創意寫作實習
Creative Writing Practicum
| 節 | 週二 |
|---|---|
2 09:00–09:50 | 創意寫作實習 HC401 3 節連堂 |
3 10:10–11:00 | |
4 11:10–12:00 |
* 根據陽明交大上課時間表所列
The aims of this course include cultivating interest in storytelling and innovative language use; enabling students to develop themselves as aesthetically-engaged members of cultural communities; strengthening awareness of how we are adapting to the AI revolution and mastering a foundational awareness of one's self-consciousness so as to use the new tools available in productive and meaningful collaborations (if at all). Quantity is not as important as quality of written, oral, or digital media engagement. Final projects may range from traditional chapbooks of poetry, short story collections, or a novella, to digital media, including short films (which everyone will produce in the course), sound recordings and/or live performances (for instance, original live computer-based or acoustic music, including spoken, sung, or sampled language), or dramatic vlogging. Though not required, students with interest in visual media arts, sound art, or music are especially encouraged to present related works incorporating creative writing elements or dramatic scripts.
Open to all university students. (Priority given to students in the Department of Foreign Languages and Literatures.)
The course includes many guided writing assignments of an experimental variety. We will include short readings (literary, critical, and theoretical) and performance videos to supplement creative activities. Students may focus on the medium of their own choice (e.g., poetry, fiction, song, performance art, theatrical drama, short film or game production) and adapt assignments to their particular interests (which may expand over the duration of the course). The course provides a venue for cultivating creative work beginning with principles of creative writing and applying them both to existing and new media and genres: flash fiction, short fiction and novellas, creative nonfiction, experimental hybrid genres and multimedia, poetry, prose poetry, song, performance art, theatrical (live) drama, short films (including vlogging). Genres from any linguistic culture or language are welcome. Course content may be added to the current schedule in order to meet student interests in specific genres and media.
隨堂測驗 Grading is based on creative projects, and participation, attendance and mutual critical support are essential to the success of the course and figure into final grades. Projects may be individual or group (max 2 persons/group; pair your skills). 作業 ■ Preparation (included in報告) 報告 ■ 25% Weekly assignments 期中考 ■ 25% Midterm presentation (project) 期末考 ■ 25% Final portfolio (project overview and presentation) 討論 ■ 25% Active participation in class oral and written peer critiques of ongoing assignments and projects 展演 ■ (Included in 報告)
| 週次 | 主題 |
|---|---|
| 第 1 週 | Introduction to course. Self-Introductions. |
| 第 2 週 | Have read for class: Cron: Ch. 1 How to Hook the Reader Writing prompt topic: First attempt at writing an opening (backed by prewriting brainstorming) Sample opening pages in fiction (discussed in class): Michael Swanwick, “The Dog Said Bow-Wow” Mazey Eddings, Well, Actually Margaret Atwood, The Handmaid’s Tale Angela Carter, Nights at the Circus Philip K. Dick, Do Androids Dream of Electric Sheep Ursula K. Le Guin, The Dispossessed Anthony Burgess, A Clockwork Orange |
| 第 3 週 | Have read: Truby: Ch. 1 Story Space, Story Time |
| 第 4 週 | Have read: Truby: Ch. 2 Premise Premise, or where you see the story developing (you and what matters). |
| 第 5 週 | Have read: 1) Truby: Ch. 5 Moral Argument 2) Cron: Ch. 4 What Does Your Protagonist Really Want? Test your main character’s voice and tense of narration. Make your main character interesting (and somehow strong, with opposing characters formidable matches). |
| 第 6 週 | Have read: Truby: Ch. 4 Character Character |
| 第 7 週 | Have read: 1) Truby: Ch. 8 Plot 2) Cron: Ch. 10 The Road from Setup to Payoff Also: Who is you audience (genre, if any)? literary/sf/speculative/romance/thriller/historical/fantasy/YA/commercial fiction and mixes of any of these and others. How close is the narrator (the main POV character) to other characters? What is known by each character? Your story needs the most dramatic presentation: chose a person who is privy to key facts and has the most at stake. The viewpoint must be from the person who most needs to tell their story (though others may tell their stories too, forming competing versions). |
| 第 8 週 | Mid-semester conferences on creative writing projects with students (one-on-one and in small groups working on common projects). |
| 第 9 週 | Have read: 1) Truby: Ch. 6 Story World 2) Cron: Ch. 6 The Story Is in the Specifics Developing your setting: what matters to the main POV character? Others? Other species? |
| 第 10 週 | Have read: Truby: Ch. 9 Scene Weave Cron: Ch. 7 Courting Conflict, the Agent of Change Practicing scenes: stimulus and response. Whose story? Creating inner conflict. Focus on lines of conflict (without stalling in random flowery description or info-dumping). |
| 第 11 週 | Have read: Cron: Ch. 3 I’ll Feel What He’s Feeling Connecting with readers |
| 第 12 週 | Have read: 1) Truby: Ch. 10 Scene Construction and Symphonic Dialogue 2) Cron: Ch. 8 Cause and Effect |
| 第 13 週 | Have read: Cron: Ch. 5 Digging Up Your Protagonist’s Inner Issue Writing and trauma. |
| 第 14 週 | Have read: Cron: Ch. 2 How to Zero in on Your Point Practicing scenes: concision and cutting excess Don’t waste reader’s time. |
| 第 15 週 | Have read: 1) Cron: Ch. 9 What Can Go Wrong, Must Go Wrong—and Then Some 2) Cron: Ch. 11 Meanwhile, Back at the Ranch |
| 第 16 週 | Student presentations of final projects (short stories, novella, experimental (poetry/art) chapbook, play(s), multimedia (video or sounds art, etc.). |
Required text (available through online booksellers, in print (preferred) or electronic formats): 1) Lisa Cron, Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence. Random House, Inc., 2012. 2) John Truby, The Anatomy of Story: 22 Steps to Becoming a Master, Farrar, Straus and Giroux, 2007. Other readings and assignments will be distributed electronically via e3 or as in-class handouts.
- 地點
- HC415
- 時間
- Wed (3) EFG, by appointment (arranged).
- 聯絡方式
- brink@nycu.edu.tw x58115