English Writing

Adam Colton, Technical Writing, Fall 2015

Course Description:

Prepares students to deal with problems of technological communication in various fields. Includes analysis, development, use, and evaluation of various models employed in the process of technical writing. Prerequisite: ENGCMP 0006 or ENGCMP 0004.

Required Texts:

• The Handbook of Technical Writing (11th edition) by Gerald Aldred et al.
• Writing utensils, notebooks, and a portfolio folder
• Internet access

Syllabus: 

Barbara Purbaugh, Technical Writing, Fall 2014

Course Description

Prepares students to deal with problems of technological communication in various fields. Includes analysis, development, use, and evaluation of various models employed in the process of technical writing. Prerequisite: ENGCMP 0006 or ENGCMP 0004.

Required Texts:

-Pfeiffer, William Sanborn. Pocket Guide to Technical Communication. 5th ed. Upper Saddle River, New Jersey: Prentice Hall, 2011. Print.

Additional File: 

Barbara Purbaugh, Technical Writing, Spring 2015

Course Description

Prepares students to deal with problems of technological communication in various fields. Includes analysis, development, use, and evaluation of various models employed in the process of technical writing. Prerequisite: ENGCMP 0006 or ENGCMP 0004.

Required Texts:

Lannon, John M., and Laura J. Gurak. Technical Communication. 13th Edition. New York: Longman. 2014. Print.

Syllabus: 

Bethany Goch, Creative Nonfiction Writing, Spring 2018

Course Description:

This course introduces students to the art and practice of creative nonfiction prose, including personal essay, memoir, and literary journalism. Students will explore the unique possibilities of the genre by reading and studying modern and contemporary authors, and composing and revising a variety of creative writing assignments. You will be asked to read and write every class, respond to the work of published authors as well as your peers, think critically about the formal components of creative nonfiction, thoughtfully draft and revise your own work, and, most importantly, think of yourself as a writer.

(from David Foster Wallace’s Spring 2008 Creative Nonfiction Workshop syllabus)
“The term’s [creative nonfiction] constituent words suggest a conceptual axis on which these sorts of prose works lie. As nonfiction, the works are connected to actual states of affairs in the world, are “true” to some reliable extent. If, for example, a certain event is alleged to have occurred, it must really have occurred; if a proposition is asserted, the reader expects some proof of (or argument for) its accuracy. At the same time, the adjective creative signifies that some goal(s) other than sheer truthfulness motivates the writer and informs her work. This creative goal, broadly stated, may be to interest readers, or to instruct them, or to entertain them, to move or persuade, to edify, to redeem, to amuse, to get readers to look more closely at or think more deeply about something that’s worth their attention. . . or some combination(s) of these. Creative also suggests that this kind of nonfiction tends to bear traces of its own artificing; the essay’s author usually wants us to see and understand her as the text’s maker. This does not, however, mean that an essayist’s main goal is simply to “share” or “express herself” or whatever feel-good term you might have got taught in high school. In the grown-up world, creative nonfiction is not expressive writing but rather communicative writing. And an axiom of communicative writing is that the reader does not automatically care about you (the writer), nor does she find you fascinating as a person, nor does she feel a deep natural interest in the same things that interest you. The reader, in fact, will feel about you, your subject, and your essay only what your written words themselves induce her to feel. An advantage of the workshop format is that it will allow you to hear what [a group of] intelligent adults have been induced to think and feel about each essay you write for the course.”

Text:

To Show and To Tell: The Craft of Literary Nonfiction by Phillip Lopate

Syllabus: 

Bethany Goch, Introduction To Creative Writing, Spring 2015

Course Description:

This course offers students an introductory study of the written arts. Through the close reading of modern and contemporary texts and guided experimentation in a variety of genres (e.g., poetry, fiction, drama, and creative nonfiction), students will examine, explore, and discuss the creative process. Class may be taken by freshman English writing majors. Prerequisite: ENGCMP 0004 or 0006.

Required Texts:

-Imaginative Writing: The Elements of Craft, Burroway, 4th edition

Syllabus: 

Bethany Goch, Introduction to Creative Writing, Spring 2018

Course Description:

This course offers students an introductory study of the written arts. Through the close reading of modern and contemporary texts and guided experimentation in a variety of genres (e.g. poetry, fiction, drama, and creative nonfiction), students will examine, explore, and discuss the creative process.

You will be asked to read and write every class, respond to the work of published authors as well as your peers, think critically about the formal components of the genres of creative writing, thoughtfully draft and revise your own work, and, most importantly, think of yourself as a writer.

Text:

Imaginative Writing: The Elements of Craft, Burroway, 4th edition

Bethany Goch, Poetry Writing, Spring 2018

Course Description:

Through writing exercises, close and extensive reading of modern and contemporary poetry, and intense revision of their own poetry, students will be introduced to the forms, elements, and techniques of poetry writing.

What is a poem? Emily Dickinson famously wrote “If I feel physically as if the top of my head were taken off, I know that is poetry.” What is the purpose of a poem? William Carlos Williams said in a poem, “It is difficult / to get the news from poems / yet men die miserably every day / for lack / of what is found there.” Is poetry important? Is there a role for poets and poetry in the year 2018? In this course, you will ask and attempt to answer these questions as you read and discuss poetry and begin writing your own original poems.

You will be asked to read and write every class, respond to the work of published authors as well as your peers, think critically about the formal components poems, thoughtfully draft and revise your own work, and, most importantly, think of yourself as a writer.

Text:

A Poetry Handbook: A Prose Guide to Understanding and Writing Poetry by Mary Oliver

Syllabus: 
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Christine M. Demorest, Technical Writing, Fall 2012

Course Description:

Prepares students to deal with problems of technological communication in various fields. Includes analysis, development, use, and evaluation of various models employed in the process of technical writing. Prerequisite: ENGCMP 0006 or ENGCMP 0004.

Required Texts:

5th edition of Pocket Guide to Technical Communication by William Sanborn Pfeiffer

Syllabus: 

Christine M. Demorest, Technical Writing, Fall 2013

Course Description:

Prepares students to deal with problems of technological communication in various fields. Includes analysis, development, use, and evaluation of various models employed in the process of technical writing. Prerequisite: ENGCMP 0006 or ENGCMP 0004.

Required Texts:

5th edition of Pocket Guide to Technical Communication by William Sanborn Pfeiffer

Syllabus: 

Christine M. Demorest, Technical Writing, Spring 2013

Course Description:

Prepares students to deal with problems of technological communication in various fields. Includes analysis, development, use, and evaluation of various models employed in the process of technical writing. Prerequisite: ENGCMP 0006 or ENGCMP 0004.

Required Texts:

-5th edition of Pocket Guide to Technical Communication by William Sanborn Pfeiffer

Syllabus: 

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