Students
MECO843 – Writing the Real
2014 – S1 Day
General Information
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| Unit convenor and teaching staff |
Unit convenor and teaching staff
Unit Convenor
Peter Doyle
Contact via peter.doyle@mq.edu.au
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|---|---|
| Credit points |
Credit points
4
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| Prerequisites |
Prerequisites
Admission to MCrMedia or PGCertCrMedia or MFJ
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| Corequisites |
Corequisites
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| Co-badged status |
Co-badged status
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| Unit description |
Unit description
This unit explores the field of creative non-fiction, both as creative practice and as subject of critical enquiry. It combines critical analysis with the development of the students' own writing projects. It will consider a range of established and emerging modes including the non-fiction graphic novel, the magazine feature, the memoir, the essay and science/technology writing.
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Important Academic Dates
Information about important academic dates including deadlines for withdrawing from units are available at https://www.mq.edu.au/study/calendar-of-dates
Learning Outcomes
On successful completion of this unit, you will be able to:
- Demonstrate an understanding of the diverse range of methodologies and creative techniques informing production processes of literary non-fiction writing.
- Synthesise and expand their practical knowledge of non-fiction writing.
- Critically analyse and engage with theories and contemporary debates in the field of literary non-fiction
- Demonstrate awareness of ethical conduct in relation to contemporary non-fiction writing
Assessment Tasks
| Name | Weighting | Due |
|---|---|---|
| Weekly writing exercises | 10% | Continuing |
| Seminar participation | 10% | Continuing |
| major article part 1 | 40% | 23 May |
| major article part 2 | 40% | Friday 13 June |
Weekly writing exercises
Due: Continuing
Weighting: 10%
Each week students will bring multiple copies of that week's writing exercises for in-class workshopping. The exercises will comprise short pieces, ie less than 400 words, the purpose of which is to focus on particular writing craft skills.
A detailed exercise brief will be distributed in-class week 1.
At semester end, students will choose five of their semester's exercises to be submitted for assessment.
On successful completion you will be able to:
- Demonstrate an understanding of the diverse range of methodologies and creative techniques informing production processes of literary non-fiction writing.
- Synthesise and expand their practical knowledge of non-fiction writing.
Seminar participation
Due: Continuing
Weighting: 10%
This component recognises students' active participation in weekly seminars.
Marks for this component are earned by:
*evidence of familiarity with each week's readings, demonstrated by students' ability to contribute to discussions and analysis in class
*active engagement in workshopping fellow students' exercises and major article drafts
*students' demonstrated abilities to develop and further explore ideas and themes which arise in class
*active contributions to in-class discussions
*students bringing completed exercises each week, suitably copied ready for in-class workshopping
On successful completion you will be able to:
- Critically analyse and engage with theories and contemporary debates in the field of literary non-fiction
- Demonstrate awareness of ethical conduct in relation to contemporary non-fiction writing
major article part 1
Due: 23 May
Weighting: 40%
Task: Submit a research portfolio plus 600-word research report.
The background research and footwork is the core, the substance and the hidden bulk of any successful piece of non-fiction writing. (Insufficient research always shows -- usually as repetitive, waffly, “puffy” prose.) Solid and thoughtful research is the hidden 90% of the iceberg.
Research skills are vital, but each project presents its own unique challenges. This exercise is to help you become familiar with the broad contours and specifics of researching for non-fiction writing .
Portfolio
Portfolio must be approximately 10-15 x A4 pages in length and include at least 4 different sources of research, such as (but not limited to):
*Interview transcript/s
*Fieldwork notes
Archival research (eg photographs and other material about particular building/s and venues, maps, early drafts of playscripts, etc – ie material you have accessed at an archive)
Objects/artefacts (include written details of them)
Your own discussion of relevant films/documentaries
Photographs
Statistics (eg. from the Australian Bureau of Statistics)
Books/literature/journalism
Scholarly journal articles
Additional readings
NOTE: Please don’t include photocopies of books/articles in your portfolio. Instead include a detailed bibliography. Please don’t include your entire interview transcript; perhaps instead just select particularly relevant sections.
*NOTE: Your portfolio must include at least one of the following research sources: interview transcript/s, and/or fieldwork.
Research Report
Submit a 600-word research report attached to the front of your portfolio. In 2 or 3 sentences, write what your creative arts journalism article will be about, as well as the central theme/idea you are exploring, or the ‘angle’ you are pursuing. Then explain the significance of each piece of research you’ve done/collected and how you will use each piece in the final article. Set out your report under headings based on each piece of research (eg ‘Interview with XXXX’) and write a few sentences under each heading.
Marking Criteria:
You will be marked on:
Demonstrated ability to conduct in-depth, relevant research using a variety of methodologies
Demonstrated ability to synthesise this research by focusing on one or two key themes to have emerged from it
Demonstrated ability to reflect on the relevance of such research to your proposed creative arts article
On successful completion you will be able to:
- Demonstrate an understanding of the diverse range of methodologies and creative techniques informing production processes of literary non-fiction writing.
- Synthesise and expand their practical knowledge of non-fiction writing.
- Demonstrate awareness of ethical conduct in relation to contemporary non-fiction writing
major article part 2
Due: Friday 13 June
Weighting: 40%
Development of a substantial, well-researched piece of non-fiction writing of up to 3000 words.
A detailed assignment brief will be distributed in class.
On successful completion you will be able to:
- Synthesise and expand their practical knowledge of non-fiction writing.
- Critically analyse and engage with theories and contemporary debates in the field of literary non-fiction
- Demonstrate awareness of ethical conduct in relation to contemporary non-fiction writing
Delivery and Resources
Technology
This unit uses ILearn.
Lecture and tutorial times
Lectures and tutorials will run concurrently: Lecture 9am-10am, followed by by tutorial/workshop. Room 246, Building Y3A, Wednesdays.
Teaching and learning strategy
Not provided
ILearn
Week to week course details and additional information will be made available on via ILearn.
Changes since last offering of this unit
This unit has not been offered before.
Other material
Essential readings.
Please note, following our initial meeting(s) and consultation, further readings may be added or subsituted as needed.
Fanny Burney, ‘A mastectomy, 30 September, 1811’ from The Faber and Faber Book of Reportage, John Carey, (ed), London, Faber, 1987.
Kelley Benham, ‘Hearing our subjects’ voices: quotes and dialogue’ from Telling True Stories: a Nonfiction Writers’ Guide, Mark Kramer & Wendy Call (eds), New York: Penguin, 2007, pp 107-109.
Eddie Campbell, Alec, How to Be an Artist, Paddington Qld: Eddiecampbellcomics, 2001, pp7-14.
Lane Degregory, ‘Narrative is a daily habit’, from Telling True Stories: a Nonfiction Writers’ Guide, Mark Kramer & Wendy Call (eds), New York: Penguin, 2007, pp 240-243.
Terry Eagleton, Saints and scholars, London: Verso, 1987, pp35-36, 45-49.
Barbara Ehrenreich, “Selling in Minnesota” from Nickel and dimed: undercover in low wage USA (London: Granta, 2002) pp122-147
Tom French ‘Sequencing: text as line’, from Telling True Stories: a Nonfiction Writers’ Guide, Mark Kramer & Wendy Call (eds), New York: Penguin, 2007, pp140-145.
Atul Gawande, ‘The Itch,’ New Yorker, 30 June, 2008, http://www.newyorker.com/reporting/2008/06/30/080630fa_fact_gawande
Malcolm Gladwell, ‘Offensive play: how different are dogfighting and football?’ New Yorker, 19 October, 2009 http://www.newyorker.com/reporting/2009/10/19/091019fa_fact_gladwell
Anne Hull, ‘Revising – over and over again’, from Telling True Stories: a Nonfiction Writers’ Guide, Mark Kramer & Wendy Call (eds), New York: Penguin, 2007, pp 205-208
Kevin Kelley, ‘Becoming screen literate’, from Steven Johnson (ed) Best Technology Writing 2009, New Haven, Yale, 2009, pp176-187
‘Elmore Leonard’s Ten Rules for Writing,’ from New York Times, ‘Writers on Writing’ series, July 16, 2001
Joseph Mitchell extracts from ‘Mr Hunter’s grave’ from Up in the Old Hotel, (New York: Vintage, 1993), pp 510-515
Michael Ondaatje, Coming through slaughter, Toronto: Anansi, 1976, pp8-14
George Orwell, The Road to Wigan Pier, (London: Penguin, 2001) pp 3-17
Kate Rossmanith, ‘Many me’, The Monthly, February, 2007 http://www.themonthly.com.au/issue/2007/february/1276233468/kate-rossmanith/many-me
Kate Rosmmanith, ‘On the edge’ The Monthly, August, 2008 http://www.themonthly.com.au/issue/2008/august/1272507853/kate-rossmanith/edge
Kate Rossmanith, ‘The release plan,’ The Monthly, October 2013 http://www.themonthly.com.au/issue/2013/october/1380549600/kate-rossmanith/out-parole
Both at http://www.themonthly.com.au/kate-rossmanith
Joe Sacco, Footnotes in Gaza, NY: Henry Holt and Co. 2011 pp3-29
Luc Sante, various extracts from ’12 Sides’, ‘Pinakothek’.
Luc Sante, The Factory of Facts, New York: Pantheon, 1998, pp3-11.
John Simpson, ‘Tiananmen Square’ from The Granta Book of Reportage, Ian Jack (ed) London: Granta, 1998 pp 259-266
Gabriel Thompson, Working in the shadows: a year of doing th ejobs most Americans won’t do. Ny: Nation, 2010
Calvin Trillin, ‘Paper Trials’ from The Best of Writers on Writing, Volume 2, edited by Jack Heffron. (Cincinnati: Story Press, 1995), 71-73
Eliot Weinberger, ‘Teeth’ and ‘The laughing fish’ from Karmic Traces, New York, New Directions, 2000, pp80-84.
Unit Schedule
A detailed schedule, with lists of essential and supplementary readings will be made available on I-Learn before start of classes.
Week 1, 5 March. Introduction.
Week 2, 12 March. The building blocks of story, part 1: anecdote and shape, set-up and payoff.
Week 3, 19 March. Building blocks, part 2: considering structures and story types.
Week 4, 26 March. Places and places. Non-fiction writing and the near and far, the exotic and local.
Week 5, 2 April. Voice, character, trust.
Week 6, 9 April. Guest lecture, Dr Kate Rossmanith. Lightbulb Moments? Developing ideas from research to writing.
14 April-25 April, Mid semester break
Week 7, 30 April. Guest lecture, Dr Kate Rossmanith. Immersion journalism: being in the field.
Week 8, 7 May. Writing about music, culture, the arts.
Week 9, 14 May. Combining, mixing and crossing platforms.
Week 10, 21 May. The rise of the celebrity non-fiction author. Performing authors.
Week 11-13, 28 May, 4 June 11 June. Consultations, schedules to be arranged in weeks 1-3.
Learning and Teaching Activities
Lectures
Tutorials/Workshops
Workshop/ discussions
Policies and Procedures
Macquarie University policies and procedures are accessible from Policy Central. Students should be aware of the following policies in particular with regard to Learning and Teaching:
Academic Honesty Policy http://mq.edu.au/policy/docs/academic_honesty/policy.html
Assessment Policy http://mq.edu.au/policy/docs/assessment/policy.html
Grading Policy http://mq.edu.au/policy/docs/grading/policy.html
Grade Appeal Policy http://mq.edu.au/policy/docs/gradeappeal/policy.html
Grievance Management Policy http://mq.edu.au/policy/docs/grievance_management/policy.html
Disruption to Studies Policy http://www.mq.edu.au/policy/docs/disruption_studies/policy.html The Disruption to Studies Policy is effective from March 3 2014 and replaces the Special Consideration Policy.
In addition, a number of other policies can be found in the Learning and Teaching Category of Policy Central.
Student Code of Conduct
Macquarie University students have a responsibility to be familiar with the Student Code of Conduct: https://students.mq.edu.au/support/student_conduct/
Student Support
Macquarie University provides a range of support services for students. For details, visit http://students.mq.edu.au/support/
Learning Skills
Learning Skills (mq.edu.au/learningskills) provides academic writing resources and study strategies to improve your marks and take control of your study.
Student Services and Support
Students with a disability are encouraged to contact the Disability Service who can provide appropriate help with any issues that arise during their studies.
Student Enquiries
For all student enquiries, visit Student Connect at ask.mq.edu.au
IT Help
For help with University computer systems and technology, visit http://informatics.mq.edu.au/help/.
When using the University's IT, you must adhere to the Acceptable Use Policy. The policy applies to all who connect to the MQ network including students.
Graduate Capabilities
PG - Discipline Knowledge and Skills
Our postgraduates will be able to demonstrate a significantly enhanced depth and breadth of knowledge, scholarly understanding, and specific subject content knowledge in their chosen fields.
This graduate capability is supported by:
Learning outcomes
- Demonstrate an understanding of the diverse range of methodologies and creative techniques informing production processes of literary non-fiction writing.
- Synthesise and expand their practical knowledge of non-fiction writing.
- Critically analyse and engage with theories and contemporary debates in the field of literary non-fiction
- Demonstrate awareness of ethical conduct in relation to contemporary non-fiction writing
Assessment tasks
- Weekly writing exercises
- major article part 1
- major article part 2
PG - Critical, Analytical and Integrative Thinking
Our postgraduates will be capable of utilising and reflecting on prior knowledge and experience, of applying higher level critical thinking skills, and of integrating and synthesising learning and knowledge from a range of sources and environments. A characteristic of this form of thinking is the generation of new, professionally oriented knowledge through personal or group-based critique of practice and theory.
This graduate capability is supported by:
Learning outcome
- Synthesise and expand their practical knowledge of non-fiction writing.
Assessment tasks
- Seminar participation
- major article part 2
PG - Research and Problem Solving Capability
Our postgraduates will be capable of systematic enquiry; able to use research skills to create new knowledge that can be applied to real world issues, or contribute to a field of study or practice to enhance society. They will be capable of creative questioning, problem finding and problem solving.
This graduate capability is supported by:
Assessment task
- major article part 1
PG - Effective Communication
Our postgraduates will be able to communicate effectively and convey their views to different social, cultural, and professional audiences. They will be able to use a variety of technologically supported media to communicate with empathy using a range of written, spoken or visual formats.
This graduate capability is supported by:
Learning outcomes
- Synthesise and expand their practical knowledge of non-fiction writing.
- Critically analyse and engage with theories and contemporary debates in the field of literary non-fiction
Assessment tasks
- Seminar participation
- major article part 2
PG - Engaged and Responsible, Active and Ethical Citizens
Our postgraduates will be ethically aware and capable of confident transformative action in relation to their professional responsibilities and the wider community. They will have a sense of connectedness with others and country and have a sense of mutual obligation. They will be able to appreciate the impact of their professional roles for social justice and inclusion related to national and global issues
This graduate capability is supported by:
Learning outcome
- Critically analyse and engage with theories and contemporary debates in the field of literary non-fiction
Assessment task
- major article part 1
PG - Capable of Professional and Personal Judgment and Initiative
Our postgraduates will demonstrate a high standard of discernment and common sense in their professional and personal judgment. They will have the ability to make informed choices and decisions that reflect both the nature of their professional work and their personal perspectives.
This graduate capability is supported by:
Learning outcome
- Demonstrate awareness of ethical conduct in relation to contemporary non-fiction writing
Assessment task
- major article part 2