Course :
Time/Location:
Instructor:
Email:
English 2150, LD01, #25623: Introduction to Creative Writing
Tu Th 12:30-1:45, Marlboro Hall, Room 3099
Michele Hardy, Associate Professor of English
hardymm@pgcc.edu
Email availability : Email is the best way to communicate with me outside of class. I check my email daily. However, I generally do not check mail after 5 p.m. Please attempt to email me during the week rather than the weekend as I may not be as readily available.
Student Owl Mail : All students must use their assigned PGCC Owl Email Account to communicate with professors. This address will also be the one the college uses to contact you or to send you important information. The account has been set up for you; however, you need to activate it in order to use it.
Go to http://live.pgcc.edu/ then carefully read and follow the directions given. Once you activate your account, you can quickly access your Owl mail, your Owl Link account, and much more on the college's new website for students entitled myPGCC which can be accessed at www.pgcc.edu or my.pgcc.edu. If you have difficulty activating your Owl mail account or you have forgotten your Owl Link User ID, email Owlmail@pgcc.edu or go to Technology
Services Help Desk in Bladen Hall, Room 106, on the Largo campus.
Email Etiquette : To ensure a high level of professionalism and courtesy, please follow the following basic rules for email etiquette:

Provide a clear subject heading for your email—i.e. John Smith, EGL
2150. You may also indicate the nature of your email—John Smith, EGL
2150, question on CE # 2. ( I do not open emails that have blank or vague subject headings—“Hi
”
) Provide an appropriate salutation to begin your message—i.e. Hello Professor Hardy—and a signature—i.e.
Thank you, John Smith, to close your message.
 Do not use “IM-speak” in your correspondence (i.e. omitting capitalization, irregular spellings, abbreviations) or informal language

Office/Phone : Marlboro Hall, Room 3057; 301-322-0596
Office Hours : Tu: 11-12:15; 2-3; Th: 11-12:15
Professor’s Mailbox
: Marlboro Hall, Room 3072; if submitting anything in my mailbox, please have one of the department administrative assistants time-stamp your work. My mailbox is marked by my last name, “Hardy.”
Overview : In this course, students will engage in a rigorous, creative, and challenging workshop where techniques for creating short fiction, poetry, and plays will be explored.
Creation and revision of students’ original work will also be emphasized through constructive peer and instructor reviews. Students will learn to avoid the pitfalls of creative writing, which include predictability and cliché, and will work on creating tangible imagery to replace generalities. The course features lecture, class discussions, creative exercises, and peer reviews for fiction and poetry. At the end of the semester, students will ultimately submit a portfolio of original work from the three genres. We will also read and respond to contemporary work by current writers. * Note: This workshop will not address romance fiction, detective fiction, science fiction or historical fiction. The course will also feature realistic “flash” fiction (1-3 pages) and free verse, rather than rhyming poetry.
Required Text : There is no required textbook for this class; the course will be supplemented with handouts, as needed, by the instructor. I do recommend that you purchase a journal/small notebook (something that is easy to carry around with you) for daily musings as well as three folders (one for each genre) to organize your handouts, any in-class writings, and original drafts. As you will be submitting a portfolio of work at the end of the semester, it is important that you not throw away your work. If you use a computer to prewrite, save this work too. Also, save your work in multiple places
(hard drive, flashdrive, etc.)
*Your syllabus, course schedule, and handouts are to be considered texts as well. If you lose or misplace your syllabus or any handouts, it is your responsibility to make a xeroxed copy from a peer.
Course Learning Outcomes : Upon successful completion of this course, students will be able to:
1.
demonstrate proficiency in one or more of the genres of creative writing.
2.
utilize writing techniques appropriate to the various kinds of creative writing, including but not limited to creating form, developing character, and using dialogue, description, effective diction, and other elements of fiction, poetry, and drama.
3.
demonstrate an awareness of the importance of revision, as well as the ability to revise their work effectively.

Workshop philosophy : When looking at peers’ original work (as well as that of published authors), students will adopt a “What works? What can be made stronger?
How is the writer utilizing technique to enhance his/her craft?” philosophy rather than a
“I don’t like this. This doesn’t work. This is boring..” attitude. Students who enroll in this class must be willing to give and receive positive, constructive feedback. Students also should be open to new styles of writing—in other words, stepping outside your literary preference to expand your knowledge and explore diverse writing techniques.
I am also a firm believer that every student should be directly involved in his/her education. The success of this workshop relies heavily on active and consistent participation in all activities. Although this class is not structured in a traditional format
(i.e. exams, formal essay writing), do not assume that this will be an easy “A.” We will be writing, rewriting, analyzing, and discussing creative work in a space of high standards and expectations. Everyone should be willing to work, as I am. If you have an open mind to different writing styles and techniques and you are willing to tap into your creative energy and imagination, then this course will be quite rewarding. I only want students with positive attitudes who display a willingness to be creative. If you find within the first few sessions that this course is not suited to your academic and/or personal goals, then please withdraw from the course.
Requirements: The successful completion of all of the following:
Creative Exercises and Drafts: 50% Scale: 100-90/A; 89-80/B; 79-70/C
Final Creative Writing Portfolio: 50% 69-60/D; 59-0/F
Creative Exercises : There will be five creative exercises (each worth 10 points) assigned throughout the semester that will help you hone your techniques in short fiction, poetry, and drama. All exercises and assessment criteria will be discussed and often
“prep” for these exercises will be done during class. Creative Exercise criteria is attached to this syllabus.
Drafts : During the semester, students will work on drafts of a “short” story, several free verse poems, and a scripted scene for the stage. Submissions of drafts (there will be a total of 5) will also be worth 10 points each. There will also be much in-class writing.
Please save all drafts, notes, scribbles, peer/professor comments, etc. as you will need these for the revision process and for your portfolio.
Final portfolio : At the end of the semester, students will submit a portfolio of original work in finalized form. This portfolio will contain: a short story ( length requirement is flexible and will be discussed in class); 4 non-rhyming poems (two poems should contain
15+ lines); a scripted scene (3-4 full pages) for the stage, evidence of the creative process/revision process, and a final reflective exercise. We will be discussing, in detail, this criteria as well as the format of the portfolio as the semester progresses.

Assignment Policies / Instructor Assistance:

All submitted exercises and drafts are to be typed and stapled (if needed). Fiction exercises are to be double-spaced. Drafts of poetry should be single spaced; we will discuss script formatting in class.
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Use standard font and print size (Times New Roman, 12)
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No cover pages needed

No late work accepted . If you have a legitimate reason for not meeting an assignment deadline (this will be determined by me) , please communicate with me beforehand and we will discuss a reasonable course of action. Keep in mind that forgetting to bring the assignment to class, losing the assignment criteria handout, or simply “not doing” the assignment are not valid reasons to be given an extension.

All work should be submitted during our class session on the specified due date.
However, I will accept submissions in my mailbox (M3072) on that date, if you are absent from class. Please have one of the English Department administrative assistants time-stamp your work before submission.

I only accept emailed submissions of assignments under special circumstances that are deemed legitimate (not bringing your work to class or not having the work done is not a legitimate reason). However, you must clear this with me first, before submitting anything electronically.

Be resourceful and foresee any problems with computers and/or printers. Try not to fall into the habit of waiting until the day an assignment is due to print out your work. Print out your work (and make xeroxes if specified) before the designated due date. Save your work in multiple places.

If you would like to conference with me outside of class, please do not hesitate to make an appointment.

When can you expect work returned ? Please allow two weeks to have work returned. Often your work will be returned to you before the two week period is up.
Classroom Policies

Please turn off all cell phones before class begins (or set it to silent). There is absolutely NO text messaging allowed in class. Cell phones, Ipods, laptops, and other electronic devices should be put away and out of sight before class begins.
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No food allowed. Beverages are fine.
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Do not leave the classroom during our session ; if you must be excused, please ask.
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No children allowed.
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We will discuss some basic guidelines to follow for class discussion.

Delayed College Openings : When the college announces a delayed opening, all classes with at least 45 minutes of class time remaining at the time of the opening will be held.
For example, in the event of a 10 a.m. opening, a 9:30-10:45 a.m. class will be held. This procedure applies to all credit classes. Consider signing up for Owl Alert, a free service provided for students to alert them via text message and/or email of any delays or closings. Visit the college’s website, click on QuickLinks, then Owl Alert to sign up.
Attendance : Attendance if vital to success in this class as the pace is energetic and each session contains valuable discussions, critiques, and creative activities. If you consistently miss class, particularly on dates when we have workshop critiques, it most likely will be reflected in your final grade. According to English Department policy, any student who misses more than 25% of the class will not pass this course (this equates to missing 7 classes). I also do not tolerate repeated and distracting lateness .
If you cannot make it to class on time, I advise you to withdraw from the class.
Demeanor : Students are, of course, expected to conduct themselves in a courteous, respectful, and collegiate manner. There is zero tolerance for any behavior that disrupts our learning environment. PGCC’s Code of Conduct follows:
The Prince George's Community College Code of Conduct defines the rights and responsibilities of students and establishes a system of procedures for dealing with students charged with violations of the code and other rules and regulations of the college. A student enrolling in the college assumes an obligation to conduct himself/herself in a manner compatible with the college's function as an educational institution. Refer to the current edition of the Student Handbook for a complete explanation of the Code of Conduct, including the Code of Academic Integrity and the procedure for dealing with disruptive student behavior.
Plagiarism: Academic dishonesty is a serious offense with severe consequences.
Multiple infractions may result in penalties such as failure from the class and suspension from the college. I also reserve the right to question marked inconsistencies in style .
For a first offense, you will receive a zero on the assignment and a file documenting the plagiarism will be created. However, any other violation will result in a meeting with the
Vice President of Student Services and the appropriate sanctions will be determined.
(Incidents will be dealt with on a case-by-case level and any rewrites offered will be at the discretion of the instructor). Please do not hesitate to ask me any questions concerning this policy. PGCC's Code of Academic Integrity follows:

CODE OF ACADEMIC INTEGRITY
The college is an institution of higher learning that holds academic integrity as its highest principle. In the pursuit of knowledge, the college community expects that all students, faculty, and staff will share responsibility for adhering to the values of honesty and unquestionable integrity. To support a community committed to academic achievement and scholarship, the Code of Academic Integrity advances the principle of honest representation in the work that is produced by students seeking to engage fully in the learning process. The complete text of the Code of Academic Integrity is in the current edition of the Student Handbook and posted on the college's website.
Disability Support Services : Students requesting academic accommodations are required to contact the Disability Support Services Office (B-124) or call (301) 322-0838
(voice) or (301) 322-0122 (TTY) to establish eligibility for services and accommodations. Students with documented disabilities should discuss the matter privately with their instructors at the beginning of the semester and provide a copy of their Student/Faculty Accommodation Form.
Tutoring and Writing Centers : Bladen Hall, Room 107; 301-322-0748. Please call for times of availability and to set up an appointment.
Campus Bookstore : Largo Student Center, Room 116; 301-322-0912; hours vary at beginning and end of the semester. Please call or check website to confirm. http://www-old.pgcc.edu/pgweb/pgdocs/bookstore.html
Collegian Centers : http://academic.pgcc.edu/collegiancenters
The College’s Collegian Centers provide a “place to belong” outside of the classroom.
They bring students in particular disciplines together for co-curricular activities and opportunities. Please visit the above website for information on collegian centers created for humanities, business, administration of justice, psychology, sociology, education, science and technology.
Office Location
Marlboro Learning Lab Marlboro Hall
Room 2129
Open Computer Lab Bladen Hall
Phone Hours of Operation
301-322-0503 Mon.-Thurs.: 8 am – 8:45 pm
Fri.: 8 am – 3:45 pm
Sat.: 8:30 am – 2:45 pm
Sun.: 10 am – 1 pm
301-322-0999 Mon.-Thurs.: 8 am – 10 pm

Open Computer Lab
Math Learning Center
Room 104 Fri.: 8 am – 5 pm
Sat.: 9 am – 5 pm
Sun.: Closed
High Technology Center 301-322-0999 Mon. – Fri.: 8 am – 10 pm
Sat. and Sun.: Closed
Rooms 101 and 201
Marlboro Hall 301-583-5257 Mon.: 9 am – 9 pm
Room 3104 Tues.: 9:15 am – 8 pm
Wed.: 9 am – 9 pm
Thurs.: 9:15 am – 8 pm
Fri.: 9 am – 7 pm
Sat.: 10 am – 2 pm
Sun.: Closed
*CE = Creative Exercise. Refer to Creative Exercises at end of schedule for directions and criteria . Draft submission criteria will be distributed in class.
*Weekly schedule is subject to change; any changes will be announced at the beginning of class.
*Be prepared to discuss any assigned readings on the specified date.
Week 1 Unit I: Short Fiction
Tu 8/31
Th 9/2
Introduction to class
Syllabus discussion / handout distribution
Review of short fiction terms. Featured: experimental literature and elements of “flash” fiction

Week 2
Tu 9/7
Th 9/9
Week 3
Tu 9/14
Th 9/16
Week 4
Tu 9/21
Th 9/23
Week 5
Tu 9/28
Discussion of “All About Suicide” by Luisa Valenzuela and “poem for etheridge” by Sonia Sanchez
Lecture and Activities: “The Seven Deadly Sins of Fiction” and
“The Authenticity of Personal Experience” (and other ways to discover stories)
Activities with Viewpoints and Settings; creating an appealing opening to short fiction; discuss opening to Toni Morrison’s
Jazz and Zadie Smith’s
Activities continued…
CE # 1 due
White Teeth
Activities with characterization and dialogue
Discuss “Unheard Music” by Peter Meinke
Th 9/30
Week 6
Tu 10/5
Th 10/7
Week 7
Tu 10/12
CE # 2 due can be submitted today or on 9/30
Discussion of “short short” fiction: “Jumper Down” by Don Shea
“Accident” by Dave Eggers, and “Why You Shouldn’t Have Gone in the First Place” by Samantha Schoech (packet)
Continue discussion and activities with 9/28 assigned readings
CE # 3 due
Mock fiction workshop (details TBA)
Mock fiction workshop continued, if needed
Short fiction workshop of original short fiction (details TBA)
Fiction draft 1 due.

Th 10/14
Week 8
Tu 10/19
Th 10/21
Short fiction workshop of original short fiction continued
Fiction draft 2 due.
Unit II: Poetry
Lecture and Activities: “What Makes a Poem a Poem?”
“Avoiding Pitfalls” and “Imagery”
Lecture and Activities: “Using the Sound of Language” and
“Figurative Language”
“her love poem” by Lucille Clifton and “How Does a Man Write a
Poem?” by Van Jordan
Week 9
Tu 10/26
Th 10/28
College Enrichment Day. No classes.
Poetry activities continued (TBA) /
Continue activities from 11/9
CE # 4 due
Week 10
Tu 11/2
Th 11/4
Poetry Workshop of original poem (details TBA)
Poetry draft 1 due.
Poetry Workshop continued…
Poetry draft 2 due.
Unit 3: Drama for the Stage/Screen
Week 11
Tu 11/9
Lecture and Activities: “Six Distinctive Aspects of Drama” and
“Dialogue Techniques for the Stage”
Scenes from: Good Will Hunting by Matt Damon and Ben
Affleck; Fool For Love by Sam Shepard
Th 11/11

Week 12
Tu 11/16
Lecture and activities: “Providing Dramatic Questions” within a scene , “Generating Emotional Conflict,” Actions that reveal feelings (featured: Top Dog/Underdog)
CE # 5 due
Th 11/18 Drama draft due. Drama groups meet and rehearse for staged readings
Week 13
Tu 11/23 Drama groups meet and rehearse.
Th 11/25 Thanksgiving Break. No classes. Enjoy!
Week 14
Tu 11/30 Drama groups meet and rehearse (final rehearsal for staged readings)
Th 12/2
Week 15
Tu 12/7
Th 12/9
Staged reading presentations
Staged reading presentations
Staged reading presentations, if needed/ Last class
*Creative Writing Portfolio is due on Tu 12/14. There will be a crate marked
“Creative Writing Portfolios” outside my office door (Marlboro 3057). Please submit your portfolio here. No late portfolios accepted.
************************************************

Creative Exercises (CEs)
*Please follow all directions given for each exercise. Be sure to proofread your work carefully as errors/typos will tend to lower your assessment. Refer to our course schedule for due dates.
CE # 1: Viewpoint, Setting, and Tension
Select two characters: One character should be based on someone you know extremely well; the second character should be someone completely different from yourself.
Select either first person (I) or third person limited (he, she, proper names) as a viewpoint
Select: An integral setting.
Select: A conflict that will occur between these two characters within this integral setting. Remember that conflicts do not necessarily have to be catastrophic.
Write for two full pages only from the narrator’s perspective as these two characters face this conflict. The conflict should occur fairly early (in the first or second paragraph).
Dialogue is encouraged. Do not feel obligated to have this be a “completed” scene; it can end on a “to be continued…” note.
Criteria: *Typed; double-spaced ; stapled; standard margins, print size and font; give scene a unique title
CE #2: Eavesdropping: Creating realistic dialogue
This exercise requires that you use a notepad and pen, your power of observation and, subsequently, your imagination. Attempt (as best you can) to listen in on a conversation
(preferably between two or three people you do not know), and try to capture the content of the conversation as best you can, by jotting down some of the exchange. Pay special attention to word choice, inflections, and pacing of the dialogue. You may not be able to write down, verbatim, everything that is said, but try to capture words, phrases, sentences that, at the very least, give an indication of the content. Then, recreate this dialogue in a short fictional chapter embellishing the dialogue to make it appealing/interesting to readers . We will discuss possibilities/examples in class, but some ideas are to listen to people while you are on the bus/metro (or waiting for the bus/metro), in line at the store, sitting in the cafeteria, standing in the hallway waiting for class, etc.
Criteria: Typed; double-spaced; stapled; standard margins, print size and font; give work a unique title; 2 full pages minimum (3 max).
CE # 3: Emulation: Getting Inspired by Authors
Read the assigned “flash” fiction listed for 9/28 and 9/30. Choose one of the short story titles to act as the title for your own original flash fiction story. Create a different story inspired by this title (yet not mirroring the exact plot of the original). If you choose:
“Jumper Down”—use first person (“I”) for your narrator as he/she focuses on another character; in other words, although he/she is the first person narrator, the scene is more about this other character.

“Accident”—Write the scene using second person (“you”) and have the scene involve your protagonist and a stranger(s) involved in some kind of dispute.
“Why You Shouldn’t Have Gone in the First Place”—Write the story using second person (“you”) and start your story with the line “Do not drive to ___________ to
_______.
Additional criteria (for all options): Typed; double-spaced;
2 ½ -3 full pages (do not go over the 3 page mark) ; stapled; standard print size, font, and margins. Again, the stories can be complete or can end on a to be continued note.
CE # 4: Figurative Language and Sound Devices
Create a free verse poem of at least 15 lines where you incorporate at least one simile, one metaphor, and one example of a sound device.
*Typed, single-spaced, standard print size and font, with title for poem; note: do not center each line of your poem (use the models in packet as a guide)
CE # 5: Scriptwriting Exercise (will be distributed).