Tuesday, February 13, 2018

New quarter start/end dates begin July 2018

Beginning with Summer Quarter 2018, online classes will begin the same week as on-campus clusters (rather than starting a week later). Online classes will continue to run 11 weeks (while clusters run 12 weeks), so this means that online classes will end a week earlier than clusters.

The primary impact of this change will be that there will be an additional week delay after online classes end before final grades are viewable in the student portal. However, grades should be viewable in the Canvas gradebook for each course when online classes end. 

The 18-19 Academic Calendar is available HERE


Monday, February 12, 2018

SP18 First Assignment for Online Classes

SPRING 18 FIRST ASSIGNMENT INFO FOR ALL ONLINE MFA CLASSES

Start Date for online classes: Monday, April 9

Preview Date: Monday, March 26. Most classes will be ready for student view on this date. If a class is not showing on your Canvas dashboard, check your SP QTR 18 schedule in your student portal to be sure you are enrolled in the correct class. If your schedule is correct, please wait another day or two to see if your class appears in Canvas. If it is not showing there by Wednesday 3/28, please email Beth Mead. 

Open Enrollment ends on 4/2; any schedule changes must be made by emailing your advisor as of that date.

Reviewing/Posting/Dropping Info: Students should NOT post at all in classes before the start date of April 9. (Posting counts as attendance per university policy, so if you drop a class after posting, you would be charged a portion of tuition for dropping after attending. Tuition refunds/charges are listed HERE.) Classes are available to view early for review purposes only. When you first view your class, look over class requirements, assignments, and other class content to ensure that you wish to remain in the class. Students may drop/add their own classes through the end of open enrollment on 4/2. After that date, students must email their advisor to drop/add classesIf you plan to withdraw from an online class before the quarter begins, please email your advisor (Beth for A-L online students or Gillian for M-Z & on-campus students) no later than Friday 4/6 if at all possible, as that is the last date that advisors can drop classes through the portal. After that date, paper drop/add forms must be submitted, which will cause a delay in processing. Contact your advisor with any questions. 

First Assignment Instructions:

NOTE: The first assignment process has changed as of SP QTR 18. 

The first assignment in all online classes (beginning with spring quarter) is a brief written journal entry assignment, due by 11:59pm Central Time on the first day of class (for spring, this is Monday 4/9). Your instructor will provide specific assignment instructions in your Canvas class. 

Instructors will enter first week attendance according to posts made by 11:59pm on Monday, April 9. If you post your journal entry by then, you will be marked as Present. If you do not post by then, you will be marked as Absent. Attendance must be entered early in Week 1 due to university policy and because first day attendance impacts the refund process for financial aid and student loans. REMINDER: If you decide to drop the class, email your advisor (Beth or Gillian), and do NOT post in Canvas at all—see info above.

An additional assignment during Week 1 is the authentication video journal, which will be due by Wednesday night. This assignment will no longer be due the first night of class. If you have experienced technical difficulties recording videos in Canvas in the past, please start working on this assignment earlier to give yourself time to complete the video by Wednesday night. 

The video assignment can only be viewed by the instructor and is used to verify student identity. Lindenwood University requires student identity authentication in all fully online classes. MFA classes will use video posts at three points during the quarter for authentication purposes: Week 1, Week 6, and Week 11. Students can use the camera on a smart phone for recording these videos through the Canvas app if they do not have video capability on their computers. See the Canvas instructions for a note on navigating the Canvas app.

Class Requirements and other assignments due during Week 1:

Click on the Modules menu button in your class and read all Class Requirements information posted and linked there. Then you will scroll down to the Week 1 module to read instructions for the remaining coursework and due dates during Week 1. If you have any problems navigating through the class in Canvas, contact your instructor (click on Syllabus in the left menu for instructor email info) or the program director (bmead@lindenwood.edu). 

Weekly Coursework and Participation Requirements:

Each week during the quarter, you will click on Modules and then view the appropriate week’s module info for assignments and due dates for that week. You are required to participate on Canvas a minimum of three times per week (on three separate days) for each class you are enrolled in. See the Class Requirements module for detailed information on the attendance/participation policy and grading criteria.

Class info (course descriptions, class type, and textbooks) can be viewed on the Lindenwood website HEREEbooks are acceptable. Students using financial aid vouchers must purchase textbooks through the LU Barnes & Noble bookstore site

Textbook Ordering Instructions


Registration Info: www.lindenwood.edu/MFAregistration


Current Student Page with Info Links: www.lindenwood.edu/MFA


SP18 On-Campus Cluster: Micro-Worlds

Not yet in the MFA program? Find out how to begin the admissions process HERE.

On-Campus Cluster SP QTR 18: MICRO-WORLDS CLUSTER -- Gillian Parrish

Meets Wednesdays 6-10pm in the LARC building (room number TBA)

Start Date: Wed. April 4

Class Type: Workshop, Craft, & Literature (9 credit hours) 

Course Description: 

Micro-Worlds: Flash Fiction & Flash Nonfiction & Prose Poetry

Short forms provide writers with publishable format for developing precision of language and sensory details, honing self-editing skills, and cultivating agility in the movements of  mind through a scene or story.

While boasting a venerable lineage, flash forms are a consummate 21st century form:
quick yet dense and so satisfying to write and to read. As such, they are in great demand in print and web magazines.

Developed with fiction and creative-nonfiction writers in mind our short forms (which range from 5 to 50 words to 100 to 250 to 500 to 1000 words) will include flash fiction, prose poems, and flash creative nonfiction.

Our creative work will unfold in an encouraging learning community of writers. We will learn about forms to feed our writing and will read and write and share our work. We will enjoy an author’s visit, create some collaborative works, write a cross-genre work, and submit polished pieces for publication.

Flash forms are a lot of fun to write! They are easy to drop into (as writers and as readers) in the gaps in our busy days. While they are ends in themselves, they will refine your writing and editing skills for your longer projects.


Textbooks:
Rose Metal Press Field Guide to Writing Flash Fiction
Tara L. Masih
ISBN 9780978984861

Models of the Universe: An Anthology of the Prose Poem
Stuart Friebert & David Young
ISBN 9780932440693

Rose Metal Press Field Guide to Writing Flash Nonfiction
Dinty W. Moore
ISBN 9780984616664

Ebooks are acceptable. Students using financial aid vouchers must purchase textbooks through the LU Barnes & Noble bookstore site (see screenshot at the bottom of this post).

First Assignment:
Due in class, typed, Wednesday 4/4. Come ready to talk about the reading together—the more eyes, ears, and voices the more we learn together.

Reading Assignment (A):
Please first read page 142-149 “Writing Fixed-Form Narratives” by Bruce Holland Rogers in The Rose Metal Press Field Guide to Writing Flash Fiction, making note of points that interest you. (Henceforth will call the book: Flash Fiction.) Then, please read “Nora” by Jean Toomer on page 67 of Models of the Universe.

Writing Assignment (A):
Having read Holland and Toomer, now turn back to the exercise on page 148-149 of Flash Fiction and find a way in to this exercise that loops around a word or phrase, as Holland asks you to do. (If you need a topic, you may want to make it women in your family, the way Holland does. Toomer’s “Nora” is also about a young girl.)

Reading Assignment (B):
Please then read page 7-14, “That ‘V’ Word” by Nathan Leslie in The Rose Metal Press Field Guide to Writing Flash Fiction. Then, please read “The Dachau Shoe” and “The Goodbye Shirt” by W.S. Merwin on page 180-181 of Models of the Universe.

Seed for a Writing Assignment (B):
Bring to class an idea of a piece of clothing you feel drawn to write about. Maybe it's a memory of someone’s jacket or hat or shoes. Or simply the idea of a T-shirt or bathrobe. You can also bring a piece of clothing if you would like.

NOTE:
This cluster will meet in Lindenwood's new LARC building at the edge of the main Lindenwood campus on First Capitol in St. Charles, MO. The room number is 05. Starbucks is located inside the LARC, and students receive a 15% discount (if you do not yet have a student ID card, you can obtain that in the Spellmann Center, which is the building with the clocktower near the LARC)



Ordering textbooks through Lindenwood's Barnes & Noble site: 
- Choose St. Charles Campus
- Choose SP QTR 18
- Department: IMF
- Enter course numbers -- for spring, cluster numbers are 51601, 52103, and 52301
- Enter section 80 for on-campus classes



Sunday, December 3, 2017

Projected Schedule SP QTR 18

Spring Quarter 2018 - subject to change

Click on each class title to view the course number, course description, and textbook info. Exact 5-digit course numbers cannot be repeated for credit (check My Transcript in your student portal to view classes taken).
First assignment information, including the quarter start date, will be available on the Registration page at www.lindenwood.edu/MFAregistration. 

ON-CAMPUS CLUSTER: Micro-Worlds - Gillian Parrish

ONLINE CLASSES:
Hollingsworth - Fiction Craft & Workshop
Jones - Women Poets
Kaewkaen - Asian Poetry
VanBaale - Revision Workshop
VanBaale - Novel II Workshop

Tuesday, November 14, 2017

Open Classes WIN QTR 18

WIN QTR 18
Open MFA Classes - Updated 12/21/17

On-Campus Cluster:
Foundational Fiction Cluster - Chris Candice
Includes: Contemporary Foundational Fiction, Fiction Craft Foundations, Fiction Workshop
Workshop pieces may include both literary fiction and genre fiction.
Thursdays 6-10pm

Online Classes: 
Click on each class title to view class type, course description, and textbook info.

POETRY:
IMF 51702 Poetry Genres: The Sonnet - Anothai Kaewkaen 
IMF 52101 Focused Poetry Workshop: Ekphrastic Poetry - Eve Jones
IMF 55300 Poetry Craft Foundations - Ryan Smith (1 spot)

FICTION:
IMF 52200 Focused Fiction Workshop - Kali VanBaale (1 spot)
IMF 55602 The Prose Collection: Raymond Carver - Mary Anderson
IMF 55800 Adv Studies in Prose: Shakespearean Revisionist Fictions - Ted Morrissey

CREATIVE NONFICTION:
IMF 54109 Special Topics Focused Workshop: Spiritual Writing: Memoir - Wm Anthony Connolly
IMF 52308 Focused Nonfiction Workshop: Personal Essay Craft & Workshop - David Hollingsworth (1 spot)
IMF 56200 Classic Foundational Literature: Creative Nonfiction - Lisa Haag (1 spot)

THESIS (for final quarter in program):
IMF 58999 Graduate Thesis - Gillian Parrish
EMF 58999 Extension of Graduate Thesis - Gillian Parrish



www.lindenwood.edu/MFA -- Current Student info & links

Sunday, October 22, 2017

Ordering Textbooks

Ordering textbooks through Lindenwood's Barnes & Noble site: 

- Choose St. Charles Campus
- Choose SP QTR 18
- Department: IMF
- Enter course number (from individual course links on class schedule)
- Enter section OL1 for online classes; for on-campus clusters, enter section 80

W18 On-Campus Cluster First Assignment

On-Campus Cluster WIN QTR 18

FOUNDATIONAL FICTION CLUSTER -- Christopher Candice

Meets Thursdays 6-10pm in LARC 05 (see note below)

Start Date: Thurs. January 4

Class Type: Workshop, Craft, & Literature (9 credit hours) 

Course Description: 
This cluster includes the study of foundational craft elements for fiction writing, as well as a survey and analysis of foundational contemporary literary fiction. Workshop sessions may include both literary fiction and genre fiction.

Instructor Video

Textbook:
Creating Fiction
Edited by Julie Checkoway
ISBN: 9781884910517
Ebooks are acceptable. Students using financial aid vouchers must purchase textbooks through the LU Barnes & Noble bookstore site (see screenshot at the bottom of this post).

First Assignment:

Read the two PDFs linked below:  

Then answer the following questions in a 2-3 page response paper. You do not have to merge the three questions into an essay, but make sure you answer each one thoroughly. Please bring the document to our first class meeting on Thursday, January 4th.  

1. Briefly introduce yourself (items may include: where you're from, what you do, how many quarters you've been in the program, what kind of writing you do, what name/nickname you prefer to be called, etc).

2. In his book, The Art of Fiction, novelist John Gardner writes, "After the individual word, the writer's most basic unit of expression is the sentence, the primary vehicle of all rhetorical devices...between these extremes [Gardner spends a few paragraphs illustrating the benefits and drawbacks of both the very long and very short sentence], the endless sentence and the very short sentence, lies a world of variation, a world every writer must eventually explore."
Gardner gives us a great place to start thinking about craft - with the "unit of expression" that every writer, famous or unknown, must explore, battle, and (hopefully) one day master. In the PDF you read, Gardner has an interesting take on how good sentences do what they do, but don't stress [hey-oo!] about the technical bits of this excerpt. I always hated scansion in my poetry classes, but Gardner does admit that even if all the stressed/unstressed stuff confuses you, that most of us can distinguish the rhythms of a bad sentence from those of a great one by ear. Also, if you read all those scanned sentences out loud, you can sort of get the scansion by ear as well.

Find a sentence from any work of fiction that you've read in the last five years. Maybe it's one you underlined in one of your books, or perhaps it's one you just remember. Quote it, then briefly describe why it stood out to you as particularly memorable. Then, take the line apart a bit - does it have a noticeable rhythm, energy, or (as Gardner would have it) jazz to it?

3. In his essay, "A Defense of the Book," author William H. Gass writes,
"...A book can be a significant event in the history of your reading, and your reading (provided you are significant) should be an essential segment of your character and your life...In the ideal logotopia, every person would possess their own library, and add at least weekly, if not daily, to it. The walls of each home would seem made of books - wherever one looked, one would see only spines; because every real book (as opposed to dictionaries, almanacs, and other compilations) is a mind, an imagination, a consciousness. Together, they comprise a civilization, or even several. However, utopias have the bad habit of hiding in their hearts those schemes for success, those requirements of power, rules concerning conduct, which someone will one day carry forward, employ, and enforce in order to achieve them, and, afterward, to maintain the continued purity of their Being. Books have taught me what true dominion, what right rule is: It is like the freely given assent and labor of the reader who will dream the dreams of the deserving page and expect no more fee than the reward of its words."

Think of a book or short story that you've encountered lately that could be considered a "significant event" in your reading life and explain why (this should be something you've read recently, so it can be from any time period). Like Gass, can you make a short, general statement about what books have taught you? Also, thinking about “the Book,” how do you read when you read? Do you use the latest technology or do you prefer physical books? 

NOTE:
This cluster will meet in Lindenwood's new LARC building at the edge of the main Lindenwood campus on First Capitol in St. Charles, MO. The room number is 05. Starbucks is located inside the LARC, and students receive a 15% discount (if you do not yet have a student ID card, you can obtain that in the Spellmann Center, which is the building with the clocktower near the LARC)

Ordering textbooks through Lindenwood's Barnes & Noble site: 
- Choose St. Charles Campus
- Choose WIN QTR 18
- Department: IMF
- Enter course number (from class schedule)
- Enter section OL1 for online classes or 80 for on-campus classes