Creative Writing Teaching Portfolio

8/10/2019 Creative Writing Teaching Portfolio

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Teaching PortfolioEnglish 605, Fall 2014

Melissa Glidden


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Table of Contents

I. Syllabus for Multi-Genre Class 3II. Syllabus for Fiction Class 9

III. Statement of Teaching Philosophy 15IV. Pedagogy Paper.. 17V. Notes from Practicum. 19VI. Reflection of Observation and Practicum 20VII. Writing Activity 1. 22IX. Writing Activity 2.. 23X. Writing Activity 3 24


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ENGLISH 285 | Intro to Creative WritingInstructor: Melissa C. M. Glidden

My Contact Info:

What You Need:! BOOK: Bird by Bird, by Anne Lamott! Laptop computer

! Internet access" Most readings will be delivered via weblink or PDF.

Writing Center:If you need additional assistance editing and/or revising your papers, or just want some help brainstormingideas, please feel free to go to the Writing Center. The Writing Center is located in RB 291 and the phonenumber is 765-285-8387. You may also schedule appointments online by visitingballstate.mywconline.com .

I. THE BONES

Course Description:You will be introduced to the craft, terminology, and techniques of multiple genres,including fiction, poetry, and creative nonfiction.

Course Objectives:You will be introduced to the practice of reading and writing in multiple genres ofcreative writing, to key issues involved in the discipline, and to basic terminology and techniques of thewriters craft.

Course Rationale: If you are a Creative Writing major or minor, this course will serve as an introduction tothe genres, terminology, and techniques that are taught and required in later creative writing courses. If you

are an elementary education major or English teaching major, this course serves as an introduction to thebasic skills required for the teaching of creative writing. Regardless of your major, this course serves to helpyou improve your understanding of language, and make you a more effective writer.

II. MY POLICIES

Attendance and Participation You get four excused absences. (Be late to class by ten minutes or more twice, and that counts

as one absence.) Each absence after the fourth will result in your course average being lowered by

ten points. Six absences or more is an automatic F. The only exceptions to this policy are the Universitys Bereavement Policy, Ball State University

field trips with documentation, and military service. I reserve the right to mark you absent if your in-class use of technology is excessive (ie. texting,

obviously not taking notes on your open laptop, leaving class to take a non-emergency call, etc.)or if your behavior is disruptive.

Youare responsible your your missed work or missed lessons.

Youare responsible for tracking your own attendance. I take attendance for documentation

purposes, mostly. It is very rare that I will notify you if youre coming up on your fourth absence.


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Technology Guidelines:You need your laptop for this class. Bring it. Every day. But, to reiterate, do notuse your laptop or phone during class time for anything other than note-taking and participatory classroomactivities. Im even okay if you Google something we just talked about really quickly or search for a wordin the online thesaurus. But consider the work your instructor has put into this class, the work yourclassmates are putting into the class, and the outcomes that await you if step away from the Facebook for

fifty full minutes and provide the class with your attention and respect. Itll be worth it. I promise.

Due Dates: These arent flexible. Your work will lose one letter gradefor each daythat it is late. Turnyour work in early if you think youre going to miss a due date. Stay on top of everything so that if youget sick at the last minute, youre covered. Contact me in the event of an emergency. Otherwise, be on

time, every time.

Respect & The Workshopping Environment: (From Steve Hales syllabus, Illinois State University)Academics often focus on objects, texts, opinions, and events which may evoke strong opinions andemotions in scholars at all levels. You might find some of the texts and topics we study to becontroversial. Though I will try not to purposely offend anyone, there may indeed be moments in thisclass where you are shocked, offended, or have your worldview challenged.

That said there will be differences of opinion between you and the text, your classmates, yourgroupmates, and within the class as a whole. Please be prepared for such disagreements and remember:

someone will eventually disagree with you, so please treat those you disagree with as you would

like to be treated were the roles reversed you are arguing positions, not people, so try not to take this personally

one of the ultimate goals of academics is to account for a multitude of perspectives

No opinion or worldview is really worth having if you are afraid to hold it to scrutiny, so try to

enjoy the opportunity to examine your beliefs. You can (and should) feel free to believewhatever you want. You are required, however, to make every available effort to back up, justify,

and support any claim you make with specific information. In academics, we tend to takeseriously those positions that are well thought out but easily dismiss rash opinions that areunsupported.

In a creative writing workshop, especially, it is important to create a middle space between politelypraising a work and finding flaws for the sake of finding flaws. In the middle space, we can describe what

a text does and state our informed analysis, with a commitment to making the writer more effective andmore aware of what the work is doing.

Writing Competency: By the time youve reached this course, you should have a moderately stronggrasp of English grammar, sentence fluency, writing conventions, etc. Proofread everything. Proofread it

again. Give it to someone else and have them look it over for you. Take your work to the writing center.It will be very difficult for anyone to assess your work if we cannot understand it on account of excessivegrammatical issues, and considering that this isnt a freshman-level course, I reserve the right to return

work to you un-graded if I simply cannot follow it due to grammatical issues. I want to teach you to

become a more creative writer, but to do that, I need to be able to understand your writing!

Accommodations:A student who needs course adaptations or accommodations because of a disability,who has emergency medical information to provide, or who needs special arrangements in case the


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Grading: I use the standard +/- system. The scale is simple and familiar: A = 93-100%; A- = 90-92%; B+ 87-89%; B = 83-86%, B- = 80-82% and so on. Grading in a creative writing course is a little different, but I dohave some rationale behind how you can expect to be evaluated in this course:

A Exceptional - Excellent in overall quality (90-100) Substantial in content (required length and successful development) Mature in style; engaging Virtually flawless mechanics Demonstrates ability to handle writing challenges successfully Uses language creatively and effectively Displays an elegance beyond simple proficiency Originality with a strong voice Clear sense of audience and context Often, there is a loose connection between the writer's sense of self and the writing. An exceptional piece takes risks that work - either in content or form.

B Proficient - Very good in overall quality (80-89)

Substantial in content, though more development is possible; fits required length though moredevelopment may be needed Formulas successfully abandoned Few mechanical or technical flaws Uses language effectively, but not quite exceptionally Demonstrates ability to handle varied writing tasks successfully Voice is clear and distinct, if not powerful. Sense of audience is clearly present, if not always firm A proficient piece takes fewer risks and completes them less than exceptionally.

C Consistent to Competent- Average in overall quality (70-79) Competent in content and style; may be superficial errors; does not fit required length

Successful but not ambitious or vice versa Inconsistent demonstration of ability to handle a variety of writing tasks successfully and to use language

effectively Sense of audience and task, but may seem formulaic or lacking a strong voice There are more strengths than weaknesses, but there may be an unevenness of quality. There seems to be minimal risk-taking or originality. This type demonstrates basic competence in writing.

D Basic to Functional- Below average in overall quality (60-69) Some areas of the piece may be too brief or underdeveloped Some evidence of ability to handle writing tasks successfully and to use language effectively

Positives are mirrored by recurring problems in either or both content and style Technical and mechanical errors are frequent and notable Lacks both a clear sense of purpose and a distinctive voice Strengths and weaknesses tend to be evenly balanced either within or among pieces. This type suggests competence in writing but is usually bland and uninspiring.

F Weak to Developing Well below average in overall quality (50-59) The writing may be unclear, unfocused, or including some technical errors The writing is usually thin in substance and undistinguished in style, does not follow directions or meet


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minimum standards of the assignment Writing may be either short and undeveloped or abstract and vague Technical and mechanical errors are frequent and notable Little evidence of ability to handle varied writing tasks Structural flaws, carelessness, weaknesses clearly predominate. In this type, the writer relies heavily on formulas, stereotypes, and/or clichs.

Unacceptable - Poor in overall quality (


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10 WP 2 Due, Group 2 workshopping

11 UNIT 3: Poetry / Explore and discuss favorite poems,initial appeals.

Students browse Poets.org, sharefindings with the class.

12Topic: Form (Readings, discussions, exercises.) Even the Rain by Agha Shahid Ali

The Ghazal of What Hurt by Peter ColeJourney by Matthew Williams

13 Topic: Form (Readings, discussions, exercises.) The Aliens and The Bluebird byCharles BukowskiThe Day Lady Died and Why Iam Not a Painter by Frank OHara

14 WP 3 Due, Group 3 Workshopping

15 UNIT 4: The Working Writer / (Readings, discussions,exercises.) Interviews with working writers, publishers,academics, freelance writers, etc.

Bird by Bird: HOW DO YOU KNOWWHEN YOURE DONE?Bird by Bird: SHITTY FIRST DRAFTS

16 (Readings, discussions, exercises.) If You Want to Write by BrendaUelandLast Lecture: Am I a Writer? by CathyDay

17 Final WP Due


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ENGLISH 3XX | Fiction WorkshopInstructor: Melissa C. M. Glidden

My Contact Info:What You Need:

BOOK:Making Shapely Fiction (MSF)by Jerome Stern Laptop computer

Internet access

o Most of the short stories we read in class will be delivered via weblink or PDF.

Writing Center:If you need additional assistance editing and/or revising your papers, or just want some help

brainstorming ideas, please feel free to go to the Writing Center. The Writing Center is located in RB291 and the phone number is 765-285-8387. You may also schedule appointments online by visiting

ballstate.mywconline.com.

I. THE BONES

Course Description: In our class, you will spend time studying fiction intensively reading it, writingit, and critiquing it.

Course Objectives: By the end of the course, you will have been exposed to, and critiqued a variety ofvoices in short fiction. In addition, you should be able to identify the elements of fiction, and apply them

to your own short fiction writing.

Course Rationale: This course serves Creative Writing majors and minors as an intensive study offiction, building on the knowledge taught in 285 (Introduction to Creative Writing). It also provides

greater understanding of this genre for other English majors, and is valuable for any students who wish toread and write more effectively.

II. MY POLICIES

Attendance and Participation You get four excused absences. (Be late to class by ten minutes or more twice, and that counts

as one absence.) Each absence after the fourth will result in your course average being lowered byten points. Six absences or more is an automatic F.

The only exceptions to this policy are the Universitys Bereavement Policy, Ball State University

field trips with documentation, and military service.

I reserve the right to mark you absent if your in-class use of technology is excessive (ie. texting,obviously not taking notes on your open laptop, leaving class to take a non-emergency call, etc.)or if your behavior is disruptive.

Youare responsible your your missed work or missed lessons.

Youare responsible for tracking your own attendance. I take attendance for documentation

purposes, mostly. It is very rare that I will notify you if youre coming up on your fourth absence.Technology Guidelines:You need your laptop for this class. Bring it. Every day. But, to reiterate, do notuse your laptop or phone during class time for anything other than note-taking and participatory classroom


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activities. Im even okay if you Google something we just talked about really quickly or search for a wordin the online thesaurus. But consider the work your instructor has put into this class, the work yourclassmates are putting into the class, and the outcomes that await you if step away from the Facebook forfifty full minutes and provide the class with your attention and respect. Itll be worth it. I promise.

Due Dates: These arent flexible. Your work will lose one letter gradefor each daythat it is late. Turnyour work in early if you think youre going to miss a due date. Stay on top of everything so that if youget sick at the last minute, youre covered. Contact me in the event of an emergency. Otherwise, be on

time, every time.

Respect & The Workshopping Environment: (From Steve Hales syllabus, Illinois State University)Academics often focus on objects, texts, opinions, and events which may evoke strong opinions andemotions in scholars at all levels. You might find some of the texts and topics we study to be

controversial. Though I will try not to purposely offend anyone, there may indeed be moments in thisclass where you are shocked, offended, or have your worldview challenged.

That said there will be differences of opinion between you and the text, your classmates, your

groupmates, and within the class as a whole. Please be prepared for such disagreements and remember:

someone will eventually disagree with you, so please treat those you disagree with as you wouldlike to be treated were the roles reversed

you are arguing positions, not people, so try not to take this personally

one of the ultimate goals of academics is to account for a multitude of perspectives

No opinion or worldview is really worth having if you are afraid to hold it to scrutiny, so try to

enjoy the opportunity to examine your beliefs. You can (and should) feel free to believe

whatever you want. You are required, however, to make every available effort to back up, justify,and support any claim you make with specific information. In academics, we tend to takeseriously those positions that are well thought out but easily dismiss rash opinions that are

unsupported.

In a creative writing workshop, especially, it is important to create a middle space between politelypraising a work and finding flaws for the sake of finding flaws. In the middle space, we can describe whata text does and state our informed analysis, with a commitment to making the writer more effective andmore aware of what the work is doing.

Writing Competency: By the time youve reached this course, you should have a moderately stronggrasp of English grammar, sentence fluency, writing conventions, etc. Proofread everything. Proofread it

again. Give it to someone else and have them look it over for you. Take your work to the writing center.It will be very difficult for anyone to assess your work if we cannot understand it on account of excessive

grammatical issues, and considering that this isnt a freshman-level course, I reserve the right to returnwork to you un-graded if I simply cannot follow it due to grammatical issues. I want to teach you tobecome a more creative writer, but to do that, I need to be able to understand your writing!

Accommodations:A student who needs course adaptations or accommodations because of a disability,who has emergency medical information to provide, or who needs special arrangements in case thebuilding must be evacuated, should let me know as soon as possible. For further assistance, contact the


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Disabled Student Development Office (Student Center, Room 116, Phone: 285-5293 TTY: 765-285-

2206)

Academic Honesty: Honesty, trust, and personal responsibility are fundamental attributes of theuniversity community. Academic dishonesty by a student will not be tolerated, for it threatens thefoundation of an institution dedicated to the pursuit of knowledge. To maintain its credibility andreputation, and to equitably assign evaluations of scholastic and creative performance, Ball StateUniversity is committed to maintaining a climate that upholds and values the highest standards of

academic integrity Refer to Ballpoint on-line for further information.

III. ASSIGNMENTS & GRADING

How to Turn in Writing Projects: I dont typically do paper. Unless I indicate otherwise, we will turnall major projects in to [email protected] a .doc file.

If Your Project is Getting Workshopped:You will need to print a copy of your project out foreveryone in the class. Be mindful of that.

Format: The format for all writing project is a basic serif or san-serif font (Times New Roman, Arial,Calibri, etc.) set at 11 or 12 pt. Double-spaced.

Assignments:

Discussion Boards Discussion Board (20%)

o Every other week, you are required to create an original post on our class discussionboard reflecting on our readings. (Be mindful of the prompt and writing requirements.)The following week, you will choose one of your classmates posts to respond to.

Writing Exercises (30%)o Throughout the semester, well be completing a variety of short writing exercises both

in-class, and as homework. Details to follow each assignment. Short Story (Final Writing Project) (30%)

o As you evolve as a writer this semester, youll apply all your new skills in one short workof fiction, 12-18 pages long. This piece will be submitted for workshopping near the end

of the semester, revised, and turned in as your final. Participation (10%)

o Speak up in class. Contribute to discussion. Ask questions. Be an active participantduring workshopping. Let us hear your voice. It matters.

Attendance at XYZ CW Eng. Dept Event (10%)

o

You must attend this event its 100 if you go, 0 if you dont. Afterwards, well discussin class and/or on the discussion boards the notion of literary citizenship. If there is a realemergencyand you cannot attend, please provide me with documentation and we willcome up with a way for you to make up this grade.

Grading: I use the standard +/- system. The scale is simple and familiar: A = 93-100%; A- = 90-92%; B+87-89%; B = 83-86%, B- = 80-82% and so on. Grading in a creative writing course is a little different,but I do have some rationale behind how you can expect to be evaluated in this course:


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A Exceptional - Excellent in overall quality (90-100)

Substantial in content (required length and successful development) Mature in style; engaging

Virtually flawless mechanics Demonstrates ability to handle writing challenges successfully

Uses language creatively and effectively Displays an elegance beyond simple proficiency

Originality with a strong voice Clear sense of audience and context

Often, there is a loose connection between the writer's sense of self and the writing. An exceptional piece takes risks that work - either in content or form.

B Proficient - Very good in overall quality (80-89) Substantial in content, though more development is possible; fits required length though more

development may be needed

Formulas successfully abandoned Few mechanical or technical flaws Uses language effectively, but not quite exceptionally

Demonstrates ability to handle varied writing tasks successfully Voice is clear and distinct, if not powerful.

Sense of audience is clearly present, if not always firm A proficient piece takes fewer risks and completes them less than exceptionally.

C Consistent to Competent- Average in overall quality (70-79) Competent in content and style; may be superficial errors; does not fit required length

Successful but not ambitious or vice versa

Inconsistent demonstration of ability to handle a variety of writing tasks successfully and to uselanguage effectively Sense of audience and task, but may seem formulaic or lacking a strong voice

There are more strengths than weaknesses, but there may be an unevenness of quality. There seems to be minimal risk-taking or originality.

This type demonstrates basic competence in writing.

D Basic to Functional- Below average in overall quality (60-69)

Some areas of the piece may be too brief or underdeveloped Some evidence of ability to handle writing tasks successfully and to use language effectively

Positives are mirrored by recurring problems in either or both content and style

Technical and mechanical errors are frequent and notable Lacks both a clear sense of purpose and a distinctive voice Strengths and weaknesses tend to be evenly balanced either within or among pieces.

This type suggests competence in writing but is usually bland and uninspiring.

F Weak to Developing Well below average in overall quality (50-59)

The writing may be unclear, unfocused, or including some technical errors


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The writing is usually thin in substance and undistinguished in style, does not follow directions or meet

minimum standards of the assignment Writing may be either short and undeveloped or abstract and vague

Technical and mechanical errors are frequent and notable Little evidence of ability to handle varied writing tasks

Structural flaws, carelessness, weaknesses clearly predominate. In this type, the writer relies heavily on formulas, stereotypes, and/or clichs.

Unacceptable - Poor in overall quality (


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13 MSF: Stereotype, Style,WorkshopDiscussion board post 7.

Selection from The Broken Plate

14 Conferences. The Working Writer: Interviews withworking writers, publishers, academics, freelancewriters, etc.

If You Want to Write by Brenda UelandLast Lecture: Am I a Writer? by Cathy Day

15 Short Story Drafts DUE. Workshop Week 1

16 Workshop Week 2, Revision

17 Revisions, Final WP (Short Story) Due


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Teaching PhilosophyMelissa C. M. Glidden

From the outside, no two people are exactly alike. Each individual person, each student, comes indifferent shades and shapes, contributing something beautifully unique to the world. Yet, despite thedifferences we can see, almost everyone is made of up the same internal structures bones, sinew,organs. These are the things that shape and transport us. These are the things that make us function.

My philosophy of teaching creative writing is based on the notion that, while artistic subjectivity isinescapable, craft the bonesof the art form is concrete and teachable. I come to the forum with aspecific set of tools. I then teach my students how to use these tools, via a series of discussions andin-class exercises, to create something using their own unique voice.

Additionally, I believe that all students even students of the fine arts and humanities deserve theopportunity to see how the skills and knowledge they are obtaining in their courses are not arbitrary

and inconsequential, but practical and applicable to their lives.

Greg Lights Developmental Stages of Creativity

A primary goal of mine in both multi-genre and single-genre creative writing courses is finding abalance between teaching the tools of the craft and being mindful of whatcreativity looks like andhowit happens. I refer to what Greg Light terms the developmental stages of creativity as a markerto help guide me as an instructor, and keep my students aware of where they are in their process.

For example during the releasing stage of creativity (the first stage in Lights model), myapproach to teaching will resemble more of what researchers Blythe and Sweet would call the

inspiration approach to the teaching of creative writing. In this pedagogical approach, studentswrite to write, to generate text, to see what comes out from within, to take risks, test limits.

Moving through the process, however, I require my students to become more mindful of the bonesand internal organs of their work. Light terms these stages documenting and narrating,eventually moving into critiquing. During these stages, my teaching approach also changes andresembles a mix of what Blythe and Sweet call the atelier approach, great works approach, andtechniques approach. My students hone their skills by analyzing and critiquing the work ofnotable writers, moving into the molding of their own work using tools of the craft that we practicein the classroom.

The role of evaluation, feedback, and the workshop

Feedback should be constant and frequent. It can happen while leading class discussion, or in themargins of student work. However, feedback should also be collaborative, as it often is duringworkshopping.


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Gerry LaFamina writes, A good workshop, first and foremost, attempts to not confuse oneparticipants poetic goals with another persons even the teachers. By guiding my students as wecritique and analyze the works of notable authors, I strive to help students see the bonesof the craftand how they come together to create a cohesive work. By examining craft elements before critiquinga work for its personal aesthetic appeal, students are provided with the opportunity to practice this

skill before using it to critique their classmates writing. On the whole, the workshop environment inmy class like the classroom environment on the whole is democratic. While I work to serve as aguide and model during the workshopping phase of feedback, it is the students who ultimately areprovided with the opportunity to practice shaping the climate of the learning environment inpositive and constructive ways.

Professionalization

Unique to my approach to teaching creative writing is that I find it crucial for students to beprovided with an opportunity to see how skills gained in the creative writing classroom can, and do,translate in the real world. Multi-genre creative writing students, who often come from a wide

variety of majors and vocational interests, should know by the end of the semester how their newskills in critical and creative thinking will serve them in the workplace. Creative writing majorsshould be exposed to other writers and professionals in creative vocations ranging from editing andpublishing to marketing or television and radio.

Its my experience that skills taught in creative writing classrooms are absolutely applicable to thereal world scenarios that many undergraduate students will need to navigate after college.

I understand that teachers on a university campus create their own community. I embrace myteaching philosophy as uniquely my own, and its my intent that it should contribute to thecommunity of educators on my campus, as well as to the conversation created by their own teachingphilosophies. This complex variety of teaching philosophies within a field ultimately inspires ourstudents to initiate conversation among themselves about creativity, culture, and education as theyexit our classrooms.

Melissa C.M. Glidden


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Pedagogy PaperUsing Scansion in Free Verse PoetryMelissa Glidden

When introducing students to the fundamentals of poetry, instructors will typically spend some timeteaching students how to use scansion to analyze more formal styles poetry where meter is a key element,

such as iambic pentameter or haiku. However, the importance of scansion in free verse poetry tends toget overlooked in light of the fact that free verse is usually considered, well,free-- without restriction.

In reality, scansion plays just as vital of a role in free verse poetry as it does in other forms of poetry whereone might use scansion to evaluate the overall effectiveness of a poem by analyzing its meter. Moving

beyond simply analyzing a free verse poem for its content and use of literary devices, and providingstudents with a tool that helps them actively consider the sound, rhythm, and movement of their freeverse poetry can result in more compelling, complex works. Using scansion to analyze free verse poetryalso requires students to consider that this is not necessarily a less complex form of poetry than other

forms which impose more explicit limitations on writers.

First, students are provided with an opportunity to see how scansion is used to analyze a free verse poemin class with the use of an exemplar. After stressed and unstressed syllables are counted up and talliedalongside the poem (on a handout, on a document projected before the class, or any means), students

observe that, even in a free verse poem, sometimes syllabic patterns are uncovered.

After writing their own free verse poems, students will then perform the same analysis on their poemsthat they did on the exemplar. The goal is for them to use scansion as a tool to observe the rhythms and

patterns in their own writing in order to help guide revision. For example, if the scansion of one or twolines of a free verse poem are dramatically different from the rest of the students poem, the student

might consider revising these lines to help contribute to the fluidity or musicality of the piece.

Ball State University creative writing instructor Michael Meyerhofer, who originally developed thisactivity, writes that scansion is a good way to tell how much energy your lines have, if youre breaking

any kind of pattern established by previous lines, etc. He adds that as a general rule, I always want tohave more stressed than unstressed syllables in a line. This gives a poem more power stressed syllablestend to convey more impact than unstressed, passive syllables. This activity ultimately becomes a toolstudents can use to obtain a visual representation of the scansion found in their free verse poetry, which

they can then use to help compose more dynamic poems.

As situated in what Greg Light terms the Developmental Stages of Creativity, this activity falls towardthe latter, final stages: narrating. According to Light, narrating is when students begin to gain a sense of

advanced integration of the techniques of a genre, becoming more mindful of the elements of craft,and employing those elements or techniques.

Light says that the narrating stage comes in two forms: limited (in which the students are beginning to

recognize the elements of a craft or techniques of a genre) and extended, in which the students actuallyemploy those techniques. The scansion activity is situated in both these phases. Students experiencelimited narration while using scansion to analyze prescribed poems, and they experience extendednarration as they write, and then use scansion to analyze their own poems, thereby employing the


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technique and potentially making improvements to their own poems based on their analysis.

Executing the activity in this fashion (by requiring students to first use scansion on prescribed poemsbefore using it to analyze their own poems) also relies upon the ideas presented within the Understandingby Design pedagogical framework, which places an emphasis on backwards design. In this case,

students are first exposed to what scansion looks like in the work of notable, achieved poets. By showingstudents what the goal of the activity is first, students are provided with a model by which to performscansion analysis on their own poems.

The ultimate goal of this activity is for students to obtain a more complex understanding of the free verseform of poetry, that they might begin to see that perhaps the most effective, notable free verse poetry

isnt entirelyfree. Rather, creating limitations for a free verse poem by using scansion actually has thepotential to create more lyrical, aesthetically appealing and linguistically effective free verse poems.


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My notes from my day of teaching in Johns class.

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English 285 Observation & Practicum

The instructor I shadowed, John King, had a syllabus that was similar to most of the English 285ones Ive seen thus far at Ball State. Its clear that hes considered the fact that creative writing isntonly a challenge to teach, but a challenge to grade. In the syllabus, hes done his best to describe

what an A looks like in the course, a B, a C, and so forth. Hes provide a few definitions as well,including a definition for originality in the context of the class: I will provide a list of tired storyideas and worn-out genres to avoid I provide this list to help you be aware of what is exhausted(or getting there), as well as challenge you to write more original material.

The schedule for the course is a well-balanced mix of readings, writings (both short and majorprojects), discussions, and workshopping. I was fortunate enough to get to observe both a day of in-class writing and two days of workshopping, which was interesting to see in class of about twentystudents.

In all of the classes I sat in on (the unit being the non-fiction personal essay) there were a fewcommonalities. Johns personality is very inherent in his teaching style. Not only am I acquaintedwith him because his office is directly across the hall from mine, but Im also buddies with him onFacebook, and it was interesting to observe that he has no shame being himself and letting his senseof humor and interests punctuate the classroom environment. Despite frequent pauses to crackjokes, humor a student, or show a silly thirty-second YouTube clip, he skillfully always kept theclassroom environment focused on the learning task at hand. In doing so, the mood of the classroomwas one in which it seemed as though the students felt safe to take risks, both producing and sharingtheir work. As an instructor, John was still authoritative, making it clear that he had brought to thecourse a specific set of craft-tools and that he had what it took to teach the students how to usethem. The jovial atmosphere, then, really seemed to contribute to the students willingness to accept

that learning to use those tools would be a trial-and-error experience, and they seemed much morecomfortable sharing and accepting criticism of their work.

Another commonality I observed was the structure of each class. There were certain housekeepingactivities that had to happen, like students turning in journals and attendance at the top of the hour.He also started each of the three classes by taking a look at the schedule on the projector so thestudents could see how far they had come and what was coming up next. It was inevitable that astudent would attempt to talk about a film they had just seen or something in the news, and Johnalways allowed an opportunity to talk about that, while veering the discussion towards the topic athand.

On one of those days, that topic was subtext. Though subtext, as a topic, wasnt on the schedule forthat day, I noticed that when it came up, John was intuitive enough to see that it was something thatneeded to be discussed. On the particular day that it came up, the students performed an in-classwriting. They had to write out a scene of dialogue that had actually happened to them - somestudents wrote about conversations they had had with friends, others with parents, and so on. Afterabout ten or fifteen minutes of writing, a few students shared what they had written. As Johnlistened, he guided the discussion by pointing out certain craft-tools he was hearing - in this case,it was subtext. Many of the students that shared didnt even know that they had grasped the concept


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of subtext, or what subtext was, until John pointed out that they had been doing it in their dialoguesamples.

The two days of workshopping that I observed were also very similar: students shared their work,and John served as somewhat of a meaning filter. As the instructor, he listened to the student

reading, and then guided the class discussion based on what he had heard, intuiting the needs of theclass as it progressed. The two workshopping days were very encouraging, as after the student readtheir work, criticism could only begin after the works strengths had been recognized, and the writerwas offered an opportunity to contribute to the discussion of their work.

In planning my own lesson, I collaborated with John. He was on a poetry unit at the time, so heprovided me with his lesson plan for the unit. The lesson pertained to scansion. Students would beevaluating some poems using scansion, and then they would be writing their own poems andevaluating the scansion in them as well.

I thought a lot about backwards design as I implemented Johns lesson plan on scansion. Thestudents were being provided with the opportunity to see scansion modeled first before actuallyusing it on their own. My first goal was to make sure that I knew was scansion was before thislesson plan, I didnt! Thankfully, one of the best ways to learn a concept is to teach it. I wassomewhat nervous as I began to teach a lesson on something that was new to me, but I stayed coolby remembering that, as I began to speak on the topic of scansion, by that point I did know what itwas. Furthermore, if I needed to stop and ask John a question, doing so confidently would notdetract from my expertise as a teacher. Rather, I knew that asking questions confidentlydemonstrated that teaching and learning are inherently intertwined. Seeing a teacher ask a questioncan often inspire students to feel less nervous about looking silly by asking a question.

My student evaluations came back really positively, which made me happy. But, teaching makes mehappy, too. They noticed my enthusiasm, and how much I enjoy talking about all things creative. Ithink they also noticed how much I just enjoy getting to know different learners, their interests, andwhat gets them excited about a topic.

My analysis of Johns teaching style and the structure of his course is that it strikes a very meaningfulbalance between intuiting the needs of the students and staying within the boundaries of apreconceived framework. I observed that having this framework (the structured syllabus, schedule,the structure of the class day itself) limited students enough that they didnt feel overwhelmed by aninvitation to throw caution to the wind and freely create, but that they still felt comfortable andsafe exploring their identities as writers. I also hope my enthusiasm and willingness to ask questions

myself was inspiring to the students. I think its important for students to see that teaching andlearning arent two completely separate entities, but that teaching islearning, and vice versa.


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Short Story: Final Writing ProjectFinal Copy Due: April 28, 2014

Format

Your final writing project is a short story, 8-12 pages long. Each page should be double-spaced, 1margins all around, in a basic serif or san-serif font (Times New Roman, Arial, etc.) set at 12 pointsize, with MLA headers and footers where applicable.

Deliverables1. Your first draft is due electronically in my inbox prior to our workshopping. I will make a fewcomments for you and get these back to you before we workshop.

2. On the day you are scheduled to workshop, you must bring in a hard copy of your story foreveryone in the class, including myself.

3. The final copy of your revised, polished short story is due to me electronically by 11:59 P.M. onApril 28, 2014.

What I WantYour grade breakdown for this writing project is as follows:

Demonstration of craft: 80%The weight here is determined by how well your final

work holds up against the rubric in the syllabus.

Workshop participation: 10%You must participate in workshop. Pay attention to the workshopping

guidelines outlined in the syllabus. I am observing to see how youcontribute to the community of writers in our class.

Mindful revision: 10%A major portion of improving as a writer is being mindful of your

audience. I will compare your final draft to the draft you sent meprior to workshopping. I am looking to see what types of changesyou made to your final draft, how they impact the varying elementsof your story, and so forth.


23/24

Writing Project 4: The Working WriterFinal Copy Due: April 28, 2014

Format

Your final project will consist of two parts. Each part should be double-spaced, 1 margins allaround, in a basic serif or san-serif font (Times New Roman, Arial, etc.) set at 12 point size.

Deliverables1. The first deliverable is your revised and polished version of either Writing Project 1, WritingProject 2, or Writing Project 3. Refer to the assignment sheet for that particular writing project todetermine proper formatting, length, etc.

2. The second deliverable is a reflection paper a minimum of 500 words in length. In this reflectionpaper, you must tell me which journal you have chose to submit your revised writing project to andwhy you have chosen this journal. Reflect upon the process of submission, the professionalization

discussions weve held in class (with interviewees), readings, and/or the purpose of creative writing inthe academy.

3. Both deliverables should be turned into me electronically. Check the syllabus for the appropriateemail address.

What I WantYour grade breakdown for this writing project is as follows:

Demonstration of craft: 80%

The weight here is determined by how well your final

work holds up against the rubric in the syllabus.Reflection paper: 20%

Again, the weight here is determined by how well your

writing holds up to the rubric in the syllabus, though in thereflection paper I am not looking at literary craft so much as

I am looking at how well you have communicated your ideas.


24/24

In-Class Activity: Be a CameraUnit: Creative Non-Fiction, Setting

Goal

The goal for this activity is simple: notice. Be a camera. What details about your environment haveyou been overlooking, and what role do these details potentially play in creating vivid settings inyour creative non-fiction?

Activity Steps1. For twenty minutes, we are going to be cameras. You may stay in the classroom, or you mayventure out into the halls or downstairs to step outside. But for twenty minutes, you are going to listobservations. List everything. List things that are static: posters on the wall, the color of the carpet.List things that change: people entering and leaving rooms, smells, sounds. After a few minutes, youmight begin to get bored this is when things become the most interesting. List details about thedetails youve already listed. Stay focused on people as they come and go. You should begin to find

that the details in your environment truly can seem virtually infinite.

2. Next, well come together to share our lists. Well find that many of us wrote down some of thesame things. If two people wrote down that there was a stain on a specific wall, does each personhave a similar speculation regarding how that stain got there? If more than one person has writtendown a certain scent, do all those people find that scent pleasant? Does that scent remind everyoneof the same thing?

3. Finally, well discuss how these details work in concert to create a mood or tone. What if one of usbegain listing details without ever explicitly stating what kind of building they were in (ie. withoutever explicitly stating that they were in a classroom). Would the details alone be enough to indicatethat this person was in a classroom? Furthermore, what would those details say about that classroom?What age of students took classes there? Is the teacher in charge of that room warm and inviting orcold and distant or strict?

4. For this weeks discussion board, reflect upon this activity in 150-300 words.

Documents

Creative Writing Teaching Portfolio