Workshop Preparation
Respond to the final projects from your workshop group by completing a Peer Response Form (handed out in class and posted to the blog) for each piece. Bring two copies of each response to class April 29th, one for the writer, and one for me.
Writing Assignment
CONTINUE TO WORK ON YOUR FINAL PROJECT
OPTIONAL (if you still need to turn in a an exercise)
1) Find a piece of writing (in the course reader or elsewhere) that you find difficult, frustrating, or confusing, and write your own creative response, copying as many elements as you can (form, style, tone, rhythm, development, themes, etc.)
Read for April 29
Not Knowing, Donald Barthelme
On Defamiliarization, Charles Baxter
Blog
1. Post a link to an online literary magazine you like. Give us a brief one-paragraph write up of the site’s focus, interests, and aesthetic. If the magazine features collaborative or interactive processes, so much the better!
Showing posts with label Assignments. Show all posts
Showing posts with label Assignments. Show all posts
Friday, April 23, 2010
Sunday, April 18, 2010
Week 11 Assignments
Writing Assignment
EVERYONE does this:
Complete a rough first draft of the creative portion of your final project. If it’s not quite complete, that’s OK, but try to get as close as you can – the workshop will be much more helpful to you! BRING 6 COPIES of your project to class next week, April 22. You will hand them out to your workshop group and to me.
Read for Next Week
from Sleeping with the Dictionary, Harryette Mullen
Coo/Slur, pg. 17
Denigration, pg. 19
Dim Lady, pg. 20
European Folk Tale Variant, pg. 24
Mantra for a Classless Society, or Mr. Roget’s Neighborhood, pg. 49
Present Tense, pg. 57
Sleeping with the Dictionary, pg. 67
Variations on a Theme Park pg. 75
In the Course Reader
Push Hands: Balancing resistance and revision, Jeffrey Skinner
Against Epiphanies, Charles Baxter
Blog
1. Post an entry about any one of the readings this week. This may be a critical or creative piece of about 200-300 words. It MUST respond to your chosen reading in some way, either by identifying and discussing craft elements, themes, or techniques or by using those elements in a creative response.
2. Post comments on at least three other entries. Remember, this is not a place for critiquing each other’s work. Instead, identify something from the piece that strikes or interests you, ask a neutral question about the work, or suggest ways the author could deepen or expand it.
EVERYONE does this:
Complete a rough first draft of the creative portion of your final project. If it’s not quite complete, that’s OK, but try to get as close as you can – the workshop will be much more helpful to you! BRING 6 COPIES of your project to class next week, April 22. You will hand them out to your workshop group and to me.
Read for Next Week
from Sleeping with the Dictionary, Harryette Mullen
Coo/Slur, pg. 17
Denigration, pg. 19
Dim Lady, pg. 20
European Folk Tale Variant, pg. 24
Mantra for a Classless Society, or Mr. Roget’s Neighborhood, pg. 49
Present Tense, pg. 57
Sleeping with the Dictionary, pg. 67
Variations on a Theme Park pg. 75
In the Course Reader
Push Hands: Balancing resistance and revision, Jeffrey Skinner
Against Epiphanies, Charles Baxter
Blog
1. Post an entry about any one of the readings this week. This may be a critical or creative piece of about 200-300 words. It MUST respond to your chosen reading in some way, either by identifying and discussing craft elements, themes, or techniques or by using those elements in a creative response.
2. Post comments on at least three other entries. Remember, this is not a place for critiquing each other’s work. Instead, identify something from the piece that strikes or interests you, ask a neutral question about the work, or suggest ways the author could deepen or expand it.
Thursday, April 8, 2010
Week 10 Assignments
Writing Assignment
Choose One:
1) Compose a series of at least five found poems or prose pieces that have a shared theme, subject, or organizational principal.
2) Compose your own cento of at least 40 lines using at least 5 different texts.
3) Write a poem in a form that you invent as John Cage did in Method.
4) Impose a constraint or set of constraints on yourself. Then write in poetry or prose, keeping within your constraints.
Read for Next Week
Wit, by Margaret Edson
Read for April 22
from Sleeping with the Dictionary, Harryette Mullen
Coo/Slur, pg. 17
Denigration, pg. 19
Dim Lady, pg. 20
European Folk Tale Variant, pg. 24
Mantra for a Classless Society, or Mr. Roget’s Neighborhood, pg. 49
Present Tense, pg. 57
Sleeping with the Dictionary, pg. 67
Variations on a Theme Park pg. 75
Blog
1. Post an entry about any one of the readings this week. This may be a critical or creative piece of about 200-300 words. It MUST respond to your chosen reading in some way, either by identifying and discussing craft elements, themes, or techniques or by using those elements in a creative response.
2. Post comments on at least three other entries. Remember, this is not a place for critiquing each other’s work. Instead, identify something from the piece that strikes or interests you, ask a neutral question about the work, or suggest ways the author could deepen or expand it.
Choose One:
1) Compose a series of at least five found poems or prose pieces that have a shared theme, subject, or organizational principal.
2) Compose your own cento of at least 40 lines using at least 5 different texts.
3) Write a poem in a form that you invent as John Cage did in Method.
4) Impose a constraint or set of constraints on yourself. Then write in poetry or prose, keeping within your constraints.
Read for Next Week
Wit, by Margaret Edson
Read for April 22
from Sleeping with the Dictionary, Harryette Mullen
Coo/Slur, pg. 17
Denigration, pg. 19
Dim Lady, pg. 20
European Folk Tale Variant, pg. 24
Mantra for a Classless Society, or Mr. Roget’s Neighborhood, pg. 49
Present Tense, pg. 57
Sleeping with the Dictionary, pg. 67
Variations on a Theme Park pg. 75
Blog
1. Post an entry about any one of the readings this week. This may be a critical or creative piece of about 200-300 words. It MUST respond to your chosen reading in some way, either by identifying and discussing craft elements, themes, or techniques or by using those elements in a creative response.
2. Post comments on at least three other entries. Remember, this is not a place for critiquing each other’s work. Instead, identify something from the piece that strikes or interests you, ask a neutral question about the work, or suggest ways the author could deepen or expand it.
Thursday, March 25, 2010
Week 9 Assignments
Writing Assignment ~ Due April 8
Note: Please see the final project information sheet for more details, and feel free to email me if you have questions.
1) A description of your final project. This should be a paragraph or two in length, and include the following details:
• The artistic work that will serve as the basis or inspiration for your project
• The form your project will take (a series of poems, a short story, a one act play, etc.)
• How your project will relate to the text that is serving as inspiration (for example: a series of re-interpretations of a story, a re-setting of the story in a different time or place, a telling of the story from a different character’s point of view, a set of poems starting with or centered around favorite quotes)
2) The first portion of your project. This can be a poem, a scene, or an excerpt from the story, and can be as short as a page, but it should be something that you plan to use as part of your project.
Read for April 8
Sonnet 56, by Paul Hoover
IN THE COURSE READER
Method, John Cage from Composition in Retrospect
Ghazal of the Better-Unbegun, Heather McHugh
Sonnet 2 and Sonnet 18, Ted Berrigan
Be Drunk, Charles Baudelaire
New Years Resolution, Lydia Davis
Read for April 15
Wit, by Margaret Edson
Blog
1. Post an entry about any one of the readings this week. This may be a critical or creative piece of about 200-300 words. It MUST respond to your chosen reading in some way, either by identifying and discussing craft elements, themes, or techniques or by using those elements in a creative response.
2. Post comments on at least three other entries. Remember, this is not a place for critiquing each other’s work. Instead, identify something from the piece that strikes or interests you, ask a neutral question about the work, or suggest ways the author could deepen or expand it.
1) A description of your final project. This should be a paragraph or two in length, and include the following details:
• The artistic work that will serve as the basis or inspiration for your project
• The form your project will take (a series of poems, a short story, a one act play, etc.)
• How your project will relate to the text that is serving as inspiration (for example: a series of re-interpretations of a story, a re-setting of the story in a different time or place, a telling of the story from a different character’s point of view, a set of poems starting with or centered around favorite quotes)
2) The first portion of your project. This can be a poem, a scene, or an excerpt from the story, and can be as short as a page, but it should be something that you plan to use as part of your project.
Read for April 8
Sonnet 56, by Paul Hoover
IN THE COURSE READER
Method, John Cage from Composition in Retrospect
Ghazal of the Better-Unbegun, Heather McHugh
Sonnet 2 and Sonnet 18, Ted Berrigan
Be Drunk, Charles Baudelaire
New Years Resolution, Lydia Davis
Read for April 15
Wit, by Margaret Edson
Blog
1. Post an entry about any one of the readings this week. This may be a critical or creative piece of about 200-300 words. It MUST respond to your chosen reading in some way, either by identifying and discussing craft elements, themes, or techniques or by using those elements in a creative response.
2. Post comments on at least three other entries. Remember, this is not a place for critiquing each other’s work. Instead, identify something from the piece that strikes or interests you, ask a neutral question about the work, or suggest ways the author could deepen or expand it.
Friday, March 19, 2010
Week 8 Assignments
Writing Assignment
Choose One:
1) Write a story or one-act play that unfolds backwards in time, revealing new information or changing the way we understand the events of the narrative present.
2) Write a story or play where the structure and the use of time reflect each other. Carefully plan your narrative moment so that you can successfully trick your readers into believing they know where they stand in the timeline of the story. No more than two pages.
Read for Next Week
Anna In the Tropics, Nilo Cruz
Time, Anne Bogart (from And The, You Act) pg. 37 in the Course Reader
Blog
1. Post an entry about any one of the readings this week. This may be a critical or creative piece of about 200-300 words. It MUST respond to your chosen reading in some way, either by identifying and discussing craft elements, themes, or techniques or by using those elements in a creative response.
2. Post comments on at least three other entries. Remember, this is not a place for critiquing each other’s work. Instead, identify something from the piece that strikes or interests you, ask a neutral question about the work, or suggest ways the author could deepen or expand it.
Choose One:
1) Write a story or one-act play that unfolds backwards in time, revealing new information or changing the way we understand the events of the narrative present.
2) Write a story or play where the structure and the use of time reflect each other. Carefully plan your narrative moment so that you can successfully trick your readers into believing they know where they stand in the timeline of the story. No more than two pages.
Read for Next Week
Anna In the Tropics, Nilo Cruz
Time, Anne Bogart (from And The, You Act) pg. 37 in the Course Reader
Blog
1. Post an entry about any one of the readings this week. This may be a critical or creative piece of about 200-300 words. It MUST respond to your chosen reading in some way, either by identifying and discussing craft elements, themes, or techniques or by using those elements in a creative response.
2. Post comments on at least three other entries. Remember, this is not a place for critiquing each other’s work. Instead, identify something from the piece that strikes or interests you, ask a neutral question about the work, or suggest ways the author could deepen or expand it.
Thursday, March 11, 2010
Week 7 Assignments
Midterm Paper
Due in class Thursday, March 18!!
Writing Assignment
1) Write a poem, short story, or one-act play based in some way on Romeo & Juliette. For example, you could set the story in another time, place, or situation (as in West Side Story), you could write about or from the point of view of one of the secondary characters, or you could take one scene or moment and expanding that to a full-length piece. You can find the play online at: http://shakespeare.mit.edu/romeo_juliet/full.html
Read for March 25 (2 Weeks from Now)
Anna In the Tropics, Nilo Cruz
Blog
1. No blog posts this week – work on your midterm!
Due in class Thursday, March 18!!
Writing Assignment
1) Write a poem, short story, or one-act play based in some way on Romeo & Juliette. For example, you could set the story in another time, place, or situation (as in West Side Story), you could write about or from the point of view of one of the secondary characters, or you could take one scene or moment and expanding that to a full-length piece. You can find the play online at: http://shakespeare.mit.edu/romeo_juliet/full.html
Read for March 25 (2 Weeks from Now)
Anna In the Tropics, Nilo Cruz
Blog
1. No blog posts this week – work on your midterm!
Thursday, March 4, 2010
Week 6 Assignments
Writing Assignment
Choose One:
1) Write a conversation between two liars. Give everything they say a double or triple meaning. Never state or indicate through outside description that these two people are lying. Let the reader figure it out strictly from the dialog. Try not to be obvious, such as having one person accuse the other of lying.
2) Write two poems or monologues in which two characters see the same situation from very different points of view. Let the characters speak. Experiment with voice, tone, and characterization. Format the two so that they go on simultaneously as in Double Trouble (page 186 in the course reader).
3) This week, listen in on the conversations you hear around you – on the bus, in a café, between your housemates. At some point during the week, settle someplace where there is lot’s of conversation going on. Eavesdrop on those around you and transcribe as much as possible of what you hear. Write a story, poem, or scene using the dialogue you “collected.”
Read for Next Week
Lightness, Italo Calvino from Six Memos for the Next Millennium
The Bucket Rider, Franz Kafka
Pet Milk, Stuart Dybek
The Colonel, Carolyn Forche
Net, Geetha Reddy (Passed out in class)
Blog
1. Post an entry about any one of the readings this week. This may be a critical or creative piece of about 200-300 words This may be a critical or creative piece of about 200-300 words and must follow the blog response guidelines. It MUST respond to your chosen reading in some way, either by identifying and discussing craft elements, themes, or techniques or by using those elements in a creative response.
2. Post comments on at least three other entries. Remember, this is not a place for critiquing each other’s work. Instead, identify something from the piece that strikes or interests you, ask a neutral question about the work, or suggest ways the author could deepen or expand it.
Choose One:
1) Write a conversation between two liars. Give everything they say a double or triple meaning. Never state or indicate through outside description that these two people are lying. Let the reader figure it out strictly from the dialog. Try not to be obvious, such as having one person accuse the other of lying.
2) Write two poems or monologues in which two characters see the same situation from very different points of view. Let the characters speak. Experiment with voice, tone, and characterization. Format the two so that they go on simultaneously as in Double Trouble (page 186 in the course reader).
3) This week, listen in on the conversations you hear around you – on the bus, in a café, between your housemates. At some point during the week, settle someplace where there is lot’s of conversation going on. Eavesdrop on those around you and transcribe as much as possible of what you hear. Write a story, poem, or scene using the dialogue you “collected.”
Read for Next Week
Lightness, Italo Calvino from Six Memos for the Next Millennium
The Bucket Rider, Franz Kafka
Pet Milk, Stuart Dybek
The Colonel, Carolyn Forche
Net, Geetha Reddy (Passed out in class)
Blog
1. Post an entry about any one of the readings this week. This may be a critical or creative piece of about 200-300 words This may be a critical or creative piece of about 200-300 words and must follow the blog response guidelines. It MUST respond to your chosen reading in some way, either by identifying and discussing craft elements, themes, or techniques or by using those elements in a creative response.
2. Post comments on at least three other entries. Remember, this is not a place for critiquing each other’s work. Instead, identify something from the piece that strikes or interests you, ask a neutral question about the work, or suggest ways the author could deepen or expand it.
Thursday, February 25, 2010
Week 5 Assignments
Writing Assignment
Choose One:
1) Write a poem in the second person in which the reader is made to see an everyday object in a new light, as with Fork.
2) Write a poem, monologue, or story where a first person narrator talks around the most important information. Make the silences speak. Keep your language spare and evocative, as Creeley does.
3) Take an exercise you’ve written this semester that you’re not entirely happy with. Change the voice, from first person to second or third person or from third person to first or second person. Then continue to revise the piece making whatever other revisions the changes suggest. Make sure to include the original version along with your new piece.
Read for Next Week
Every Exit is an Entrance and Ode to Sleep, Anne Carson
Gentleman’s Agreement, Mark Richard
For Esme – with Love and Squalor, J.D. Salinger
Dream Song 14, John Berryman
Blog
1. Post an entry about any one of the readings this week. This may be a critical or creative piece of about 200-300 words and must follow the blog response guidelines. It MUST respond to your chosen reading in some way, either by identifying and discussing craft elements, themes, or techniques or by using those elements in a creative response.
2. Post comments on at least three other entries. Remember, this is not a place for critiquing each other’s work. Instead, identify something from the piece that strikes or interests you, ask a neutral question about the work, or suggest ways the author could deepen or expand it.
Choose One:
1) Write a poem in the second person in which the reader is made to see an everyday object in a new light, as with Fork.
2) Write a poem, monologue, or story where a first person narrator talks around the most important information. Make the silences speak. Keep your language spare and evocative, as Creeley does.
3) Take an exercise you’ve written this semester that you’re not entirely happy with. Change the voice, from first person to second or third person or from third person to first or second person. Then continue to revise the piece making whatever other revisions the changes suggest. Make sure to include the original version along with your new piece.
Read for Next Week
Every Exit is an Entrance and Ode to Sleep, Anne Carson
Gentleman’s Agreement, Mark Richard
For Esme – with Love and Squalor, J.D. Salinger
Dream Song 14, John Berryman
Blog
1. Post an entry about any one of the readings this week. This may be a critical or creative piece of about 200-300 words and must follow the blog response guidelines. It MUST respond to your chosen reading in some way, either by identifying and discussing craft elements, themes, or techniques or by using those elements in a creative response.
2. Post comments on at least three other entries. Remember, this is not a place for critiquing each other’s work. Instead, identify something from the piece that strikes or interests you, ask a neutral question about the work, or suggest ways the author could deepen or expand it.
Thursday, February 18, 2010
Week 4 Assignments
Writing Assignment
Choose One:
1) Go over your free-write from class and underline anything in iambic pentameter (we may or may not have gotten to this in class). Using the sections you underlined, write a poem or monologue in iambic pentameter. Feel free to cheat on the meter, as Shakespeare does. And don’t be afraid to write or revise as much as needed. Your free-write is just a starting point!
2) Write a poem or monologue of no more than a page in which the rhythm and sounds support the content in some way, as in The Dance and My Papa’s Waltz. Allow the language to support (or contradict!) what happens on the page.
Read for Next Week
IN THE BOOKSTORE, OR ONLINE AT http://www.bartleby.com/140/
Objects from Tender Buttons, Gertrude Stein
IN THE COURSE READER
In the Cemetery Where Al Jolson Is Buried, Amy Hempel from Reasons to Live
The Rain and The Language, Robert Creeley
The Day Lady Died, Frank O’Hara
Fork, Charles Simic
The Difference Between Pepsi and Coke, David Lehman
Musee des Beaux Arts, W.H. Auden
Blog
1. Post an entry about any one of the readings this week. This may be a critical or creative piece of about 200-300 words. It MUST respond to your chosen reading in some way, either by identifying and discussing craft elements, themes, or techniques or by using those elements in a creative response.
2. Post comments on at least three other entries. Remember, this is not a place for critiquing each other’s work. Instead, identify something from the piece that strikes or interests you, ask a neutral question about the work, or suggest ways the author could deepen or expand it.
Choose One:
1) Go over your free-write from class and underline anything in iambic pentameter (we may or may not have gotten to this in class). Using the sections you underlined, write a poem or monologue in iambic pentameter. Feel free to cheat on the meter, as Shakespeare does. And don’t be afraid to write or revise as much as needed. Your free-write is just a starting point!
2) Write a poem or monologue of no more than a page in which the rhythm and sounds support the content in some way, as in The Dance and My Papa’s Waltz. Allow the language to support (or contradict!) what happens on the page.
Read for Next Week
IN THE BOOKSTORE, OR ONLINE AT http://www.bartleby.com/140/
Objects from Tender Buttons, Gertrude Stein
IN THE COURSE READER
In the Cemetery Where Al Jolson Is Buried, Amy Hempel from Reasons to Live
The Rain and The Language, Robert Creeley
The Day Lady Died, Frank O’Hara
Fork, Charles Simic
The Difference Between Pepsi and Coke, David Lehman
Musee des Beaux Arts, W.H. Auden
Blog
1. Post an entry about any one of the readings this week. This may be a critical or creative piece of about 200-300 words. It MUST respond to your chosen reading in some way, either by identifying and discussing craft elements, themes, or techniques or by using those elements in a creative response.
2. Post comments on at least three other entries. Remember, this is not a place for critiquing each other’s work. Instead, identify something from the piece that strikes or interests you, ask a neutral question about the work, or suggest ways the author could deepen or expand it.
Friday, February 12, 2010
Week 3 Assignments
Writing Assignment: Select one
1) Write a scene or a story of no more than one page that does not conform to traditional structure. Think about some of the techniques used in Little Book of Days. Or think about the Isabella Rossellini anecdote from “Gesture” in which an unspoken situation is revealed through an action.
OR
2) Finish the repetition poem you started in class today (or write a new one). Really try to push the poem in as many directions as possible, relying on the repeated phrase to ground the poem. Try out the skills we’ve talked about in class, especially the different kinds of patterns.
Read for Next Week
IN THE COURSE READER
My Name, Richard Brautigan from In Watermelon Sugar
Margaret, Richard Brautigan from In Watermelon Sugar
A Mown Lawn, Lydia Davis
My Papa’s Waltz, Theodore Roethke
The Dance, William Carlos Williams
Everything that Rises Must Converge, Flannery O’Connor
1) Write a scene or a story of no more than one page that does not conform to traditional structure. Think about some of the techniques used in Little Book of Days. Or think about the Isabella Rossellini anecdote from “Gesture” in which an unspoken situation is revealed through an action.
OR
2) Finish the repetition poem you started in class today (or write a new one). Really try to push the poem in as many directions as possible, relying on the repeated phrase to ground the poem. Try out the skills we’ve talked about in class, especially the different kinds of patterns.
Read for Next Week
IN THE COURSE READER
My Name, Richard Brautigan from In Watermelon Sugar
Margaret, Richard Brautigan from In Watermelon Sugar
A Mown Lawn, Lydia Davis
My Papa’s Waltz, Theodore Roethke
The Dance, William Carlos Williams
Everything that Rises Must Converge, Flannery O’Connor
Blog
1. Post an entry about any one of the readings this week. This may be a critical or creative piece of about 200-300 words. It MUST respond to your chosen reading in some way, either by identifying and discussing craft elements, themes, or techniques or by using those elements in a creative response.
2. Post comments on at least three other entries. Remember, this is not a place for critiquing each other’s work. Instead, identify something from the piece that strikes or interests you, ask a neutral question about the work, or suggest ways the author could deepen or expand it.
1. Post an entry about any one of the readings this week. This may be a critical or creative piece of about 200-300 words. It MUST respond to your chosen reading in some way, either by identifying and discussing craft elements, themes, or techniques or by using those elements in a creative response.
2. Post comments on at least three other entries. Remember, this is not a place for critiquing each other’s work. Instead, identify something from the piece that strikes or interests you, ask a neutral question about the work, or suggest ways the author could deepen or expand it.
Thursday, February 4, 2010
Week 2 Assignments
Writing Assignment:
Write ten one-line stories or poems using a strong image as a metaphor that encapsulates a moment or situation, just as we did in class. Try to tell the whole story with a single metaphor. Bring a printed copy to class.
Reading for Next Week
LITTLE BOOK OF DAYS, BY NONA CASPERS
IN THE COURSE READER: Gesture, by Francine Prose pg. 138
Blog
1. Post an entry about any one of the readings this week. This may be a critical or creative piece of about 100-300 words. It MUST dialogue with your chosen reading in some way, either by identifying and discussing craft elements, themes, or techniques or by using those elements in a creative response. NOTE: If you chose to write your entry about the Little Book of Days, you may chose one piece from the book, or you may discuss the book as a whole.
2. Post comments on at least three other entries. Remember, this is not a place for critiquing each other’s work. Instead, identify something from the piece that strikes or interests you, ask a neutral question about the work, or suggest ways the author could deepen or expand it.
Thursday, January 28, 2010
Week 1 Assignments
Course Reader and Field Trip
Bring $20 cash or a check to cover your course reader and the field trip to see Juliet on March 18, 2010.
Read for Next Week
The School, Donald Barthelme (re-read)
The Perfect Gerbil: reading Barthelme’s The School, George Saunders
Writing Assignment
Choose One:
1) This week, make a habit of noticing everything around you. Choose two or three concrete, specific, images or details that seem particularly telling about a character or a situation. Using those images, write a poem of no longer than ten lines, or a story of no more than one paragraph. Remember – be brief. Let your images do the work!
2) Take an abstract word used to describe someone, (for example, ugly, stupid, pretty, funny, kind, crazy, heroic etc.). Writing no more than a page, use concrete images and details to convey the quality you choose, without ever using that word. For instance, if you choose ugly, make the reader know that your character is ugly without ever sayings so.
Blog
Accept your invitation to the class blog. Visit the site at www.creativewriting302.blogspot.com and acquaint yourself with posting entries and comments. Post at least one comment with a suggestion for improving the site or a writing related link to include. Email me if you have any problems accepting your invitation.
Bring $20 cash or a check to cover your course reader and the field trip to see Juliet on March 18, 2010.
Read for Next Week
The School, Donald Barthelme (re-read)
The Perfect Gerbil: reading Barthelme’s The School, George Saunders
Writing Assignment
Choose One:
1) This week, make a habit of noticing everything around you. Choose two or three concrete, specific, images or details that seem particularly telling about a character or a situation. Using those images, write a poem of no longer than ten lines, or a story of no more than one paragraph. Remember – be brief. Let your images do the work!
2) Take an abstract word used to describe someone, (for example, ugly, stupid, pretty, funny, kind, crazy, heroic etc.). Writing no more than a page, use concrete images and details to convey the quality you choose, without ever using that word. For instance, if you choose ugly, make the reader know that your character is ugly without ever sayings so.
Blog
Accept your invitation to the class blog. Visit the site at www.creativewriting302.blogspot.com and acquaint yourself with posting entries and comments. Post at least one comment with a suggestion for improving the site or a writing related link to include. Email me if you have any problems accepting your invitation.
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