LIT
220H
Intro to Fiction
Spring 2006
Sheryl Lyn Bundy, Assistant Professor
So much for endings. Beginnings are always more fun. True connoisseurs, however, are known to favor
the stretch in between, since it’s the hardest to do anything with.
That’s about all that can be said for plots, which anyway are just one thing after another, a what and
a what and a what.
Now try How and Why.
Margaret Atwood, “Happy Endings”
so what will this class be about, exactly?
Intro to Fiction is an interesting class to plan and teach. It’s not a survey course per se, so its organization is not governed by
literary periods or chronology; nor is it bound by a particular definition of “fiction.” If you think about it, fiction—
storytelling—is everywhere around us, from the tales we tell our friends about our weekends or a bad date to stories we see on
television and film. Of course in-print stories are varied too, from children’s books to sci fi and fantasy, to what we might call
“literary” fiction. Plays are fiction; they allow us to watch a story unfold in real time. Even creative non-fiction, such as
Truman Capote’s In Cold Blood uses techniques of fiction writing to tell a story (and more recently we’ve heard of James Frey’s
A Million Little Pieces, which uses perhaps too many fiction techniques and thus seems to be more fiction than fact—but what of
it?). Given the breadth of what we can cover in the class, let me outline here my goals for the course, which should convey
something about my philosophy toward the subject and of teaching itself. In this course we’ll focus on three primary goals:
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The lens we’ll use for examining fiction will be wide. The bulk of our reading will be “literary,” but expect to delve
into children’s literature a bit, as well as film, television (and anything else we can think of).
Where ever possible, we will learn by doing. In a fiction class, therefore, we will try to learn about what fiction writers
do by trying some fiction writing ourselves. Don’t think I’m expecting you to write full stories in this class. Rather,
we’ll use creative means to explore a given writer’s choices.
“Situating” a text in its time and place is important. So is situating this class in time and place, and thus thinking about
the state of affairs today, with regard to those who write, those who read, and those who study fiction.
faculty information
My name:
Where to find me:
When to find me:
My phone:
My mailbox:
My email address:
My web site:
Asst. Professor Sheryl Lyn Bundy
D 115
M 5-6, T/R 2-3, W 10-11 and by appointment.
(708) 974-5762
D 108
bundy@morainevalley.edu
http://online.moraine.cc.il.us/websupported/SherylBundy (On the site I’ll post handouts, the syllabus,
PowerPoint presentations, and any other materials used in class that I’m able to host there.)
course identification
Credit hours:
Contact hours:
Course meets:
Prerequisite:
Catalog summary:
3
3
LIT 220H-160: TR 12:30-1:45
COM 101 or permission of the instructor.
“Plot structure, narrative technique, character depiction and theme, and fiction as a literary genre
are examined.”
texts & supplies
You’ll need to purchase the following texts from the bookstore:
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Bohner and Grant’s Short Fiction: Classic and Contemporary, 6th edition.
Mark Haddon’s The Curious Incident of the Dog in the Night-Time.
Henry James’ The Turn of the Screw. (At my last check, this one wasn’t in yet, but should be soon.)
course end competencies
By the end of the semester, you can expect to:
 recognize the diversity of the various genres of fiction.
 describe the components of fiction writing, such as plot structure, characterization, point of view, setting, theme,
style, etc. and be able to analyze their effects upon a work of fiction.
 demonstrate knowledge of a sampling of the various approaches to literary criticism, such as new criticism or
formalist; reader response; feminist; gender; new historicism or pluralistic cultural; Marxist or materialist;
psychoanalytic, structuralism or semiotic; deconstruction or post-structuralist; race, ethnicity, or post colonial
analyses, etc. and the ability to apply that knowledge to literary analysis.
 demonstrate an understanding of fiction from other cultures and ethnicities.
 develop an aesthetic appreciation and understanding of the critical standards of fiction.
classroom policies and procedures q&a
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What happens if I’m not doing well in the course, but it’s too late to drop?
Be sure to read the College’s General Information Sheet, which is at the end of this syllabus. It provides you with
withdrawal dates. Since your grade is calculated on a point system, you should (with a little math) know exactly where
you stand.
What happens if I do poorly in a class but don’t officially withdraw?
If you don’t withdraw officially from a course you may receive an “F,” depending on course progress or course
attendance, which will become a part of your permanent record. My advice is to be aware of where you stand, and
make decisions accordingly.
What happens if I plagiarize the work of others or cheat in some other way?
In a course that is in part about making things up, it seems sort of silly to mention this at all. However, incidences
of plagiarism do occur—even in this class. You ought to read up on what exactly constitutes plagiarism (refer to a
writing handbook), and know that acts of plagiarism or cheating will result in at least failure of the assignment, and
at most failure of the course.
What else do I need to know?
You’re responsible for adhering to the Code of Student Conduct as stated in the college catalog.
grading policies q&a
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Do you accept late work?
No projects or assignments will be accepted past the deadline—for a grade. Feedback will still be provided on such
work, however. Also note that the formatting of your written work sends an impression to others about your level
of professionalism. Handwritten drafts, drafts without a proper heading or drafts with careless proofreading will
not earn full credit.
How will my semester grade be computed?
Here’s the general breakdown. There are 1,000 possible points:
Fiction: A Writer’s View
Fiction Writing Mini-Portfolio ..................................................................................................................................... 150
The Mini-Portfolio is a collection of writing exercises, “modifications,” and other experiments designed to help you
learn about fiction by “doing” fiction. You’ll gather your writing pieces and submit them with a reflective essay that
ties what you’ve figured out from your experimenting to what you’ve been reading.
Fiction: A Reader’s View
The Interpretation Project (Parts I and II) ................................................................................................................. 150
This project involves some group work, but ultimately the paper(s) you produce will be written solely by you. The goal is
for you to see the act of reading (and writing, for that matter) as social acts. During the project you and a group will
chose a story to work with. You’ll write an interpretive paper on your own, and then have the opportunity to read the
views of your group members. You’ll then produce a revision of the first paper—one that draws upon some of the views
of your classmates—either to illuminate or support a point you wish to make or to show a contrasting opinion.
Fiction: A Filmmaker’s View
Screenwriting Project...................................................................................................................................................... 150
As we study how verbal texts are translated into visual ones, you’ll have the opportunity of trying some adaptation
yourself. For the project you’ll choose a short story (I’ll provide you with a list of some very short pieces to keep the project
manageable), then create a screenplay. You’ll submit the project with a cover sheet that explains the choices you made.
Research-Based Writing
Choose-Your-Own Research Adventure .................................................................................................................... 200
I want to make sure you have a chance to explore some topic related to the course that is of special interest to you.
We’ll begin this project early in the term, so that you’ll have ample time to fully explore your chosen topic. The form
and scope of the project will be designed by you (with some guidance by me). You’ll share the results of your research
at semester’s end in the form of a short presentation.
Examinations
Midterm Exam ................................................................................................................................................................ 100
The midterm will be a traditional short answer/essay exam based on concepts from class and readings.
Final Exam ....................................................................................................................................................................... 150
The final will be a cumulative exam similar in format to the midterm.
Miscellany
Participation ..................................................................................................................................................................... 100
Participation will be evaluated for a grade by the withdrawal date according to the following criteria: your overall
engagement in course activities (including any assigned written responses to readings), your active participation in
discussions and group work, the quality of your interactions with others, and your ability to keep up with deadlines. Inclass writing will be collected or checked-in randomly and periodically throughout the semester. Attendance is obviously a
factor in all of these elements, since if you’re not here, you can’t participate. Students who miss 5 or more classes won’t be
able to earn higher than an F for overall participation; for 4 absences, the highest you can earn is a D; for 3, a C; for 2,
a B; and for 1, an A. Please note that there are rarely distinctions between excused and unexcused absences, since you
can’t really “make up” participating in class on a given day.
course schedule
Here is a guide to where we’re headed this semester, including the due dates for the major projects and a reading schedule.
I’ll tell you the class before if I need you to produce writing in response to any of the readings.
week date
topic/readings
1
1/17
Introduction to the Course
1/19
People: Character, Conflict, Change; Flannery
O’Connor’s “A Good Man is Hard to Find”; T. C.
Boyle’s “Greasy Lake”
SF: pp. 904-914;
also pp. 144-150
1/25
Places: Physical and Social Setting; Charlotte Perkins
Gillman’s “The Yellow Wallpaper”; Kate Chopin’s
“The Story of an Hour”
SF: pp. 487-497;
also pp. 267-268
1/27
Things: Images, Symbols, Tropes; Alice Walker’s
“Roselily”; James Joyce’s “Araby”
SF: pp. 1123-1126;
also pp. 598-602
1/31
Vantage Points; Luisa Valenzuela’s “The Verb
to Kill”; Ralph Ellison’s “A Party down at
the Square”
SF: pp. 1115-1117;
also pp. 390-394
2/2
What is Interpretation? Filling “Gaps” in the Text;
Ernest Hemingway’s “Hills Like White Elephants”;
Raymond Carver’s “Popular Mechanics”
SF: pp. 552-555;
also handout
2/7
Situating Texts in Time and Place; Margaret Atwood’s
SF: pp. 77-83; also
2
3
4
reading location
activity deadlines
Submit Fiction Writing
5
6
7
8
9
10
11
12
13
14
“Rape Fantasies”; Leslie Marmon Silko’s “Lullaby”
pp. 1010-1016
2/9
Considering Genre; Philip K. Dick’s “We Can
Remember It for You Wholesale”; Introduction to
the Choose-Your-Own Research Adventure Project
SF: pp. 355-368
2/14
Mark Haddon’s The Curious Incident
of the Dog in the Night-Time
2/16
Mark Haddon’s The Curious Incident
of the Dog in the Night-Time, continued discussion
2/21
Class in the Library: Panel Discussion
on Curious Incident
2/23
Midterm Review
2/28
Midterm Exam
3/2
Intro to Interpretation Project, Part I;
Group Decisions
3/7
Developing an Interpretation; Susan Sontag,
“Against Interpretation”
3/9
Creating a Body of Knowledge: Group
Reading and Discussion
3/14
Spring Break—No Classes
3/16
Spring Break—No Classes
3/21
Labeling Perspectives; Jean de Brunhoff’s
The Story of Babar; Herbert Kohl’s “Should
We Burn Babar? Questioning Power in
Children’s Literature
Handouts
3/23
Not Choices, But Responses: A Sampling of Critical
Perspectives; “Approaching Short Fiction Critically”
SF: pp. 1326-1338
3/28
On Theory
3/30
Henry James’ Turn of the Screw
4/4
Henry James’ Turn of the Screw, continued discussion
4/6
Film Screening: Jack Clayton’s The Innocents
4/11
Film Screening: Jack Clayton’s The Innocents
4/13
More Thoughts on the Horror Film;
Intro to Screenwriting Project
4/18
Sherman Alexie, “Because My Father . . .”;
Mini-Portfolio
Midterm Exam
SF: pp. 1305-1307
Submit Interpretation
Project, Part I, Plus
Copies for Group
Submit Interpretation
Project, Part II
SF, pp. 50-55
Film Screening: Chris Eyre’s Smoke Signals
15
16
17
18
4/20
Film Screening: Smoke Signals
4/25
Franz Kafka’s The Metamorphosis
4/27
Postmodern Adaptation; Film Screening: Peter
Capaldi’s Franz Kafka’s “It’s a Wonderful Life”
5/2
Lab Day: Last-Minute Software/Project Help
5/4
Choose-Your-Own Research Adventure Presentations
Research Presentations
5/9
Choose-Your-Own Research Adventure Presentations
Research Presentations
5/11
Final Exam Review & Party
5/16
Final Exam Period 12:00-1:50
SF, pp. 642-671
Submit Screenwriting
Project
Cumulative Final Exam
evaluation criteria for written work
Here is a general explanation of what constitutes a particular letter grade. I tend to begin the grading process with the
assumption that everyone starts off with a “C”—so the extent to which the paper goes above and beyond the minimum
requirements for a project dictate the final grade for the assignment.
the A paper
The assignment is addressed carefully and says something original. The work contains a thesis that is developed with engaging,
specific, and thought-provoking support. The work is tightly unified, and ideas are arranged logically with creative transitions.
The introduction engages the reader and provides necessary context; the conclusion resonates with the reader and leaves a
strong final impression. The writer’s sense of style is reflected in a variety of sentence constructions and sophisticated word
choices. Finally, if needed, MLA documentation rules have been followed with precision. The piece truly satisfies the reader.
the B paper
The assignment is addressed carefully, for the work presents a clear, unifying thesis that is well developed with specifics. The
organization is effective, and transitions create bridges from one idea to the next. The introduction is fairly effective and
provides needed context, but may miss the opportunity to engage the reader. The writer concludes effectively and thematically
in a non-formulaic manner. The essay may contain a few grammatical errors (a few awkward spots), but nothing terribly
distracting. Finally, if needed, MLA documentation rules have been attended to. The piece satisfies the reader.
the C paper
The assignment is addressed acceptably. The work uses a thesis, but it may be hampered by lack of specificity, assertion, or
focus. The ideas are reasonably developed, but there’s room for more information. Organization is confusing because of
sloppy transitions or digressions. The introduction is bland and provides little context for the reader, and the conclusion lacks
voice. The sentences demonstrate little awareness of stylistic options, and the essay contains minimal grammatical errors.
Finally, if needed, MLA documentation rules have been followed with only minor errors. The reader’s response to the piece is
indifference.
the D paper
The assignment is addressed in a below average fashion. The thesis is less than clear or confused with a statement of purpose,
and the reasoning is flawed or lacks relevant support. The organization is inconsistent, incoherent, or illogical, with virtually no
transitions between ideas. The introduction is unoriginal and fails to provide the necessary context for the reader, and the
conclusion is thin. Sentences tend to be monotonous, and grammatical errors are distracting to the reader. Finally, MLA
documentation rules have been attempted, but the format is unacceptable. The piece gives the reader the impression of having
been written in haste.
the F paper
The attempt at the assignment is unacceptable or superficial. The essay lacks focus, and the thesis is unclear. The work is
seriously underdeveloped and reasoning may be flawed. The organization is confusing or chaotic, with no transitions between
ideas, creating a total lack of unity among ideas. There has been no attempt to introduce or close the essay. Grammatical and
mechanical problems distract the reader from the ideas of the essay. MLA documentation rules, when needed, have not been
followed. The reader gains nothing from experiencing the piece.
getting help: conferences
I’m available for conferences (in my office in D115) during the term so that we may sit down together to discuss any questions
you have, or to discuss a draft of any of the written assignments. My office hours are great for these—you don’t even need
an appointment. If my listed hours are not convenient for you, however, I’m happy to come up with a time that will work
for both of us. Think of conferences as a meeting you’ve called, so have an agenda and copies of any documents that will assist
the session.
even MORE help: the writing center
The Writing Center gives you the opportunity to get feedback from someone outside of our class. Peer tutors are trained;
Communications faculty also serve as tutors for the center. Be sure to bring a draft and the instructions for the project you’re
working on, and have some specific questions you want answered. Just know that the tutors aren’t there to proofread, but to
help you with concerns like thesis, support, development, transitions—in other words, higher order concerns. Note, too, that
tutors are not there to provide commentary on your paper grades—so please don’t put them in a difficult position by asking
them to. The center is located in our library; find out more at http://www.writingcenter .morainevalley.edu.
formatting written work for submission
Please follow MLA guidelines when submitting typed/computer-processed work, and MLA documentation standards for
acknowledging any borrowed material (including quotations and paraphrases from any of the texts you write about this term).
Below is my own quick guide to setting up the first page.
Student 1
A. Nice Student
Prof. Bundy
COM 101
14 January 2003
Here’s the Title of My Paper
And here’s the beginning of my paper. Everything so far is double spaced, and the page number at the
top right is created by selecting “View—Header and Footer” in Word. If you’re not sure how to set this up, just
ask—it’s easy to do! Your essay should also have 1” margins all around, and you ought to use 12 point type in a
font style that’s easily readable, such as Times New Roman.
A few other things worth noting: The title is not in bold or underlined, and it’s not in a BIG, flowery font.
Too, I didn’t put extra space after my last paragraph. I simply hit “Enter” and moved on to the next one.
Final Exam Schedule
Spring 2006
Time Period
During Which
Class Begins
Day/Evening
Class Normally
Meets*
Date of Exam
Time of Exam
All
Friday Only
Saturday Only
Sunday Only
Friday, May 12
Saturday, May 13
Sunday, May 14
Class Meeting Time
7-7:55 a.m.
MW; MWF
Monday, May 15
Wednesday, May 17
7-7:55 a.m.
7:45-8:55 a.m.
10-10:55 a.m.
Noon-12:55 p.m.
2-2:55 p.m.
4-4:55 p.m.
6-6:55 p.m.
8-8:55 p.m.
MWF; MW; MF; WF
Monday, May 15
8-9:50 a.m.
10-11:50 a.m.
Noon-1:50 p.m.
2-3:50 p.m.
4-5:50 p.m.
6-7:50 p.m.
8-9:50 p.m.
7-7:55 a.m.
TR
Tuesday, May 16
Thursday, May 18
7-7:55 a.m.
Tuesday, May 16
8-8:55 p.m.
8-9:50 a.m.
10-11:50 a.m.
Noon-1:50 p.m.
2-3:50 p.m.
4-5:50 p.m.
6-7:50 p.m.
8-9:50 p.m.
9-9:55 a.m.
11-11:55 a.m.
1-1:55 p.m.
3-3:55 p.m.
5-5:55 p.m.
7-7:55 p.m.
9-9:55 p.m.
Wednesday, May 17
8-9:50 a.m.
10-11:50 a.m.
Noon-1:50 p.m.
2-3:50 p.m.
4-5:50 p.m.
6-7:50 p.m.
8-9:50 p.m.
Thursday, May 18
8-9:50 a.m.
10-11:50 a.m.
Noon-1:50 p.m.
2-3:50 p.m.
4-5:50 p.m.
6-7:50 p.m.
8-9:50 p.m.
7:45-8:55 a.m.
10-10:55 a.m.
Noon-12:55 p.m.
2-2:55 p.m.
4-4:55 p.m.
6-6:55 p.m.
9-9:55 a.m.
11-11:55 a.m.
1-1:55 p.m.
3-3:55 p.m.
5-5:55 p.m.
7-7:55 p.m.
9-9:55 p.m.
TR
MWF; MW; MF; WF
TR
*Classes that meet one day per week will hold their final exam on the same day/time the class regularly meets.
The length of the meeting for the final exam will be the first two hours of the class to prevent conflict with other classes.
Final Exam Week Notes

When a nursing course has more than one time/day scheduled for lecture, the first lecture time listed on the schedule
determines the exam time scheduled for the course.

Telecourse finals are in the Testing Center during final exam week.

When a course includes both lecture and lab, the final exam will be scheduled during the lecture component. If a lab final is
required, it would be taken during the last lab meeting the week prior to the final exam week.

For those courses that meet for one hour, one day per week, the final exam will be one hour in length, during the regular
meeting time.