Hi All:
So sorry I missed class today but I am grateful to Professor Bausch for reading you a story and imparting some of his wisdom. I intended on inviting him to visit our class at some point during the semester but didn't intend for it to be so early.
HOMEWORK - DIALOGUE
1, I love the story "Voices from the Other Room." It's not readily available on-line (I checked) but it is in THE STORIES OF RICHARD BAUSCH and it would be a great one to study for the writing exercise. If you are looking for other models of great dialogue, look to Elmore Leonard, John O'Hara, Liz Strout, Fitzgerald, Hemingway, Jill McCorkle. In our anthology, "Hills Like White Elephants" is a classic. Find your own examples of good dialogue and bring them to class with you.
2, Okay, the homework:
WRITE a short story in dialogue, a dialogue between two people. This is fun! Show how the story moves along and give details through the dialogue. Be subtle!
3, Do not hand in a first draft. Please. Rewrite your story at least once. Read your story aloud and you'll hear what needs to be changed.
4, I will give back your first writing exercise. I have been very hard on the writing because I want you all to improve.
My advice to all of you is READ, READ, READ, READ.
Have a good weekend. Looking forward to seeing you next week!
Thursday, January 27, 2011
Tuesday, January 25, 2011
Homework, "Brother Grasshopper" by John Updike
Read "Brother Grasshopper," by John Updike
1, Write a comment on your blog using the guidelines provided.
Access "Brother Grasshopper" at left, a link under Stories, or you are welcome to pick up a copy on the door on my office at Patterson 429.
1, Write a comment on your blog using the guidelines provided.
Access "Brother Grasshopper" at left, a link under Stories, or you are welcome to pick up a copy on the door on my office at Patterson 429.
Chekhov on Writing
What he says is reflected in his prose. Writing has to be objective, to see clearly, without judgment, and to act as "an unbiased observer."
That the world “swarms with male and female scum” is perfectly true. Human nature is imperfect. But to think that the task of literature is to gather the pure grain from the much heap is to reject literature itself. Artistic literature is called so because it depicts life as it really is. Its aim is truth – unconditional and honest. A writer is not a confectioner, not a dealer in cosmetics, not an entertainer; he is a man bound under compulsion, by the realization of his duty and by his conscience. To a chemist, nothing on earth is unclean. A writer must be as objective as a chemist.
It seems to me that the writer should not try to solve such questions as those of God, pessimism, etc. His business is but to describe those who have been speaking or thinking about God and pessimism, how and under what circumstances. The artist should be not the judge of his characters and their conversations, but only an unbiased observer.
You are right in demanding that an artist should take an intelligent attitude to his work, but you confuse two things: solving a problem and stating a problem correctly. It is only the second that is obligatory for the artist.
You abuse me for objectivity, calling it indifference to good and evil, lack of ideas and ideals, and so on. You would have me, when I describe horse thieves, say: “Stealing horses is an evil.” But that has been known for ages without my saying so. Let the jury judge them; it’s my job simply to show what sort of people they are. I writ: you are dealing with horse thieves, so let me tell you that they are not beggars but well-fed people, that they are people of a special cult, and that horse stealing is not simply theft but passion. Of course it would be pleasant to combine art with a sermon, but for me personally it is impossible owing to the conditions of technique. you see, to depict horse thieves in 700 lines i must all the time speak and thing in their tone and feel in their spirit. Otherwise, the story will not be as compact as all short stories ought to be. When I write, I reckon entirely upon the reader to add for himself the subjective elements that are lacking in the story. ~Anton Chekhov
That the world “swarms with male and female scum” is perfectly true. Human nature is imperfect. But to think that the task of literature is to gather the pure grain from the much heap is to reject literature itself. Artistic literature is called so because it depicts life as it really is. Its aim is truth – unconditional and honest. A writer is not a confectioner, not a dealer in cosmetics, not an entertainer; he is a man bound under compulsion, by the realization of his duty and by his conscience. To a chemist, nothing on earth is unclean. A writer must be as objective as a chemist.
It seems to me that the writer should not try to solve such questions as those of God, pessimism, etc. His business is but to describe those who have been speaking or thinking about God and pessimism, how and under what circumstances. The artist should be not the judge of his characters and their conversations, but only an unbiased observer.
You are right in demanding that an artist should take an intelligent attitude to his work, but you confuse two things: solving a problem and stating a problem correctly. It is only the second that is obligatory for the artist.
You abuse me for objectivity, calling it indifference to good and evil, lack of ideas and ideals, and so on. You would have me, when I describe horse thieves, say: “Stealing horses is an evil.” But that has been known for ages without my saying so. Let the jury judge them; it’s my job simply to show what sort of people they are. I writ: you are dealing with horse thieves, so let me tell you that they are not beggars but well-fed people, that they are people of a special cult, and that horse stealing is not simply theft but passion. Of course it would be pleasant to combine art with a sermon, but for me personally it is impossible owing to the conditions of technique. you see, to depict horse thieves in 700 lines i must all the time speak and thing in their tone and feel in their spirit. Otherwise, the story will not be as compact as all short stories ought to be. When I write, I reckon entirely upon the reader to add for himself the subjective elements that are lacking in the story. ~Anton Chekhov
Friday, January 21, 2011
Thursday, January 20, 2011
"There's Been An Accident!"
Not really. But that line from the recording this afternoon is chilling! Hope you got as much out of the Reading Out Loud experience as I did. I don't think any of us will forget "A Good Man Is Hard to Find."
Thanks for bringing in your object/picture/photograph. I can't wait to read your work. Remember, this exercise is about plot. Something must happen. Tell a story. It doesn't have to be "grotesque" or "horrific" but it cannot be a meditation or a character sketch.
So.....
Homework,
1, Read "The Lady with the Dog" Chechkov. Write a blog using three of the elements of story from the handout.
2, Write a 750 word story about your object/picture/photograph.
Email me if you're confused.
Enjoy the Snow!!
Thanks for bringing in your object/picture/photograph. I can't wait to read your work. Remember, this exercise is about plot. Something must happen. Tell a story. It doesn't have to be "grotesque" or "horrific" but it cannot be a meditation or a character sketch.
So.....
Homework,
1, Read "The Lady with the Dog" Chechkov. Write a blog using three of the elements of story from the handout.
2, Write a 750 word story about your object/picture/photograph.
Email me if you're confused.
Enjoy the Snow!!
Tuesday, January 18, 2011
What's for Thursday's class?
Thanks for a great class! You had some good insights to the stories and I feel like we're getting there with the blogs. Please email me any time with questions.
1, If you haven't read the assigned stories for the week, read them with the same attention to language as we applied to "Royal Beatings" in class today.
2, Bring in a photo, or image, or object that has some life to it, meaning that you can see a story unfolding or the base of a conflict or the germ of a scene.
1, If you haven't read the assigned stories for the week, read them with the same attention to language as we applied to "Royal Beatings" in class today.
2, Bring in a photo, or image, or object that has some life to it, meaning that you can see a story unfolding or the base of a conflict or the germ of a scene.
Monday, January 17, 2011
Reading Alice Munro
Sunday, January 16, 2011
Joyce Carol Oates on the Short Story in Today's New York Times
Read this now!!!
http://www.nytimes.com/2011/01/16/books/review/Oates-t.html?_r=1&scp=1&sq=charles%20baxter&st=cse
http://www.nytimes.com/2011/01/16/books/review/Oates-t.html?_r=1&scp=1&sq=charles%20baxter&st=cse
Thursday, January 13, 2011
Great first Class. Looking forward to working with you all!
Homework!
1, Create your blog. Go to blogger.com to get started. Please email me or post to my blog if you have any problems creating a blog.
2, Read, "A Good Man Is Hard to Find," by Flannery O'Connor.
Read, "Letter to A Young Writer," by Richard Bausch
Read, "Royal Beatings," by Margaret Atwood
3, Comment on one of the stories on your blog.
Come to class on Tuesday ready to talk about the stories!
1, Create your blog. Go to blogger.com to get started. Please email me or post to my blog if you have any problems creating a blog.
2, Read, "A Good Man Is Hard to Find," by Flannery O'Connor.
Read, "Letter to A Young Writer," by Richard Bausch
Read, "Royal Beatings," by Margaret Atwood
3, Comment on one of the stories on your blog.
Come to class on Tuesday ready to talk about the stories!
Wednesday, January 12, 2011
The Stories, the Blog, Your Work....Lets Get to it!!!!!!!!!
Welcome everyone! I look forward to working with you.
Here is the portion of my Syllabus you're interested in. The grading and the work. Be forewarned we will be using this line-up/schedule as a guide. It will change!!
We will be reading published stories and learning from them, line by line, what makes good writing. You will be expected to write comments about the stories on your blogs and arrive to class prepared for the discussions. You will be expected to produce your own original story and contribute to the classroom discussion of your peer’s work.
Much of the value of our time together depends upon your active, thoughtful presence.
Text:
Check the blog (http:// fictionforms4605.blogspot.com) for stories, otherwise:
*Handouts
*THE NORTON ANTHOLOGY OF SHORT FICTION, shorter seventh edition
*READIING LIKE A WRITER, A Guide for People Who Love Books and For Those Who want to Write Them, Francine Prose
*THE ART OF FICTION, John Gardner
*ON WRITING, Stephen King
*The Elements of Style, eds. William Strunk and E.B. White.
Requirements and Grading
Grades will be based on (in order of importance): 1.--the quality of the work you do as a writer and as a reader (and) 2.--the commitment you make to the material--that is, the energy and dedication with which you participate in class, on verbal and written assignments, etc. Each exercise and story will involve several drafts (“The art of writing is re-writing.”) --Sean O'Faolin).
Because one of your goals is to become your own best reader, you'll do honest, critical self-evaluations of your work. Expect unannounced quizzes. ALL out-of-class work must be typed (double spaced). Attendance is crucial. Late work will be penalized but is better than no work. Attendance at River City Writers Series Readings earn you extra credit.
Project: an original story/writing portfolio (40 %)
Quizzes (did you read the stories assigned) (10 %)
Blog (25 %)
Participation (25 %)
All work must be new and not submitted for any other class or project, past or current. Plus/minus grading is in effect. Any form of plagiarism will result in an F for the course.
Students are responsible for checking their memphis.edu email accounts and keeping up with the class blog and their own blog.
Attendance policy: Missing more than 3 sessions, unexcused, will result in a grade no higher than C. If you miss a class, you are responsible for material covered and assignments given.
Conferences: All students are encouraged to visit the instructor during office hours for a conference at least once during the semester.
Schedule (This will change)
January 13 Introductions. Class blog, how it’ll all work.
Margaret Atwood, “Why Do You Write?”
January 18/20 Richard Bausch, “Letter to a Young Writer”
Close Reading: Word by word, line by line
“A Good Man Is Hard to Find,” Flannery O’Connor
“Royal Beatings,” by Alice Munro
“What is Real?” Alice Munro, Norton Anthology, pg 866
January 25/27 Sentences, “If I feel physically as if the top of my head were taken off, I know this is good writing.”
“The Lady with the Dog,” Anton Checkhov
“Letter to D.V. Grigorovich, March 28, 1886,” Anton Chechhov
Feb 1/3 Paragraphs, Mavis Gallant’s “The Ice Wagon Going Down the Street,” and Jhumpa Lahiri’s, “Interpreter of Maladies
February 7/8 “Fourteen Feet of Water in My House,”by Allan Gurganus
River City Writers Series presents Allan Gurganus
Reading, Feb. 7th at 8 p.m., University Centre Bluff Room
Interview, Feb. 8th at 10:30am, Patterson 456
February 10/ Dialogue, “Hills Like White Elephants,” Ernest Hemingway
“1-900,” by Richard Bausch
“An Interview,” Ernest Hemingway, pg 856, Norton Anthology
Frederick Busch on “Hills Like White Elephants”, Norton pg. 893
February 15/17 Character, “Girl,” Jamaica Kincaid
“An Ex-Mas Feast,” by Uwem Akpan
Begin Story/workshop
Februaary 22/24 Now, “Alone,” by Yiyun Li (New Yorker, 20 under 40)
“Tapka,” by David Bezmozgis, (New Yorker, 20 under 40)
March 1/3 Revision“What We Talk About When We Talk About Love,” Raymond Carver
“The Art and the Craft of Revision,” Joyce Carol Oates, Norton, pg. 869
Stories
March 2/3 River City Writers Series presents Dorothy Allison
Here is the portion of my Syllabus you're interested in. The grading and the work. Be forewarned we will be using this line-up/schedule as a guide. It will change!!
We will be reading published stories and learning from them, line by line, what makes good writing. You will be expected to write comments about the stories on your blogs and arrive to class prepared for the discussions. You will be expected to produce your own original story and contribute to the classroom discussion of your peer’s work.
Much of the value of our time together depends upon your active, thoughtful presence.
Text:
Check the blog (http:// fictionforms4605.blogspot.com) for stories, otherwise:
*Handouts
*THE NORTON ANTHOLOGY OF SHORT FICTION, shorter seventh edition
*READIING LIKE A WRITER, A Guide for People Who Love Books and For Those Who want to Write Them, Francine Prose
*THE ART OF FICTION, John Gardner
*ON WRITING, Stephen King
*The Elements of Style, eds. William Strunk and E.B. White.
Requirements and Grading
Grades will be based on (in order of importance): 1.--the quality of the work you do as a writer and as a reader (and) 2.--the commitment you make to the material--that is, the energy and dedication with which you participate in class, on verbal and written assignments, etc. Each exercise and story will involve several drafts (“The art of writing is re-writing.”) --Sean O'Faolin).
Because one of your goals is to become your own best reader, you'll do honest, critical self-evaluations of your work. Expect unannounced quizzes. ALL out-of-class work must be typed (double spaced). Attendance is crucial. Late work will be penalized but is better than no work. Attendance at River City Writers Series Readings earn you extra credit.
Project: an original story/writing portfolio (40 %)
Quizzes (did you read the stories assigned) (10 %)
Blog (25 %)
Participation (25 %)
All work must be new and not submitted for any other class or project, past or current. Plus/minus grading is in effect. Any form of plagiarism will result in an F for the course.
Students are responsible for checking their memphis.edu email accounts and keeping up with the class blog and their own blog.
Attendance policy: Missing more than 3 sessions, unexcused, will result in a grade no higher than C. If you miss a class, you are responsible for material covered and assignments given.
Conferences: All students are encouraged to visit the instructor during office hours for a conference at least once during the semester.
Schedule (This will change)
January 13 Introductions. Class blog, how it’ll all work.
Margaret Atwood, “Why Do You Write?”
January 18/20 Richard Bausch, “Letter to a Young Writer”
Close Reading: Word by word, line by line
“A Good Man Is Hard to Find,” Flannery O’Connor
“Royal Beatings,” by Alice Munro
“What is Real?” Alice Munro, Norton Anthology, pg 866
January 25/27 Sentences, “If I feel physically as if the top of my head were taken off, I know this is good writing.”
“The Lady with the Dog,” Anton Checkhov
“Letter to D.V. Grigorovich, March 28, 1886,” Anton Chechhov
Feb 1/3 Paragraphs, Mavis Gallant’s “The Ice Wagon Going Down the Street,” and Jhumpa Lahiri’s, “Interpreter of Maladies
February 7/8 “Fourteen Feet of Water in My House,”by Allan Gurganus
River City Writers Series presents Allan Gurganus
Reading, Feb. 7th at 8 p.m., University Centre Bluff Room
Interview, Feb. 8th at 10:30am, Patterson 456
February 10/ Dialogue, “Hills Like White Elephants,” Ernest Hemingway
“1-900,” by Richard Bausch
“An Interview,” Ernest Hemingway, pg 856, Norton Anthology
Frederick Busch on “Hills Like White Elephants”, Norton pg. 893
February 15/17 Character, “Girl,” Jamaica Kincaid
“An Ex-Mas Feast,” by Uwem Akpan
Begin Story/workshop
Februaary 22/24 Now, “Alone,” by Yiyun Li (New Yorker, 20 under 40)
“Tapka,” by David Bezmozgis, (New Yorker, 20 under 40)
March 1/3 Revision“What We Talk About When We Talk About Love,” Raymond Carver
“The Art and the Craft of Revision,” Joyce Carol Oates, Norton, pg. 869
Stories
March 2/3 River City Writers Series presents Dorothy Allison
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