fantasy writing syllabus s13

7/27/2019 Fantasy Writing Syllabus S13

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FANTASYWRITING

Spring 2013

Catherine Faurot Course: 0502 560-01 (34881)

Visiting Assistant Professor T/R 12:00 1:50

Email: [email protected] James E. Booth 1541Office: Bldg. 6, Liberal Arts, 1317 4 credits

Office Hours: Tues.: 10 - 11, Thurs.: 4-5

and by appointment

Course Overview

Ten weeks to teach a course on writing fantasywhat an incredible and impossible assignment.

What I hope to do is introduce you to the essential components of storytelling (at least most of

them) and teach you how to create the scaffolding necessary to hold up the world you will be

creating. Throughout the term you will be working on elements of fantasy writing toward the final

goal of completing a substantial, complete story.

Week 1

We will begin the term with an overview of the Heros Journey format of storytelling. Thisoverview is intended to help you conceive, even in the most nascent way, of the arc of your

story.

Weeks 2 4

From weeks 2 4 (the first half of week 4, actually) we will work on background elements to

your story: creating characters, building a world, and laying down the rules of the supernatural

in that world, using The Writers Journey text as a guide as well as additional material.

During these weeks we will also be reading the first 180 pages of George R.R. Martins A Game

of Thrones, analyzing it for Martins take on characters, world building and the supernatural.Well also analyze his novel for style elements such as in media res or starting in the middle,voice, point of view, dialogue, etc. This part of the class will consist of discussion, in-class

exercises, and small group sharing designed to help you build and people your fantasy world.

Weeks 4.5 8

From weeks 4.5 9, we will work on plot, again using the Heros Journey as a model. For this

part of the class you will write 4 5 page excerpts (double-spaced) on specific elements of

plot. These excerpts should form the basis of your final story.

We will discuss these elements in class on Thursdays and workshop story excerpts on

Tuesdays. I will divide the class in half: one half will submit their excerpts to me for feedback,

the other half will submit to me and to the class to be workshopped. Students who aresubmitting to me will bring a printed version to class; students who are being workshopped

that week will email me a copy of their writing by midnight on Sunday. I will email the story

excerpts for workshop to the class on Monday morning. You will need to print out your peerswriting and bring copies to class for discussion with your comments.

On Thursday of Week 8 we will discuss the final plot elements for ending your stories.


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Weeks 9 10

I will divide the class into thirds for workshopping your complete stories (although not your

final draft). They should be 20 25 pages, double-spaced, MAXIMUM. The stories are due

Sunday at midnight before a Tuesday workshop and Tuesday at midnight for a Thursday

workshop. Again, I will send out a file with all the stories to be workshopped and you will need

to print them out and bring them to class with your written comments, edits and suggestions.

Final drafts are due the last day of class, along with a portfolio of your writing exercises, story

excerpts, and story draft, along with a 2 3 page critique of your work this term as both awriter and workshop participant.

Writing Length

Please respect the length limits for both the story excerpts and the complete story. I need to give

close attention to your writing and so must insist on length limits. I firmly believe that practicing

each of the elements we will work with this term will help your writing, and I also believe that

paring these elements down to their basic form is useful practice for you as writers as you master

these concepts.

Orson Scott Cards classic novel Enders Game began its long life as a short story.

Course Texts

Ive assigned two books that we will not be able to completely utilize but which I hope will be useful

to you not only in class but in future years of writing. The first is one you are likely to have already

read (and we will not read all of it!) but which embodies many of the techniques we will be using:

A Game of Thrones: George R.R. Martin (Bantam) 0553386794

The second book is a standard in screenwriting but I believe it will be extremely useful for learning

the basics of plot, character and theme, particularly in fantasy. Itsbased on Joseph Campbells

classic work on myth and psychology, The Hero with a Thousand Faces, especially adapted forwriters.

The Writers Journey: Mythic Structure for Writers: Christopher Vogler (Michael WieseProductions) 193290376X

Occasionally I will post additional materials on MyCourses. A supplemental text you may find

helpful is The Complete Guide to Writing Fantasy: Volume One, edited by Darin Park and Tom

Dullemond (Dragon Moon Press, 2002).

Participation

For workshops you need to read your peers writing carefully and thoughtfully. One of the best

techniques is to read it through once and then make your edits and comments during a secondreading, in which you make line edits. In addition, for every workshop you should be prepared to

comment constructively on what is working well in a particular piece, as well as to offer

suggestions to improve it. Write these comments (at least a paragraph) at the end of the piece.

Participation in workshop, specifically the art of reading others writing with a view toward

improving it, is an essential part of learning how to improve ones own writing. Workshopparticipation is also the heart of a creative writing class, so I expect each of you to prepare


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diligently. Because I believe so strongly in engaged workshop participation, I will gather your

workshop comments 2 3 times during the class during workshop to grade your effort.

I will also occasionally ask you to write short reader responses to the assigned readings.

Grading

PortfolioThe writing you submit during the term is worth 60% of your grade. You will submit all your

work in a final portfolio, including your class exercises from weeks 2 4, all your storyexcerpts from weeks 4.5 8 with my comments, and both drafts of your story (again

including the first version with my comments). I dont actually need you to follow all mycreative suggestions, but seeing my initial response helps orient me for reading your revision.

And you do need to fix the grammar and punctuations issues I mark.

Your final portfolio will also contain your two to three page self-assessment of your work this

term.

Participation

The remaining 40% of your grade will be based on participation, in particular the

thoughtfulness of the criticism you offer your fellow writers in class and the examples of your

critiques that I will collect. In addition, your reader responses will be part of your grade.

Finally, you cant participate if you dont show up. I will allow two absences during the term for

illness, emergency or other reasons. Each further absence will lower your grade by one step;

e.g. from a B to a B-.

Although I find it absurd that I should even have to write this statement, if you dont show up

when your own work is being workshopped, be prepared for a major deduction from your

participation grade.

Workshop

The most essential requirement for a creative writing workshop is to create a safe and respectful

environment in which writers can learn about their strengths and weaknesses. In order to create

this environment, we will follow a standard workshop procedure.

1) We'll begin by asking "What's working in this piece?" and "What do we like?" Our second

question will be, How can this essay be strengthened? This is the time to point out any

difficulties in reading and understanding the work, and to suggest changes.

2) When receiving feedback on your writing, keep an open mind as you listen. Please refrain

from speaking during the critique; this is the time to consider the comments you are

receiving. After the workshop is done, you may you respond. You will receive the copiesannotated by everyone. Make sure to save the copy of your writing with my annotations;

you will need to (re)submit those copies in your portfolio.

3) If we reach an essay in the normal rotation and the writer is absent, I will collect

everyones critiques for that piece. We will not workshop the writing at a later date

because of the number of people in the class. Before I return these copies to the writer, I

will look at them to evaluate what you are writing on each other's work. I expect you to

have made written comments throughout the work, as well as concluding thoughts, on


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every workshop piece. The quality of your commentary will affect your participation

grade.

Plagiarism

I will assume that all of the work you turn in for this class is your own. Taking language or ideas

from any outside source without proper attribution constitutes plagiarism. If you engage in

plagiarism, you will fail the assignment, may very well fail the course, and will be referred tothe college for disciplinary actions.

The full text of the RIT policy on plagiarism is available online at:

http:/www.rit.edu/academicaffairs/policiesmanual/sectionD/D8.html.

Communication

I am available via email Monday through Friday, and will respond to you within 24 hours, excepting

weekends. Please also feel free to drop by my office at any time. If I am busy with class preparation

or otherwise working under deadline, I may only be able to speak briefly. But otherwise I welcome

your impromptu visits and conversations.

Computer Use and Phones

Computer use is limited to in-class writing exercises. Please turn off your phones and put them

away during class.

Accomodation

Please see me after class or in my office if you have any needs that require accommodation. RITspolicy on ADA compliance is available at:

http://online.rit.edu/faculty/accessibility/policies/ada.cfm

Student Rights & Responsibilities

An excerpt pertaining to RIT's Accessibility Policies1. It is the responsibility of the student with a disability to identify himself/herself to the Disability

Services Office after they are admitted to RIT. Students with a disability, which has been verified

and documented by a qualified professional, are entitled to receive accommodations approved

by the coordinator of Disability Services.

2. It is the students' responsibility to discuss their accommodation needs with the appropriatefaculty and personnel after they have signed a Notice of Accommodation letter with the

coordinator of Disability Services.

3. Faculty members do not have the right to question the nature of a student's disability. Alldisability information is kept in the Disability Services Office and is not available to anyone

unless authorized by a signed release form from the student.

All students are expected to work to their full potential and students with disabilities are not

excluded from this expectation. Students are expected to commit themselves to professional

excellence, personal integrity, and ethical behavior and demonstrate this commitment in their

academic and professional conduct.
http://online.rit.edu/faculty/accessibility/policies/ada.cfmhttp://online.rit.edu/faculty/accessibility/policies/ada.cfm


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COURSE OUTLINE

(subject to change)

WEEK 1 MAR. 5 - 7:

Tuesday:

Orientation / syllabus

The Heros Journey overviewRene Girard and mimesis; suggested readings

DIVIDE INTO GROUPS A & B and GROUPS 1, 2 & 3. GIVE FINAL DEADLINES.

Read: The Writers Journey(WJ from now on), A Practical Guide, p. 3 20.

Recommended reading: Preface to the Second Edition, which addresses criticisms of the

Heros Journey structure in ways that expand potential approaches toward using it.

Thursday:

NO CLASS.

(I will be away at the Association of Writing Professionals conference.)

WRITE:a skeleton guide of a possible story using each aspect of the Heros Journey (listed on

WJ, p. 19). You should have a 2 - 3 page outline with 12 different story features.

Read: WJ, The Archetypes, p. 23 79. Be prepared to write a reader response.

Bring: A copy of your outline to discuss and hand in.

Please note: Double-sided is fine / preferable. DOUBLE-SPACED IS ESSENTIAL.

WEEK 2 MAR. 12 - 14 :

Tuesday:Discussion: Heros Journey and major character archetypes in WJ.

Exercises: Major characters (hero, mentor, shadow)

Small Groups: Heros Journey outlinesRead: A Game of Thrones (GT from now on), p.1 63, or Prologue, Bran, Catelyn, Daenerys,

Eddard, Jon, Catelyn, Arya.

Thursday:

Discussion: In media res, character and POV in GT.

Exercises: Minor characters (herald, threshold guardian, shapeshifter, ally, trickster)

Small Groups: Character portraits from both days

Read: WJ, The Ordinary World, p. 83 97.

WEEK 3 MAR. 19 - 21:

Tuesday:

Discussion: Ordinary and extraordinary worlds

Exercises: World creation / the uses of history and natural history

Small Groups: Exercise discussion / comparison of worldsRead: GT, p. 64 127, or Bran to Sansa.

Thursday:

Discussion: World building in GT, including the supernatural

Exercises: Maps, Magic and Races (e.g. elves, orcs, etc)

Small Groups: Natural and supernatural worlds

Read: GT, p. 128 160, or Eddard to Tyrion


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Thursday:

Discussion: WJ

Exercises: Reversal, character arc

WRITE: 4 5 pages, double-spaced, story excerpt of the inmost cave, ordeal & reward

GROUP B FOR WORKSHOP. Email essay to Prof. Faurot [email protected] Sunday evening

for Monday morning distribution.GROUP A bring printed copy of essay to class on Tuesday.

WEEK 8 APR. 23 - 25:

Tuesday:

WORKSHOP: Group B

Read: WJ, The Road Back, The Resurrection, and Return with the Elixir, p. 187 230.

Thursday:

Discussion: WJ, theme and idea, revision

Exercises: MICE (exercise a la Orson Scott Card)

WRITE: FINAL STORY

GROUP 1 FOR WORKSHOP. Email essay to Prof. Faurot [email protected] Sunday evening

for Monday morning distribution.

WEEK 9 APR. 30 MAY 2:

Tuesday:

WORKSHOP: Group 1

Thursday:

WORKSHOP: Group 2

WEEK 10 MAY 7 - 9:

Tuesday:WORKSHOP: Group 3

Thursday:

End of class discussion

FINAL PORTFOLIO DUE
mailto:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]

fantasy writing syllabus s13

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