Written Expression/Summer 2013 Syllabus

ENGLISH 1: WRITTEN EXPRESSION Jenny M. Grosvenor 322 Old Mill, University of Vermont Jenny.Grosvenor@uvm.edu 802-656-1127(w); 802-760-7911(cell/text)

SUMMER 2013 July 15th to August 9th Mon. – Thurs., 9:00-11:45 a.m., Old Mill Annex 206 Office Hours: Wednesdays, noon-1:00 p.m. or by scheduled appointment, Old Mill 322

COURSE DESCRIPTION: Yes, you already know how to write. Or, no, you believe you can't write and never will. Either way, this is not why you're here, engaging with this text, about to enter the landscape of Written Expression. Yes, this college composition course will teach to how to become a better writer—and editor of your own work; but, more than that, the projects, assignments, and explorations on which you're about to embark will give you new eyes as a reader and writer. You will see the written word—others' and your own— in a discerning light. And you will take this newfound knowledge—critical ways of thinking, close reading, writing, and revising—with you on your future academic voyage and beyond. Know that how you feel and think about writing will never be the same at the end of this voyage of discovery. For now, trust the process. COURSE OBJECTIVES: To learn to read like a writer To improve and refine your writing skills To develop critical inquiry, effective research and analytical skills To expand approaches to inquiry and argument through exploration and revision To explore different modes of communication and purposes for writing To master invention and revision at all stages of the writing process To attain confidence in your potential as a writer LEARNING OUTCOMES: Through critical reading and analysis, you will learn: To identify in assigned readings the main purpose, central arguments, rhetorical techniques, and cultural contexts To recognize effective and recurring patterns of persuasion and development Through process writing, you will learn: Precision of thought, effective editing techniques, voice, and perspective in clarity of self-expression The art of using the written word effectively to construct persuasive essays REQUIRED TEXTS AND MATERIALS: Johnson, Steven. The Ghost Map: The Story of London's Most Terrifying Epidemic--and How It Changed Science, Cities, and the Modern World, Riverhead Trade, 2007. (Note: This is UVM’s first-year common reading selection.) Lamott, Anne. Bird by Bird, Some Instructions on Writing and Life. New York: Anchor Books, 1994. A Pocketsize Journal/Writer’s Notebook. Access to Blackboard for your Personal Journals, some Peer Groups Blogs, and Discussion Board. HIGHLY RECOMMENDED TEXTS: Hacker, Diana. A Writer’s Reference, Sixth Edition. Boston: Bedford/St. Martin’s, 2008. Strunk, William Jr., and White, E.B. The Elements of Style. New York: Macmillan Publishing Co., Inc., 1979.
Note: These texts will serve you well throughout your four years of college and beyond.

COURSE REQUIREMENTS: Three formal essays – each to include with submission a thinking page and mid-process draft Multiple “Explorations” – short writing activities with various prompts A freewriting and double-entry Writer’s Notebook Class attendance, active listening and responsiveness, in-class writing exercises Dynamic involvement in group peer-response workshops and teacher conferencing

Written Expression/Summer 2013 Syllabus

GRADING CRITERIA: Essays with all drafts Writer’s Notebook entries Class presence and participation Midterm/Final Portfolio

30% 10% 10% 10%

Group/peer workshop involvement Short Assignments/Explorations Discussion Board postings One-on-one conferencing

10% 10% 10% 10%

EXPECTATIONS (HOW TO SUCCEED IN THIS CLASS): Keeping up with readings. Reading well precedes writing well (Donald Hall). This course – in which reading, thinking, discussion, response and writing are closely interconnected – requires critical exploration through a variety of assigned readings. Submitting work on time. Due dates are rigorous and unyielding. For each day that elapses from the time a journal entry, essay, draft, or final paper is due, 5 points will be deducted from the final grade. Assignments will no longer be accepted one week beyond the due date. Absences from class or lost files are not valid excuses for missing deadlines. Be sure to make back-up copies of all your writing and don’t throw anything away during the semester. Class presence, punctuality, and preparedness. This is not only appreciated, but also expected. The vitality of the classroom environment and peer workshops, and your personal progression as a writer depend on your effort and proactive involvement. Active listening as well as sharing, and most importantly, the respect of others’ ideas (agreeing to disagree) is at all times required. Please bring to every class your texts, draft-in-progress (with peer copies), and your Writer’s Notebook. Laptops and cell phones. You may bring both to class as long as they are turned OFF before you enter the classroom. Computers are great; but in this course, hard copies are better. Revision requires seeing the changes from draft to draft. There will be no in-class electronic editing. Periodic (minimum one, ideally two or three) individual writing/discussion conferences. It is imperative that I meet with each of you one-on-one at least once during the semester, not only to share ideas, but also to evaluate personal growth in your thinking and writing. Conferences are not an option for this course. Note: Scheduling this conference and showing up at least once is worth 10 percent of your grade (and will probably help your grade from what we learn and share in this meeting). The 10% is not based on content, but on taking the initiative and the action itself. Visits to the Writing Center. Here you will find valuable, one-on-one instruction and assistance at any stage of your writing process. This is a tremendous resource, and it’s free! ESSAY SUBMISSION GUIDELINES: All submitted work must be typed/word-processed, preferably in 12point font, double-spaced, thoroughly spell-checked and proofread. Please include the date, course title, and section with your name. Indicate draft. Submissions will not be accepted electronically, and are to be handed in at the end of class on the due date. Each missing writing-process piece (i.e. thinking page and/or draft) will result in points deducted from the final paper grade; an additional fourth process draft will in some cases account for extra credit points added to that grade. Each final formal essay should be 3-4 pages (maximum). Be sure to defer to quality over quantity, content over length. THE WRITER’S NOTEBOOK: You are expected to write at minimum four entries per week, to include at least one freewrite and one double-entry response to quotes and readings, in addition to entries of choice. Occasionally, class time will be provided, so always bring your journal to class. MIDTERM/FINAL PORTFOLIO: For each of these portfolios, you will assemble all work in-progress – to include one radical revision of a previous essay – as well as compose a cover sheet, a one-page response to the recent (and hopefully empowering) voyage of discovery (Proust quote) you have experienced as a writer. ACADEMIC INTEGRITY: College students are expected to be honest in all academic endeavors. Any acts of dishonesty will not be tolerated. Cheating only hurts you, the student. Plagiarism – “borrowing” work from

Written Expression/Summer 2013 Syllabus

another source, another student, author, or the internet without proper acknowledgment and/or citation – is not only morally wrong, but impinges directly upon your own learning and personal growth. Such actions will result in an immediate failing grade, and could lead to expulsion from the learning institution. COURSE OVERVIEW: Week One: Introductions Establishing a Community of Writers Project One: Considering the Communities From Which We’ve Come Explorations in mini-ethnography, geography, and beyond Mapping community questions and challenges Close Reading and Critical Thinking More Thoughts on the Thinking Behind the Words The Writing Process Week Two: Community of Writers Peer-group Exercises Writing (and Life)=Details Observation and Discovery in Journalism and Scholarship The Writer’s Notebook Project Two: Developing Research Questions and Strategies Mechanics --Grammar and Punctuation – Checkpoint Purpose, Point of View, and Audience Essay Exchange and Editing Techniques The Inquiring Mind, Deepening the Exploration, Making Sense of Rhetorical Appeals When (if ever) is a Piece of Writing Really Finished? The Circular Nature of Writing Week Three: Exploring Your Own Writing Process: Drafting the Literature Review Coming to terms with challenging texts, documenting and integrating sources Midterm Conferences and In-Progress Portfolio Review Definition, Illustration, Narration, Analogy, Analysis… Beyond Mere Editing and Proofreading Exploring Methods of Development and Compositional Voice Finding the Focus and Writing Frame of Mind Setting Rhetorical Goals and Making Choices Project Three: Re-visioning Rhetorical Choices Bending back (reflecting) on previous stories Focus on Cognitive and Research-Based Skills Bridging the Gap Between Personal Concerns and Academic Inquiry Harnessing the Chaos and Complexities in Your Writing Asking the Important Audience Questions: So what? Why does this matter? Week Four: Listening to and Learning from Opposing Viewpoints Show Me the Evidence, The Importance of Audience (as well as Purpose and Point of View) Criterion-based versus Reader-based Feedback: More Fun with Peer Workshops Writer’s Workshop: You’ve Gotta Have Voice Radical Re-vision: Awakening Consciousness… What is Revision? What’s Your Strategy? Re-Envisioning the Essay (one more time!) Celebrating Ourselves, Our Unique Community of Writers Writing: A Continuous Journey of Discovery The Final Portfolio and Presentation

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