EN 221 Creative Writing Imaginative Perspectives or
Emotional Landscapes
Instructor: Dr. Matthew Pifer
Office: 307 Library
Office Phone: 635-2119
Email: mpifer@lssu.edu
Office Hours: TR 3:00-4:00; M 3:00-6:00; and by appointment
Overview
This is an undergraduate-level seminar focused on the investigation and discussion of "various art
forms," as the academic catalogue states. I would add to the catalogue's brief description that this
class will also introduce you to a range of techniques used to make carefully and critical observations
and produce effective imaginative works. Occasionally writers refer to self-expression as the writer's
means of charting her emotional landscape. The vagueness of this idea is, however, a misleading
characteristic of creative writing "workshops," and can lead to a lazy view of what a creative writer
actually does. (During this course we will try to move beyond the romantic cliches used to describe
creative writing). Writing creatively is learned; it employs a variety of discernable, even if inexact,
techniques in order to transform experience and ideas into a form of expression that impacts an
audience (regardless of how this "audience" might be defined). You will learn and use techniques,
such as point of view, dramatic irony, dialogue, and narration to produce a substantial portfolio of
creative work. This portfolio will include fiction, poems, and dramas as well as some other form of art,
such as photography and painting. The reason for investigating multiple modes of expression is that
creativity is a state of mind, it is an intellectual practice aimed at making the abstract, the subjective
real, which requires a will to investigate the peculiar, the frightening, or the uncomfortable. Such
investigations are best conducted with an open mind and a broad set of skills.
This course "rejects," as Maurice Guevara says of his own, "the romantic notion of the writer alone in
his garret; it [on the other hand] embraces artistic, cultural, and intellectual cross-fertilization. If you
are a specialist in only one genre [form of writing] and have no interest in branching out," postpone
taking this class. Being creative is to interact with history and your cultural, social, and natural
environments. Stepping away from life has never really facilitated writing; life, in the end, provides
the anxiety, joy, and fear fundamental to the creation of literature; these elements compose, in one way
or another, the history of the human voice. Note carefully what the editors of The Practice of Poetry
have to say about writing; they articulate well the central theme of this course: "Since we [writers]
consider ourselves already fluent in language, we may imagine that talent is the only requirement for
writing poetry [or fiction, drama, or non-fiction]. Talent, certainly, is essential, but so are curiosity,
determination, and the willingness to learn from others" (xi). In this class, we will try to internalize a
healthy "sense of wonder," as Van Morrison puts it.
Required Texts
1.Moffet, James and Kenneth McElheny, eds. Point of View. Reissue Ed. New York: Mentor
Books, 1995.
2.Behn, Robin and chase Twichell, ed. 1992 The Practice of Poetry: Writing Exercises from
Poets who Teach. New York: Quill-HarperCollins, 2001.
3.Photocopies of exercises and personal work.
Assignments
1.
2.
3.
4.
5.
Weekly exercises and artistic investigations (guided by reading assignments)
Author-analysis essay (included in the portfolio)
Evaluation of your portfolio
Portfolio of creative work
Project in visual expression
1. I will provide a series of readings, which you will use to inform some of your creative work. This
work can be completed in any textual genre you are interested in.
2. You will choose an author and read that author extensively over the term. At the end of the term
you will write a three to five page essay describing how this author's work influenced your
writing.
3. When you turn in your portfolio you will also include an evaluation of it. Explain how you grew
over the term: What did you learn about your creative writing and creative writing in general?
What did you have the most difficulty with and why, and how did you overcome that difficulty?
What do you plan to do now, be specific?
4. Turn in a portfolio of creative work, including everything you have done this term. Divide the
portfolio into poetry, fiction, etc. as necessary.
5. a. It is important that you explore more avenues of expression than just the textual. In this
assignment you are required to compose something in a genre other than those textual genres you
have been working on. Some examples include taking a series of photographs, completing a
painting, or making a film.
b. You can also team up with someone in a different field (the person does not have to be in this
class) and complete a collaborative project in the multi-arts. For example, you might team up with
a painter and complete a series of poems to accompany a series of paintings that she has
completed; you might team up with a filmmaker and write a script for a documentary he is making,
or you might work with a musician and write songs or the lyrics for songs.
Grading Scale: 93-100=A, 90-92=A-, 86-89=B+, 83-85=B, 80-82=B-, 76-79=C+, 73-75=C, 70-72=C-,
66-69=D+, 63-65=D, 60-62=D-, 0-5 9=F
Class Structure
Each class will be divided up into three sessions: (1) The first session will be devoted to the critical
study of technique, as depicted in the weekly readings. (2) The second session will be devoted to the
workshop study of your weekly writing assignment. (3) The third session will alternate between
workshopping your own texts and creative activities that will take us beyond the usual confines of the
classroom to investigate other experience that may inflect future writing projects.
Attendance and Participation
I will calculate your attendance and participation grade according to the following method:
everyone will begin the semester with a 105%. For every occasion that you do not have your
homework, or any day that you are unprepared for class, I will subtract 5 points.
In addition, your classroom "attitude" can lower your participation grade. I expect that you will
conduct yourself in a respectful, mature manner during class. You will not read the paper, do
homework for another class, pass notes, listen to headphones, etc. Even if you are bored, frustrated, or
annoyed either with the class or with some unforeseen event outside of class, it is your responsibility to
be interested and engaged.
Late Portfolios and Weekly Assignments
I will not accept late stuff. The class simply will not function if people fail to complete
assignments on time.
Paper Format
It is best to type and double-space your writings; however, as long as your penmanship is legible, you
can submit your work in long hand. If you include sketches or drawings with your texts, then
submitting your work in long hand can be useful, if not absolutely necessary. Yet you can also use
long hand if that is how you like your poems or stories to exist. You might even find it useful to use
other writing implements, such as a quill pen and 100% cotton paper, or a manual typewriter (if you
can find one). Using different tools can often invest your writing with a different energy or
perspective, which you might find better suits your subject or your way of thinking.
Writing Center
The writing lab is a resource you should use to help you with your writing. The writing consultants
employed there can help you develop an assigned essay to meet the requirements specified during class.
Take the time to become familiar with this resource and use it regularly (refer to the pink handout for
more information).
113 Kenneth J. Shouldice Library
Lake Superior State University (906)
635-2849
http://www.lssu.edu/lc/writlab
Attendance and Tardiness Policies
The class will not work if you fail to attend; therefore, I do have an attendance policy. You are allowed
one (i.e. miss one week of class) unexcused absences or "free day." Use this carefully. At the second
unexcused absence your grade will drop one letter (i.e. from a B to a C). At the third absence your
grade will be lowered two letters, and at the fourth your grade will be lowered three letters (i.e. from a
B to an F).
I will excuse your absences if you bring me the proper written documentation within one week of the
absence. There will be no exceptions.
For every three times you are late for class, you will receive one unexcused absence. If you are
more than 10 minutes late for class you will be counted absent for that day.
Plagiarism
Plagiarism is presenting someone else's writing or ideas as your own. It is a form of academic
misconduct that seriously undermines the intellectual pursuits undertaken in the university and,
therefore, is severely punished. If you have any doubts about plagiarism as it relates to creative
writing ask me.
Classroom Atmosphere
This is a course where many viewpoints and ideas will be expressed by members of the class and by
the materials used in the course. Some of these viewpoints will be new to you; some may also be
distasteful to you. The important thing to remember is that it is not the idea itself that we will be
evaluating, but the method in which the idea is expressed. While we will strive to allow for
everyone's opinion, some things simply cannot be tolerated. Personal attacks and offensive language
in class are counterproductive and will not be allowed. This also means that prejudicial behavior or
language based on someone's race, sex, sexual orientation, or religious beliefs has no place in this
classroom and will not be tolerated.
Student Accommodations and Support Services!
In compliance with Lake Superior State University policy and equal access laws, disability-related
accommodations or services are available. Students who desire such services are to meet with the
professor in a timely manner, preferably the first week of class, to discuss their disability-related
needs. Students will not receive services until they register with the Office of Student
Accommodations and Support Services (OSASS). Proper registration will enable the OSASS office
to verify the disability and determine reasonable academic accommodations. OSASS is located in
South Hall office 206, extension 2355.
Syllabus
Fall 2002
Note: The syllabus is fluid and may change a little during the term. Do not let this disconcert you.
Such changes are a natural part of reflective instruction.
Weekl
Explain course structure: Each class will be divided up into three sessions: The first session will be
devoted to the critical study of technique, as depicted in the weekly readings. The second session
will be devoted to the workshop study of your weekly writing assignment. The third session will
have you share your other writing with your workshop group, which will be composed of you and
two others. Your task will be to exchange and discuss each other's writing efforts each week. These
groups will change periodically over the term.
Bring some of your work in process to class next week. Bring
in a list of possible topics for your visual-art project. Week 2
Session 1: Ladders to the Dark: Have read Halpern's, "Writer's Block: An Antidote," Lauterbach's
"First Words" and Lux's, "Not-So-Automatic-Writing"; and Kumin's, "Dream Notebook" (PP,
217-220; 1-7; 11-12); Have read Olsen's, "I Stand Here Ironing" (PV, 21-31); Discuss narrative
elements.
Session 2: Bring Lauterbach's and Lux's exercises completed. (Begin Dream Notebook, which you
might include in your final portfolio). Discuss and share results in class.
Session 3: Create workshop groups; creative activity.
Week 3
Session 1: Ladders to the Dark: Have read Dove's, "Ten-Minute Spill," and Snively's "A
Journey to Nowhere" (PP, 13-14; 27-28); Have read Gates "... & Answers" (PV, 41-55).
Session 2: Bring Dove's and Snively's completed exercises. Discuss and share during class.
Session 3: Meet in your workshop groups. Discuss Matthews's "Smash Palace" (221-222). Week
4
Session 1: The Things of this World: Have read Pettit's "One's-Self, En-Masse," and Broughton's,
"A Little Nightmusic" (PP, 33-34; 48-50), and Munro's, "A Wilderness Station" (PV, 96-125).
Session 2: Bring completed exercises. Share and Discuss
Session 3: Creative activity.
Week5
Session 1: The Things of this World: Have read Mitchell's, "Experience Falls Through Language
like Water Through a Sieve," and Mitchell's, '"Tell by Showing': An Exercise Against Technique"
(PP, 51-53; 56-58). Have read Naipaul's, "The Night Watchman's Occurrence Book" (PV, 155-163).
Session 2: Bring completed exercises. Session
3: Meet in your workshop groups. Week 6
Session 1: Who's Talking and Why: Have read St. John's "Dramatic Monologue: Carving the Voice,
Carving the Mask" and Behn's "Letter Poems" (PP, 63-65; 70-72). Have read Paley's, "Distance," (PV,
227-238).
Session 2: Bring completed exercises.
Session 3: Creative Activity. Week 7
Session 1: Who's Talking and Why: Have read Digges's, "Evolutions," and Rosen's, "Subject and
Sound: The Black Sheep" (PP, 97-98; 101-103). Have read O' Connor's, "First Confession" (PV,
263-271).
Session 2: Bring completed exercises.
Session 3: Meet in workshop groups.
WeekS
Session 1: Truth in Strangeness: Have read Turner's, "Intelligence Test," and Mac Low's, "Make
Your own System!" (PP, 109-110; 131-135). Have read Tan's, "A Voice from the Wall" (PV,
306-319).
Session 2: Bring exercises
Session 3: Change workshop groups; creative activity.
Week 9
Session 1: Laws of the Wild: Have read Digges's, "Block, Pillar, Slab, and Beam," and McClatchy's,
"Writing Between the Lines" (PP, 139-140; 155-157). Have read Cheever's, "The Five-Forty-Eight"
(PV, 368-82).
Session 2: Bring exercises
Session 3: Meet in workshop groups
Week 10
Session 1: Musical Matters: Have read Dunn's, "Patterning," and Bryan's, "Free-Verse Lineation"
and Myers "Variation" (PP, 177-178: 181-183). Have read Atwood's, "Uglypuss" (PV, 484-508).
Session 2: Bring exercises.
Session 3: Creative activity.
Week 11
Session 1: Major and Minor Surgery: Have read Dunn's, "Stealing the Goods," and McMahon's,
"Jump-starting the Dead Poem" (PP, 225-227). Have read Moffett's, "The Suicides of Private
Greaves" (PV, 522-548).
Session 2: Bring exercises. Session 3:
Meet in workshop groups Week 12
Session 1: Have read Tillinghast's, "Household Economy, ruthlessness, Romance, and the Art of
Hospitality," and Justice's, "Of Revision" (PP, 245-250). Have read Mohr's, "A New Window
Display" (555-563).
Session 2: Bring exercises.
Session 3: Creative Activity.
Week 13
Sessions: Workshop. Present art projects
Week 14
Sessions: Present art projects.
Exam Week
Turn in Portfolio along with Author essay and Portfolio Evaluation.