Thursday, April 4, 2013

Summer 2013 Class Schedule

Summer Quarter runs from July through September. Summer Registration begins June 3. Email or call Beth to register for classes. Textbooks are available here. First assignments are available here.

SUMMER QUARTER 2013 MFA in Writing Class Schedule

IN-CLASS CLUSTERS:

Poetry Cluster (IMF525/526/527)--Tuesdays 6-10pm--Kelli Allen (begins Sat. 7/13, 10am)
  • This course will consider poetry’s role in contemporary society. We will explore working definitions of “the poem” “the line” and “meaning.” Expect vigorous discussion on how poetry has changed during the last 50 years. We will consider who is currently publishing, how and where, and what, as writers, we can contribute to the swell of poetry being written and read in a digital age. This course will offer a wide range of contemporary poetry with attention given to specific writers, topics, and themes. Students will have an opportunity to workshop their own poetry every class meeting and will be expected to provide thoughtful and useful feedback on workshop pieces and weekly reading assignments. Come prepared to write, as prompts will also be used in every class. Our objectives are to consider poetry’s function in society and to examine its varying forms, as well as write our own stunning poems and sharpen our editing skills through workshop and outside projects.

Fiction Cluster (IMF535/536/537)--Thursdays--Mark George (begins Sat. 7/13, 10am)


ONLINE CLASSES (begin Mon. 7/15):
  • Narrative Journalism (IMF566)--Tony D'Souza  **New Online Course**
    • Narrative journalism is the art of telling a true story, weaving research and facts into an engaging, page-turning piece of non-fiction that reads with energy, insight and depth. Readers love non-fiction as a means to better understand the world and people different from them. The task of the narrative journalist is to paint accurate and vivid portraits of people and subjects even the journalist, at the beginning of the writing, may know little about.
    • Media is changing quickly with many new online platforms for publishing narrative journalism; in fact, narrative journalism may be enjoying is most vibrant period ever. We will look at a diverse sampling of long narrative non-fiction pieces from some of the leading outlets today, including The New Yorker, Rolling Stone, Harper's, and Vanity Fair. We'll discuss how to achieve the 'holy grail' of the narrative journalist--writing a piece with 'three-dimensionality'--as well as investigate how to balance primary and secondary sources, dialogue, interviews, and hard facts with the demands of story-telling. Students will have free range to investigate whatever subjects are dear to their own hearts while building strong foundations as narrative journalists in this field of writing where publishers are actively looking for new writers and content.
    • We’ll not only explore non-fiction writing and publishing for today’s world, but also ethics, craft, the submissions process and the social importance of it all. The ability to write narrative journalism greatly diversifies a writer's range and ability to answer the question, "How do I tell this true tale in a way that always brings the reader along?"
  • Poetry Genres (IMF517)--Eve Jones
    • Poetry Genres is a lit class in which we examine the integral elements of a poem: What is the purpose of The Line? The metaphorical image? Does the poem make sounds? Against what sort of cage does it rattle? Are you Team Open Poem or Team Closed Poem? What makes a poem “succeed”? We focus on each poetic element in two-week units, discussing various ancient & contemporary examples from the readings. The primary focus is discussion, although the course also includes journal exercises and brief essays.
  • Creative Nonfiction Workshop (IMF545)--Catherine Rankovic
    • In this group-workshop course, students read, study and discuss examples of excellent creative nonfiction and write four drafts each of two complete essays, finishing the course with two well-crafted and highly polished examples of creative nonfiction. Creative nonfiction, also called "the literature of reality," includes personal essays, memoirs, travel or nature writing, nonfiction narratives, and cultural criticism such as reviews. Individual lessons and writing exercises focus on topic selection, scene writing, observation and description, dialogue reconstruction, describing people, and research on factual material. We aim for work of publishable quality.
  • Prose Collection: Fiction: Alice Munro (IMF556)--Mary Anderson
    • Dare to write about the ordinary. Learn to craft short stories with the impact of a novel. Come read and study Dear Life, the latest stories by Alice Munro, as we examine this beloved, award-winning, Canadian writer’s “unparalleled gift for storytelling.” Try your own hand at writing your way through clarity and into vision.
  • Fundamentals of Contemporary Fiction--Anthony Connolly (IMF536)  **New LU MFA Instructor--read his bio here**
    • It is hard to describe. I have an idea of the beginning. I write the first line and continue to the last. I correct a great deal, work hard and write several drafts, but I never question the finished work – Alain Robbe-Grillet
    • Producing fiction, let alone defining its process, can be difficult. There are so many paths to the top of that mountain. But what is less shrouded in mystery is the equipment a writer needs – Stephen King famously calls them tools for the toolbox.
    • This course provides the tools that all writers need to get the words on the page. Acquiring these tools means exploring the expansive boundaries and the foundational principles of current long and short prose fiction in order to prepare writers for today’s art form.
    • Fundamentals include:
      • How to establish a strong and regular writing practice
      • Exploring the principles of fiction
      • Mastering the power of details
      • Developing rich characters
      • Discovering the tricks of plotting
      • Creating effective dialogue
      • Structuring prose for maximum effect
      • Establishing and using point of view
      • Serving to launch the writer out into the larger community of fellow writers and readers
    •  And throughout all of this exploring, developing, and establishing – writing of course; and remember, “you don’t have to be great to start, but you have to start to be great,” wrote Joe Saba.
    •  So let’s start.

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Lindenwood University MFA in Writing Program—Online or In-Class
Fully Online MFA Program—No Residency Requirement

Visit us at:
www.lindenwood.edu/online/mfa-writing.html
www.lindenwood.edu/lcie/docs/graduate/writing.pdf
www.facebook.com/LindenwoodMFAWriting
http://lumfa.blogspot.com/
www.lindenwood.edu/lindenwoodReview

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