IMAGINATIVE WRITING | MAHARAYANG PAG-AAKDA

POETICS AND CREATIVITY | POESIA AT PAGLIKHA

Syllabus Beta Version (3 April 2018)
College of Liberal Arts Department of Literature

COURSE CODE:
CLASS SCHEDULE: ROOM:
INSTRUCTOR: (name, contact details and consultation hours)

Course Description
Imaginative Writing: Poetics and Creativity (Maharayang Pag-aakda: Poesia at Paglikha) is a writing workshop course that instructs
students in the effective and elegant use of language for written communication and expression. This three-unit workshop develops
students’ creative writing skills through intensive exercises in creativity, the use of language, and storytelling. The workshop may be
conducted in English, Filipino, or bilingually, depending on its instructor.

Learning Outcomes
On completion of the course, the student is expected to be able to do the following.
Expected Lasallian Graduate Attributes Learning Outcome
Creative and critical thinker Use narrative and storytelling in creative ways to define, describe, and generate
Effective communicator and collaborator meaning in their personal and public lives and professional practice.
Service-driven citizen
Reflective lifelong learner

Course Output
As evidence of attaining the above learning outcomes, the student is required to do and submit the following during the indicated
dates of the term.
Learning Outcome Final Output Due Date
Use narrative and storytelling in creative Groups of two or three. A project proposal that delineates the Week 13
ways to define, describe, and solution to a personal, social, cultural, or political problem. The
generate meaning in their personal problem may be defined by the students or the instructor. The
and public lives and professional solution must involve the use of narrative as a key element.
practice. Apart from the standard parts of a project proposal (format to
be provided), the output must include an outline and substantial
sample excerpt of the narrative component of the project.

Over the course of the semester, students will work closely with
the instructor to define the scope of their project and determine
the nature of the problem they are addressing. Upon submission
of the output, students will deliver a 3- to 5-minute presentation
of their proposal abstract for discussion and critique.

Rubric for Assessment

Reminder: Plagiarism is a major offense and will result in an automatic failing grade for the course, as well as further sanctions.
CRITERIA MASTER
4.0
The proposal presents various
relevant perspectives on
narrative principles in depth,
Disciplinal
supported by research and
grounding (20%)
thought-provoking examples.
Advancing The proposal creatively
through integrates varied perspectives
integration from multiple fields and
APPRENTICE
3.0
The proposal is founded on
substantial relevant perspectives
on narrative principles, supported
by sources and examples.
The proposal makes
comprehensive, meaningful, and
creative connections among
NOVICE
2.0
The proposal is founded on basic
narrative principles without further
discussion or interrogation.
The proposal includes perspectives
from other fields and disciplines,
but erroneously, and/or fails to
NAIVE
1.0
The proposal shows little to
no grounding in basic
narrative principles. It also
shows little to no input from
the preparatory exercises
conducted over the
semester.
The proposal fails to includes
perspectives from other
fields and disciplines.
 NLCC Creative Writing Syllabus Draft | Page 2 of 3

disciplines, showing insightful,
innovative, and original
(40%) connections between them
that enable the project’s
concept or solutions.
The proposal self-reflexively
delineates a precisely
conceived project, with a clear
Critical sense of purpose and of
awareness (30%) multiple audiences, while
assessing the extent and
limitations of its
interdisciplinary connections.
Proposal The proposal is written in
conventions and flawless erudite language, and
styling (10%) observes the prescribed style
and format perfectly.
related or opposed perspectives
from other fields and disciplines in
conceptualizing the project; also
discusses the limitations of such
perspectives.
The proposal describes a project
whose parameters are clearly
delineated in terms of nature,
objectives, and audience, and
which acknowledges other
disciplines that could have been
integrated and suggests other
possible approaches.
The proposal is engagingly written
in precise formal language, and
correctly uses the prescribed style
and format.
show how these perspectives
contribute (or not) to the project,
and/or interconnects these
perspectives in a contrived,
derivative, or superficial way.
The proposal indicates an
awareness of the nature of the
project, its objectives, and its
audience. It mentions but doesn’t
explore other disciplines,
approaches, or biases.
The proposal is written as though
its proponent was merely filling in
the blanks in a template, using
conversational language.
The proposal’s objectives are
unclear and the project is ill-
conceived, without a clear
audience. Any
interdisciplinary connections
are claimed to be sufficient
or non-existent.
The proposal is poorly
written and incoherent, and
fails to follow the prescribed
style and format.

Other Requirements and Assessments

Students will also be assessed at other points in the semester through the following.
● Writing exercises. Individual and group. Short writing exercises related to the topics covered, which hone students’
communication, poetic, and creativity skills.
● Writing portfolio. Individual. A collection of exercises produced during the semester for this course, revised and refined,
accompanied by a 1000- to 2000-word essay assessing the development of the student’s writing skills. Deadline: Week 14.

Grading System
Students will be graded according to the following.
● Project Proposal 30%
● Writing exercises 20%
● Writing portfolio 30%
● Contribution to class learning 20%

Learning Plan
Learning Outcome Unit/Topic Week Learning Activities
Use narrative and Orientation and Introduction to Course 1 Lecture-discussion
storytelling in ● What roles do/can creativity and creative expression play Writing exercises
creative ways to in my life and professional practice?
● Syllabus
define, describe,
● Initial work on final output
and generate
Creativity 2-4 Lecture-discussion
meaning in their ● How can creativity be used to innovate within my own Reading and discussion
personal and public professional practice? Writing exercises
lives and ● Observation: Precise telling details Workshop critique
professional ● Seeing connections and generating meaning
practice. Poetics 1: Language 5-8 Lecture-discussion
● In what ways do communicative and expressive language Reading and discussion
interact with each other and contribute to problem- Writing exercises
solving? Workshop critique
● Elegant sentence construction
● Figurative language
● Tone and voice
Poetics 2: Storytelling 9 - 12 Lecture-discussion
● How can narratives cause positive change in the world, Reading and discussion
whether directly or indirectly? Writing exercises
● Plot structure Workshop critique
● Point-of-view and focalization
● Worlding and mythmaking
Presentation and submission of Final Output 13 Class colloqium
Submission of Writing Portfolio Workshop critique
 NLCC Creative Writing Syllabus Draft | Page 3 of 3

References
Fish, Stanley. How to Write a Sentence: And How to Read One. New York: Harper, 2011. ISBN-13: 978-0061840548
Rabiger, Michael. Developing Story Ideas (2nd ed.). Boston: Focal Press, 2005. ISBN-13: 978-0240807362.
Stern, Jerome. Making Shapely Fiction. New York: Laurel, 1991.

Other Resources
Course reading packet and online links to be provided by teacher.

Class Policies
● Come to class on time, prepared, and ready to participate in all class work and alternative class sessions.
● Submit all required output and accomplish all assigned tasks.
● Student conduct and behavior as articulated in the DLSU Student Handbook must be observed.
● Academic honesty, critical thinking, and creativity—the hallmarks of a true Lasallian education—must be demonstrated
throughout the term.
● Instructors may specify additional policies as necessary.

Approved by:

Dr. Dinah Roma

Chair, Literature Department

Dr. Ernesto Carandang II

Chair, Filipino Department

Dr. Cheryll Ruth Soriano

Chair, Communication Department

Dr. Jazmin B. Llana

Dean, College of Liberal Arts