5/9/2025 12:58:07 AM	ENGL 4B Course Outline as of Fall 2018	Changed Course
CATALOG INFORMATION
Discipline and Nbr:  ENGL 4B	Title:  INTER CREATIVE WRIT
Full Title:  Intermediate Creative Writing
Last Reviewed:2/6/2023

Units		Course Hours per Week			Nbr of Weeks	Course Hours Total
Maximum	3.00	Lecture Scheduled	3.00		17.5 max.	Lecture Scheduled	52.50
Minimum	3.00	Lab Scheduled	0		6 min.	Lab Scheduled	0
		Contact DHR	0			Contact DHR	0
		Contact Total	3.00			Contact Total	52.50
		Non-contact DHR	0			Non-contact DHR Total	0

Total Out of Class Hours:  105.00

Total Student Learning Hours: 157.50

Title 5 Category:  AA Degree Applicable
Grading:  Grade or P/NP
Repeatability:  00 - Two Repeats if Grade was D, F, NC, or NP
Also Listed As: 
Formerly: 

Catalog Description:

Intermediate study and writing of fiction, poetry, drama, and/or creative non-fiction.

Prerequisites/Corequisites:
Course Completion of ENGL 4A

Recommended Preparation:

Limits on Enrollment:

Schedule of Classes Information
Description:

Intermediate study and writing of fiction, poetry, drama, and/or creative non-fiction.

(Grade or P/NP)
Prerequisites:Course Completion of ENGL 4A
Recommended:
Limits on Enrollment:
Transfer Credit:CSU;UC.
Repeatability:00 - Two Repeats if Grade was D, F, NC, or NP

ARTICULATION, MAJOR, and CERTIFICATION INFORMATION

Associate Degree:		Effective:		Inactive:
Area:
CSU GE:	Transfer Area			Effective:	Inactive:
IGETC:	Transfer Area			Effective:	Inactive:
CSU Transfer:	Transferable	Effective:	Fall 1981	Inactive:
UC Transfer:	Transferable	Effective:	Fall 1981	Inactive:
C-ID:

Certificate/Major Applicable: Major Applicable Course

COURSE CONTENT

Student Learning Outcomes:
At the conclusion of this course, the student should be able to:

1.  Analyze major elements of each of the basic genres, including fiction, poetry, drama, and

    creative non-fiction.

2.  Demonstrate effective revision techniques as applied to stylistic elements of at least two

    genres.

3.  Critique and evaluate peers' writing applying specific criteria for revision.

4.  Generate and edit original work representing several genres.

 

Objectives:

Upon completion of the course, students will be able to:

I. READING:

A. Identify and analyze major elements of narrative introduced in ENGL 4A, including

    character, setting, plot/conflict, and figurative language in published and peer-written

    narratives with level appropriate skill.

B. Identify and analyze additional elements of narrative, including point of view, tone, structure,

    and dialogue with increasing precision.

C. Identify and analyze major elements of poetry introduced in ENGL 4A, including sound,

    rhythm, figurative language, and the poetic line in published and peer-written poetry with

    precision.

D. Identify and analyze additional elements of poetry, including rhyme schemes, figures of

    speech, symbols, and line breaks.

E. Develop basic dramatic elements such as plot, character, theme, diction, music, spectacle, and

    convention.

F. Analyze and critique peer writing, providing detailed constructive criticism focusing on

    technical and stylistic elements appropriate to the genre.

II. WRITING:

A. Apply creative writing skills through frequent writings in selected genres.

B. Develop basic narrative elements, including character, setting, plot/conflict, and figurative

    language, introduced in ENGL 4A with increased sophistication.

C. Apply elements of narrative, including point of view, tone, structure, and dialogue.

D. Develop basic poetic elements introduced in ENGL 4A, including sound, rhythm, figurative

    language, and the poetic line in new poetic forms.

E. Apply poetic elements, including rhyme schemes, figures of speech, symbols, and line breaks.

F. Choose increasingly effective revision strategies in both narrative and poetic forms.

G. Develop scenes with basic dramatic elements such as plot, character, theme, diction, music,

    spectacle, and convention.

Topics and Scope

I. Reading:

    A. Examples of published work in the genres of fiction, poetry, and creative non-fiction that

         illustrate technical and stylistic elements, such as character, setting, plot/conflict, sound,

         rhythm, and the poetic line.

    B. Examples of published work in the genres of fiction, poetry, and creative non-fiction that

         introduce technical and stylistic elements such as point of view, tone, structure, dialogue,

         rhyme schemes, figures of speech, symbols, and line breaks.

    C. Examples of published works in drama that introduce the order of the play including the

         gathering of the audience, the transition, the exposition, the conflict, the climax, the

         denouement, and criticism.

    D. Examples of various genres of plays including one-act plays, full-length plays, tragedy,

         comedy, tragicomedy, dark comedy, melodrama, farce, documentary, and musical.

II. Writing:

    A. Creative writing elements and techniques for fiction, poetry, and creative non-fiction such

         as point of view, tone, structure, dialogue, rhyme schemes, figures of speech, symbols,

         and line breaks.

    B. Drafting and revision strategies, including discovery, shaping, and polishing.

    C. Written responses to peers' work in progress.

III. Peer Response and Workshop:

    A. Techniques for critiquing peers' work in a workshop setting.

    B. Strategies for providing detailed feedback in a workshop setting.

    C. Self-evaluating peer response to develop a plan for revising.

Assignments:

I. Reading

    A. Read 30 to 50 pages each week of published works in the different genres and/or in craft

         manuals.

    B. Select and closely analyze works by four or more established writers working within

         selected genres of interest, identifying the writers' use of stylistic and technical elements.

    C. Present a 5- to 7-minute oral critique of a work of short fiction by a student writer, focusing

         on creative elements such as point of view, tone, structure, and dialogue.

    D. Read, interpret, and discuss a work of creative non-fiction by an established writer.

    E. Analyze and discuss the internal structure of a narrative poem of 50 lines or more.

    F. Analyze and discuss the components of a play.

II. Writing

    A. Write a minimum of four hours weekly, focusing on maintaining a regular writing

         schedule.

    B. Collect a portfolio of revised works totaling at least 8,000 to 10,000 words, 250 lines of

         extensively edited poetry, or a proportional equivalence of several genres that

         demonstrate intermediate creative writing skills.

    C. Write at least six poems that incorporate symbolism.

    D. Write a 1,000- to 3,000-word prequel or sequel to a work of fiction by an established

         writer, incorporating at least one major element (such as setting or plot) from the original

         work.

    E. Write a 750- to 1,000-word work of creative non-fiction that experiments with a unique

         point of view; or develop an outline and several scenes for a one-act play or novel with

         special attention to a specific sub-genre.

    F. Write a poem developed from an extended metaphor.

    G. Revise and edit extended writings (totaling at least 3,000 to 5,000 words), applying

         feedback from peer critiques, workshops, conferences, or tutorials, and focusing on

         revision techniques such as changing point of view, choosing active verbs, cutting

         scenes that do not move the plot forward, and changing tense.

    H. Write a detailed critique of 500 to 700 words of a classmate's work in a particular genre,

         focusing on elements such as figurative language, scene and summary, text and subtext,

         rhythm and rhyme, or dialogue, as appropriate for the genre of the work.

    I. Write a response to a literary event.

Methods of Evaluation/Basis of Grade.

Writing: Assessment tools that demonstrate writing skill and/or require students to select, organize and explain ideas in writing.		Writing 80 - 90%
Portfolio; critical responses; written critiques; reading analysis papers; poems; prequel/sequel project; creative non-fiction paper or outline for longer work (play or novel)
Problem solving: Assessment tools, other than exams, that demonstrate competence in computational or non-computational problem solving skills.		Problem Solving 0 - 0%
None
Skill Demonstrations: All skill-based and physical demonstrations used for assessment purposes including skill performance exams.		Skill Demonstrations 5 - 10%
Oral critique; discussion of prepared material
Exams: All forms of formal testing, other than skill performance exams.		Exams 0 - 0%
None
Other: Includes any assessment tools that do not logically fit into the above categories.		Other Category 5 - 10%
Attendance; participation and discussion in a workshop format

Representative Textbooks and Materials:

PRIMARY TEXTS:

Writing Fiction: A Guide to Narrative Craft. 9th ed. Burroway, Janet and Stuckey-French, Ned and Stuckey-French, Ned. Pearson. 2014

In the Palm of Your Hand: A Poet's Portable Workshop. Kowit, Steve.Tilbury House. 2003 (classic)

SUPPLEMENTAL TEXTS:

 

The College Handbook of Creative Writing. 4th ed. DeMaria, Robert. Wadsworth. 2013

Creative Writing: Four Genres in Brief. 2nd ed. Starkey, David. Bedford/St. Martin's. 2012

Writing the Memoir; From Truth to Art. 2nd ed. Barrington, Judith. Eighth Mountain Press. 2002 (classic)

Literary Nonfiction: The Fourth Genre. Minot, Stephen. Prentice Hall, 2002. (classic)

The Discovery of Poetry: A Field Guide to Reading and Writing Poems. Mayes, Frances. Mariner. 2001 (classic)

Writing in General and the Short in Particular. Hills, Rust. Mariner Books. 2000 (classic)

Teachers and Writers Handbook of Poetic Forms. 2nd ed. Padgett, Ron. Teachers and Writers Collaborative. 2000 (classic)

Steering the Craft. LeGuin, Ursula. Eighth Mountain Press. 1998 (classic)

The Poet's Companion. Addonizio, Kim and Laux, Dorianne. Norton. 1997 (classic)

The Art of the Personal Essay. Lopate, Phillip. Anchor. 1995 (classic)

Bird by Bird: Some Instructions on Writing and Life. Lamott, Anne. Anchor. 1995 (classic)

The Art of Fiction: Notes on Craft for Young Writers. Gardner, John. Vintage. 1991 (classic)

 

Examples of established writers may include but are not limited to the following:

Fiction:

Alexi, Sherman

Allison, Dorothy

Carver, Raymond

Castillo, Anna

Cather, Willa

Conrad, Joseph

Ellison, Ralph

Faulkner, William

Heller, Joseph

Joyce, James

Morrison, Toni

Naylor, Gloria

O'Brien, Tim

Yamamoto, Hisaye

 

 

Poetry:

Alarcon, Francisco X.

Auden, W. H.

Brooks, Gwendolyn

Clifton, Lucille

Dickinson, Emily

Espada, Martín

Forché, Carolyn

Ginsberg, Allen

Grahn, Judy

Hass, Robert

Komunyakaa, Yusef

Oliver, Mary

Neruda, Pablo

Rich, Adrienne

Rushdie, Salman

Thomas, Dylan

Whitman, Walt

Young, Al

 

Creative Non-fiction:

Baldwin, James

Capote, Truman

Didion, Joan

Lam, Andrew

Lopez, Barry

Twain, Mark

 

Drama:

Hellman, Lillian

Ibsen, Henrik

Kushner, Tony

Pinter, Harold

Wilson, August

Instructor prepared materials

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