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   Women's Writing Workshop Spring 1999 HCOM 333 (formerly 331B) Frances Payne Adler

"What would happen if one woman told the truth about her life? The world would split open. " - Muriel Rukeyser "Sobreviviendo, bearing witness, out of love, so that what has been (and still is) will not be erased." - Bettina Aptheker "What are the words you do not yet have? What do you need to say? What are the tyrannies you swallow day by day?… "We can sit in our corners mute forever while our sisters and our selves are wasted, while our children are distorted and destroyed, while our earth is poisoned; we can sit in our safe corners mute as bottles, and we will still be no less afraid…" - Audre Lorde "Power is the ability to take one's place in whatever discourse is essential to action and the right to have one's part matter." - Carolyn Heilbrun COURSE SYLLABUS Women's Writing Workshop HCOM 333Spring 1999(formerly 331B) Professor: Frances Payne Adler Office: Bldg. 2 Phone: 582-3982 E-mail: frances_payne_adler@monterey.edu Office Hours: Tues. 4-5 p.m., Wed. 10-12, and by appointment Prerequisite: HCOM 330 or consent of instructor Fulfills: HCOM MLO 8 in Creative Writing and Social Action. Or it contributes to fulfilling your Concentration in Creative Writing and Social Action. Course Description: Welcome, writers, to an intermediate level creative writing course for women and men, focused on honing your craft and process of writing poetry, fiction, life stories, and moving toward publication. Women's writing theory informs the course. In this class, we will peel away the layers surrounding the shaping of women's lives, and the relationship to the writing process. The class will include in-class writing exercises, cross-cultural readings by women writers, discussions around the writer's process, and, of course, writing poetry, fiction, life stories. Writers will learn how to bear witness, so that what has been (and still is) will not be erased. Writers will also research and discuss graduate schools in creative writing. Required Text: Merce Rodoreda, The Time of the Doves, Minneapolis, MN: Graywolf, Press, 1986. Anne LaMott, Bird By Bird: Some Instructions on Writing and Life, New York: Pantheon, 1994. The Writer On Her Work, ed. Janet Sternburg, New York: W.W. Norton, 1991. Sharon Olds, The Gold Cell, New York: Alfred A. Knopf, 1987. A Formal Feeling : Poems in Form by Contemporary Women, ed. Annie Finch, Brownsville, OR: Storyline Press, 1994. Mary Oliver, A Poetry Handbook, San Diego: Harcourt Brace, 1994.   Recommended Texts: The Associated Writing Programs (AWP) Official Guide to Writing Programs, 1998 Edition. Directory of Little Magazines: Information on Magazines That Publish Poetry, Fiction, Essays . Publishing Guide for Fledgling Fiction Writers , by Meryl Peters (Check, Pam Baker in library) AWP Chronicle and Poets and Writers -- Magazines requesting fiction &poetry publication submissions.   Recommended Films (on women and their lives as artists/writers): My Brilliant Career Artemesia Camille Claudel The Turning Point The Governess 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 large class session in which your writing is workshopped, bring copies for everyone. For small workshops, bring copies for your group. 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. Seeing movies/videos about writers and artists is also helpful. Particularly important is meeting with the professor several times during the semester. Professor comments on rewrites solely during office hours. Also, form writing groups and meet outside class. The experiential and collaborative form of this workshop class requires attendance. It is unlikely you can make up what you miss. Please arrange your schedule so that you do not miss class. Because participation is a key component of the workshop process, more than three missed sessions affects your grade. Group discussion at beginning of semester: agree to discuss words and their meanings, be aware of our own processes and what's going on, bring needs to the attention of the group, work toward collegial resolution.   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 Lyllabus 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 the "Women's Writing Workshop" will be able to demonstrate intermediate level skills and knowledge in the craft of creative writing , their writing process and those of many women writers, presentation and distribution of original writing, group production and involvement. They will also move toward publication, and the establishment of writing as central to their present and future lives. 1. Craft: Learn intermediate level skills of creative writing: sound, texture, depth of presence. Write, at an intermediate undergraduate level, poetry, and short story/life-story. Continue to develop strong writing, by critiquing your own and others' work. Produce a portfolio of original creative writings. Assignments: Write and re-write 3 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: Peel away layers surrounding the shaping of women's lives, and the relationship to the writing process. Evaluate through literature, the stereotypes and conventions of women's culture. Investigate the ways in which women 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 women's 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 of women's lives out of which the social action writing emerges. 3. Writing Process: Continue to identify your writing needs, what roadblocks silence you, remove them. Incorporate writing into your life on a daily basis, protect your creative writing process. Learn ways to establish writing as central to your present and future life. Assignments: Read essays, as assigned. Actively participate in class discussions. Make appt. and discuss with professor. Apply to your own writing, as appropriate. Writing Process (cont'd): 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. Publication and Possibilities: Research publication process. Research Graduate Schools. Assignment and Documentation: Select and send original writings for publication. Present research of graduate schools. 5. Presentation and Distribution, in the context of Group Production and Involvement: Advance your presentation and distribution skills. Advance your sensitivity, thoughfulness, and respect for group partners. Produce, collaboratively. Assignment and Documentation: Produce a group project to be presented at end-of-semester reading. Present your original writing to a diverse public audience in an end-of-semester event.   End of Semester Due Dates: Tues. April 27: Contribution to group project due. Thurs. April 29: Graduate school assignment due. Thurs. May 6: Public presentation of writing and group project. Portfolios due. Tues May 11: Analysis creative process and closure.   Introduction: Week 1: Thurs, Jan. 28: Introduction to course, syllabus. Publication. Graduate schools. Discussion: agree to discuss words and their meanings, be aware of our own processes and what's going on, bring needs to the attention of the group, work toward collegial resolution. Writing exercise. Assignment for Tues : Buy books. Read syllabus. Writing assignment, 1-2 pages. Read Sternburg, Hampl, Kumin, Hogan, and Atwood, in The Writer on Her Work (see Feb. 2). If time, continue reading essays sched for discussion on 2/9. Week 2: Tues Feb. 2: Writing assignment due. Questions syllabus, MLO. Credit/No credit. Discuss readings: Janet Sternburg's"Introduction," Patricia Hampl's "The Need To Say It," Maxine Kumin's "The Care-Givers," Linda Hogan's "Hearing Voices," and Margaret Atwood's "Nine Beginnings," in The Writer on Her Work, Thurs Feb. 4: Writing exercise. Assignment for Tues. Feb. 9: . Read Ginzburg, Forche, Valenzuela, Ackerman, and Le Guin. (See 2/9). Assignment for Thurs. Feb. 11: Start readings in A Poetry Handbook and A Formal Feeling Comes, as assigned (See assignment listed on 2/9 for 2/11). Week 3: Tues Feb. 9: Writing assignment returned. Discuss Natalia Ginzburg's "My Vocation," Carolyn Forche's "The Province of Radical Solitude,"Luisa Valenzuela's "Writing With The Body," Diane Ackerman's "White Lanterns," and Ursula Le Guin's "The Writer on, and at Her Work," in The Writer/Work. Assignment for Thurs. Feb. 11: Read A Poetry Handbook, pp. 1-66. Read also,A Formal Feeling Comes, Introduction, and poems (TBA), and handouts. Make appt. to see professor. Thurs Feb. 11: Lecture on Sound, Meter, Rhyme, Accentual/Syllabics. Discuss Accentual/Syllabics, Sonnets. Discuss readings in Poetry Handbook and Formal Feeling Comes. One volunteer for workshop. Assignment for Tues. Feb. 16: Write an accentual/syllabic poem. Also, read sonnets (TBA) in FFC and handouts. Volunteer for workshop bring copies for everyone. Everyone else bring four copies. Week 4: Tues Feb. 16: Accentual/syllabic poem due. Large workshop. Distribute for small workshop. Lecture on quatrains & sonnets. Discussion of sonnets in FFC & handouts. Assignment for Thurs: Comment on colleagues' poems. Thurs Feb. 18: Small workshops on accentual/syllabic poems. Assignment for Tues, Feb. 23: Write a sonnet. Volunteer for large workshop. Volunteer for workshop bring copies for everyone. Everyone else bring four copies. Week 5: ATTEND DIANA GARCIA'S READING WED. FEB. 24 Tues Feb. 23: Sonnet due. First poems returned. Large workshop. Distribute to colleagues. Assignment for Thursday: Comment on colleagues' sonnets. Thurs Feb. 25: Small workshops sonnets. Assignment for Tues: Read Sharon Olds' The Gold Cell. Free verse poem will be due March 4. Finish reading Mary Oliver's Poetry Handbook, pp. 67-122. Week 6: Tues March 2: Sonnets returned. Discuss Sharon Olds' poems. Lecture on free verse. Exercise. Assignment for Thurs: Write free verse poem. Bring four copies. Thurs March 4: Free verse poem due. Small group workshop. Assignment for Tues: Read Merce Rodoreda's Time of the Doves. Also start reading Bird By Bird, "Introduction," and pages 3-94 on "Writing" and "The Writing Frame of Mind.". Week 7: Tues March 9: Free verse returned. Discuss Time of the Doves. Lecture on fiction/life stories: character, conflict, presence, Bird By Bird. Assignment for Thurs. Re-read Doves in the light of our discussion. Thurs March 11: Continued discussion of Doves. Exercise toward first story (due 3/16), 4-6 pages. Assignment for March 16: Write first story. Volunteer for large workshop. Bring copies for everyone. Everyone else bring four copies. Continue reading Bird By Bird. Week 8: Tues March 16: First story due. Large workshop. Distribute stories to colleagues. Assignment for March 18: Comment on stories. Thurs. March 18: Small workshop for story. Assignment due March 30: Research (TBA). Week 9, March 23, 25: SPRING BREAK. NO CLASSES. Week 10: Tues March 30: Stories returned. Writing exercise toward second story (due 4/6). Assignment for Thurs: Read handouts, begin story. Thurs April 1: Fiction/Life-story writing exercise. Assignment for Tues, April 6: Complete story, 4-6pages. Volunteer for large workshop. Copies for everyone. Everyone else bring four copies. Week 11: Tues April 6: Second story due. Large workshop. Distribute copies. Assignment for Thurs: Comment on stories. Thurs April 8: Small workshop. Assignment for Tues: Read handouts about publication. Week 12:April 13, 15: Tues April 13: Second story returned. Discuss publication: where/how to send. Assignment for Thurs: Publication assignment: choose what to send, write cover letter. Thurs April 15: Workshop. Bring writing of your choice to workshop. Discuss and plan end-of-semester group project (due 4/27). Assignment for Tues: Rewrite poems, stories. Publication assignment due. Week 13: Tues. April 20: Publication assignment due. Discuss graduate schools. For Thurs: Rewrites. Thurs April 22: Workshop. For Tues: Re-writes. End-of-semester project. Meet off campus with writing partners. Week 14: Tues April 27:Workshop. Contribution to end of semester group project due. Publications assgmt returned. Assignment for Thurs: Graduate schools assignment. Thurs April 29: Graduate schools assignment due. Group discussion. For Thurs. Work on re-writing your poems and stories for portfolio. PORTFOLIO DUE MAY 6. Week 15: Tues May 4: Graduate schools assignment returned. Workshop. Assignment for Thurs: Work on portfolios. Thurs May 6: PUBLIC READING , PRESENTATION OF GROUP FINAL PROJECT, and PORTFOLIO DUE. Include final and earlier versions of poems and stories. Include a copy of cover letter sent out to journal. Assignment for Tues: Enjoy your weekend. Written & oral analysis/reflection of writing due Tues. Week 16: Tues May 11: Written and oral analysis/reflection of writing due.   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. 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

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