Craft of Fiction
BASICS YOU SHOULD KNOW
Layered text from "The Pardoner"
Hills Like White Elephants
COURSE SCHEDULEfor August 31
Once you have the DropBox invitation, go to the folder and you will find the READINGS folder has the two Hemingway stories as well as a folder for responses designated for each one. Write your responses (a paragraph or two) and upload them into the appropriate folders by WEDNESDAY night. (The sample "Comment" file is an example of a student's response to another student's workshop story.)
Be sure to print out the stories, mark them up as you read, and bring them to class. The responses you post in the folder are NOT GRADED for their content. I will be looking at them to establish how well you explain how you feel/think about a story, not how "correct" your are. Don't be afraid of being "wrong" or "off base." What you're after is an honest first-level response. All the responses you do throughout the semester are graded as a single percentage.
1. read once at your natural speed (do not mark it up at this point)
2. take a few moments to remember the story and note its emotional effect on you
3. read again, this time marking things that caused you to have the responses you remember
4. read again, and at each marking, find an explanation of how and why that particular trope (literary technique) was used.
5. note questions
Since the stories are short, it shouldn't take long to do the multiple readings, but it will take you a while to investigate the use of tropes. Identifying the central trope(s) will be the key to having a coherent explanation for all of the tropes you find.
For "Old Man at the Bridge," be sure to get a sense of how superficial a reading the attached study questions actually encourage. We begin with the assumption that you have gotten all of that simply by reading, and we move on to more interesting and substantive discussion/analysis on that basis. Read this GRADESAVER analysis of the story after you are done with your own response.
For "Hills Like White Elephants," see if you can explain what Anis del Toro has to do with the central theme (as you consider other issues). Read this GRADESAVER analysis of the story after you are done with your own response.
For both of the stories above, we will begin our WRITER'S analysis where the typical READER's analysis leaves off.
September 4 - NO CLASS
for September 7
We wrap up Hemingway's "Hills Like White Elephants" and examine the approach of "Writing by Ommission" or, more commonly, THE ICEBERG THEORY.
After the "Iceberg Theory" link, read this more light-hearted explanation by a writer of genre fiction.
Also have a look at what a British novelist has to say about literary fiction.
Consider the relationship between "depth" and "layering."
In DROPBOX, you will find two stories by EVE GLEICHMAN, a young writer not much older than yourselves, who currently works at a literary agency and is on her way to becoming a book scout. Read both of them, and in the RESPONSE folder, write a response (one) to either one of the stories (or cover them both in the same response). I want you to consider the emotional effect of the stories and how you FEEL after reading them. What exactly do you feel, and what is it in the stories that makes you feel that way? What is hidden under the surface (and why)? Our discussion of Hemingway should provide you with a methodology for locating and identifying those elements in the story. Have your responses in the folder by Wednesday night (by midnight).
You should also begin thinking about (or writing) your first story for workshop. I will post a schedule of dates shortly.
for September 11
READING: J.D. Salinger's "A Perfect Day for Bananafish" in DROPBOX. (You don't need to post a response, but be sure to print it out and mark it up. Your goal is to try to figure out the ending based on the evidence layered in the text.)
We will be wrapping up our discussion of "Delivery," so try to find a CENTRAL TROPE in that story. Do all of the associative connections point to something shared? A couple of you touched on a central trope, but see if you can demonstrate it by showing the allusions/subtexts.
Write a short layered passage like the excerpt from "The Pardoner."
The passage only needs to be a about a page. You may begin the exercise by simply writing a passage and then discovering what's already intuitively layered in it before you "amplify" that layering. You might also approach it by consciously deciding to have a "surface" narrative that carries the thematic or emotional content of what is layered in it. User-test your passage on a friend or classmate (and don't be surprised if they don't "get" it). Remember, if the layering is immediately recognizable, it is not working. Upload the exercise by Wednesday night (and be sure your name is on the document name).
for September 13
READING: Raed the otehr J.D. Slianegr sotyr in DPROOBX. (In yuor repsnose, you may adresds tihs one or "Bannafish" or btoh. The story is less complex under the surface and actually explains itself more clearly, but see if you can detect some of what is under the surface.)
Also read THIS PIECE in The Guardian regarding Salinger's unpublished stories.
Post responses in the folder by Wednesday night as usual. (The folder disappears within an hour after midnight, in case you were wondering where it goes.)
Be sure you have your Layering Exercise also posted in the folder. We will be talking about layering and the associative "clouds" in relation to a theory of reading/writing on Thursday, so browse those diagrams, also.
I will post time slots for the first workshop session shortly, so stay tuned and be ready to pick your slots.
for September 18
READING: Read your classmates' Layering exercises in the DropBox folder. See if you can figure out what is layered under the surface (but don't spend too much time -- if it doesn't "click" after a couple of readings, it may be because the subtext is successfully subliminal).
WRITING: Do the Fractal exercise as demonstrated in class. There are 3 samples in the folder and 3 more below. Since the initial iterations come quickly, you may want to try more than one and then "clean up" one of them for the final iteration. Upload your results into the folder by Sunday night.
(NOTE: In most cases, your final product will be more coherent if you begin with a longer passage -- but remember to write the first iteration as quickly and spontaneously as you can.)
for September 20 (Wednesday)
READ: Meade's "Unified Conspiracy Theory" in DropBox and post our response in the folder.
Also, browse the Fractal and Layering exercises by your classmates to see what they did with the exercises.
for September 21 (Thursday) - SEE BELOW
Noah's story and Peter's will be in the WORKSHOP #1 folder with folders inside for uploading your comments to their stories. Comment sheets are due BEFORE CLASS (those posted after 2 p.m. on the workshop date will not count).
Each workshop session will be approximately 25 minutes. Pick one slot before and one after the halfway point (11/2). You can see that the schedule leaves no room for adjustment, so if you miss your designated time, you will not have a chance to reschedule. Stories are due to me on the class day prior to your workshop date. (For example, if your workshop is scheduled on a Monday, you should have your story to me by the previous Thursday.) Submit your story to me in doc or docx format, single-spaced. I will format it and post it in the appropriate DropBox folder along with a folder for responses.
Look at this sample comment sheet by a student to get a sense of what to cover in your comments on workshop stories. The sample is quite extensive, and you don't need to address everything categorically (especially not the plot). Nor do you need to itemize the categories. You may simply write your comments as a note addressed to the author, but when you discuss an issue, be sure to provide specific details as in the sample. Your comment sheet should be at least 250 words (which means you should have plenty to talk about in class). It should be done BEFORE class. Bring a printed copy to class for your reference (you will give it to the author at the end of class). Also remember to print out the story and bring it to class. If you mark-up the story in a way you think is helpful to the author, you may give the author the marked copy in addition to your comment sheet.
REMEMBER: Your job isn't to explain the story to the writer (or to me). Give an honest response to the things you liked and didn't like, explaining as clearly as you can. Consider the workshop a beta test for your story. The kind of feedback you give your classmate will likely be the kind you get back -- it's workshop karma.
1. Noah Haar
2. Peter Randazzo
1. Max Geiger
2. John Goldpaugh
ALSO READ (and watch):
"An Occurrence at Owl Creek Bridge"
Pay special attention to the relationship between narration (especially description vs. exposition) and the visual interpretation.
1. Matthew Linton
2. Jared Mintzer
1. Cat DeLaus
2. Will Anderson
1. Michael Tonkin
2. Ronnie Triminio
1. Abigail Shand
MIDTERM in class
1. Mary McHugh
2. Tara Dunaier
1. Jessica Murphy
2. Tiff Scott
1. Jackie Donaldson-Hawkins
2. Dani Mancini
1. Amanda Bisesto
2. Amber Mason
2. Noah Haar
1. Michael Tonkin
2. John Goldpaugh
1. Jared Mintzer
2. Will Anderson
1. Matthew Linton
2. Jessica Murphy
1. Jackie Donaldson-Hawkins
2. Ronnie Triminio
1. Tiff Scott
2. Cat DeLaus
Editing, revision, dialogue, etc. November 30
1. Amber Mason
2. Emily Cerrone
1. Tara Dunaier
2. Abigail Shand
1. Mary McHugh
2. Dani Mancini
December 11 (last class)
1. Amanda Bisesto
2. Max Geiger
December 21 (class in lieu of final)
1. Peter Randazzo
IGNORE ITEMS BELOW THIS LINE -- THEY ARE ARCHIVED FROM LAST YEAR
Type up the in-class exercise and put it in the "I Don't Remember" folder in DROPBOX.
Write a short passage on your FIRST MEMORY (focusing on concrete details) and put that in the "1st Memory" folder.
Read "Depth Charge" in the Bell anthology.
Pay special attention to the STRUCTURE and then the PRIMARY TROPES.
Begin by figuring out how the title is used as an organizing principle.
Study the proofreading symbols in the following link (memorize them and use them to mark up your work):
Here is an example of an associative outline for a story. Note how the associative connections lead back inward in a torroidal pattern. The story itself is a very "constrained" story (i.e., it has many compulsory requirements of it due to its genre), but its deep structure was created by the natural associations.
The story that comes from this diagram can be read HERE if you are curious. (Note how its "apparent" story works.)
Comments for Jesse's story go in the "Keplinger_comments" folder.
Read this EXCERPT from Jean Rhys's Wide Sargasso Sea, (pub 1966) which alludes to "A Clean Well-Lighted Place." Also read the TIME PASSES passage from Virginia Woolf's To the Lighthouse (pub 1927). Pay special attention to sections 2 and 4. (Compare the style and structure with Rhys and Hemingway.)
True Sentences (read the compilation in DropBox.
We will begin by looking more closely at the Rhys passage and the two sections from "Time Passes."
For your entertainment and edification on the issue of dreams: "Dr. Zauze's Xylophone"
"The Circular Ruins" by Jorge Luis Borges (another translation can be found in the BORGES book in the "Other Readings" folder)
Stories to review: "Depth Charge," "Hills Like White Elephants," "Old Man at the Bridge," "A Clean Well-lighted Place," "The Circular Ruins."
Be familiar with: Hemingway's "Iceberg Theory," Bell's hypnosis analogy, and the introduction to structure Narrative Design.
Elements of Style, by Strunk and White, is the basic style guide of publishing. You should know all of the rules in that book by now (if not, you should take some time and memorize them for future use). Be familiar with the proofreading and copy editing symbols and be able to use them appropriately on a manuscript.
The opening page of Christopher Isherwood's "Berlin Stories" collection. Pay special attention to parallelism as a trope.
In Narrative Design"Oh, Man Alive"
Here is a single-page comic book adaptation from the film.
Read the original and revision of Melissa Rose's story and determine the underlying principle behind the cuts and revisions (highlighted sections are to be cut or changed). Read the final version first:
"Blue" - Final version
"Lady Blue" - Original version (cuts and other changes highlighted)
Compare the two versions and consider the logic behind the cuts:
1)What was cut, and how does it affect the story as a whole?
2) Are there particular categories that apply to the material that was cut?
How do the cuts correspond to the idea of "writing by omission"?
"The Two Raymond Carvers" - on the relationship between Raymond Carver and his editor, Gordon Lish
Study the following text and use it as a role model for your own final edits per our class discussion.
"Beginners"/"What We Talk About When We Talk About Love" - a sample of the original Carver text with Lish edits
(The three texts are in the "Other Readings" folder: the edited and original versions of "Beginnings" and the final version published as "What We Talk About When We Talk About Love." Have a look at the general INSTRUCTIONS for the 2nd round of stories.
Remember, you should begin by having an interpretation (even if it is implicit)
as the basis of your comments. You do not need to reiterate the plot unless
you find something problematic about it, but you should feel free to offer
advice related to the plot. (Ideally, plot and theme are convergent.)
(Also read Shirley Jackson's "The Lottery")
(Also read D.H. Lawrence's "The Rocking-Horse Winner")
Poets & Writers Lit Mag Database
THE REVIEW REVIEW
OLD MATERIAL BELOW
for August 29 (F)
We will discuss "Hills Like White Elephants" and the results of your layering exercise above.
7 WRITING TIPS from Hemingway.
Read "Old Man at the Bridge," which is also set near the Ebro. This was published in 1938, and it should give you an interesting associative connection to "Hills Like White Elephants." Note the AP English-style questions at the end, which are nearly useless for understanding more than the surface of the story.
After the story, read this discussion, which will give you some background. Note how a discussion of the symbolism in the story is of rather limited use if you refer back to Hemingway's basic theory of writing.
Read the results from the Layering exercise according to the same protocol you used on the Hemingway story. Some of the pieces by your classmates are more "obvious" than others, and you may find that some may not appear to be layered at all. For each piece, mark the relevant words/images and try to identify the central trope.
Compare to some of these pieces from Roberto Bolano's ANTWERP.
For your own Layering exercise, condense everything into ONE TRUE SENTENCE according to your interpretation of what Hemingway meant by it. After you have the ONE TRUE SENTENCE for your exercise, do the same for one of the passages by your classmates. Send me your "true" sentences by Thursday night.
DO THIS Modular Exercise and look at some some sample results.Send me your results via email by Thursday night.
READ in Narrative Design: pages 3-32.
If you don't have the book yet, you can read these pages via the Google preview HERE.
Watch this music video for "Hero" and consider its economy. It has the entire content of a typical Hollywood movie condensed into its use of subtext. Take some notes and identify some of those subtexts (ranging from entire genres to specific films).
After reviewing the overlap and the disjunctions of the film and prose versions of "An Occurrence at Owl Creek Bridge," your job is to find a short selection of film (the length is up to you) and do a prose adaptation. It only needs to be a couple of pages long, but do your best to convey, in prose, what you see as the effect(s) of the film. Remember that you will need to provide the visual experience for the reader as well (since you are not relying on the reader having seen the film). This should clue you in to the fact that your film segment will probably have to be relatively short!
MATERIAL BELOW THIS LINE IS ARCHIVED FROM AN EARLIER CLASS
THE USE OF NAMES AS CHARACTERIZATION
Nomen est omen
The physiognomy of names in "real" life
Reality as Fiction
Storytelling and Healing
In NARRATIVE DESIGN, read: the section on Modular Design, "Daisy's Valentine," and "Little Red."
WATCH (for additional review):
You can get a whole semester's worth of University of Potsdam MOOCs HERE.
Writing exercise for this week:
Three sample palimpsests: Palimpsest #1
Read "Once More to the Lake" by E.B. White (ignore the study questions, but focus on that last paragraph).
Also browse through the various versions of the New Yorker copy edits of "An Anonymous Island" to get a sense of how exacting this process can be. (Remember, the story was a translation and the editors did not know Korean!)
DO THIS EXERCISE (and email me your results):
Music Exercise & some results.
Madison Bell's recent zombie story in the Horror issue of GRANTA (and the essay linked from the bottom). Be sure to read Delia Summers' critique of Bell's story in the discussion below it.
Here is an animation of Roberto Bolano's "The Colonel's Son" in the same issue.
A typical typed manuscript page with edits
More proofreader's marks
Some more proofreader's marks
New explication - for extra credit
Read some of the "found" poems in this gallery and do 3 of your own.
Some critical terms to know:
The 4th wall (breaking it)
Persona (in its relation to Writer/Author/Narrator/Character and p.o.v.)
Frame of reference (as distinguished from Point of View)
In addition to the short answer/multiple-choice section, the final will include an explication of a photo and a short prose passage, and two short texts for you to edit using the proofreading and copy-editing symbols. You should be familiar with all the assigned readings from the semester.
END-OF-SEMESTER CHECK LIST
1. A fully-revised text of one of the pieces you did this semester (it may or may not be one you workshopped, since I've seen other works by most of you). The Lish edits of Carver and the revision of Melissa's story should serve as models. Remember -- revision isn't just proofreading.
2. A selection of your 10 best comment sheets (ones that you wrote)
3. A properly-formatted version of the piece you are submitting to a journal, along with the submission guidelines for that journal (this means the text will be electronic). This text should be impeccably edited -- no typos or grammatical errors -- since I will be looking at it as if I am the editor.
"The Secret Life of Walter Mitty," by James Thurber (a story all of you should know).
href="http://www.translation.pwias.ubc.ca/papers/Fulton%20B,%20Snow%20by%20Hwang%20Sun-Won.pdf">"Snow" by Hwang Sun-won (only 3 pages)
"The Dead" (from Dubliners) by James Joyce
Pay special attention to parallelism, inversion, simile, and metaphor in Isherwood's piece.
Also look at this passage from Toni Morrison's SULA and see if you can find the primary tropes that contribute to the layered themes. (What are they?) Read "Depth Charge" by Craig Bernardini and the discussion (pp. 33-).
Pay special attention to holographic passages, the use of names, and subtexts.
We are using Bell's discussion as a starting point, so we will not spend much time reviewing that material. Go deeper into the text, as it were.
Three sample palimpsests: Palimpsest #1
"An Anonymous Island" -- New Yorker translation case study --see the Copy Edits link for discussion
"The Secret Life of Walter Mitty" - James Thurber
Calvin & Hobbes
Read "Hear that Long Train Moan" by Everett, have a look at the following interview and his resume below. Come prepared with your take on what the "deep structure" of this story might be.
Interview with Percival Everett
Percival Everett's resume
"An Anonymous Island" - case study
"A Worn Path" - Eudora Welty
An interview with Welty
"A Worn Path" film - 2 parts
Some photographs by Eudora Welty