONS
If you are a student with a disability and you need academic accommodations, please
see me after contacting and registering with the Disability Resource Center (DRC) 703993-2474. All academic accommodations must be arranged through that office.
NON-DESCRIMINATION POLICY
George Mason University is committed to providing equal opportunity and an
educational and work environment free from any discrimination on the basis of race,
color, religion, national origin, sex, disability, veteran status, sexual orientation, or age.
GMU shall adhere to all applicable state and federal equal opportunity/affirmative
action statutes and regulations.
PERSONAL NEEDS
If, at any point in the semester, personal issues are affecting your ability to complete
your coursework, it may be helpful to visit the counseling center. All GMU students have
access to free, confidential counseling. To arrange an appointment, contact the
University Counseling and Psychological Services Center (CAPS), (703) 993-2380.
INCLEMENT WEATHER POLICY
If the weather is bad, check the GMU website at http://www.gmu.edu and look for a
scrolling banner announcing delays or closings. You can also sign up for Mason Alert to
have university closures and other critical information e-mailed or texted to you.
If the university is closed for weather or other emergencies, check your Mason e-mail
and our class Blackboard for instructions and schedule modifications. You will likely be
asked to complete an online class or activities that will help us stay on track.
COURSE SCHEDULE
Week 1
COURSE INTRODUCTION/INTRODUCTION TO CREATIVE NONFCITION
M – 8/31:
In Class: Syllabus; Art and Craft.
W – 9/3:
In Class: Fundamentals of Creative Writing Overview: Genre and
Voice; Project 1 Overview
Readings Due:
“Creative Nonfiction” pgs. 225-236
“Voice” pgs. 47-61
“Beauty: When the Other Dancer Is the Self” – Alice
Walker, pgs. 62-67
“Guns for Teachers” Warren J. Bowe, pg. 68
“Rock Threat Subsides” Calvin Trillin, .pdf on BB
Week 2
POINT OF VIEW/I & EYE IN CNF
M – 9/7:
NO CLASS – LABOR DAY
W – 9/9:
In Class: Share Autobiographies. Point of View/I & Eye; Discuss
readings
Readings Due:
“Do He Have Your Number, Mr. Jeffrey?” – Gayle
Pemberton, pgs. 237-245
“The Female Body” – Margaret Atwood, pgs. 245-247
“Margot’s Diary” – S.L. Wisenberg, pgs. 247-251
“Ragnarok Boy” – Michael Chabon, pgs. 251-254
“Field Guide to Resisting Temptation” – Sarah Wells,
Brevity online: http://bit.ly/1MVt0mL
Week 3
IMAGE & WEAVING IN CNF
M – 9/14
In Class: Concrete Vs. Abstract Images
W – 9/16
Readings Due:
“Image” pgs. 15-27
“Heaven and Earth in Jest” – Annie Dillard, pgs. 28-29
“What I Learned” – David Sedaris, pgs. 29-34
“At the Dam” – Joan Didion, pgs. 148-150
“Aftermath”–Elane Johnson, Brevity: http://bit.ly/1MVsTrr
In Class: Weaving; discuss reading
Readings Due:
“The Fourth State of Matter” – Jo Ann Beard, .pdf on BB
Week 4
FALL FOR THE BOOK READINGS
M – 9/21:
In Class: Discuss readings
Readings Due:
Fall for the Book Readings 1, .pdf on BB
W – 9/23:
In Class: Discuss readings; discuss workshop procedures
Readings Due:
Fall for the Book Readings 2, .pdf on BB
Week 5
FALL FOR THE BOOK FESTIVAL
M – 9/28:
CLASS CANCELLED – ATTEND 1 FALL FOR THE BOOK EVENT
W – 9/30:
CLASS CANCELLED – ATTEND 1 FALL FOR THE BOOK EVENT
DUE ON BB BY CLASS: Group A Creative Nonfiction Draft
Week 6
CNF WORKSHOP – REQUIRED ATTENDANCE
M – 10/5:
Creative Nonfiction workshop – Group A
DUE ON BB BY CLASS: Group B Creative Nonfiction Draft; Fall for
the Book Reflections
W – 10/7:
Creative Nonfiction workshop – Group B
Week 7
INTRODUCTION TO FICTION/IMAGE & VOICE IN FICTION
M – 10/13 (TUESDAY): In Class: Introduction to Fiction; discuss readings
DUE IN CLASS: PROJECT 1 – CREATIVE NONFICTION
Readings Due:
“Fiction” pgs. 259-270
“The Story” – Amy Bloom, pgs. 270-279
“Bullet in the Brain” – Tobias Woolf, pgs. 34-38
“Bigfoot Stole My Wife” – Ron Carlson, pgs. 290-294
W – 10/14: In Class: Voice in Fiction; discuss readings
Readings Due:
“Victory Lap” – George Saunders, pgs. 69-82
“The Book of Sand” – Jorge Luis Borges, pgs. 82-85
“Cowboy” – Thomas McGuane, The New Yorker,
http://nyr.kr/1hjabfU
“The Dog” – Kyle Minor, Dogzplot, http://bit.ly/1JwwAN8
Week 8
STORY & SETTING IN FICTION
M – 10/19:
In Class: Character; discuss readings
Readings Due:
“Character” pgs. 94-109
“Tandolfo the Great” – Richard Bausch, pgs. 118-127
“Incarnations of Burned Children” – David Foster Wallace,
pgs. 179-181
“Prue” – Alice Munro, .pdf on BB
“Hills Like White Elephants” – Ernest Hemingway, BB .pdf
W – 10/21: In Class: Setting; discuss readings
DUE IN CLASS: Group A Fiction Drafts
Readings Due:
“Setting” pgs. 135-148
“The School” – Donald Barthelme, pgs. 150-153
“The Werewolf” – Angela Carter, pgs. 153-154
“A Rose for Emily” – William Faulkner, .pdf on BB
Week 9
FICTION WORKSHOP – REQUIRED ATTENDANCE
M – 10/26:
Whole Class Fiction Workshops – Group A
DUE IN CLASS: Group B Fiction Drafts
W – 10/28: Whole Class Fiction Workshops – Group B
Week 10 INTRODUCTION TO POETRY & SETTING AND STORY IN POETRY
M – 11/2:
In class: Introduction to Poetry; discuss readings
DUE IN CLASS: PROJECT 2 – FICTION
Readings Due:
“Poetry” pgs. 297-317
Assorted poems – pgs. 318-325
W – 11/4: In Class: Setting & Story in poetry; discuss readings
Readings Due:
Assorted poems – pgs. 154-157
Assorted poems – pgs. 187-189
Week 11 VOICE & CHARACTER in POETRY
M – 11/9:
In Class: Voice in Poetry; discuss readings
Assorted poems – pgs. 85-88
W – 11/11: In Class: Character in Poetry; discuss readings
DUE IN CLASS: Group A Poetry Drafts
Assorted poems – pgs. 127-130
Week 12 POETRY WORKSHOP – REQUIRED ATTENDANCE
M – 11/16:
Poetry workshops – Group A
DUE IN CLASS: Group B Poetry Drafts
W – 11/18:
Poetry workshops – Group B
Week 13 REVISION & THANKSGIVING
M – 11/23:
In Class: Discuss the revision and final project; discuss Lit Journal
Report
DUE IN CLASS: PROJECT 3 – POETRY
W – 11/25: NO CLASS – THANKSGIVING BREAK
Week 14 REVISION AND DEVELOPMENT & LIT JOURNALS
M – 11/30:
In Class: Revision Discussion; In-class writing/revision
Readings due:
“Development and Revision” pgs. 195-218
W – 12/2:
In Class: Submitting to Lit Journals; In-class writing/revision
DUE ON BB: LIT JOURNAL REPORT
Week 15 FINAL PROJECTS DUE – REQUIRED ATTENDANCE
M – 12/7:
Reading/Sharing
W – 12/9:
Reading/Sharing; Course Evaluations
** This schedule is subject to change, for any reason, at my discretion. I’ll let you know with
plenty of time if changes are made.