Creative Writing - An Introduction - UEA

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International Summer School 2013 Module Outline Section 1 – General Information Module Title: Creative Writing: An Introduction Module code:

Credit value 20 UK

Academic Year 2012-2013

Semester Summer 2013

Section 2 – Details of module Description What is this module about?

Learning Objectives What will I learn? (subject specific and transferable skills)

This module is for students with little previous experience of creative writing. We will be doing a number of in-class exercises based on objects, handouts, discussion and visualisation. On occasion we will study the work of established authors. Very often students will be asked to ‘write about what they know’, drawing on notebooks, memory, family stories, sensory impressions… In both prose and poetry we will concentrate initially on generating material. In prose we will go on to look at character, dialogue, point-of-view, ‘showing’ vs ‘telling’, plotting, etc. In poetry, we will begin to explore the possibilities of pattern and form, sound, voice, imagery, ‘making strange’, etc. Students should equip themselves with a notebook for everyday use and a file or folder in which to keep handouts and all written work. Students will be required to complete exercises in class and for homework and should be prepared to read their work aloud. The aim of this module is to get students writing prose fiction and poetry. At this stage it is important to experiment: not everything will come off, but students will learn from that. Along the way students will begin to develop an understanding of the craft elements of writing - the technical nuts and bolts. They will also acquire some of the disciplines necessary to being a writer observation, keeping notebooks, writing in drafts, reading as a writer, submitting to deadlines, etc.

By the end of the module students will have acquired competence and confidence in the writing of prose fiction and poetry. Through the practice of automatic writing and the keeping of observational journals students will be able to generate material that will enable them to produce original works of creative writing. Students will become adept at utilizing memories and sensory impressions in the construction of believable fictions and affecting poems. Students will have gained the resources for inventing and voicing characters in fiction and for deploying literary language to pleasing or surprising effect. Students will have gained an appreciation of the importance of ‘defamiliarisation’, and will have acquired an informed understanding of dialogue conventions, the limits and potential of narrative point of view, the fundamentals of structuring stories and poems, and the importance of drafting and revision. Students will be able to present work to a professional standard. This module would be ideal if students are currently studying any Humanities Links Where does this subject, particularly Literature or Languages, and would like to explore the

Learning Outcomes What will I be able to do by the end of the module?

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International Summer School 2013 Module Outline fit into my current studies?

possibilities of writing creatively. No prior knowledge or experience of Creative Writing is required.

Section 3 – Teaching Team Module Convenor

Professor Andrew Cowan, Director of UEA Creative Writing. Andrew is a graduate of UEA with a first degree in English and American Studies and an MA in Creative Writing. Before joining the faculty in 2004 he was twice a Royal Literary Fund writing fellow at UEA, working with students on their expository and creative writing skills. Andrew was a longstanding tutor in Creative Writing for the Arvon Foundation and is the author of five novels, which have been published in 12 languages, including PIG, which was longlisted for the Booker Prize, shortlisted for five other literary awards, and won a Betty Trask Award, the Authors' Club First Novel Award, the Ruth Hadden Memorial Prize, a Scottish Arts Council Book Award and the Sunday Times Young Writer of the Year Award.

Others

TBC

Section 4 - Expected Study Hours Activity

Details

Total hours

% of credit

Lectures/Seminars

Introduction Getting Started in Poetry Keeping Observational Journals Keeping Observational Journals: Using All Five Senses Using Memories Inventing Characters Voicing a Character: Interior Monologue Poetry Exercises Dialogue Point of View Structure Making Strange Tutorials Editing & Revising Workshopping

45 hours

10%

Pre-lecture preparatory

Required Reading:

17.5 hours

Andrew Cowan: The Art of Writing

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International Summer School 2013 Module Outline reading and postlecture follow up reading

Fiction (Pearson Longman)

Some key books on being a writer: Dorothea Brande, Becoming a Writer (Macmillan) John Gardner, On Becoming A Novelist (HarperPerennial) Stephen King, On Writing: A Memoir of the Craft (NEL) Betsy Lerner, The Forest for the Trees: An Editor’s Advice to Writers (Macmillan)

Introductions to poetic form: Peter Sansom, Writing Poems (Bloodaxe) Sandy Brownjohn, The Poet’s Craft: A Handbook of Rhyme, Metre and Verse (Hodder & Stoughton)

A couple of contemporary poetry anthologies: Jo Shapcott & Matthew Sweeney (eds), Emergency Kit: Poems for Strange Times (Faber) Neil Astley (ed), The New Poetry (Bloodaxe) A couple of useful, readable critical works: David Lodge, The Art of Fiction (Penguin) James Wood, How Fiction Works (Vintage)

Observational Diary: Students to keep an observational diary throughout the course. Formative assessment

Work completed for final Artist’s Model exercise (800 words) should be revised and typed up for tutor to read, annotate and comment upon.

Assessment times are included in the lecture/seminar/workshop sessions

The final poetry exercise on Day 4 (minimum 14 lines) should be completed and typed up for tutor to read, annotate and comment

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International Summer School 2013 Module Outline upon. Feedback sessions

The tutor will assign half a day for 1-2-1 tutorials.

Included in lecture/seminar sessions

Assessed course paper

A short story of 2,000 words and 4 - 6 poems totalling approximately 46 lines OR a short story of 1,500 words and 6 12 poems totalling approximately 94 lines.

8 hours

Total

-

Approx 71 hours

90%

Section 5 - Teaching Sessions Lecture Programme – details for each lecture Introduction An introduction to the module and each other; automatic writing exercises Getting Started in Poetry Poetry starter exercises and automatic writing exercises Keeping Observational Journals Beginning the practice of keeping observational journals as a resource for fiction and poetry; field trip to city centre Keeping Observational Journals; Using all Five Senses Discussion and exercises; utilising sensory impressions to produce prose fiction Using Memories Discussion and exercises; utilising memories and what we know to produce prose fiction Inventing Characters Using notebooks, photographs and visualisation as resources for inventing characters in fiction; exercise in writing a self-portrait Voicing a Character: Interior Monologue Voicing a character: interior monologue; field trip to Sainsbury Centre as a stimulus to the invention of fictional characters Poetry Exercises Poetry starter exercises: making strange; using objects for poetry Dialogue Discussion of dialogue conventions; exercises using given words and newspaper stories to produce dialogue Point of View

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International Summer School 2013 Module Outline Discussion and exercises exploring the limits and potential of various narrative points of view Structure Discussion and exercises to explore structure in stories Making Strange Discussion and exercises in the art of ‘defamiliarisation’ Tutorials Individual tutorials to discuss formative assessment exercise and class contribution Editing & Revising Editing exercises; discussion of nuts & bolts technical issues Workshopping Group workshopping of works for final assessment Section 6 – Study materials Required Reading

Andrew Cowan: The Art of Writing Fiction (Pearson Longman)

Recommended further reading

Some key books on being a writer: Dorothea Brande, Becoming a Writer (Macmillan) John Gardner, On Becoming A Novelist (HarperPerennial) Stephen King, On Writing: A Memoir of the Craft (NEL) Betsy Lerner, The Forest for the Trees: An Editor’s Advice to Writers (Macmillan) Flannery O’Connor, Mystery and Manners (Farrar, Straus and Giroux) A couple of introductions to poetic form: Peter Sansom, Writing Poems (Bloodaxe) Sandy Brownjohn, The Poet’s Craft: A Handbook of Rhyme, Metre and Verse (Hodder & Stoughton) A couple of contemporary poetry anthologies: Jo Shapcott & Matthew Sweeney (eds), Emergency Kit: Poems for Strange Times (Faber) Neil Astley (ed), The New Poetry (Bloodaxe) A couple of useful, readable critical works: David Lodge, The Art of Fiction (Penguin) James Wood, How Fiction Works (Vintage) As for fiction, the possibilities are endless but students need to try to read widely, especially in contemporary fiction, and try to read as a writer: think about the techniques used and the effects achieved. Students will need to apply what they learn in their own writing. The following are some contemporary writers who have studied or taught at UEA: Naomi Alderman, Tash Aw, Trezza Azzopardi, Richard Beard, Lynne Bryan, Angela Carter, Amit Chaudhuri, Tracy Chevalier, Andrew Cowan, Helen Cross, Joe Dunthorne, Anne Enright, Diana Evans, Stephen Foster, Adam Foulds, Kazuo Ishiguro, Anjali Joseph, Panos Karnezis, Ian McEwan, Mark McNay, Ben Rice, Ali Smith, Rose Tremain, Clare Wigfall…. A complete list of UEA writers can be found on our website (under ‘Alumni’): www.uea.ac.uk/creativewriting

Other study materials

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International Summer School 2013 Module Outline Section 7 - Formative Assessment Assessment Type

Assignment Deadline

Return date of marked work (where appropriate)

Nature of feedback

Formative 1

End Day4

End Day4

Comments on submitted work and discussion in tutorial

Assignment detail (e.g. title, type, course test length, word limit, presentation length)

Work completed for final Artist’s Model exercise (800 words) should be revised and typed up for tutor to read, annotate and comment upon. Assessment Type

Assignment Deadline

Return date of marked work (where appropriate)

Nature of feedback

Formative 2

End Day4

End Day4

Comments on submitted work and discussion in tutorial

Assignment detail (e.g. title, type, course test length, word limit, presentation length)

The final poetry exercise on Day4 (minimum 14 lines) should be completed and typed up for tutor to read, annotate and comment upon. Section 8a - Summative Assessment Assessment Type

Percentage (%) counting towards overall module mark

Coursework 90%

Assignment Deadline

Return date of marked work

Nature of feedback

24th July

TBC

Written feedback on returned work

Assignment detail (e.g. title, type, course test length, word limit, presentation length)

A short story of 2,000 words and 4 - 6 poems totalling approximately 46 lines OR a short story of 1,500 words and 6 - 12 poems totalling approximately 94 lines

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International Summer School 2013 Module Outline Assessment Type

Percentage (%) counting towards overall module mark

Dates

Nature of feedback

Class contribution

10%

Whole course

1-2-1 tutorial

Assignment detail (e.g. length of exam, rubric) Guidance will be given at the start of the course on the class contribution requirements, and the students’ performance will be monitored in each of the sessions.

Section 8b - Assessment of module outcomes Learning Outcomes

Formative Assessment 1

Formative Assessment 2

Summative Assessment

List outcomes

Control of prose technique and style, including management of narrative voice and point of view

Control of poetic technique and style, including management of lyric voice and poetic structure

Ability to invent and give voice to characters in fiction and to deploy literary language to pleasing or surprising effect. An appreciation of ‘defamiliarisation’, and an informed understanding of dialogue conventions, the limits and potential of narrative point of view, the fundamentals of structuring stories and poems, and the importance of drafting and revision. An ability to present work to a professional standard.

Exam

Section 9 - Employability Problem solving

Teamwork

Communication

Presentation

Advanced ability to think creatively and imaginatively.

Advanced ability of contribute to group discussions and to

Exemplary written communication skills and sophisticated

Well-edited and grammatical written work presented to professional standard.

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International Summer School 2013 Module Outline develop in response to group and individual feedback.

understanding of the requirements of a readership.

Section 10 - Sample Exam or Test papers n/a

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Creative Writing - An Introduction - UEA

International Summer School 2013 Module Outline Section 1 – General Information Module Title: Creative Writing: An Introduction Module code: Credit v...

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