|Assessment Type||Assessment length / details||Proportion|
|Semester Assessment||Blackboard test A test on the recognition and avoidance of common faults (punctuation, syntax, formatting and style), to be administered by means of Blackboard following the Week 4 lecture. Students must achieve a mark of 60% to pass the module, but may retake the test an indefinite number of times. This is a pass/fail assessment.|
|Semester Assessment||Essay submission Mini-story or fictional scene of 1000 words, to include both descriptive / narrative prose and dialogue.||25%|
|Semester Assessment||Essay submission A portfolio of 2,500 words, comprising one story (1,500 words), a critical commentary (1000 words) and a bibliography (not included in wordcount).||75%|
|Supplementary Assessment||Resubmit failed elements Retake test up to a cut-off date of supplementary examination period at which time tutorial assistance will be offered in order to pass-proceed this element.|
On successful completion of this module students should be able to:
Demonstrate knowledge of the elements of fiction
Employ these elements in the planning and writing of stories
Identify and correct common writing faults
Demonstrate and employ knowledge of the elements of a commentary, including annotated bibliography.
Breakdown of student workload in hours:
Contact time: 30 hours
Pererparation for classes: 60 hours
Supplementary reading: 40 hours
Preparation and completion of writing for assignments and classes: 70 hours
This is the first of two introductory modules for students beginning their studies in Creative Writing, focusing on fiction. It is designed to introduce students to the elements of a story, indicating good practice and common errors in the use of each element, as well as to the use of self-reflexive commentaries and annotated bibliographies. Seminars will be used for discussion of material introduced in the lectures and of the set texts, as well as brief written exercises. Workshops will be used to provide feedback from tutors and peers on writing intended for the assignments.
Brief introduction to the module and the course. Stories in everyday life: anecdotes, jokes, ghost / supernatural stories, urban legends. Social origins and purposes of storytelling. Storytelling as near universal skill – we all know from experience how to select details and create the structure of an effective story. Fiction as adaptation of these skills.
Seminar 1. Discussion of issues raised in lecture. Exercises based on this material, eg, groups of students decide among themselves on a story to tell to the whole class.
The structures of prose
Sentences, paragraphs, scenes (or sections), complete stories. The basic structure of a sentence (subject-predicate, subject-verb-object), seen as a miniature story. Badly structured sentences: fragments, fused sentences and comma splices. Alternatives to these. Paragraphs also seen as miniature story. Conventions of paragraphing. Scenes or sections within a story and the conventions governing these.
Seminar 2. Discussion of issues. Exercises, eg, students are asked to make a syntactically correct, stylistically attractive passage of continuous prose from a series of disconnected sentences.
Lecture 3. Describing places and people. Concrete / abstract. Specific / general. Showing / telling. Word choice. Cliches and journalese.
Seminar 3. Discussion of issues. Exercises, eg, students are given a passage of prose with a lot of ‘telling’, and asked to rewrite it with more ‘showing’.
Lecture 4. Importance of dialogue to pacing and drama of a story. Scene and summary. Direct and indirect speech. Conventions of dialogue: paragraphing, punctuation, speech tags. Writing effective dialogue: realism, cutting, interspersing dialogue with action / description, avoidance of on-the-nose (simplistic and implausible) dialogue.
Seminar 4. Discussion of issues. Exercises, eg, students are given a passage of prose with a lot of ‘on-the nose’ dialogue , and asked to rewrite it more authentically, or they may be given a passage of realistic but unfocused dialogue and asked to rewrite it to achieve a specific narrative purpose. They will also be asked to practise correct punctuation and formatting.
Lecture 5. This lecture slot wilI follow the test, (see Assessment), and will be used to explain the rationale behind the questions set, and the implications for students’ practice of the knowledge and techniques tested. A general breakdown of results will be given, and students will be asked to consider the implications for their future practice of the test results.
Seminar 5. This seminar will be used to give more personalized feedback on the test results,and to answer students’ questions.
Lecture 6. Significant action. Types of plot. Conflict and resolution. Mystery and solution. Quests, sieges. Love and relationships. Coming of age / Learning Better / epiphany. Problems with plotting: plotlessness, congested plot, loopholes, lack of realism, weak driving force, triviality, unclear significance, unresolved ending.
Seminar 6. Discussion of issues. Exercises, eg,students are asked to construct a plot using methods adapted from William Wallace Cook’s Plotto, and then expand it to a one-page synopsis. Students may also be shown a synopsis and asked to identify potential weaknesses or loopholes.
Lecture 7. Description of characters: showing and telling. Character through dialogue. Stereotypes and individuals. Flat and round characters. Character faults: undercharacterizing, inconsistency, inappropriate use of stereotypes.
Seminar 7. Discussion of issues. Exercises, eg,students are asked to construct a characters in the style of a game of Consequences, by writing traits on a piece of paper which is passed round the room. They then write a scene using the characters they have constructed.
Lecture 8. Third person narratives: omniscient, limited, objective, free indirect style. First person: direct / oral style, written style with implied or explicit medium (eg letters, diaries, MSS), stream of consciousness. Nested narratives. Second person. Past tense. Present tense. Importance of consistency: head-hopping, inconsistent tense.
Seminar 8. Discussion of issues. Exercises, eg,students are asked to write a well-known story, such as Little Red Riding Hood, using a variety of narrative modes.
Editing your writing
Lecture 9. The editing process. Objectifying your writing. Recognizing faults covered in previous weeks: sentence structure, description, dialogue, plot, character, narrative modes. Proofreading.
Seminar 9. Discussion of issues. Exercises, eg, students are given a weak piece of writing and asked to improve it.
Lecture 10. Importance of reading, particularly literary fiction and short fiction. The annotated bibliography. Conventions of critical prose, including referencing. Self-analysis. Genre and context. Argument and evidence.
Seminar 10. Discussion of issues. Exercises, eg, students workshop a previously written piece of commentary.
|Skills Type||Skills details|
|Application of Number||Not applicable.|
|Communication||Written communication in assessed work, spoken communication in seminars and workshops.|
|Improving own Learning and Performance||Improving writing in response to workshop criticism, and responding to feedback on assignments.|
|Information Technology||Use of wordprocessing, accessing material on Blackbord.|
|Personal Development and Career planning||Not applicable.|
|Problem solving||Dealing with the technical problems of fiction writing, including the correct use of conventions and English usage.|
|Research skills||Researching for portfolios, and background reading for lecture / seminar topics.|
|Subject Specific Skills||Fictional technique.|
|Team work||Participation in workshops and seminars.|
This module is at CQFW Level 4