“Film to Fiction” Writing Exercise for Craft of Prose

In the “Film to Fiction” exercise, students translate the visual content of a scene from classic film into a first- or limited third-person narrative in which they create the internal dialogue, establish the dramatic situation, and reveal what can be done in fiction that can’t be translated to film.

“Pop Art” Writing Exercise for my Online Prose Workshop

Last week, my Online Prose Workshop read “Hepburn and Garbo” (pgs. 151–165) and “Ten Notes on Oscar Weekend” (212–221) in Zadie Smith’s Changing My Mind; Upon This Rock”  from John Jeremiah Sullivan’s Pulphead;  and “Looking Around” from Anne Lamott’s Bird by Bird. They then completed the following reading discussion:

Changing My Mind is a series of occasional essays. Select one of Smith’s essay from your Introductory week assignments and one from the Week 1 assignments, and compare and contrast the occasions for these pieces. How do the occasions for each piece change the tone of the piece? (Hint: describe the tone of each piece and then make the connection between each essay’s occasion and its tone.) Please upload this by 11:59 pm on Saturday, September 17.

This week, they are completing a writing exercise called “Pop Art”:

Freewrite 250 words about your experience encountering something to do with pop culture. This could be about the time you met a celebrity or the time you camped out for tickets for a concert. It could even be about watching the VMFAs in your pajamas on the couch. Please upload this by 11:59 pm on Saturday, September 24.

“In Medias Res” Writing Exercise for Craft of Prose

In “In Medias Res,” students write and re-write a scene in the three different points of view from a YouTube video of a man texting and running into a wild bear. They likewise create a character profile for their point of view character to navigate Anne Lamott’s suggestion of an “emotional acre.” In doing so, they negotiate the scope, immediacy, and language of each point of view, and consider how “in the middle of things” each point of view feels.

Writing Exercise “Step 1” for Craft of Prose

In “Step 1,” I’m asking students to develop their skills in the imperative and descriptive moods so that a character and/or narrator can demonstrate or walk through an concept or action. They will base their preliminary discussion on “The Unforgivable Curses” chapter of Harry Potter and the Goblet of Fire, the semester’s icebreaker text, as well as read the opening pages of Lorrie Moore’s “How To Be an Other Woman.” In doing so, they will likewise refer to some of the terminology we’ve gone over in previous classes—diction, syntax, dialogue, concrete details, point of view—and demonstrate their understanding of that terminology by relying on those literary concepts to make an effective piece.

Introductions and the Alias of Imagination for First Day of Craft of Prose

Note: In an effort to keep this blog updated regularly, I’m going to be storing my writing exercises and handouts in my Google Drive. I will post these exercises as a link here.

This single document includes two components:

  1. An introduction questionnaire, allowing students to tell me a little about them, their needs, and their preferences.
  2. A Writing Exercise in which students introduce themselves by creating a fake or exaggerated writer’s bio or acknowledgments page, titled “Alias of Imagination.”

Students will read two of Michael Martone’s flash CNF pieces titled “Contributor’s Notes” and “Acknowledgments” by Paul Theroux. This should be a fun way for students to tell one another about themselves while exercising their skills on the page.

“The Craft of Prose” Fall 2015: Course Description, Required Texts, and Grade Requirements

Instructor’s Course Description
As a means of exploring the craft of prose writing, we will read, analyze, and imitate two living writers: Chimamanda Ngozi Adichie and Jesmyn Ward. By reading two, book-length works by each writer—a short story collection and book-length essay by Adichie and a novel and memoir by Ward—we will see how these writers develop their unique styles across genres and locate how their personal concerns inform their fictional narratives. Additionally, we will supplement these texts with short stories and essays by some of the most influential prose writers of the 20th century to understand the history and development of American prose over the last one hundred years. We will translate these immersive reading experiences into writing skills through discussion, exercises, and workshop. Several times throughout the semester, students will turn in original writing for workshop, a collaborative discussion about writing techniques and their effects on readers, and later revise two of the pieces using the comments received in workshop. You should bring to this class a hard work ethic supported by curiosity and generosity. We will base our discussions on how texts work rather than what they mean, after Francine Prose’s ideal of “reading like a writer.” My approach to teaching writing is founded on the belief that our writing skills must be practiced and cultivated, and that one must continually challenge one’s aesthetics, habits, and concerns throughout one’s writing life in order to write anything of consequence to one’s readers and, perhaps more importantly, one’s self.

Required Texts

  • The Thing Around Your Neck by Chimamanda Ngozi Adichie. Anchor, 2010. ISBN: 978-0307455918
  • We Should All Be Feminists by Chimamanda Ngozi Adichie. Anchor, 2015. ISBN: 978-1101911761.
  • The Best American Essays of the Century, ed. Joyce Carol Oates. Mariner, 2001. ISBN: 978-0618155873.
  • The Best American Short Stories of the Century, ed. John Updike. Mariner, 2000. ISBN: 978-0395843673.
  • Men We Reaped: A Memoir by Jesmyn Ward. Bloomsbury USA, 2014. ISBN: 978-1608197651
  • Salvage the Bones by Jesmyn Ward. Bloomsbury USA, 2012. ISBN: 978-1608196265

Grade Requirements

  • Class Participation (10%)
  • Group Presentation (15%)
  • Four Workshop Pieces (40%)
  • Two Revisions (15%)
  • Two Imitations (10%)
  • Discussion Board Participation (5%)
  • Final Reading (5%)