SPRING 2007
Instructor: Dr. Tina Perdue
Office: 217 Eicher Halll
Phone: Office: 357-3029; English Dept. Office: 357-2261
Hours: 10:30-12:00-TR; 1:00-3:00 W, and by appointment
Mailbox: 110 Leonard (English Dept. Office)
E-Mail: PERDUE@IUP.EDU
Home Page: www.english.iup.edu/perdue
Required Course Text:
Miller, Brenda and Suzanne Paola. Tell It Slant: Writing and Shaping Creative Nonfiction. McGraw-Hill, 2003.
General Course Description:
Background: Traditionally in English studies, the nonfiction essay occupied a literary limbo. Writers from many disciplines sometimes turned to nonfiction--in the form of an essay—but primarily as a utilitarian instrument to communicate practical ideas. Now, however, some of our finest writers turn out nonfiction essays whose use of literary devices lift them far above the utilitarian form. As a result, anthologists, scientists, journalists, critics, and students have begun to appreciate the once lowly essay as an art form far beyond what they might have encountered in Freshman English. This section of Advanced Composition grounds itself in this evolving view as we both read and write essays.
Goals and Assumptions: Reading and writing are two aspects of making meaning. Advanced Composition, therefore, will encourage students to use the speculations and ideas in the nonfiction essays of novelists, journalists, historians, and scientists as springboards for ideas in their own essays. Using Miller and Paola's text, we will also examine the essayists' methods and techniques in order to experiment with them in our own writing. My intentions for what you will learn include the following:
*to learn advanced techniques for generating and developing ideas
*to further develop your interpretive and analytic skills
*to learn how fictional writing techniques can enhance nonfiction writing--and to use
them
*to further develop your abilities to take a variety of stances as an author and to select
the most appropriate style to achieve your purposes
*to maneuver more effectively along that fuzzy border between fact and fiction through
sustained reflection,
*to make deeper connections between experience, reading, writing, and thinking
These goals assume that you are relatively practiced writers who want to improve your writing and will study and work to do so.
Methods: Because this is a writing class, this course takes a workshop approach. You will bring rough and polished drafts to class for peer critique and will often work in small groups to generate ideas, develop drafts, and revise those drafts. In addition, I expect all students to develop a portfolio of their work; the quality of the pieces in that portfolio will determine much of the course grade. (See below for details.) Participation in these and other class activities is required.
Note: This level of participation also gives the course an informal feel, which I and former students have enjoyed a great deal. However, a warning: do not mistake informality with laxness on standards and requirements. The work is serious even if our approach to it may be playful at times. If you feel uncomfortable with anything in this approach, please drop this class now. Your continued enrollment signifies your agreement to participate and to abide by the policies and procedures below.
Policies and Procedures:
Assignments: Anthology and chapter readings. Various informal responses written in and out of class. A group presentation of a grammatical-rhetorical concept. I have a library of texts and manuals for you to choose from. Five word-processed essays gathered in a portfolio; see list below.
Essay 1: Memories of Events Past: A Memoir
Essay 2: Reflections on a Place
Essay 3: The Wider World: Report on an Issue/Concept
Essay 4: Structure & Content: How Form Affects Message
Portfolio: Review: Gather Writing in One, Unified Package
Informal Responses: At the end of each chapter in the text are several “Try Its”—short writing prompts that encourage you to practice the techniques and concepts discussed in the chapter. We will spend time in and out of class developing informal responses to these “Try Its” that will form the basis of your essays.
Group Presentation: “If you really want to learn something, teach it.” Groups of 3-4 students will select a stylistic concept that interests them and that they think will benefit the writing abilities of the class, then present it to the class. My evaluation will take into account the clarity of the presentation, its connection with rhetorical/stylistic issues students can use, and the level of participation encouraged of the class. I suggest each group draw from the text to develop exercises and activities that will help the class understand and practice the concept being presented. As part of your presentation, you may wish to ask us to read a handout, bring some writing, or do something to help us prepare.
Click here for more information about preparing for your group presentation.
Portfolio Evaluation: Students will complete five 5+ page essays, most of which will be reflections on/conversations with yourself, me, your classmates, and the authors we will examine. Beginning with the first essay, I will evaluate as follows:
"Done" means that the essay has achieved enough polish and thought to stand on its own merit, without further revision. Think of it as a very high B through A grade range.
"Revisable" means that the essay is almost done but needs some further attention to finish it for the portfolio. Put this category in the high C to mid-B range.
"Revise" means that the essay is essentially a rough draft, needing substantial revision for course credit. You must revise and resubmit this essay. This one goes in the C or below range.
All five essays in the final portfolio should be in "revisable" or “done” shape. "Revise" essays will detract from the final grade.
Rough Draft Reviews: We will have five review sessions that will work best if everyone brings a substantial draft and articulated concerns for readers to address, AND if everyone works hard to address the concerns that writers articulate. These sessions will be the most important days of the class.
Grading: Your final grade for this course will be determined as follows:
Assignment Points Grading Scale
Group Presentation 300 points 1000-900 = A
899-800 = B
Substance of Portfolio: 500 points 799-700 = C
3 "Done" essays = 450-500 699-600 = D
2 "Done" essays = 400-449 > 599 = F
1 "Done" essay = 350-399
Presentation of Portfolio: 100 points
Rough Draft Reviews = 100 points
25 pts. per session
Participation: In order to participate fully in the course, I, just like your employer, expect you to show up regularly and on time and to complete all work satisfactorily. So, I take roll daily and note who attends on time, who is prepared, who participates in class activities. I also note who checks in with me when they have to miss class or have other problems that affect their participation in class. There are three "free" absences where you don't have to notify me. After that, I take 10 points off your final grade per absence. Because people get sick and emergencies occur, I'll "forgive" up to two absences if you document your illness or emergency upon the day of your return. After that, it's 10 points off. If something really and truly serious occurs, we'll talk, and I'll determine on a case-by-case basis what to do.
I interpret the means of "check-in" flexibly; in other words, if you cannot reach me directly, I accept notes in my mailbox or through email, and phone messages ( with a tutor in the Writing Center), timed before the end of class. (I check my mailbox just before and after class, and I check my email and phone messages often as well.
Late Papers: Look at it this way: you’ve worked your fingers to the bone to get that paper to me on time, only to find out that someone else in the class got an extension when you know he or she was procrastinating. Feel like a bit of a chump, don’t you? So, out of courtesy to those who work hard to meet the due date, I don't accept late papers, except under penalty. That means you lose a grade for every class day your paper is late. But in emergencies or illness and with notice as much in advance of the deadline as you can manage, we can arrange for an extension. Yes, you should call me at home the night before--463-7535 although I screen calls after 8:00 p.m. There is no way on the planet you—or a friend--cannot contact me.
Special Note: Although I accept notes in my mailbox, I do not accept course papers in my mailbox unless you and I have made arrangements in advance. Faculty mailboxes are not secure, and papers have disappeared from my box, so do not just stick a paper in my box and think that I have received it. The paper is your responsibility until you know it's physically in my hands. Advance arrangements with me notify me to check for that paper. To help make your paper more secure, ask someone in the department office for an envelope.
If you're getting the idea that I want to be notified of just about anything in advance, you're right. The interdependent nature of this class (lots of discussion and small group work) means your regular participation is crucial not just to your own success, but to your classmates' success as well. Your physical, mental, and emotional (that’s right, emotional) absence hurts us all.
Plagiarism: Think of ideas as property, like your stereo or clothing. If someone doesn't ask your permission to take or use your things, you might get upset, maybe even upset enough to press charges. The academic community feels just the same way about ideas, so if you deliberately steal someone else's ideas, your grade is in serious danger. Penalties range from failing the particular plagiarized paper to failing the course. However, if you are unsure about whether you might be plagiarizing a particular paper for my course, ask me before you turn it in for a grade; it’s my job to help you out on this. For further information, see your Undergraduate Course Catalogue's section on "Academic Integrity."
Writing Center: Professional writers do not publish anything without first asking someone else--often several someone elses--to read it. One place where you too can get the review you need is the University's Writing Center. I strongly recommend that each of you use this University service, located at 218 Eicher Bldg., (across from Wallace Hall on Grant St.) at least once during the semester, especially since you’ve already paid for it. The Writing Center helps writers from freshmen to Ph.D candidates who want help with any phase of composing: from brainstorming ideas and approaches to an assignment to figuring out how to organize and develop those ideas to assisting you with editing and proofreading. It helps most when you go in during the early stages of writing. The Writing Center can save you a lot of time, effort, and swearing. Honest. Besides, I direct the place. How would it look if my own students don't at least try it???