Assessment standards in this unit align with the University's grade descriptors, available at: https://staff.mq.edu.au/work/strategy-planning-and-governance/university-policies-and- procedures/policies/assessment

To apply to have your assessment re-marked, please see: http://www.mq.edu.au/pubstatic/ public/download/?id=167914

Examples of relevant and related assessment tasks will be made available on iLearn and will be discussed in tutorials.

Unless a Special Consideration request has been submitted and approved, (a) a penalty for lateness will apply – two (2) marks out of 100 will be deducted per day for assignments submitted after the due date – and (b) no assignment will be accepted more than seven (7) days (including weekends) after the original submission deadline

Methods of Feedback:

• Informal: comments from tutor during tutorials; through the announcement function in iLearn; interactions with peers during tutorial activities; personal reflections on learning during the course.

• Individual: in email communication with individual students where comments are made by the tutor in response to questions related to course activities and assessments; in personal face-to-face consultations during Week 8 or as requested (either by phone or face-to-face)

• Formal: general comment and in-text comments attached to assignments marked in Turn-It-In; rubrics; reflections from peers; in-class comments from tutor in regards to assessments; marks are made available through the Gradebook function in iLearn.

Classes begin in week two and are held at 9am-11am at 29 Wally's Walk, tutorial room 136.

1. Essential readings are listed below. They are available via Leganto on iLearn.

   • Truman Capote, In Cold Blood, New York: Penguin, pp. 15-17.

   • Lee Gutkind, You Can’t Make This Stuff Up, Da Capo Press 2012, pp. 32-43

   • Louise Kiernan, ‘Writing Complicated Stories’, in Telling True Stories: A Nonfiction

     writers’ guide, Kramer and Call (eds), New York: Penguin, pp. 145-147

   • Lane Degregory ‘Narrative as a Daily Habit’, in Telling True Stories: A Nonfiction writers’

     guide, Kramer and Call (eds), New York: Penguin, pp.240-243

   • Chloe Hooper, ‘Consider the Lily’, The Monthly, June 2006

   • Kate Rossmanith, ‘Many me’, The Monthly, February, 2007, pp.25-27

   • Kate Rossmanith ‘On the Edge’ The Monthly, August, 2008, pp. 28-30

   • Helen Garner, ‘At the Morgue’, in True Stories: Selected non-fiction, Melbourne: Text

     Publishing, pp 145-153

   • Helen Garner, ‘In the Wings’, ‘In the Wings’, in Everywhere I Look, Melbourne: Text,

     2016, pp. 218-227

   • Lee Gutkind, ‘Immersion’, in The Art of Creative Nonfiction, John Wiley & Sons 1997, pp.

     99-106

   • Anna Funder, Stasiland: Stories from behind the Berlin Wall, Melbourne: Text Publishing,

     pp.1-30

   • Lee Gutkind, ‘Interviewing’, in The Art of Creative Nonfiction, John Wiley & Sons 1997,

     pp. 107-116

   • Alice Pung, ‘Caveat Emptor’, The Monthly, October 2007

   • David Finkel, The Good Soldiers, Melbourne: Scribe 2009, pp.3-24

   • Lee Gutkind, ‘Inner Point of View’, in You Can’t Make This Stuff Up, Da Capo Press

     2012, pp. 138-182

A detailed unit schedule will be available on ilearn in week one. Classes take place on Tuesdays 9am -11am, 29 Wally's Walk, tutorial room 136.