Overview
You will be introduced to the practice and craft of Creative Nonfiction – an emerging genre that offers writers the opportunity to incorporate literary devices such as description, dialogue and scenes into their writing. You will be introduced to the work of creative nonfiction luminaries such as Joan Didion, Truman Capote and Helen Garner. You will develop your skills with practical writing activities in a range of subgenres including the memoir, the personal essay, the portrait, the essay of place, review writing and narrative journalism.
Details
Pre-requisites or Co-requisites
Prerequisites: HUMT20012 Elements of Creative Writing I HUMT20013 Elements of Creative Writing II
Important note: Students enrolled in a subsequent unit who failed their pre-requisite unit, should drop the subsequent unit before the census date or within 10 working days of Fail grade notification. Students who do not drop the unit in this timeframe cannot later drop the unit without academic and financial liability. See details in the Assessment Policy and Procedure (Higher Education Coursework).
Offerings For Term 1 - 2020
Attendance Requirements
All on-campus students are expected to attend scheduled classes – in some units, these classes are identified as a mandatory (pass/fail) component and attendance is compulsory. International students, on a student visa, must maintain a full time study load and meet both attendance and academic progress requirements in each study period (satisfactory attendance for International students is defined as maintaining at least an 80% attendance record).
Recommended Student Time Commitment
Each 6-credit Postgraduate unit at CQUniversity requires an overall time commitment of an average of 12.5 hours of study per week, making a total of 150 hours for the unit.
Class Timetable
Assessment Overview
Assessment Grading
This is a graded unit: your overall grade will be calculated from the marks or grades for each assessment task, based on the relative weightings shown in the table above. You must obtain an overall mark for the unit of at least 50%, or an overall grade of ‘pass’ in order to pass the unit. If any ‘pass/fail’ tasks are shown in the table above they must also be completed successfully (‘pass’ grade). You must also meet any minimum mark requirements specified for a particular assessment task, as detailed in the ‘assessment task’ section (note that in some instances, the minimum mark for a task may be greater than 50%). Consult the University’s Grades and Results Policy for more details of interim results and final grades.
All University policies are available on the CQUniversity Policy site.
You may wish to view these policies:
- Grades and Results Policy
- Assessment Policy and Procedure (Higher Education Coursework)
- Review of Grade Procedure
- Student Academic Integrity Policy and Procedure
- Monitoring Academic Progress (MAP) Policy and Procedure – Domestic Students
- Monitoring Academic Progress (MAP) Policy and Procedure – International Students
- Student Refund and Credit Balance Policy and Procedure
- Student Feedback – Compliments and Complaints Policy and Procedure
- Information and Communications Technology Acceptable Use Policy and Procedure
This list is not an exhaustive list of all University policies. The full list of University policies are available on the CQUniversity Policy site.
Feedback, Recommendations and Responses
Every unit is reviewed for enhancement each year. At the most recent review, the following staff and student feedback items were identified and recommendations were made.
Feedback from Unit Evaluation
I found the forum participation and workshop component of the unit very useful, with the final workshop on our CNF artefacts pointing out a number of areas that could be improved. I took the advice and reworked the troublesome sections of the artefact. This resulted in a stronger final piece that I was very happy with.
The UC maintains a commitment to supporting and encouraging student engagement using Zoom sessions in providing a platform for collaborative feedback and peer interaction in the practice of creative writing.
Feedback from Unit Evaluation
It would be better if the assessment - say the journal piece - included the writing of a short piece in the genre for the week. Rather than reflecting on the style, we could write in the style as evidence of our understanding. This would increase student engagement and sharing of writing, which is still difficult for some of us. The reflective journal in its current form was of little value to me, personally.
The UC takes the student's point, but this suggestion would effectively comprise the aim of the Critical Reflection Journal. Additionally, opportunities to write short pieces in the genre for the week are already available in this unit (via the Writing Room forum, and, the dedicated Weekly Discussion forums). The aim of the Critical Reflection is for students to reflect objectively and in an informed way on their writing practice (which is different to writing a piece in a particular creative writing genre). The purpose of the Critical Reflection Journal is to provide students with the groundwork for writing an exegesis; a genre of critical writing focused on the literary processes of producing/creating a 'creative artefact.' An exegesis is the result of extensive research into the various aspects of the creative writing project: the characteristics of the genre, the theoretical and literary influence of the context and the shaping elements in a literary work of art. In this sense, a Critical Reflection Journal offers students the precursor experience of writing an Exegesis.
- Craft an industry standard ‘pitch’ to an editor
- Analyse the craft of creative nonfiction through a weekly reflective journal
- Research, draft and write a sustained piece of creative nonfiction writing
Alignment of Assessment Tasks to Learning Outcomes
| Assessment Tasks | Learning Outcomes | ||
|---|---|---|---|
| 1 | 2 | 3 | |
| 1 - Written Assessment - 0% | |||
| 2 - Written Assessment - 55% | |||
| 3 - Written Assessment - 45% | |||
Alignment of Graduate Attributes to Learning Outcomes
| Graduate Attributes | Learning Outcomes | ||
|---|---|---|---|
| 1 | 2 | 3 | |
| 1 - Knowledge | |||
| 2 - Communication | |||
| 3 - Cognitive, technical and creative skills | |||
| 4 - Research | |||
| 5 - Self-management | |||
| 6 - Ethical and Professional Responsibility | |||
| 7 - Leadership | |||
| 8 - Aboriginal and Torres Strait Islander Cultures | |||
Alignment of Assessment Tasks to Graduate Attributes
| Assessment Tasks | Graduate Attributes | |||||||
|---|---|---|---|---|---|---|---|---|
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | |
| 1 - Written Assessment - 0% | ||||||||
| 2 - Written Assessment - 55% | ||||||||
| 3 - Written Assessment - 45% | ||||||||
Textbooks
Writing true: the art and craft of creative non-fiction
Authors: Perl, S & Schwartz, M
Cengage Learning
Florence, KY, Florence, KY, , USA
ISBN: 9781133307433
Binding: Paperback
Additional Textbook Information
Copies are available for purchase at the CQUni Bookshop here: http://bookshop.cqu.edu.au (search on the Unit code)
IT Resources
- CQUniversity Student Email
- Internet
- Unit Website (Moodle)
- Zoom account (Free)
All submissions for this unit must use the referencing style: Harvard (author-date)
For further information, see the Assessment Tasks.
n.anae@cqu.edu.au
Module/Topic
Chapter
Reading:
Perl & Schwartz, Chapter 1, 'Why creative non-fiction', pp. 3-18
Kenny Tanemura, 'Creative Nonfiction in Writing Courses', Online Writing Laboratory, Purdue University, viewed 8 November 2018, https://owl.english.purdue.edu/owl/owlprint/753/
Events and Submissions/Topic
Module/Topic
Chapter
- Perl & Schwartz, 'The power of the notebook', pp.19-31;
- Kim Stafford, 2003, 'The writer as professional eavesdropper',
- Perl and Schwartz (2014, pp. 335-343).
- Perl & Schwartz, 'The role of research', pp.132-148.
- Howard, M 2016. 'Who's afraid of the big, bad bluff?', Australian Author, 23rd February, viewed 9 November 2017, https://overland.org.au/2016/02/whos-afraid-of-the-big-bad-bluff/
Events and Submissions/Topic
Module/Topic
Chapter
- Perl & Schwartz, 'Memoir', pp.10-11;
- Perl & Schwartz, Chapter 3, 'Ten ways to a draft', pp.32-55;
- Perl & Schwartz, Chapter 11, Alice Walker, 'Beauty: when the other dancer is the self', pp.169-175
Events and Submissions/Topic
Module/Topic
Chapter
- Perl & Schwartz, Lee Martin, 'Never thirteen', pp. 175-185;
- Perl & Schwartz, Lisa D Chavez, 'Independence Day: Manley Hot Springs, Alaska', pp. 186-192;
- Perl & Schwartz, Nora Ephron, 'A few words about breasts', pp. 193-199;
- Perl & Schwartz, Tony Early, 'Somehow form a family', pp. 199-207
Events and Submissions/Topic
Module/Topic
Chapter
- Perl & Schwartz, Brian Doyle, 'Being Brians', pp. 209-215;
- Perl & Schwartz, EJ Levy, 'Mastering the art of French cooking', pp. 215-223;
- Perl & Schwartz, Scott Russell Sanders, 'Under the influence', pp. 223-234
Events and Submissions/Topic
Module/Topic
Chapter
Events and Submissions/Topic
Module/Topic
Chapter
- Perl & Schwartz, Kandi Tayebi, 'Warring memories', pp. 235-239;
- Perl & Schwartz, Dudley Clendinen, 'The good short life', pp. 239-242;
- Perl & Schwartz, Rebecca McClanahan, 'Book marks', pp. 242-255
Events and Submissions/Topic
Module/Topic
Chapter
- Perl & Schwartz, Charles Simic, 'Dinner at Uncle Boris's', pp. 257-260;
- Perl & Schwartz, Jill Lapore, 'Poor Jane's Almanac', pp. 260-262;
- Perl & Schwartz, Max Apple, 'Roommates', pp. 262-264
Events and Submissions/Topic
- Question 1 - Perl & Schwartz : 'Take an early draft that you plan to do more with (an early draft of your creative piece would be good). Make a diagnosis of what you think it needs, using the list of revision strategies as your guide'. (2014, p.113).
- Now that you have improved your draft, write a 300-400 word report on on how these revision strategies worked (or didn't), and post this to the Week 7 forum.
Module/Topic
Chapter
- Clark, RP 2001, 'The line between fact and fiction', Creative Nonfiction, no. 16, viewed 6 November 2017, https://www.creativenonfiction.org/online-reading/line-between-fact-and-fiction
- Perl & Schwartz, Susan Allen Toth, 'Going to the movies', pp. 269-271;
- Perl & Schwartz, Jerald Walker, 'Before grief', pp. 271-274;
- Ronalds, P 2012, 'Creative nonfiction is keeping it real', blog post, 24 August, viewed 6 November 2017, http://futureoflongform.com/creative-nonfiction-keeping-real/
Events and Submissions/Topic
Module/Topic
Chapter
- Perl & Schwartz, Pico Iyer, 'Chapels', pp. 275-281; Perl & Schwartz, Yunte Huang, 'Southern hospitality, but not for newcomers', pp. 281-283;
- Perl & Schwartz, Gretchen Legler, 'Moments of being an Antarctic Quintet', pp. 283-291;
- Perl & Schwartz, Dagoberto Gilb, 'Living al Chuco', pp. 292-293;
- Perl & Schwartz, EB White, 'Once more to the lake', pp. 293-298
Events and Submissions/Topic
Module/Topic
Chapter
- Perl & Schwartz, Chapter 15, Richard Selzer, 'Four appointments with the discus thrower', pp. 300-302;
- Perl & Schwartz, Susan Orlean, 'Meet the Shaggs', pp. 303-313;
- Perl & Schwartz, George Orwell, 'A hanging', pp. 313-317;
- Perl & Schwartz, Tracy Kidder, 'from Among schoolchildren', pp. 317-321
Events and Submissions/Topic
Module/Topic
Chapter
- Perl & Schwartz, Patricia Hampl, 'Memory and imagination', pp. 323-335;
- Perl & Schwartz, Kim Stafford, 'The writer as professional eavesdropper', pp. 335-343;
- Perl & Schwartz, Colin Rafferty, 'Ten year reunion: writing 'Boys least likely to”', pp. 355-358
Events and Submissions/Topic
Module/Topic
Chapter
- Perl & Schwartz, Bailey White, 'Buzzard', pp. 359-360;
- Perl & Schwartz, Sven Birkerts, 'Every Day', pp. 360-361;
- Perl & Schwartz, Kathleen Norris, 'Rain', p. 362;
- Perl & Schwartz, Amy Butcher, 'Still things', pp. 362-364;
- Perl & Schwartz, Judith Kitchen, 'Only the dance', p. 364;
- Perl & Schwartz, Stephen Dunn, 'Locker room talk', pp. 365-366;
- Perl & Schwartz, Maureen Stanton, 'Water', pp. 366-369;
- Perl & Schwartz, Norma Elia Cantó, 'Tino & Papi', pp. 369-370
Events and Submissions/Topic
Module/Topic
Chapter
Events and Submissions/Topic
Module/Topic
Chapter
Events and Submissions/Topic
1 Written Assessment
Chose a genre of creative nonfiction: memoir, personal essay, portrait, essay of place or narrative journalism. Write a 300-400 word pitch for a written piece in this genre to myself as 'editor'.
Explanation
You are required to write a creative nonfiction piece for your major piece of assessment. This assignment has two parts: the pitch (or proposal) (pass/fail); the CNF piece itself (45%). This first part is pass/fail only. This means that you are required to complete the pitch (on which you will receive feedback), but this does not contribute to the overall grade percentage. Why? Because it is a prelude to the major piece of assessment which is graded. As any writer will tell you, if you want to get a CNF piece published, editors expect a pitch BEFORE the main piece is sent. This is the case in most publishing: writing a book first and then trying to get a publisher can be a dangerous waste of time. So writers produce a pitch first, and then go ahead once the editor has agree (preferably with a signed book contract). For shorter works, editors will still expect a pitch. This not only saves time but gives the editor the opportunity of suggesting changes to the focus or tone of the piece. Senior writers who work for The Atlantic or The New Yorker may be able to pursue their own writing, but if general commentary is anything to go by, even they have to pitch for approval. So the pitch (or proposal) is good practice and an essential part of the creative non-fiction genre.
NOTE: Creative non-Fiction pieces submitted WITHOUT a prior pitch being received and marked may be penalised.
Weighting: PASS/FAIL
This assessment will be examined to the degree that it demonstrates:
- Overall coherence and interest of the Pitch;
- Understanding of key purposes, forms and techniques of the selected genre of creative nonfiction;
- Clarity of expression including spelling and grammar and appropriate referencing.
- Craft an industry standard ‘pitch’ to an editor
- Knowledge
- Communication
- Cognitive, technical and creative skills
2 Written Assessment
Students are expected to keep a CNF Journal during term. The purpose of the CNF Journal is to provide students with an intellectual space where they can consider and record their reflections on the readings, concepts, ideas and activities that are examined in this unit.
Weighting: This item is worth 55% of your overall grad for the unit.
Assessable component
You are expected to respond to the weekly activities/questions from weeks 1-9 as listed on the course Moodle website, and to submit these electronically as a single a word document through the Moodle website by the due date; Each reflection/answer should be no less than 350 words and no longer than 500 words; You are expected to post these answers to the relevant Moodle discussion forum and to participate in the weekly discussions; Your reflections/answers should be thoughtfully considered and demonstrate evidence of reading and research (including from the set text).
NOTE: Late assignments submitted without an approved extension will receive a grade (with late penalty applied) but no feedback.
This assignment will be marked using the following evaluation criteria:
- The extent to which the CNF Journal engages with the ideas and concepts explored in the unit (including the set text);
- Clarity of expression including spelling and grammar and appropriate referencing.
- Analyse the craft of creative nonfiction through a weekly reflective journal
- Knowledge
- Communication
- Cognitive, technical and creative skills
- Research
3 Written Assessment
You are required to write a creative nonfiction piece (based on the the Pitch submitted as part of the pass/fail Assignment #1).
Assessable components
- A proofread and polished piece of creative nonfiction (no less than 2000 words);
- A critical reflection that gives an account of the creative process from pitch to piece (no less than 400 words).
NOTE: Late assignments submitted without an approved extension will receive a grade (with late penalty applied) but no feedback.
The assignment will be marked using the following evaluation criteria:
- The overall connection with the ideas developed in the pitch;
- A revealing, ‘truthful’ and in-depth CNF piece using the techniques of the selected CNF genre;
- Clarity of expression and flawless referencing.
- Research, draft and write a sustained piece of creative nonfiction writing
- Knowledge
- Communication
- Cognitive, technical and creative skills
- Research
- Self-management
- Leadership
As a CQUniversity student you are expected to act honestly in all aspects of your academic work.
Any assessable work undertaken or submitted for review or assessment must be your own work. Assessable work is any type of work you do to meet the assessment requirements in the unit, including draft work submitted for review and feedback and final work to be assessed.
When you use the ideas, words or data of others in your assessment, you must thoroughly and clearly acknowledge the source of this information by using the correct referencing style for your unit. Using others’ work without proper acknowledgement may be considered a form of intellectual dishonesty.
Participating honestly, respectfully, responsibly, and fairly in your university study ensures the CQUniversity qualification you earn will be valued as a true indication of your individual academic achievement and will continue to receive the respect and recognition it deserves.
As a student, you are responsible for reading and following CQUniversity’s policies, including the Student Academic Integrity Policy and Procedure. This policy sets out CQUniversity’s expectations of you to act with integrity, examples of academic integrity breaches to avoid, the processes used to address alleged breaches of academic integrity, and potential penalties.
What is a breach of academic integrity?
A breach of academic integrity includes but is not limited to plagiarism, self-plagiarism, collusion, cheating, contract cheating, and academic misconduct. The Student Academic Integrity Policy and Procedure defines what these terms mean and gives examples.
Why is academic integrity important?
A breach of academic integrity may result in one or more penalties, including suspension or even expulsion from the University. It can also have negative implications for student visas and future enrolment at CQUniversity or elsewhere. Students who engage in contract cheating also risk being blackmailed by contract cheating services.
Where can I get assistance?
For academic advice and guidance, the Academic Learning Centre (ALC) can support you in becoming confident in completing assessments with integrity and of high standard.
What can you do to act with integrity?
