Monday & Wednesday 3:30 – 4:45
Classroom: 338 McIver
Textbook: The Scribner Anthology of Contemporary Short Fiction
Editors: Willford & Martone

Instructor: John Dalton
Office: 124 McIver
Office Phone: 334-5650
UNCG email: jhdalton@unc.edu
Office Hours: Mon. & Weds 2:00 – 3:00 or by appointment

As titled, this is an intermediate workshop class available to students who have enjoyed and done well in their introductory fiction writing class and now have a strong commitment to improve their craft and broaden their range as fiction writers. What sets the Writing of fiction - Intermediate (325) class apart from the Writing of Fiction - Introductory (225) is a sharper and more thorough level of critical discussion during workshop and the reading of more complex and ambitious works by major short story writers.
The best and most efficient way to improve as a writer is to write, write daily if possible, or in a set weekly schedule that allows privacy and time to focus. In addition to this, a beginning writer must read consistently, choosing fiction and non-fiction that is smarter, deeper, and more eloquent than anything the he or she is capable of producing. It’s also important to have a critical and sympathetic audience. The Writing of Fiction – Intermediate class will be that audience.
Writing of Fiction: Intermediate will stress clarity of the language, understanding point of view, and various fiction techniques. We will use the same Scribner anthology as the Introductory class, but we will read and discuss a more challenging selection of stories: Tony Early, Annie Proulx, Alice Munro, to name a few. The most important thing is your personal resolve to improve your own writing, to accept constructive criticism from the instructor and other student writers, and to revise and polish your stories. Reading assignments, journal keeping, a few writing exercises, thoughtful critiques of other students’ work will also be required. Please note: The class will be demanding, time-consuming, and, we hope, thought provoking and rewarding. This is not an easy elective for those hoping to round out their schedules with a light-weight or otherwise unchallenging course. Attendance and participation are mandatory.

Requirements and Grading

• Two complete short stories. A complete story is one you have spent time thinking about, crafting, polishing and present to the instructor and a group of classmates for workshop. (40 %)

• A reading journal that records your reactions to well-known contemporary short stories you’ll read outside of class. You will be presented with a list of short story collections on hold at the UNCG library (of course, you may also acquire these collections on your own). You’ll read ten outside stories over the course of the semester. In your journal you’ll create ten entries revealing not just your opinions of these stories but you’ll also describe what the stories taught you about fiction craft. (10%)

• Writing exercises that address specific techniques discussed in class. (10%)

• Your written responses (end notes and margin notes) that you make on other students’ stories. (5%)

• Class attendance and participation: read the assigned stories from the Scribner anthology and come to class ready to talk about them. Read other students stories and join in on the workshop discussion. (15%)

• Final: A revised short story. You’ll choose one of your two short stories workshopped in class and revise it using workshop recommendations made by the instructor and other students. This revision will encompass both large changes (new or rewritten scenes, added characters or descriptions) and small changes (tinkering with words and phrases). This revised story is due on the last day of class, though it may be turned in earlier. (20%)

Grades
A Student turns in two meticulously written, well-crafted and complete stories (a clear beginning, middle, end). These stories demonstrate a remarkable effort on the part of the writer. Student completes an exemplary reading journal, one that’s unusually articulate and keeps zeroing in on a wide array of fiction technique. Every writing assignment is turned in on time and painstakingly done. Student’s written responses (end notes and margin notes) on workshop stories are unusually thorough and astutely presented. Student misses practically no classes and is an important and conscientious contributor to class discussion. Student again demonstrates a remarkable effort and presents a thoroughly reworked and accomplished final revised story.

B Student turns in two well-written and mostly complete stories (a promising first draft). These stories demonstrate a significant effort on the part of the writer. Student completes a thoughtful and clearly written reading journal, one that’s observant and manages to explore several important aspects of fiction technique. Nearly all writing assignments are turned in on time and carefully done. Student’s written responses (end notes and margin notes) on workshop stories are thorough, consistent, and clearly presented. Student misses only a few classes and is an important and conscientious contributor to class discussion. Student again demonstrates a significant effort and presents a determined and skillfully reworked final revised story.

C Student turns in two adequately-written yet uneven stories. (sections of these stories feel rushed or underdeveloped) These stories demonstrate only a routine effort on the part of the writer. Student hands in an average reading journal, several entries are missing, others are incomplete. Little attention is paid to fiction technique. More than a few writing assignments are missing or incomplete. Student’s written responses (end notes and margin notes) are sparse and not well thought out. Student misses four or more classes and is an infrequent contributor to class discussion. Student makes a modest or lackluster effort at revising final story.

D or F Student is missing one or both stories or turns in such a poor draft that it feels entirely sketchy and rushed throughout. A poor or absent reading journal. Few complete writing assignments. Little or no effort to comment on other students’ work. Student has a habit of missing class and avoiding workshop discussion. Student makes few or no revisions and turns in a very poor revised final story.

Suggestions

1) Set aside certain hours of certain days for fiction writing. Make a schedule and stick to it. A late night, last minute writing session will produce poor or uneven work, work that you will be reluctant to hand in to your instructor and fellow students for workshop.

2) Be thorough and conscientious in your critiques of other students’ work. Let them know what is working, but just as importantly make it clear what they have accomplished, what elements of their stories engaged your emotions, or made you think.

3) When it comes to your final revised story, make sure you understand specifically what improvements need to be made. The best way to do this is to read the workshop critiques carefully and talk over your ideas or concerns with the instructor.

Syllabus

Aug. 16 introduction
meaning, sense, clarity
the writer / reader relationship
first lines
homework: read “White Angel” by Michael Cunningham ; write 5 opening lines

Aug. 18 scene and summation
discuss “White Angel”
share opening lines exercise
reading journals
homework: read “The Man Who Knew Bell Starr” by Richard Bausch

Aug. 23 discuss “The Man Who Knew Bell Star”
dialogue
who said that?
homework: by “In the Cemetery Where Al Jolson Is Buried”Amy Hempel, write an exchange of dialogue that carries a hidden subtext

Aug. 25 discuss “In the Cemetery Where Al Jolson Is Buried”
share dialogue exercise
the short, accurate description
homework: read “Strays” by Mark Richard

Aug. 30 unraveling point of view
discuss “Strays”
homework: read “The Prophet from Jupiter” by Tony Early, prepare first 2 reading journal entries,

Sept. 1 discuss “The Prophet from Jupiter”
elements of style
flashbacks
7 essential qualities of a good short story
read by “Brokeback Mountain” Annie Proulx

Sept. 6 no class – labor day

Sept. 8 discuss “Brokeback Mountain”
11 Common Mistakes
workshopping stories
workshop endnotes

In-Class Workshops

Attention! Reminder! My story is due _______ and will be workshopped _______

Sept. 13 ____________________ and ____________________

Sept. 15 ____________________ and ____________________

Sept. 20 ____________________ and ____________________

Sept. 22 ____________________ and ____________________

Sept. 27 ____________________ and ____________________

Sept. 29 ____________________ and ____________________

Oct. 4 ____________________ and ____________________

Oct. 6 ____________________ and ____________________

Oct. 11 no class –fall break

Oct. 13 ____________________ and ____________________

Oct. 18 ____________________ and ____________________
* you’ll receive the reminder of the syllabus once the class-size is established