English 398R: Writing Nonfictional Narratives

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Course Description

Required Text

On Writing Well, sixth edition, William Zinsser, ISBN: 978-0-0-6089154-1 (approximately $14)

Course Pack, Maryland Book Exchange, 4500 College Ave., 301-927-2510 (approximately $52)

You will also need to make copies for workshop ($20 or less)

What is nonfictional narrative writing and why are we here?

This class is geared toward students interested in careers, such as publishing and social marketing, that will involve writing and editing nonfiction narrative. The class will provide students with opportunities to write and edit and will expose them to an array of professional opportunities.

Goals include creating usable forms of communication for specific audiences, learning professional standards of practice, producing credible, well-crafted, well-argued texts, and developing professional communication skills.

Nonfictional narrative writing draws its influences from fiction, magazine journalism, memoir, and personal essays. Writers use many of the same tools as fiction writers, including scene shifts, dialogue, vivid description, character development, nonlinear structure, and shifts in tense, time and points of view. However, unlike in fiction, the author does not "make things up"; the writing includes research in the form of anecdotes, quotes, interviews, statistics, and personal experience. The effort to tell the truth raises many philosophical questions about the limits inherent in memory, interpretation, and human experience.

In this class you will learn to read, appreciate, write, and edit nonfiction narrative. You will find that the writing skills you begin to master in the class will prove useful and applicable to nearly all forms of writing tasks you will encounter in your future, both in the workplace and beyond. At its most practical level, this class will teach you how to meet the needs and interests of specific audiences and how to professionally market yourself and get your work published.

Grading Procedures

The requirements for the course include reading, writing, and responding to writing. You will write a minimum of 6,250 words distributed over the following assignments:

· 3+-page narrative essay directed to a specific publication, with cover letter (10%)

· 3-5 page publisher analysis in which students research and describe a publisher for whom they would like to work/ submit their work; audience is the instructor (10%)

· Three query letters; these include pitch letters with two-three story ideas attached and cover letters for submissions (10%)

· 5-8 page narrative essay with cover letter directed to a specific publication (15%)

· Six 1 ½-page typed critiques of student essays that cover the evaluation criteria discussed at the beginning of the semester; student authors are the audience. (5%)

· Six 1 1/2 –page typed critiques of professional essays written by well-known authors and published in major publications; audience for this assignment is instructor. (5%)

·A portfolio (30%), handed in at the end of the semester, that includes the following:

1. A 2-page introduction to the portfolio that reflects on your writing, the course, and the specific pieces in the portfolio.

2. A revised version of the 5- to 8-page nonfiction narrative, plus graded drafts with notes/edits.

3. A revised version of the 3-page narrative personal essay, plus graded drafts/notes.

4. Revised professional critiques.

5. Revised student critiques.

6. Revised versions of query letters and publisher analysis, plus graded drafts.

In addition, class participation comprises 15% of your grade. Throughout the semester you will be expected to participate in in-class oral discussions about everything you read. Some of these discussions will take place during workshop. Participation includes in-class work, lab work, coming to class prepared, coming to class on time, and responding to student writing (students who do not show up on workshop days will lose 5 points off their final portfolio). Texting or surfing the internet during class time will also result in a loss of participation points.

Course Policies

Class Structure/Deadlines

I will respond to your writing throughout the semester and grade the two narrative essays, the query letters, and publisher analysis. We will workshop most of your work in small, informal groups. Your 5- to 8-page essay, however, is formally workshopped and read by the entire class. For this workshop, I hand out a sign up sheet. Three volunteers submit their essays, making 23 copies for the rest of the class to read and respond to by the following week.

Attendance

To succeed in this course, regular attendance is required. Classroom discussions and in-class work account for a significant part of your grade, and class participation, once missed, cannot be restored.

Below are the policies on unexcused and excused absences, as well as tardiness. Please note that missing more than two weeks’ worth of class for any reason may result in a zero for the participation/professionalism portion of your grade and may jeopardize your overall course grade. If you are absent, it is your responsibility to find out what you’ve missed. Missing more than two weeks of class will make catching up difficult, if not impossible.

Unexcused Absences. You may take up to one week’s worth of no-questions-asked absences per semester for both the expected (i.e., being the best man in your brother’s wedding) and the unexpected (i.e., a flat tire).

If you take a no-questions-asked absence, however, youare still responsible for whatever material was covered in class. If a major scheduled grading event (assignment due, in-class workshop/peer review, presentation) is scheduled for that class period, and you don’t show up and don’t have a university-sanctioned excuse (see below) then you will lose the points for that activity.

Excused Absences.The University excuses absences for your own illness or the illness of an immediate family member, for your participation in university activities at the request of University authorities, for religious observance, and for compelling circumstance beyond your control.Documentation is required for all excused absences. If you have an anticipated excused absence, you must let me know in writing by the end of the schedule adjustment period or at least two weeks in advance.

Absence for one class due to your own illness: The university requires that you provide me a self-signed note attesting to the date of your illness, with an acknowledgment that the information provided is true.Providing false information to University officials is prohibited and may result in disciplinary action. The Health Center has an online form (

Absence from more than one class because of the same illness: You must provide written documentation of the illness from the health care provider who made the diagnosis. No diagnostic information shall be given. The provider must verify dates of treatment and indicate the time frame during which you were unable to meet academic responsibilities.

Non-consecutive medically necessitated absences from more than a single class: Such absences may be excused provided you submit written documentation for each absence as described above, verifying the dates of treatment and time frame during which you were unable to meet your academic responsibilities. However, as also noted above, if you miss too many classes—even if excused—though you are technically eligible to make up the work, in practice students are rarely able to do so.

Tardiness.In the professional world tardiness is not tolerated.However, this campus is large, and another instructor may keep you late.So if you do arrive late on occasion, do not disrupt class, and let me know by the end of the schedule adjustment period if you anticipate ongoing conflicts.Remember that it is your responsibility to catch up on your own time, not the class’s.

The Bottom Line

To pass this class:

  • Complete all assignments.
  • Attend class regularly (no more than 3 unexcused absences).
  • Come to class on time.
  • Provide feedback for and assist your peers.
  • Read all assignments and be prepared to respond orally or in writing.
  • Participate in class discussions.

Revisions

You will revise most of your work throughout the course of the semester. Please submit all original versions with the revised versions in your portfolio.

Late Papers

All assignments will lose 5 points for each day they are late. In addition, your written essays will lose 5 points if you do not hand them in on time for workshop. PLEASE COME TO CLASS AND SUBMIT YOUR WORK IN PERSON.

Academic Integrity

Plagiarism and cheating are serious issues in both academic and professional circles. As required, I will refer any abuse of the honor system to the Honor Council. You can borrow from published sources so long as you mention them in the text and give adequate documentation for them. Penalties for plagiarism include an automatic “F” in this class and possible dismissal from the University.

The University has developed a new honor pledge. Every assignment in this class should contain the following hand written pledge: I pledge on my honor that I have not given or received any unauthorized assistance on this assignment. Sign your na

Accommodation

Students with a documented disability requiring special accommodations should see me as early as possible in the semester. It is the student’s responsibility to register with Disability Support Service (DSS) and provide the instructor with a statement from DSS about the accommodation required. (DSS is in 0126 Shoemaker Hall)

Course Evaluations

We require two evaluations. One is a paper evaluation for the Professional Writing Program, completed during the class. The other, CourseEvalUM, is a university-wide evaluation system. CourseEvalUM will be open for you to complete near the end of the semester. Go directly to the website ( to complete your evaluations.

Course Schedule

Week One
Tuesday
Thursday / Introduction to the course
Lecture: What is nonfiction narrative writing and where will you use it?
Lecture: What is style? (Group work)
Homework: Bob Greene versus Joan Didion (get handouts in class)
(computer lab every Thursday, Room * Tawes)
Greene/Didion due.
Discuss assigned readings: Greene and Didion.
Student introductions/fill out forms.
Edit Student Essay
Get handouts: XX Files and “Forever War.”
Week Two
Tuesday
Thursday / Discuss upcoming narrative essay assignments
Discuss Zinsser, Chapters 1 and 2
Discuss XX Files and “Forever War,”
Get handout about memoirs.
Discuss Zinsser, Chapters 3 and 4
Discuss assigned readings. Genre: Memoir, Mary Karr, CP pp. 133-143 and Glass Castle, CP pp. 181-191
Discuss Zinsser, Chapter 14.
In-class exercise. Turning text into a narrative story.
Week Three
Tuesday
Thursday / Informal Workshop: Draft of 3 page essay due, workshop, bring two copies.
Discuss assigned readings. Genre: Social Commentary, Joan Didion, CP pp. 97-122.
Final draft of 3-page essay is due. In class final edit.
Lecture: Three Appeals/Rhetorical Triangle/Three-Way Editing/classical argument
structure.
Discuss Zinsser, Chapters 5, 6 and 7.
Week Four
Tuesday
Thursday / Discuss how to analyze a publisher, CP p. 9.
Lecture: Revision, CP pp. 63-72. Group work: discuss Impala
Discuss Zinsser, Chapters 8, 9 and 10. Grammar review. Student sentences. Discuss assigned readings. Genre: Social Commentary. Shiltz, CP pp. 123-132.
Submit one-page written response to this piece.
Week Five
Tuesday
Thursday / Workshop, draft of publisher analysis due, bring two copies of your analysis.
Discuss readings. Genre: Humor, Dave Eggers, CP pp. 74-90 and David Sedaris, "City of
Angels" CP pp. 91-95.
Discuss Zinsser, Chapter 19.
Sign up for conference/sign up for Formal Workshop.
Publisher analysis due. Final in-class edit.
Discuss how to respond to student writing.
Discuss query letters, CP pp. 7-8. Three types, CP pp. 38-56. Cover letter format/font
Sign up for conference/sign up for Formal Workshop.
Start reading Sinatra
Week Six
CONFERENCES. No formal class. Come to conference with an outline or one-page synopsis that describes what you plan to write about for your 5- to 8-page essay. Include a) the general topic, b) format/style/tone, c) intended audience, d) possible publishers.
Week Seven
Tuesday
Thursday / Discuss assigned readings. Genre: New Journalism. Gay Talese, "Frank Sinatra Has a Cold," handout and see web page.
Lecture: How to interview.
Zinsser, Chapter 12.
Rough draft of query letters due, bring 2 copies of each for small workshop.
Exercise: Ely
Final query letters due, in class final edit.
Week Eight
Tuesday
Thursday / Lecture: Getting Published, Part I, CP pp. 12-26.
Discuss assigned readings. Genre: Social Commentary, Sallie Tisdale, "We do AbortionsHere," handout.
Submit one-page response to this piece.
Workshop volunteers: Drafts of 5- to 8-page essay are due. Make 23 copies and distribute to classmates.
Editing exercises.
Lecture: Gathering Evidence, using signal phrases
Week Nine
Tuesday
Thursday / First Formal Workshop of a student essay.
Workshop volunteers: Drafts are due. Make 23 copies and distribute to classmates.
Zinsser, Chapter 11
Discuss assigned readings. Genre: Family. Annie Dillard, CP pp. 144-150 plus handout,
« Snowballs ». Submit one-page response to these two pieces.
Editing exercises
Week Ten
Tuesday
Thursday / Formal Workshop of a student essay.
Workshop volunteers: Drafts are due. Make 23 copies and distribute to classmates
Discuss assigned readings. Genre: A Vivid Sense of Place Anthony Swofford, "Jarhead," pp. 193-209.
Discuss assigned readings: Genre: Memoir, James Frey, "A Million Little Pieces," CP pp. 175- 180. Submit one-page response to this piece.
Week Eleven
Tuesday
Thursday / Formal Workshop of a student essay.
Workshop volunteers: Drafts are due. Make 23 copies and distribute to classmates.
Editing exercises.
Discuss Zinsser Chapter 23 and Chapter 16
Week Twelve
Tuesday
Thursday / Formal Workshop of a student essay.
Workshop volunteers: Drafts are due. Make 23 copies and distribute to classmates.
Editing exercises, Domino’s and AOL
Week Thirteen
Tuesday
Thursday / Formal Workshop of a student essay.
Workshop volunteers: Drafts are due. Make 23 copies and distribute to classmates. (We will receive 6 essays on this day, 3 to be workshopped on Thursday and 2 the following Tuesday.)
Formal Workshop of a student essay.
Review portfolio checklist, CP p. 9.
Week Fourteen
Tuesday
Thursday / FINAL Formal Workshop of a student essay.
Lecture: Getting Published Part II, Getting Rejected Again and Again and Again... CP pp. 27-37.
Discuss assigned readings. Genre: Travel and Place. Discuss Zinsser, Chapter 13.
Mike Tidwell, CP pp. 151-157.
Discuss Andre Dubus, handout, "Railroad Sketches."
Get handouts, “Robbed in PG County.”
Week Fifteen
Tuesday / Discuss audience perception/reader reaction. "Robbed in PG County," handout.
Portfolios Due. See Checklist, CP p. 9.
Resume workshop.