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   "Introduction to Creative Writing" Spring 1999 HCOM 330 Debra Busman

Write with your eyes like painters, with your ears like musicians, with your feet like dancers. You are the truthsayer with quill and torch. Write with your tongues on fire. -- Gloria Anzaldua We cannot work in isolation, or in fear of other voices. --Adrienne Rich I have been in prison five years. I'm doing twenty five years. I like poetry because I tell on myself... and it does something for me as a man. --Raymond Webster Many of us, rebels, political prisoners, prisoners of conscience, anarchs, social prisoners politicized by their slip into the abyss, bear witness to the power of change... Change -- to strengthen; to build; to become clearer in purpose; to grow more human. --Mumia Abu-Jamal Poetry is not a luxury. It is a vital necessity of our existence. It forms the quality of the 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. -- Audre Lorde The deepest secret in our heart of hearts is that we are writing because we love the world. --Natalie Goldberg Words Have Eyes That See --Michelle Gibbs COURSE SYLLABUS Introduction to Creative Writing HCOM 330 Spring 1999 (formerly 331B) Fulfills HCOM MLO 8 in Creative Writing and Social Action Professor: Debra Busman Office: Building 6; Room 110 Phone: Phone: 582-4475 E-mail: E-mail: debra_busman@monterey.edu Office Hours: Tues./Thurs. 9-10 a.m.; Thurs. 1-2 p.m. nd by appointment Course Description: This is an introductory creative writing course for women and men in which you, as writers, will begin to "break silence" and lend your voices to the growing body of writers who are speaking out against social injustice, refusing to have their lived experiences rendered invisible, driven underground, marginalized. As writers, you will place the experiences of your own lives at the center of your creative inquiry and expression. Individually and together, we will explore the complex interweavings of ethnicity, class and gender, and the ways they inform our understanding of today's social, economic, political, cultural and sexual issues. In this class, you will form a community of writers and learn how to be compassionate and critically engaged readers for one another's work. You will read an extensive array of poetry, fiction and non-fiction by writers from around the country, looking at the multitude of ways in which they use writing as an "act of resistance." You will learn to engage texts in a "writerly" rather than "readerly" manner, focusing on the tools of craft a writer employs -- simile, metaphor, dialogue, setting, voice, character development, etc. And, you will write. A lot. You will produce works of poetry, fiction and creative non-fiction (autobiography, memoir, life-story), and you will take your words beyond the page, "take it to the streets," connecting to a diverse audience, expanding your community of readers. Course Requirements: Workshop participation: In small and large groups, you will workshop one another's writing, giving respectful attention and feedback to each other's work. Writing (with enough copies for everyone in the workshop group) will be turned in the class period before the workshop is to take place, allowing time for everyone to give each piece a careful reading and provide supportive written comments to be handed back to the writer. Reading and class discussion: You are expected to have completed all course readings before class and be prepared to engage in lively and thoughtful discussion. Discussion will not so much focus on traditional "literary criticism," but rather on how you are personally impacted by the work; how (and if) the work functions as a tool for social protest and change; what you think the writers have achieved in their writing; and how did they do it -- what stylistic or "craft" tools did they employ; and how can we learn to use these techniques in our own writing? Writing, writing, writing: Throughout the semester, you will be building a body of original creative writings through in-class exercises, experimental freewrites and journaling, take-home assignments, and the process of workshopping and revising your pieces. You will produce a portfolio of your writings to be turned in at the end of the semester. As writers, you will also practice literally "giving voice" to your work, reading out loud to yourself and others, experiencing the vibrancy, rhythm and power of the spoken word. Group production and involvement: At the end of the semester, you will, as a community of writers, present a public reading of your finest (and/or favorite) work this semester. You will also create a collaborative E-Zine on the Web, incorporating writings and visuals from class. Required Texts: No More Masks: An Anthology of Twentieth Century American Women Poets, ed. Florence Howe, N.Y: Harper, 1993 Bearing Witness: Selections from African-American Autobiography in the Twentieth Century, ed. Henry Louis Gates, Jr., Pantheon, 1991 Before Columbus Foundation Fiction Anthology: 1980-1990, eds. Ishmael Reed, Kathryn Trueblood and Shawn Wong, Norton, 1992 Sudden Fiction, eds Robert Shapard and James Thomas, Salt Lake City: Peregrine Smith, 1986 Text On Reserve at the Library: Against Forgetting: Twentieth Century Poetry of Witness, ed. Carolyn Forche, Norton, 1993 Hauling Up the Morning: Writings and Art by Political Prisoners & Prisoners of War in the U.S., ds. Tim Blunk, Raymond Luc Levasseur, The Red Sea Press, 1990 What is Found There: Notebooks on Poetry and Politics, Adrienne Rich, Norton, 1994 Attendance and Other Guidlines: 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 (large workshop: 18 copies; small group workshop: 4 copies). Each writer in the workshop will respond with oral and written comments about your writing. You will also receive comments from me. All writing should be typed, double-spaced. Your ideas are central to this course and it is important that you come to class prepared to share them. Attendance in every sense of the word is required. The experiential form of this class requires attendance, participation, and close, respectful attention to one another's work. Please arrange your schedule so that you do not miss class. Always come to class with writing paper and pens/pencils. We will be doing a lot of in-class writing exercises throughout the semester. 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 silence, 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 can affect grade). Midterm oral grade available upon request. Writing: 80% Group Production Involvement and Classroom Participation: 20% **Students wishing Credit-No Credit should inform me in writing by Thursday, Feb. 4, 1999. 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: Understand the basic elements of craft as they apply to the genres of creative non-fiction, poetry, and the short story. Learn the process of revision. Write, at an introductory undergraduate level, creative non-fiction (life story, memoir) poetry, and short 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 one autobiography/life-story, one poem, one short story, and one response to a social issue (any genre) 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 appointments with instructor, 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, creative non-fiction, and short stories in texts, as assigned. Actively participate in class discussions. Documentation: Oral discussion of the social, cultural, historical and 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, creative non-fiction. Discover and write in your "authentic voice" -- "What you hear when no one is listening." (Adrienne Rich) Assignments: Read essays, as assigned Actively participate in class discussions. Make appointment and discuss with instructor. Apply to your own writing. Documentation: Keep a journal of your writing process throughout the semester. This is for your eyes only.After portfolio is completed at the end of the 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, thoughtfulness, 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 public reading.   Major Due Dates: February 4: Take-home writing assignment February 16: Turn in Assignment #1 -- Creative Non-Fiction (make copies for everybody in your workshop group) March 9: Turn in Assignment #2 -- Poem (make copies for everybody in your workshop group) April 6: Turn in Assignment #3 -- Short Story (make copies for everybody in your workshop group) April 22: Turn in Assignment #4 -- Social Action/any genre (make copies for everybody in your workshop group) May 4: Turn in writing and visuals for E-Zine May 6: Public Presentation May 11: Portfolios due May 13: E-Zine up and running Analysis of writing process due Course Outline: Week 1 Thursday, Jan. 28 -- Breaking Silence, Bearing Witness Introductions Discuss syllabus, MLO Week 2 Tuesday, Feb. 2 -- The Politics of Voice Discuss readings: Henry Louis Gates, "Introduction: On Bearing Witness," from Bearing Witness Gloria Anzaldua, "Speaking in Tongues: A Letter to 3rd World Women Writers" (handout) bell hooks, "Talking Back" (handout) Thursday, Feb. 4 -- The Borderlands -- "Where I Come From Is Like This" Voices Discuss readings: Richard Wright, "The Ethics of Living Jim Crow: An Autobiographical Sketch," Bearing Witness Cherrie Moraga, "La Guera" (handout) Toshio Mori, "Lil' Yokohama," Before Columbus Fiction Anthology Mab Segrest, "Memoir of a Race Traitor" (handout) Writing Exercise Week 3 Tuesday, Feb. 9 -- Creative Non-Fiction Turn in 1-2 page writing assignment Discuss readings: Junot Diaz, "Drown" Esmerelda Santiago, from When I was Puerto Rican Audre Lorde, "How I Became a Poet," pp. 228-231 in Bearing Witness Thursday, Feb. 11 -- Writing Race, Writing Gender Voices Mary Crow Dog, from Lakota Woman Claude Brown, from Manchild in the Promised Land, in Bearing Witness Jamaica Kincaid, "Girl" Lillian Smith, "Killers of the Dream" Writing exercise Week 4 Tuesday, Feb. 16 -- Writing Our Lives Turn in Assignment #1 -- 18 copies for large workshop; 4 copies for small workshop Workshop agreements Large group workshop Thursday, Feb. 18 -- Workshop Small group workshop Give writers back copies of their pieces with your comments Week 5 Tuesday, Feb. 23 -- "Poetry is Not a Luxury" Turn in revised Assignment #1 Begin section on Poetry Thursday, Feb. 25 -- The Personal is Political: Learning Sex/ Learning Gender Voices Discuss readings: Cherrie Moraga, "For the Color of My Mother" nmm p445 Sharon Olds, "The Girl," "First Sex" nmm p346-8 Tess Gallagher, "I Stop Writing the Poem," nmm p354 Diane Wakoski, "The Girls," nmm 289 E. Ethelbert Miller, "She is flat on her back" Peter Spiro, "He Wanted to Show Me" Joseph Duemer, "Burn Victim," Frank Stewart, "The Dance" Week 6 Tuesday, March 2 -- Poems of Anger, Poems of Love Discuss readings: Marge Piercy, "A Just Anger" June Jordan, "Case in Point," "Poem About My Rights" nmm p266-8 Muriel Rukeyser, "This Morning" Nikki Giovanni, "Adulthood" Tim Blunk, "liberated territory" Mumia Abu-Jamal, "Sister Mona Africa" Jamal Josephs, "No Distance at All" Katya Komisaruk, "They Are Searching" E. Ethelbert Miller, "Untitled (where are the love poems for dictators)" Writing exercise Thursday, March 4 -- Against Forgetting Voices Discuss readings Joy Harjo, "Remember" Susan Griffin, "I Like to Think About Harriet Tubman" nmm p360 Richard Williams, "Mairead, St. Patrick's Day, 1988" Janice Mirikitani, "In Remembrance" Judy Clark, "Sister Says" John Balaban, "For the Missing in Action" Etheridge Knight, "The Idea of Ancestry" Jimmy Santiago Baca, "How We Carry Ourselves" Otto Rene Castillo, "Apolitical Intellectuals" Week 7 Tuesday, March 9 -- Workshop Turn in Assignment #2 (18 copies for large group; 4 copies for small group) Large group workshop Thursday, March 11 -- Workshop Small group workshop Hand back poems with written comments to writers Week 8 Tuesday, March 16 -- The Short Story Begin section on the short story Discuss readings: Langston Hughes, "Thank You, Ma'm" sf Thursday, March 18 -- Crafting Our Lives Voices Readings: Tobias Wolff, "Say Yes" sf Elizabeth Talent, "No One's A Mystery" sf Paul Milenski, "Tickits" sf John Cheever, "Reunion" sf John Updike, "The Widow" Begin working on your short stories Week 9 SPRING BREAK!!! Week 10 Tuesday, March 30 -- Crafting Our Lives Readings: Leslie Marmon Silko, excerpts from Ceremony bc Hisaye Yamamoto, "Seventeen Syllables;" Dorothy Allison, "River of Names" Tim O'Brien, "The Things They Carried;" Leslie Marmon Silko, "Tony's Story" Writing Exercise Thursday, April 1 Voices Readings: Toni Cade Bambara, "The Lesson" Sandra Cisneros, excerpts from The House on Mango Street bc Week 11 Tuesday, April 6 -- Workshop Turn in short story for workshop (18 copies for large; 4 copies for small) Thursday, April 8 -- Workshop Small group workshop Return stories with written comments Week 12 Tuesday, April 13 -- Social Action Writing: Passion and Protest Begin section of Social Action Writing Thursday, April 15 -- Writing Our Rage Discuss readings: Alice Walker, "Nobody Was Supposed to Survive": The MOVE Massacre Wadiyah Jamal, "A Living Nightmare" Hakim Al-Jamil, "who killed mcduffie? a definitive question" Tim Blunk, "for comrades who ask, 'what is to be done?' during this particular historical conjuncture, a (partial) list of practical things to do" Janice Mirikitani, "Breaking Silence" Assata Shakur, "No One Can Stop the Rain" Writing Assignment Week 13 Tuesday, April 20 -- Choose Your Issue Discuss ideas for final assignment: response (any genre) to a social issue Share readings: (bring in poems, stories, visual art that speak to your issue) Thursday, April 22 -- Large workshop Turn in Assignment #4 (18 copies for large workshop, 4 copies for small groups) Large workshop Discuss and plan web page Week 14 Tuesday, April 27 -- Workshop Small group workshop Return pieces with written comments Thursday, April 29 -- The Joys of Revision Continue work on E-Zine Workshop revised pieces for E-Zine and/or portfolio Week 15 Tuesday, May 4 Turn in writing and visual collaboration for E-Zine on Web Workshop revised pieces Prepare for Public Presentation Thursday, May 6 Workshop revised pieces for portfolio Public Presentation Week 16 Tuesday, May 11 Portfolio due Thursday, May 13 Turn in written analysis of your creative process E-Zine up and running Relax, reflect and celebrate 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? See below for standards, pages 10-12. 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 impede 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 impede 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 impede 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 impede understanding.

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