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   "Creative Writing & Visual Art, HCOM 331C" Spring 1999 Debra Busman

Poetry becomes a weapon that guides us to the future. Opening the heart to love, to justice, to dignity, and to a freedom the enemy knows nothing of. --Susan Rosenberg Lexington Penitentiary 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 Art does not reproduce the visible; rather, it makes it visible. --Norma Jean Harris Creativity is our species natural response to the challenges of human experience --Adriana Diaz To survive, he writes -- on paper bags and torn-off scraps of political posters, and in the margins of stolen official documents. He writes to open up a window of freedom, to preserve a dream of beauty and love. --Reinaldo Arenas At the risk of seeming ridiculous, let me say that the true revolutionary is guided by a great feeling of love. --Che Guevara Your silence will not protect you --Audre Lorde COURSE SYLLABUS Creative Writing & Visual Art, HCOM 331C HCOM 331C Spring 1999 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. and by appointment Course Description: This is an introductory creative writing course for women and men in which you will explore how creative writing and art intersect with social change. You will learn how to lend your own creative voice to the growing body of artists who are speaking out against social injustice, refusing to have their lived experiences rendered invisible, driven underground, marginalized. As writers and artists, 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. As a class, we will look at some of the ways social action artists have combined creative writing with other arts -- visual, performing, media arts -- creating powerful works of social protest and change. 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) in response to and in conjunction with various forms of visual art. Finally, you will take your creative work beyond the page, "take it to the streets," connecting to a diverse audience, expanding your community of readers. Course Requirements:(note: no previous art experience necessary!) 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. Journal: You are expected keep a journal throughout the semester. The journal will not be handed in; it is for your eyes only and is a place for you to record your writing process, make notes from the readings, sketch, draw, doodle, speak truth, freewrite, jot down lines, images, observations. Depending on the kind of journal you keep, it can also be a place to collect "found art:" news clippings, photographs, visual images that call to you, perhaps sparking ideas for your own work. Group production and involvement: In groups of two or three, you will each introduce to the class the work of a social action artist who is combining creating writing with visual art. At the end of the semester, you will present a public presentation 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 Against Forgetting: Twentieth Century Poetry of Witness, ed. Carolyn Forche, Norton, 1993 --In Defense of Mumia, ed. S.E. Anderson and Tony Medina, Writers & Readers, 1996 Text On Reserve at the Library: Bearing Witness: Selections from African-American Autobiography in the Twentieth Century, ed. Henry Louis Gates, Jr., Pantheon, 1991 Hauling Up the Morning: Writings and Art by Political Prisoners & Prisoners of War in the U.S., eds. Tim Blunk, Raymond Luc Levasseur, The Red Sea Press, 1990 What is Found There: Notebooks on Poetry and Politics, Adrienne Rich, Norton, 1994 Reimaging America: The Arts of Social Change, Mark O'Brien, Craig Little, eds., New Society Publishers, 1990 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: 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. 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: 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 (life story, memoir), poetry, and the short story. Learn the process of revision. Write, at an introductory undergraduate level, creative non-fiction, 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 piece of creative non-fiction, one poem, one short story, and one response to a social issue (any genre), incorporating a piece of visual art 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. Learn about how writers/artists are combining creative writing with the other arts -- visual, performing, media arts -- to actively respond to a social issue. 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. Research, with a partner, an artist who incorporates creative writing and visual art in her/his work. Actively participate in class discussions. Documentation: Oral discussion of the social, cultural, historical and political contexts out of which the social action writing emerges. Class presentation introducing an artist who combines creative writing with another art form. 3. Writing Process: Learn what roadblocks silence you in the writing process and remove them. Recognize, implement, and sustain your creative writing process. Explore the intersections of creative writing and visual art. 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 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 20: 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 11: Public Presentation Portfolios due May 13: E-Zine up and running Analysis of writing process due Course Outline: Week 1 Thursday, Jan. 28 -- Introduction Introductions Discuss syllabus, MLO Writing exercise Week 2 Tuesday, Feb. 2 -- The Politics of Voice: Breaking Silence, Bearing Witness Turn in 1-2 page writing assignment Discuss readings: Ricardo Levins Morales, "The Importance of Being An Artist" Gloria Anzaldua, "Speaking in Tongues: A Letter to 3rd World Women Writers" Audre Lorde, "The Transformation of Silence into Language and Action" Writing exercise Thursday, Feb. 4 -- The Borderlands -- "Where I Come From Is Like This" Voices Discuss readings: Rosario Morales, "I Am What I Am" Cherrie Moraga, "La Guera" Adrienne Rich, "The Politics of Location" Mab Segrest, "Memoir of a Race Traitor" Sign up for class presentations Writing exercise   Week 3 Tuesday, Feb. 9 -- Creative Non-Fiction Discuss readings: Junot Diaz, "Drown" Esmerelda Santiago, from When I was Puerto Rican Audre Lorde, exerpts from Zami Thursday, Feb. 11 -- Writing Race, Writing Gender Voices Mary Crow Dog, from Lakota Woman Claude Brown, from Manchild in the Promised Land Jamaica Kincaid, "Girl" Lillian Smith, "When I Was a Child" from 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 445 Sharon Olds, "The Girl" nmm 346 Tess Gallagher, "I Stop Writing the Poem," nmm 354 Diane Wakoski, "The Girls," nmm 289 Laura Whitehorn, "Sisterhood is Powerful" 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: Audre Lorde, "Uses of Anger: Black Women Respond to Racism" Marge Piercy, "A Just Anger" June Jordan, "From Sea to Shining Sea," "Case in Point" Muriel Rukeyser, "This Morning" Nikki Giovanni, "Adulthood" Tim Blunk, "liberated territory" Jamal Josephs, No Distance at All" Katya Komisaruk, "They Are Searching" E. Ethelbert Miller, "Untitled (where are the love poems for dictators)" 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" Judy Clark, "Sister Says" John Balaban, "For the Missing in Action" af p690 Etheridge Knight, "The Idea of Ancestry" af p681 Jimmy Santiago Baca, "How We Carry Ourselves" af p675 Otto Rene Castillo, "Apolitical Intellectuals" af p607 Irena Klepfitz, "Bashert" af p391 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 Turn in revised poetry Begin section on the short story Reading: Langston Hughes, "Thank You Ma'am" Writing exercise Thursday, March 18 -- Crafting Our Lives Voices Issues of Craft -- Dialogue: Learning to Listen, The Power of Voice Readings: "The Widow;" "Scheherazade," "Grandma's Tales," sf Dorothy Allison, "River of Names" Begin working on your short stories Week 9 SPRING BREAK!!! Week 10 Tuesday, March 30 -- Crafting Our Lives Issues of Craft -- Character Development Readings: "The Flowers," "Emilo's Garden," "The Fun House," sf "Drown," "The Things They Carried," "17 Syllables," "Tony's Story" (handouts) Thursday, April 1 Voices Issues of Craft -- The Politics of Point of View: Who Gets to Tell the Story Readings: "The Lesson," Toni Cade Bambara 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 Turn in revised short stories Begin section of Social Action Writing Begin reading In Defense of Mumia Thursday, April 15 -- Writing Our Rage Voices Discuss readings: Alice Walker, "Nobody Was Supposed to Survive": The MOVE Massacre June Jordan, "Poem About My Rights," selections from: In Defense of Mumia Writing Assignment Week 13 Tuesday, April 20 -- Choose Your Issue Share topics for final paper Discuss 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 Prepare for Public Presentation Week 16 Tuesday, May 11 Public Presentation 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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