The Institute for Human Communication (HCOM) Creative Writing & Social Action Program Program Description Skills a Social Action Writer Needs Examples of Student Work Syllabi Creative Writing Faculty Other HCOM Faculty Home   The Chicana/Chicano Fiction Workshop HCOM 231, Diana Garcia [Note: This course meets the Creative and Artistic Expression ULR--see below] COURSE SYLLABUS Course Description: The Chicana/Chicano Fiction Workshop is an introductory creative writing course that focuses on the craft of writing cuentos or short fictions. The course develops basic competencies in fictive writing and literary techniques, using the works of contemporary Chicana/o writers as models. In this course, you will learn to apply fictive techniques to short fictions that reflect an awareness of the culture and issues surrounding your writings. During the semester, you will discuss a variety of assigned readings by contemporary Chicana/o writers You will respond to in-class exercises and assignments and share the results with your classmates. You will produce and present your work within an intense yet mutually supportive and cooperative workshop environment. By the end of the semester, you will understand the process of creative writing and specifically the craft of short story writing. The process of writing out of your experience can be a painful one and at times requires acts of great courage. In her introduction to Making Face, Making Soul, Haciendo Caras, editor and writer Gloria Anzaldúa explains, "We are 'written' all over, or should I say, carved, tattooed with the sharp needles of experience." In this course, your goal is to carve away at those tattooed masks worn like armor and recall Anzaldúa's advice that it is the "place between the masks that provides the space from which we can thrust out and crack the masks." Creative and Artistic Expression University Learning Requirement: Each student must produce a work of art that communicates to a diverse audience. What does this mean? The emphasis here is on moving the student to produce art through written, visual, or performance that communicates to a diverse audience. In order to fulfill this outcome, the student will need, through their own work, to demonstrate That he or she through written, visual or performance comprehends the significance and expression of culture in a variety of ways; That he or she successfully communicates through the Arts by: a. Identifying the nature of the audience, b. Knowing that he or she has something to communicate that links to the interests and needs of that audience, and c. Understanding the forms of communication specific to that audience. Course Learning Outcomes: Students who successfully complete this course will produce a collection of short cuentos or stories which demonstrate the following: An ability to focus on the Chicana/o experience in a way that is understood by a broad and possibly bilingual audience A significant understanding of Chicana/o culture within the context of a broader culture through the cuentos that s/he writes An awareness of issues important to the Chicana/o community as evidenced in submitted stories References to aspects of Chicana/o values, history, and/or cultural experiences An ability to reflect an understanding of cultural difference and multiple points of view In terms of craft, successful portfolios will demonstrate the following: Dramatic situations that involve engaging plots and themes that communicate to a diverse audience Imaginative and well-developed characters A clear sense of physical/historical/cultural setting A consistent and appropriate point of view Vivid scenes using concrete and figurative language Dialogue that flows and is consistent with tone and character development A strong and appropriate story title A response to critiques from classmates and instructor   Required Readings: Cuentos Chicanos, Rudolfo A. Anaya and Antonio Marquez, eds. Rev. ed. Albuquerque: U of New Mexico, New America, 1984. Writing Down the Bones by Natalie Goldberg. Boston: Shambhala, 1986. Handouts from a variety of anthologies including Mirrors Beneath the Earth, ed. Ray Gonzalez, Curbstone Press, 1994; New Chicana/Chicano Writing, Parts 1 and 2, ed. Charles M. Tatum, U of Arizona Press, 1992; and Pieces of the Heart: New Chicano Fiction, ed. Gary Soto, Chronicle Books, 1994. Assignments: Four cuentos or short stories, 3-8 pages each 50% and class exercises Peer workshop participation 20% Final portfolio with written analysis of work 20% based on journal writings Public reading 10%   Standards for the Creative Writing ULR: Exemplary: The portfolio exceeds expectations. The stories establish resonant dramatic situation and engaging plots. The characters are developed completely. The points of view are developed entirely and setting is clear to the reader. The stories effectively employ concrete language. Dialogue and conflict are well-developed. Errors in spelling, punctuation, and mechanics are rare. The stories demonstrate, excellently, an awareness of cultural contexts through the informal use of and reference to such elements as cultural traditions, beliefs, behavior and language. The stories have been presented effectively to a diverse audience, engaging the interests of that audience. Very Good: The portfolio meets most criteria expectations. The stories establish clear dramatic situation and engaging plots. The characters are developed fairly completely. The points of view are developed well and setting is clear to the reader. The stories employ some concrete language. dialogue and conflict are developed fairly well. There are few errors in spelling, punctuation, and mechanics. The stories demonstrate well, an awareness of cultural contexts through the informal use of and reference to such elements as cultural traditions, beliefs, behavior and language. The stories have been presented well to a diverse audience and engaged, adequately, the interests of that audience. Satisfactory: The portfolio fulfills the outcome. The stories begin to establish plots and dramatic action. The characters are almost developed. The points of view are inconsistent at times and setting is discernible. The stories begin to employ concrete language. Dialogue and conflict are adequately used. Errors in spelling, punctuation and mechanics to not impede understanding. The stories begin to demonstrate an awareness of cultural contexts through the informal use of and reference to such elements as cultural traditions, beliefs, behavior and language. The stories have been presented to a diverse audience. Needs Improvement: The portfolio meets some of the criteria. The stories may need dramatic situation and engaging plots. The characters need development. the points of view require consistency, and setting needs more description. The stories may need to employ concrete language. Dialogue and conflict need work. Errors in spelling, punctuation and mechanics impede understanding. The stories may need to demonstrate an awareness of cultural contexts through the informal use of an reference to such elements as cultural traditions, beliefs, behavior and language. The stories may need to be presented to a diverse audience. Needs Considerable Improvement: The portfolio meets few of the criteria. The dramatic situation, plot, characters, point-of-view and setting need development. Concrete language, dialogue and conflict need considerable development. Errors in spelling, punctuation, and mechanics impede understanding. The stories need to demonstrate an awareness of cultural contexts through the informal use of and reference to such elements as cultural traditions, beliefs, behavior and language. The stories need to be presented to a diverse audience.   Calendar Subject to change Weeks One through Three: Introduction to fictive elements and literary techniques; focus on plot (dramatic situation) and on character development. Readings: Include "The Ghost of John Wayne" by Ray Gonzalez; "Tepeyac" by Sandra Cisneros; "Saints" by Denise Chavez Exercises: Imagery--sensory detail and figurative language Character sketch--what you need to know about your main character Plausible plots--it could happen this way Due: First short story, 4-6 pages long Weeks Four through Six: The short-short story, aka instant fictions; bending genres (impure form) Readings: Include "Se me enchina el cuerpo al oír tu cuento" by Norma Cantú," "Los Perdidos--Catalina" by Marie-Elise Wheatwind, and "De Sol a Sol" by Tino Villanueva Exercises: Beginning to end A stream-of-consciousness approach Due: Second short story, 2-4 pages long Weeks Seven through Nine: Writing that leads to an awareness of Chicana/o identity within the broader society; also, issues of class, gender, and sexuality. Readings: Include Chicana Falsa by Michele Serros, "Ghost Trap" and "Puddles" by Gloria Anzaldua, and "Blowfish: An Autobiography" by Juan Felipe Herrera Exercises: Voice--you've always had "them "in you, voice of the "others" Due: Third short story, 4-6 pages long Weeks Ten through Twelve: Creating the impossible; imagining imaginary realms Readings: Include "Mr. Mendoza's Paintbrush" by Luis Alberto Urrea" and "A Subtle Plague" by Alejandro Murguía Exercises: Impossible situations but concrete details Due: Fourth short story, 4-6 pages long Weeks Thirteen through Fifteen: Revising and analyzing. Practice readings. Readings: From Writing Down the Bones by Natalie Goldberg Exercises: Reimagining characters Due: Final portfolio including two short stories and an analysis of creative writing process Reading: Last day of class Class Books

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