Tuesday, August 29, 2017

Open Classes FA QTR 17

The following classes are currently open for Fall Quarter 2017--scroll down to view class types, course descriptions, and textbook info for each class:

Prose Poetry - Kelli Allen
Asian Poetry - Anothai Kaewkaen
Classic Foundational Poetry - Ryan Smith

The Personal Essay - Andrew Pryor
Memoir Chapter Workshop - Kali VanBaale
The Graphic Novel as Memoir - Zachary Vickers

Fiction Craft & Workshop - David Hollingsworth
Fiction Writing Workshop - Tony D'Souza
Fundamentals of Contemporary Fiction - Wm Anthony Connolly
Classic Sci-Fi/Horror by Women Writers - Ted Morrissey

Start Date, Preview Date, First Assignment, & Requirements


IMF 52801 - Prose Poetry - Kelli Allen
Class Type: Workshop
Course Description:
Fiction writers rejoice! Poets get ready to break rules. It’s time to play with prose poetry! Line breaks? No, Ma’am. Meter? No, sorry, Sir. Stanzas and couplets and tercets? Not here, Friends. This course will offer the fiction writer, the poet, and the nonfiction writer equal opportunity to explore one of literature’s great oddities, and most vital prose conventions—the prose poem. Prose poetry is a room wherein all genres meet, sit down and whisper, gossip, and expose the secrets only visible when the writers are drunk with possibility and desire for Invention! In writing prose poems you will keep company with Rilke, Borges, Paz, Kafka, and Forche. The form is wild, its hair a tangled mass of image and sentence, story and character. It plants its hooves in narrative and bucks convention when it snorts metaphor into the cold morning air. In this course we will read critical essays dissecting the craft and building of these poetic beasties, and we will create and workshop our own prose-poem animals. If you write stories, this course is for you. If you write poems, this course is for you. If you live in the world as a writer, this course is for you.
Rose Metal Press Field Guide to Prose Poetry
ISBN: 9780978984885

IMF 52706 - Asian Poetry - Anothai Kaewkaen
Class Type: Literature & Workshop
Course Description:
Moon in the Eastern Chamber: Survey & Workshop of Asian Poetries
Since the turn of the last century, movements in American poetry have often looked East for inspiration. Pound developed his Imagist aesthetic through working with classical Chinese poems; his translations had an influence on American free verse for decades to come. Elliot referenced Sanskrit hymns in The Wasteland, and Merwyn’s poetry continues to be informed by Eastern authors.

In this course, we will survey works from three classical Asian traditions—Chinese, Japanese, and Thai—to understand the cultural contexts they come from, their concerns and conventions, their structures and symbolism. We’ll also read contemporary English-language poetry that engages these traditions and workshop pieces modeled on their aesthetics as well.

Because our readings will be in translation, we will also engage with the art of literary translation, becoming conscious of the types of decisions that go into translating a poem, becoming critical readers of alternate translations, and working out of trots to create translations of poems ourselves. Writers of lyric essays and flash nonfiction will also find kindred spirits in the writers of haibun and pillow books even as they explore the verse-forms in this class.

Poems from the Buddha’s Footprint / ISBN: 0933439121
Hirschfield, Jane & Aratani, Mariko / ISBN: 0679729585
Roripaugh, Lee Ann / ISBN: 0809329298

IMF 56300 - Classic Foundational Poetry - Ryan Smith
Class Type: Literature
Course Description:
This course will explore the poetry and poetics leading up to the 20th Century which form the foundation of present-day poetic schools, modes, and styles. The course will include poems and essays by poets including Sir Philip Sydney, Phyllis Wheatley, William Wordsworth, Samuel Taylor Coleridge, Percy Bysshe Shelley, and Emily Dickinson. Supplementary materials (those not appearing in the textbook) will consist of translations of pre-20th century poetry not written in English, including especially comparisons of pre-modern poetry translations by significant contemporary poets such as John Ashbery, Mary Jo Bang, and Anne Carson.
Poet's Sourcebook
ISBN: 9781932870770

IMF 52307 - Memoir Chapter Workshop - Kali VanBaale
Class Type: Workshop
Course Description:
This online workshop will focus exclusively on the opening chapters--approximately 30 pages--of a memoir-in-progress. The first 20-30 pages of a book are critical: they entice the reader to keep reading, set up the story, and are typically the sample pages agents and editors read to determine if they want to see more.

Each student will submit 12-15 pages in two workshop sessions to receive rigorous feedback from peers and the instructor. Students will also read and respond to 3-4 peer submissions per week. We will discuss several craft elements specific to early memoir chapters, such as point of entry to the story, first lines, establishing focus and themes, early voice and setting development, and titles.

There will also be writing and reading assignments between workshop sessions, and recommended reading examples each week.

This workshop can be demanding, but the goal is for each student to finish the course with several polished opening chapters of a memoir-in-progress, and a strong plan for the overall memoir project.

No Textbook is required.

IMF 54302 - The Graphic Novel as Memoir - Zachary Vickers
Class Type: Literature
Course Description:
In this course, we will take an introductory look at a unique form of literature: the graphic novel. Using three contemporary examples (specifically graphic memoir), we will examine the emotional weight of text and image--both separately and together--discuss how the text-image dynamic creates stunning, evocative, poignant, and beautiful renditions of the human experience, and debate how this hybrid form can or cannot serve as an elevated medium versus traditional prose or imagery..
Complete Maus / ISBN: 9780679406419
Persepolis / ISBN: 9780375714573
Fun Home / ISBN: 9780618871711

IMF 54600 - The Personal Essay - Andrew Pryor
Class Type: Craft & Workshop
Course Description:
This course will focus on the wellspring of memory and reflection and the employment of narrative in creative nonfiction. Students will discuss a variety of personal essays, noting the use of voice, character development, sense of place and time, and narrative arc, and will write their own creative nonfiction pieces for workshop.
Tell It Slant
ISBN: 9780071781770

IMF 51602 - Fiction Craft & Workshop - David Hollingsworth
Class Type: Craft & Workshop
Course Description:
This course is focused on workshopping original pieces of fiction. It is also an exploration of the intricacies of fiction writing, from character and plot to effective description and dialogue. The techniques explored in class can help writers to develop work that is complete in all areas, firm in foundation, and necessarily concise. Students will submit a story for workshop and will be expected to provide constructive and careful feedback for others.
By Cunning + Craft
ISBN: 9780985849535

IMF 53500 - Fiction Writing Workshop - Tony D'Souza
Class Type: Workshop
Course Description:
The blank page...what can be more terrifying for a writer? We all know the feeling of starting something new, of not knowing exactly where it is going to go. Isn't it nice to remember that every great work of literature began that same way?

In this workshop-driven fiction writing course, we will discuss process, technique tips, and share with one another what we do when we're staring at a blank page. Then we'll give each other feedback once we've begun to fill a few of them. This course is open to all styles of fiction, from literary, to speculative, to fast-paced genre. We'll read great short stories from Rick Moody, Vladimir Nabokov, Zora Neale Hurston and others. Ultimately, we want to show our fiction to the world and will work on writing query letters and figure out how to pitch to agents. It all starts the same way, so let's begin.

No Textbook is required.

IMF 53600 - Fundamentals of Contemporary Fiction - Wm Anthony Connolly
Class Type: Craft
Course Description:
It is hard to describe. I have an idea of the beginning. I write the first line and continue to the last. I correct a great deal, work hard and write several drafts, but I never question the finished work. – Alain Robbe-Grillet

Producing fiction, let alone defining its process, can be difficult. There are so many paths to the top of that mountain. But what is less shrouded in mystery is the equipment a writer needs – Stephen King famously calls them tools for the toolbox.

This course provides the tools that all writers need to get the words on the page. Acquiring these tools means exploring the expansive boundaries and the foundational principles of current long and short prose fiction in order to prepare writers for today’s art form.

Fundamentals include:
-How to establish a strong and regular writing practice
-Exploring the principles of fiction
-Mastering the power of details
-Developing rich characters
-Discovering the tricks of plotting
-Creating effective dialogue
-Structuring prose for maximum effect
-Establishing and using point of view
-Serving to launch the writer out into the larger community of fellow writers and readers

And throughout all of this exploring, developing, and establishing – writing of course; and remember, “you don’t have to be great to start, but you have to start to be great,” wrote Joe Saba.

So let’s start.

Truth About Fiction
ISBN: 9780130257710

IMF 54304 - Classic Sci-Fi/Horror by Women Writers - Ted Morrissey
Class Type: Literature
Course Description:
This course was inspired by the anthology which is the course’s textbook. The genres of horror and science fiction are often dismissed as less-than-literary. However, this course will focus on literature that is as thought-provoking as it is macabre, as finely crafted as it is eerie. Because we are writers, we will pay special attention to these writers’ techniques as they skillfully blend literary sophistication with sensational plots and eccentric characters. The range of writers will also allow students to expand their literary knowledge by reading lesser-known works by well-known writers such as Mary W. Shelley, Edith Wharton, and Virginia Woolf, and also writers whose fame has faded while their contributions remain significant, like E. Nesbit, Margaret Oliphant, and May Sinclair. Lastly, because all of the writers are female, we will have an opportunity to consider women writers within their historical contexts, from the early Victorian Era into the Jazz Age.

The Cold Embrace
ISBN: 9780486805054

Sunday, August 6, 2017

Editorial Assistant Opportunity for TLR8

For issue 8 of The Lindenwood Review, rather than offering Journal Editing as a class--which would mean only a limited number of students would be able to serve as editorial assistants--any interested MFA students will have the opportunity to read, discuss, and vote on selected submissions for our journal. Students will be able to choose the genres and number of submissions they read.
While there will not be course credit for journal editing work this year, students who participate will be able to list an Editorial Assistant credit on their CV/resume--and it is a valuable experience for a writer to be on the other side of the submission process. (Next year, for issue 9, we will go back to offering Journal Editing as a class with limited enrollment, which includes additional coursework and requirements, along with a much heavier reading load.)  
If you are interested in volunteering some time during fall quarter to work on TLR8, please post a response in the MFA Students Canvas group by September 25 indicating the following information: 
1. Which genre(s) you would like to read/discuss/vote on: Fiction (short stories and/or first chapters of novels), Personal Essays, Poetry
2. Which week(s) during fall quarter would you be available for discussion/voting sessions: Week 2 (starting 10/9), Week 4 (10/23), Week 6 (11/6), Week 8 (11/20)
3. Are you also interested in proofreading and line-editing accepted pieces? 
4. How would you like your name listed in the journal? 
5. What is your mailing address to receive your editorial assistant's copy of the journal when it is published? 
After September 25, Beth will send detailed info to students who have posted a response in our Canvas group. Feel free to contact Beth with any questions at bmead@lindenwood.edu

LU MFA Advisors

Students in the MFA in Writing program will be assigned one of the following advisors. Your acceptance letter into the program will inform you which faculty member will be your advisor. The MFA advisor is the student's primary contact for program questions, degree plan information, course registration and drop/adds, degree applications, transfer credit evaluations, etc.

Beth Mead, Professor of Writing

Gillian Parrish, Assistant Professor of Writing

Registration Info FA QTR 17

FA QTR 17 Registration Info Email--sent via Lindenwood Email on 8/7/17

Pre-Registration starts 8/7 (post response in Canvas group)
Registration opens 8/14 at 7am Central Time
Preview date for online classes is 9/18
Open Registration ends 9/25 (contact advisor for any changes as of this date)
Online classes start 10/2
On-Campus Cluster starts 9/27
Fall Quarter ends 12/15

Dear MFA students,

It’s time to prepare for Fall Registration. After thoroughly reading all info included and linked below, you will post your registration response in our MFA Students group in Canvas. Please do NOT reply to the registration info email with your registration requests—they must be posted in Canvas in the appropriate assignment on the Modules page.

CANVAS GROUP FOR MFA STUDENTS: If you have not yet accepted your invitation to the MFA Students group in Canvas, please do that now. If you need the invitation resent to your Lindenwood email account, email your MFA Advisor to request that. If you have accepted your invitation to the Canvas group but do not see the group on your Dashboard, you will need to add it to your Dashboard: Click on Courses in the left black column, then click All Courses. Scroll through your class list and locate MFA Students. Click the star to the left of the title MFA Students (the star will fill with color when you click it—if it doesn’t at first, click again until it fills). Once you have starred the group title, click on Dashboard, and you will see the MFA Students group there.

CANVAS ASSIGNMENTS TO COMPLETE: In our Canvas group, click on Modules, and you will see several Assignments under the Registration module. All students should complete the Registration Response assignment, even if you are sitting out fall quarter (click on that assignment link for full instructions & info). Optional assignments include the Thesis registration request (if your final quarter is FA QTR 17), an Editorial Assistant opportunity for the Lindenwood Review, the Wait List request, and posting if you are interested in participating in the MFA Reading event in December (see assignments for details). Due dates are listed in the Canvas assignments. Note that there is no longer a teacher grant assignment, due to a new process for this grant through Admissions (see Teacher Grant link for details).

HOLDS: If your account is currently on a Business Hold (you can check this in your student portal, and individual emails will be sent before registration begins), you will need to contact the Business Office (RTungate@lindenwood.edu or 636-949-4962) to make arrangements to have the hold removed before the system will allow you to register for fall. If your portal notes that you are on an academic hold, please email your MFA Advisor.

REGISTRATION INFO: Click on the info links below and read all instructions and information regarding registration for Fall Quarter 2017 (these links also appear in our Canvas group on the Modules page under Registration). Note that on the Registration Info webpage with Class Schedule, you can click the arrow to the right of each class title to see the class type, course description, and textbook info, which should help you determine which classes you'd like to take for fall.

Then you will post your registration response in the MFA Students group in Canvas (click on Modules to see assignment links). Registration requests may be posted in Canvas as soon as the registration info email is received, and it is highly recommended that you post there by August 13. Then the Registration portal will open for enrollment on August 14 at 7am Central Time. Note that if you click the Registration button in the student portal before that date and time, you will receive an error message—that button is only used to self-enroll in classes during the open enrollment period.


Registration Info webpage with Class Schedule (including course descriptions, class types, and textbook info)


-Lionmail has changed to Office 365—see Announcement with links in our MFA Students group in Canvas

-Online students who live in Missouri or Illinois may be interested in taking some coursework on-campus. Gillian Parrish has created a video about her fall on-campus cluster and the on-campus MFA experience, as well as a flyer for her fall cluster. Feel free to contact Gillian with any questions at gparrish@lindenwood.edu.

-The MFA Student/Alumni Reading will be held Friday, December 15, at 7pm in the Lindenwood University Cultural Center auditorium (see info and sign up through MFA Students group in Canvas). Details will be posted on our program blog and Facebook page.

Degree Application Deadlines and Instructions (includes transfer credit info)

Teacher Grant info (new process through Admissions)

LU Website Links:
EMAIL – Office 365

On-Campus Cluster First Assignment FA QTR 17

ON-CAMPUS CLUSTER (9 credit hours)

Creative Writing for the MFA--Life-Forms: The Poetics of Memoir
Instructor: Gillian Parrish (gparrish@lindenwood.edu)
Meets: Wednesday nights 6-10pm beginning Wed. September 27 in ROOM 109 in the LUCC 

Course Description: 
Life-Forms: The Poetics of Memoir: Developed with creative-nonfiction and fiction writers in mind, this cluster will include a range of poetic works—some in prose by fiction and nonfiction writers, some in free-verse poem lines—all selected to expand our range of formal possibilities and hone our eyes and ears as writers. Come ready for lively conversations on our readings, which will inspire our own writing as we try out new frames, new shapes and ways of bringing our lives (or the lives of our characters) to the page. Our creative work will unfold in an encouraging learning community that will include virtual visits with some of our books’ authors who will offer insights into the creative processes behind their finished work.

FIRST ASSIGNMENT (Due in class, typed, Wednesday 9/27):
Our readings are chosen to expand our choices as writers, introducing us to new possibilities for getting the world on the page. For this first assignment, Bill Roorbach’s book will provide food for thought on scenemaking and the pdf of brief excerpts will provide kickstarts for our writing exercise for this week.

Reading Assignment:
Please read through Chapter 3, “Scenemaking,” of Writing Life Stories by Bill Roorbach, making note of points that interest you. Note page 48’s discussion of the sensory details that create a scene. (You can just skim through the exercises, as we will be doing our own exercises, but do note his idea of “cracking open” parts of our drafts that are abstract and still emerging.)

Please print and read the linked pdf, which contains brief excerpts from various writers of fiction and flash fiction/prose poetry whose characters are looking back at their lives. (The excerpts will be starred.)

Please do the reading first, as it will get you into the sensory mode of scene-making for the writing assignment that you will bring to our first class.

Come ready to talk about the reading together—using Roorbach as a way into thinking about scene building. It will be good for all of us to hear what phrases you liked—the more eyes and voices the more we learn together.

Please read the pdf of excerpts:
These selected readings offer scenes that express a vivid memory in which the writer brings our senses alive in that place, in that moment—moments of childhood memories, of teenage memories of life in a tough neighborhood, of a first memory, of a memory of being a young soldier.

-Jeannette Winterson p. 25-26 childhood memory of porridge (fiction)
-Julie Otsuka p. 14 child in kimono (fiction)
-Jayne Anne Phillips “Pretty” (prose poem/flash fiction)
-Kathryn Davis p. 1-2
-Sesshu Foster p. 70 & p. 101 (prose poem/flash fiction)
-Bruce Weigl three flash memories/prose poems p. 273


Class Flyer

Video by Gillian Parrish about the fall cluster and the on-campus MFA experience

NOTE: If you decide to drop the cluster, email your MFA Advisor and note whether or not you have attended class. Tuition refund/charges (based on attendance and the date the drop form is processed) are listed HERE.