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Creative Writing & Social Action Program

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"Writer As Witness,"
Fall 1998
HCOM 330, Introduction to Creative Writing,
Frances Payne Adler

 

What if I told you you are not different
it's the family albums that lie...

- Adrienne Rich, "In the Wake of Home"

Witnessing is especially necessary
when the reality of a lived experience
is denied by the culture at large,
the culture to which the witness
is brought...

- Judith McDaniel, Sanctuary

The 'master narrative' is the story, as written by the master...It's telling us who has value and who has not...

- Toni Morrison, PBS radio interview, after winning the Nobel Prize for Literature, 1993

Sobreviviendo, bearing witness, out of love, so that what has been (and still is) will not be erased.

- Bettina Aptheker, Tapestries of Life.

Sobreviviendo, bearing witness, out of love, so that what has been (and still is) will not be erased.

- Bettina Aptheker, Tapestries of Life.

The best literary formula is always the truth...There's not a single line in my novels which is not based in reality... reality isn't limited to the price of tomatoes and eggs...

- Gabriel Garcia Marquez, AFragrance of Guava

COURSE SYLLABUS

"Writer As Witness" HCOM 330, Introduction to Creative Writing
Fall 1998

Professor: Frances Payne Adler

Office:Bldg. 2
Phone: (831) 582-3982
E-mail: frances_payne_adler@monterey.edu

Office Hours: Tues: 4-5; Wed: 10-11, and by appointment

Prerequisite: Completion of LIT AND POPULAR CULTURE ULR

Course Description:
Welcome, writers, to an introductory creative writing 'witness' course for women and men, aimed at retrieving the voice gone underground. The course is directed at the marginalized voices of men and women. It is for students across the disciplines, not only those interested in writing poetry and fiction.
The idea for the course grew out of a concern about the lack of passion in students' writing. What silencing was going on here? As poet Adrienne Rich says, "What is concealed in us explodes in poetry."

Ethnicity, class, and gender-based writing theory informs the course. You'll examine the writing process, what roadblocks create silence, how to remove them. "Poetry is no luxury," says Audre Lorde."It is a vital necessity of our existence." (Chrysalis, No. 3) "Poetry", says Lorde,"forms the quality of light within which we predicate our hopes and dreams toward survival and change, first made into language, then into idea, then into more tangible action. Poetry is the way we help give name to the nameless so it can be thought..." "Poetry is not only dream and vision, it is the skeleton architecture of our lives."

In this class, you will ask such questions as, Who is a writer? Why write? What is the role of the writer in the community? How does writing communicate, and to whom? What is the relationship between writing and the public agenda?

You will read an extensive reading list of poetry, fiction, non-fiction by writers from around the country. Writers who are witnessing, writers who write about writing: why they write, the process, what blocks them from writing, how to move to fluidity. I bring to the workshop my own experience as poet, witness what it is to witness.

The emphasis in the course is on writing your world, on the premise that writing is a significant social act. As Henry Louis Gates says, "For hundreds of black authors...the ultimate form of protest was to register in print the existence of a black self that had transcended the limitations and restrictions that racism had placed on the personal development of the black individual...These stories endure as...the impulse to bear witness." (Gates, Bearing Witness: African American Autobiography)

You will -- through witnessing -- break through silence. "That silence that can feel like a scream, in which there is no peace...the painful silence of the one with tears in her eyes who will not cry. The silence of a child who knows she will not be heard. The silence of a whole people who have been massacred. Of a whole sex made mute, or not educated to speech. The silence of a mind afraid to admit truth to itself..." (Susan Griffin, Made From This Earth) "And now I think of the... blistering crackle of energy in a room ...when one is singing or reading her work to the others. Every word counts..."

In such a room, you will learn to witness. You'll produce poetry, fiction, autobiography. You'll take your words beyond the page, connect to a diverse audience. You will become aware of your potential to engage an audience with words that can empower, clarify, challenge cultural norms, form community.

Required Texts:

  • No More Masks: An Anthology of Twentieth Century American Women Poets, ed. Florence Howe, N.Y: Harper, 1993
  • Men of Our Time: An Anthology of Male Poetry in Contemporary America, eds. Federico Moramarco and Al Zolynas, Athens, GA: U. of Georgia Press, 1992
    Toi Derricotte, Tender, Pittsburgh, PA: University of Pittsburgh Press, 1997
  • Cuentos Chicanos: A Short Story Anthology, eds. Rudolfo Anaya and Antonio Marquez, Albuquerque, N.M: Univ. of New Mexico Press, 1984
  • Imagining America: Stories from the Promised Lands, ed. Wesley Brown , Amy Ling, N.Y: Persea, 1991
  • Also, assigned selections from Anthology of theory: writers writing about writing. (See attached list)
    On reserve at library. Also available at campus bookstore.

Attendance and Other Guidelines:
The format of this class is group workshop. Through this process, you will learn to critique your own and others' writing. For the class session in which your writing is workshopped, bring copies for everyone. Each writer in the workshop will respond with comments about your writing. You will also receive comments from me about your writing. All writing must be typed, double-spaced. Keeping a journal is suggested.

The experiential form of this class requires attendance. It is unlikely you can make up what you miss. Please arrange your schedule so that you do not miss class. Three missed sessions lowers your grade.

Major Learning Outcome:
This class fulfills the HCOM MLO in Creative Writing and Social Action, MLO 8.

MLO 8: CREATIVE WRITING AND SOCIAL ACTION MLO
Acquiring basic competency in creative writing. Applying this skill to the production and presentation of an art project that actively responds to a public issue. Developing the skills to sustain the creative process throughout a given project, taking it to completion.

What does this mean:
The emphasis here is on moving the student to produce creative writing that is aware of its context in and impact on the larger community. The student witnesses her/his experience, communicates to a diverse audience, and links with the interests and needs of that audience. This MLO also develops the student's awareness of what it takes to make creative writing happen. Social action writing/art is a form of critical inquiry; it is writing that breaks silences, that witnesses, and through that witnessing, transforms lives.

Note: Many of the MLOs in Human Communication focus on developing the student's analytical skill. The creative writing and social action MLO develops the student's creative skill, as well as her/his ability to respond to a public issue.

 

Assessment:
SEE END OF SYLLABUS FOR CRITERIA AND STANDARDS FOR ASSESSMENT.

Grade: Three missed sessions affects grade. Midterm oral grade available on request.
Writing 90%.
Group Production Involvement: 10%
** Students wishing Credit/No Credit must inform me in writing by the end of the second week of class.

 

Course Learning Outcomes and Assignments:
Students who successfully complete "Introduction to Creative Writing" will be able to demonstrate skills and knowledge of the craft of creative writing, social action as it applies to creative writing, the writing process, interdisciplinary art, presentation and distribution of original writing, and group production and involvement.

1. Craft:

  • Learn that writing is re-writing.Write, at an introductory undergraduate level, poetry, and short story/life-story. Develop a sense of what constitutes strong writing, by critiquing your own and others' work.
  • Produce a portfolio of original creative writings.

Assignments:

  • Write and re-write 2 poems and 2 short stories.
  • Read assigned poetry and short stories (in texts and handouts) of established poets
    and writers, and actively discuss craft.
  • Participate actively and thoughtfully in the workshop process: reading with attention and
    offering considered constructive written and oral comments.
  • Make appts with professor, as needed, to discuss writing.

Documentation of craft:

  • Hand in a portfolio of writings: keep copies (in a folder) of the writing you bring to class for workshop, along with my comments. At the end of the semester, all drafts and final revisions will be handed in for a letter grade.

2. Social Action Writing:

  • Evaluate through literature, the stereotypes and conventions of diverse cultures.
  • Investigate the ways in which writers, by witnessing their worlds, have redefined those stereotypes and conventions.
  • Understand the emancipatory and culture-creating properties of the writing act in the context of its social, cultural, historical or political background.

Assignments:

  • Read poetry and short stories in texts, as assigned.
  • Actively participate in class discussions.

Documentation:

  • Oral discussion of the social, cultural, historical or political contexts out of which the social action writing emerges.

3. Writing Process:

  • Learn what roadblocks silence you in the writing process and remove them.
  • Recognize, implement, and sustain your creative writing process.
  • Learn what you want to write about and write it, in poetry, short story, life-story.
  • Write in your authentic voice -- "What you hear when no one is listening." (A. Rich)

Assignments:

  • Read essays, as assigned.
  • Actively participate in class discussions.
  • Make appt. and discuss with professor.
  • Apply to your own writing, as appropriate.

Documentation:

  • Keep a journal of your writing process throughout semester. This is for your eyes only.
  • After portfolio is completed at end of semester, write and hand in an analysis of your writing process, and reflect on what you've learned.

 

4. Interdisciplinarity:
Understand interdisciplinarity as enhancement of your writings.
Assignment and Documentation:
Produce an original visual representation of your writings.

5. Presentation and Distribution, in the context of Group Production and Involvement:
Develop presentation and distribution skills.
Learn and practice sensitivity, thoughfulness, and respect for group partners.
Learn to produce, collaboratively.
Assignment and Documentation: Produce a collaborative E-Zine on Web, incorporating writings and visuals from class.
Present your original writing and art to a diverse public audience, in an end-of-semester event.

END of SEMESTER DUE DATES:
Tues. Dec. 1: Writing and visual due for E-Zine on Web.
Tues. Dec. 8: Public presentation of writing and visual art. Portfolios due.
Thurs. Dec. 10: \Analysis creative process and closure E-Zine up and running

OUTLINE:
Aug. 25 - Sept. 10: Introduction: What Is Witnessing, What Is Good Writing, Deconstructing The Silence

Sept. 15 - Oct. 1: Girls Becoming Women; Boys Bceoming Men, POETRY

Oct. 6 - Oct. 22: Gender and Family, POETRY

Oct. 27 - Nov. 5: Ethnicity and Witnessing, FICTION

Nov. 10 - Dec. 3: Ethnicity and Gender/Writing As Social Action, FICTION

Dec. 8 - 10: Public presentation writing and art; analysis creative writing process, and reflection; E-Zine.

INTRODUCTION:
WHAT IS WITNESSING, WHAT IS GOOD WRITING?

Week 1: T,TH Aug. 25, 27
Tues: Introduction to course, syllabus. Exercise.
Assignment for Thurs:Buy books. Read syllabus.
Read (handouts): Adrienne Rich's "As If Your Life Depended On It," and "A Poet's Education," and Henry Louis Gates', "Bearing Witness."

Thurs: Discuss syllabus. MLO. Contracts. Discuss readings by Rich and Gates.
`Assignment for next Tues: Read handouts: Safiya Henderson-Holmes, Ron Carlson, Carolyn Forche.

Week 2: T,TH, Sept. 1, 3
Tues: Discuss readings (handouts):
Safiya Henderson-Holmes, "To Hell and Back With Cake"
Ron Carlson, "Reading The Paper"
Carolyn Forche, "The Colonel"

Thurs: Exercise. Journal handout.
Assignment for Tues. Sept. 8: Exercise for out of class. Write 1 pg. typed, double spaced.

Assignment for Tues. Sept. 15 (a week from Tues): Get started -- NOW -- reading the poems scheduled for discussion on Tues. Sept. 15: poems in No More Masks and Men of Our Time. Respond in journal. Excerpt and respond to lines that move you.

 

Week 3: T,TH, Sept. 8,10
Tues: Hand in writing assignment. Writing Exercise. Make appt. to see professor.
For Tues: Examine Tues.' readings for specifics and figurative language.

Thurs: Writing Exercise.
Assignment for Tues. Sept. 15: Be ready to discuss poems and essays, see below.

 

GIRLS BECOMING WOMEN, BOYS BECOMING MEN: POETRY

 

Week 4: T,TH, Sept. 15,17
Tues: Writing returned. Lecture on poetry. Discuss Reading:

Poems:
Men of Our Time No More Masks
Duane Niatum, "Street Kid," 6 Adrienne Rich, "Frame," 203
Gary Gildner, "First Practice," 9 Rita Dove, " Night Kitchen," 443
Richard Oyama, "Rite," 12 Tess Gallagher, "I Stop..." 354
Frank Stewart, "The Dance," 24 Sharon Olds, "Pyjamas," 345
Joseph Duemer, "Burn Victim," 24 Sharon Olds, "The Girl," 346
Simon Ortiz, "My Father's Song," 37 Mitsue Yamada, "Goodbye," 158
Alberto Rios, "Morning," 50 Cherrie Moraga, "..Mother," 445
Basil Paquet, " Basket Case," 300 Marge Piercy, "Something..." 276
Antler, "Playing Dead Love," 302 Alma Luz Villanueva"Blood" 384

Thurs, Sept. 17: More discussion of poems. Discuss haiku.
Assignment for Tues: Choose a strong poem from above poems, in light of what you now know about poetry: one that demonstrates specificity, metaphor, senses, etc. Write a haiku, using two nouns from this poem. (Handout)

 

Week 5: T,TH, Sept. 22,24
Tues. Discuss more poems. Discuss haiku poems.
Assignment for Thursday: Make a sculpture (not clay) of objects of the moment you first came of age (menstruated or your voice changed, or?) Do not use words or photos or drawings, use objects.

Thurs: Discuss sculptures.
Assignment for Tuesday: Read essay, "The Presence of Isanaklesh."
Then write a poem that includes the objects from sculpture. Use nouns, words you can see. Begin with how it was, turn it to how you would have wished it to be. What happens? Writing as ceremony. What new objects/metaphors do you need in this piece? Typed, double-spaced, one pg. One volunteer for large workshop, bring copies for everyone. Everyone else bring 4 copies, three for small workshop, one to hand in.

Week 6: T,TH, Sept. 29, Oct. 1
Tues: Poems due in. Discuss process writing poem. Discuss workshop process. Large workshop. Distribute others for small workshop on Thurs.
Assignment for Thurs: Write comments on poems.

Thurs: Small group workshop. Hand back poems.
Assignment for Tues. Re-Write poem according to suggestions in small workshop and my comments.
Due to hand in Tues. Read DeMars, hooks, McPherson, and poems as listed below.

GENDER AND FAMILY: POETRY

 

Week 7: T,TH, Oct. 6,8: NOTE: WENESDAY, OCT. 7, TOI DERRICOTTE READING
Tues: Hand in poem re-write. Discuss readings:
Douglas DeMars, "A Conversation with Sharon Olds"
bell hooks, "Talking Back"
Sandra McPherson, "Secrets: Beginning To Write Them Out"
Toi Derricotte, "Baring/Bearing Anger: Race in the Creative Writing Classroom," in The Black
Notebooks (handout)

Poems:
Federico Moramarco "For Nicholas," 140
Wanda Coleman "Dear Mama," 300
Gary Young "Loch Lomond," 38
Sharon Olds "The Takers," and "Late Poem To My Father" (handout)
Jimmy Santiago Baca "Sun Prayer," 122
Toi Derricotte"When My Father Was Beating Me," in Tender, 13
"Exits from Elmina Castle: Cape Coast, Ghana" in Tender, 3-10 Joseph Bruchac"Walking at Night With James," 131
Li-Young Lee"Water"
Linda McCarriston "Hotel Nights With My Mother, 1991," 367
"Dismantling the Castle" (handout)

Assignment for Thurs. Re-read poems in light of discussion. Read Derricotte, attend Wed reading.

WEDNESDAY, OCT. 7, ATTEND TOI DERRICOTTE READING, Location To Be Announced

Thurs: Toi Derricotte to class. Discuss next poetry assignment.

Assignment for Tues, Oct. 20: See Video MacPherson, McCarriston. (On reserve in library). Write second poem. One volunteer for large workshop, bring copies for everyone. Others bring three copies for small workshop.

Week 8: T,TH, Oct. 13, 15: FALL BREAK; FACULTY PLANNING WEEK

Week 9:
T,TH, Oct. 20, 22
Tues: First poems returned. Second poem due for large workshop and small workshops.
Assignment for Thurs: Re-write poem for small workshop. Thurs. Bring three copies. Read fiction
for next Tues. discussion.

Thurs: Small workshop.
Assignment for Tues: Re-write poem to hand in Tues, Oct. 27. Read stories for next Tues.

ETHNICITY AND WITNESSING: FICTION

Week 10: T,TH, Oct. 27, 29:
Tues: Hand in second poem. Lecture on fiction. Discuss stories.
Fiction in Imagining America: Stories from the Promised Land and Cuentos Chicanos
Francisco Jimenez, "The Circuit," 106 (CC)
Anzia Yezierska, "Soap and Water," 105 (IA)
Maria Salinas, "The Scholarship Jacket," 137 (CC)
Toni Cade Bambara, "The Lesson," 139 (IA)

Assignment for Thurs: Read essays: Gabriel Garcia Marquez, "His Craft," and Gloria Anzaldua,

"Tlilli,Tlapalli:The Path of the Red and Black Ink."Also, re-read stories in the light of our discussion.

Thurs, Oct. 29: Discuss more fiction., Marquez and Anzaldua essays. Writing Exercise.
Assignment for Tues: Write a story. 3-4pages, typed, double-spaced. One volunteer for large workshop. Everyone else bring three copies.

Week 11: T, TH, Nov. 3, 5
Tues: Second poem given back . Lg. workshop. Distribute stories for sm. workshop Thurs. Writing exercise. Assignment for Thurs: Comment on stories. Read stories in anthologies, particularly for dialogue.

Thurs: Small workshop.
Assignment for Tues: Re-write story to hand in. Read essays, poems and stories as listed below.

ETHNICITY, GENDER/WRITING AS SOCIAL ACTION: FICTION

Week 12: T,TH, Nov. 10, 12
Tues: Hand in story. Discuss readings:
Essays: Carolyn Forche, "Poetry in Motion."
Audre Lorde, "Poetry Is Not A Luxury," "The Transformation of Silence into Language and Action"
Fiction:
Sin Sui Far, "In The Land of the Free," from Imagining America
Alice Walker, "Elethia," 291 (IA)

Also read the following two social action poems:
Lorna Dee Cervantes, "Poem For The Young White Man Who Asked Me How I, An Intelligent, Well-Read Person Could Believe in the War between Races," 1981, 312 (NMM)
Jayne Cortez, "Rape," 261 (NMM)

Assignment for Thurs: Re-read in light of our discussion.

Thurs. Nov. 12
More discussion of writings. Writing exercise for next writing assignment.
Assignment for Tues: Write a second story.
Bring four copies, 3 for small workshop, one to hand in.

Week 13: T,TH, Nov. 17, 19
Tues. First story back. Second story due in. Small workshops of second story.
For Thurs: Read handout social action art. Bring ideas for visual collaboration. What visual art will you use in E-Zine onWeb?

Thurs: Discuss and plan web page, ideas for visual art. Plan public presentation.
For Tues: Re-write first story, work on portfolio. Bring copies to workshop.
Meet off campus with writing partners.

Week 14: T,TH, Nov. 24, 26: THANKSGIVING - NO CLASS NOV. 26
Tues: Second story back. Small workshop for rewrite of first story.
Assignment for Tues. Dec. 1:
Work on writing and visual collaboration for fourth writing assignment. Due for E-Zine Dec. 1.
Work on re-writing your poems and story for portfolio. DUE DEC. 8.
Bring writing of your choice to workshop.

Thurs: NO CLASS Nov. 26, THANKSGIVING

Week 15: T,TH Dec. 1, 3
Tues: Writing and visual collaboration due for E-Zine on Web.
Small workshop, anything you want.
Assignment for Thurs: Work on rewrites.

Thurs: Small workshop, anything you want.
Assignment for Tues: Writing and visual/performing art for public presentation, and portfolio.

Week 16: T,TH, Dec. 8, 10
Tues Dec. 8: PUBLIC PRESENTATION of your writing and visual/performance art to a diverse audience. PORTFOLIOS DUE.

Thurs. Dec. 10: Analysis creative process, reflection. E-Zine up and running on Web.

 

Assessment

MLO 8: CREATIVE WRITING AND SOCIAL ACTION MLO
Acquiring basic competency in creative writing. Applying this skill to the production and presentation of an art project that actively responds to a public issue. Developing the skills to sustain the creative process throughout a given project, taking it to completion.

What does this mean:
The emphasis here is on moving the student to produce creative writing that is aware of its context in and impact on the larger community. The student witnesses her/his experience, communicates to a diverse audience, and links with the interests and needs of that audience. This MLO also develops the student's awareness of what it takes to make creative writing happen. Social action writing/art is a form of critical inquiry; it is writing that breaks silences, that witnesses, and through that witnessing, transforms lives.

Note: Many of the MLOs in Human Communication focus on developing the student's analytical skill. The creative writing and social action MLO develops the student's creative skill, as well as her/his ability to respond to a public issue.

Criteria for Assessment:

  • Is the portfolio original?
  • Does the portfolio demonstrate basic competency in creative writing?
  • Does the portfolio demonstrate the student's ability to produce imagery and communicate ideas and intent?
  • Does the portfolio address the social, cultural, historical or political contexts out of which the social action art emerges?
  • Does the portfolio represent an informed and ethical reflection of a significant social issue?
  • Has the student demonstrated the ability to present writing to a diverse audience and engage with the interests and needs of that audience?
  • In a post-production analysis, has the student demonstrated the ability to recognize and sustain her/his own creative process throughout the project?

 

MLO 8: Creative Writing and Social Action Assessment Standards
(A level of 3 is necessary to fulfill the built-in assessment).

Fiction

5 . Exemplary.
The short story meets all of the criteria stated above. The work establishes a resonant dramatic situation and an engaging plot. Characters are fully developed. The point of view is cleverly chosen to relate the story. Setting is described to evoke a strong sense of place. The story employs an excellent use of sensory details and concrete language to develop plot and characters. It excludes unnecessary details and inconsistencies. It effectively uses a range of strategies such as dialogue, dramatic tension, rhythm, and figurative language. The story addresses, excellently, the social, cultural, historical or political contexts out of which the social action art emerges. It demonstrates, profoundly, an informed and ethical reflection of a significant social issue. The story has been presented very effectively to a diverse audience and profoundly engaged with the interests and needs of that audience. Errors in spelling, punctuation, mechanics, and usage are rare.

4 . Very Good.
The short story meets all of the criteria stated above. The work establishes a clear dramatic situation and an engaging plot. Characters are developed fairly completely. The point of view is cleverly chosen to relate the story, but may be inconsistent at times. Setting is generally described to evoke an adequate sense of place. The story employs some sensory details and some concrete language. Plot and characters need some development. Few unrelated details and inconsistencies exist. Dialogue, dramatic tension, rhythm, figurative language are adequately employed. The story addresses, fairly completely, the social, cultural, historical or political contexts out of which the social action art emerges. It adequately demonstrates an informed and ethical reflection of a significant social issue. The story has been presented story fairly well to a diverse audience and engaged adequately with the interests and needs of that audience. Errors in spelling, punctuation, mechanics, and usage do not impede understanding.

3 . Satisfactory.
The short story meets most of the criteria above. A basic dramatic situation and plot exists in the work. Characters, setting, and point of view chosen to relate the story are discernible. Sensory details and concrete language are adequately used. Several unnecessary details and inconsistencies are present. Dialogue, dramatic tension, rhythm, and figurative language need further crafting. The story is moving toward addressing the social, cultural, historical or political contexts out of which the social action art emerges. Some evidence exists of an informed and ethical reflection of the significant social issue. The story has been presented to a diverse audience. Errors in spelling, punctuation, mechanics, and usage do not impede understanding.

2. Needs Improvement.
The short story meets some of the criteria stated above. The work may need a clear dramatic situation and an engaging plot. Characters need development . The point of view chosen to relate the story requires consistency. Setting requires more description. An awareness of sensory details and concrete language is necessary, and plot and characters need development. Dialogue, dramatic tension, rhythm, and figurative language may need work. The story may need to address the social, cultural, historical or political contexts out of which the social action art emerges. Work needs to demonstrate a more informed and ethical reflection of the significant social issue. The story may need to be presented to a diverse audience. Errors in spelling, punctuation, mechanics, and usage impedes understanding.

1. Needs Considerable Improvement.
The short story meets a few of the criteria stated above. The dramatic situation, characters, plot, setting and point of view need development. Dialogue, dramatic tension, rhythm, and figurative language need extensive work. The story needs to address the social, cultural, historical or political contexts out of which the social action art emerges The work needs to demonstrate a more informed and ethical reflection of the significant social issue. The story needs to be presented to a diverse audience. Errors in spelling, punctuation, mechanics, and usage impedes understanding.

Poetry

5 . Exemplary.
The poem meets all of the criteria stated above. The work establishes a resonant moment or illumination. The poem employs utmost precision and vividness in the use of language, producing density and intensity of expression. It achieves maximum impact with a minimal number of words. The poem uses specific, strong, representative details, and avoids abstractions and generalities. Excellent use of figurative language. The rhythm is compelling. There is evocative use of the senses, effective linebreaks, and an authentic voice. The poem addresses, excellently, the social, cultural, historical or political contexts out of which the social action art emerges. The poem demonstrates, profoundly, an informed and ethical reflection of a significant social issue. The poem has been presented to a diverse audience and profoundly engaged with the interests and needs of that audience. Errors in spelling, punctuation, mechanics, and usage are rare.

4 . Very Good.
The poem meets all of the criteria stated above. The work establishes a clear moment or illumination. The poem employs some precision and vividness in the use of language, producing some density and intensity of expression. It achieves an adequate impact, despite its need, occasionally, for tightening the number of words. The poem uses representative details, and occasional abstractions and generalities. Some use of figurative language. The rhythm is apparent. The senses, voice, linebreaks are adequately employed. The poem addresses, fairly completely, the social, cultural, historical or political contexts out of which the social action art emerges. It demonstrates, fairly well, an informed and ethical reflection of a significant social issue. The poem has been presentedto a diverse audience and engaged adequately with the interests and needs of that audience. Errors in spelling, punctuation, mechanics, and usage do not impede understanding.

3 . Satisfactory.
The poem meets most of the criteria stated above. The work demonstrates a basic moment or illumination. Representative details, senses, rhythm chosen to relate the poem are discernible. Occasional use of figurative language. Adequate linebreaks. Voice is apparent. Density and intensity of expression need further development. Several unnecessary details are present or more detail required. Tends toward abstractions and generalities. The poem is moving toward the social, cultural, historical or political contexts out of which the social action art emerges. Some evidence exists of an informed and ethical reflection of the significant social issue. The poem has been presented to a diverse audience. Errors in spelling, punctuation, mechanics, and usage do not impede understanding.

2. Needs Improvement
The poem meets some of the criteria stated above. The work may need a clearer moment or illumination. The representative details, senses, rhythm may require more work. The poem needs to demonstrate a greater use of figurative language. Linebreaks and voice may need work. Density and intensity of expression may need extensive development. Attention to detail may require more work. The work primarily tends toward abstractions and generalities. The poem may need to demonstrate the social, cultural, historical or political contexts out of which the social action art emerges. It may need to demonstrate a more informed and ethical reflection of the significant social issue. The poem may need to be presented to a diverse audience. Errors in spelling, punctuation, mechanics, and usage impedes understanding.

1. Needs Considerable Improvement.
The poem meets a few of the criteria stated above The work needs a more clear moment or illumination. Representative details, senses, rhythm, figurative language, linebreaks, and voice may not be discernible. Attention to detail requires work. The work primarily tends toward abstractions and generalities. The poem needs to demonstrate the social, cultural, historical or political contexts out of which the social action art emerges. The work needs to demonstrate a more informed and ethical reflection of the significant social issue. The poem needs to be presented to a diverse audience. Errors in spelling, punctuation, mechanics, and usage impedes understanding.

Creative Non-Fiction (Narrative, Life-Story, Personal Essay):

5 . Exemplary.
The creative non-fiction writing meets all of the criteria stated above. The work establishes a resonant dramatic situation and an engaging narrative, around a lived experience. Characters are fully developed. Extensive research has been done and facts are accurate. The voice is authentic. The point of view is cleverly chosen to relate the narrative. Setting is described to evoke a strong sense of place. The story employs an excellent use of sensory details and concrete language to develop narrative and characters. It excludes unnecessary details and inconsistencies. It effectively uses a range of strategies such as dialogue, dramatic tension, rhythm, and figurative language. The writing addresses, excellently, the social, cultural, historical or political contexts out of which the social action art emerges. It demonstrates, profoundly, an informed and ethical reflection of a significant social issue. The work has been presented to a diverse audience and engaged with the interests and needs of that audience. Errors in spelling, punctuation, mechanics, and usage are rare.

4 .Very Good.
The creative non-fiction writing meets all of the criteria stated above. The work establishes a clear dramatic situation and an interesting narrative. Characters are developed fairly completely. Substantial research has been done and facts are accurate. The voice is fairly authentic. The point of view is cleverly chosen to relate the narrative, but may be inconsistent at times. Setting is generally described to evoke an adequate sense of place. The writing employs some sensory details and some concrete language. Few unrelated details and inconsistencies. Dialogue, dramatic tension, rhythm, figurative language are adequately employed. The writing addresses, fairly completely, the social, cultural, historical or political contexts out of which the social action art emerges. It demonstrates, fairly well, an informed and ethical reflection of a significant social issue. The work has been presented to a diverse audience and engaged with the interests and needs of that audience. Errors in spelling, punctuation, mechanics, and usage do not impede understanding.

3 . Satisfactory.
The creative non-fiction writing meets most of the criteria stated above. A basic dramatic situation and narrative exist in the work. Characters, setting, voice, and point of view are discernible. Research has been done but facts are occasionally inconsistent. Occasional sensory details and concrete language exist. Many unnecessary details and inconsistencies. Dialogue, dramatic tension, rhythm, and figurative language need further crafting. The writing is moving toward addressing the social, cultural, historical or political contexts out of which the social action art emerges. Some evidence exists of an informed and ethical reflection of the significant social issue. The writing has been presented to a diverse audience. Errors in spelling, punctuation, mechanics, and usage do not impede understanding.

2. Needs Improvement.
The creative non-fiction writing meets some of the criteria stated above. The work may need a clear dramatic situation and more adequate narrative. Characters may need more development. The work may need more research and many facts may need to be reconsidered. The voice may need more authenticity. The point of view chosen to relate the story requires consistency. Setting requires more development. An awareness of sensory details and concrete language may be necessary. Dialogue, dramatic tension, rhythm, and figurative language may need work. The writing may need to address the social, cultural, historical or political contexts out of which the social action art emerges. The work needs to demonstrate a more informed and ethical reflection of the significant social issue. The creative non-fiction writing may need to be presented to a diverse audience. Errors in spelling, punctuation, mechanics, and usage impedes understanding.

1. Needs Considerable Improvement.
The creative non-fiction writing meets few of the criteria stated above The characters, narrative, setting, voice, point of view needs development. The work needs more research and the facts need to be reconsidered. An awareness of sensory details and concrete language is necessary. Dialogue, dramatic tension, rhythm, sensory details, concrete and figurative language needs work. The writing needs to address the social, cultural, historical or political contexts out of which the social action art emerges. The work needs to demonstrate a more informed and ethical reflection of the significant social issue. The creative non-fiction writing needs to be presented to a diverse audience. Errors in spelling, punctuation, mechanics, and usage impedes understanding.

Class Books

Home - Program Description - Skills a Social Action Writer Needs -
Examples of Student work - Syllabi - Creative Writing Faculty -
Other HCOM Faculty

Design by: Yael Maayani yaelian@ix.netcom.com
The Institute for Human Communication
California State University Monterey Bay

Design by: Yael Maayani
yaelian@ix.netcom.com