“Sometimes a person needs a story more than food to stay alive.

” –Barry Lopez

“People say, ‘Your books read like novels’…well the techniques of storytelling don’t
belong exclusively to fiction.” –Tracy Kidder

“We tell ourselves stories in order to live.” Joan Didion

English 285 Themes in American Literary Journalism

Fall 2008 MW 2:30- 3:45 Classroom Arts & Letters Bldg. Room 145
Instructor: James Borton
Office: (803) 938-3849 Mobile: (203) 216-7583
Arts & Letters Bldg. Office: Room 106
Office hours: 1:00- 2:30 MW
e-mail: bortonj@uscsumter.edu

REQUIRED TEXTS & MATERIALS:

The Art of Fact: A Historical Anthology of Literary Journalism edited by Kevin Kerrane
and Ben Yagoda

The Truth of the Matter Art and Craft in Creative Nonfiction by Dinty W. Moore

Truman Capote In Cold Blood

(1) Writer’s journal or a regular 8.5 x 11 spiral notebook with pockets to be used
exclusively for this course. This is your record of your thoughts and ideas about
your writing of all work in-progress. View and value it as your artist’s
sketchbook. You can write on anything from daily events in the present to
memories of the enar or distant past, comments on things you have overheard or
actions you observe.
(2) A dictionary. Bring it to every class.

Note: I will also provide a number of long-form articles in the form of handouts and also
you will be going online to read and print out several narratives. These include pieces by
Chris Jones, Hunter Thompson, Joan Didion, Susan Orlean and Tom Wolfe, to name but a
few.

On reserve at Anderson library /online links:

A History of American Literary Journalism The Emergence of a Narrative Form by John

Hartsock Read the introduction pp. 1-20.

http://www.nieman.harvard.edu/narrative/digest/resources/bibliography.html#issues

Go to online reading. http://www.nieman.harvard.edu/narrative/digest/essays/charchklst-

hart-nnd.html

Go to http://www.nieman.harvard.edu/narrative/digest/index.html

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http://www.bartleby.com/141/ online version of The Elements of Style

COURSE DESCRIPTION:

A remarkable number of American writers engaged in both literature and journalism.

Mark Twain and Ernest Hemingway worked as reporters before making their names in
the world of letters. Stephen Crane straddled the line between the two fields during much
of his career. Truman Capote and Tom Wolfe even tried to merge the two fields into new
genres, which they called the "nonfiction novel" and "New Journalism."

This combination should not surprise us. Literature and journalism, after all, have much
in common, as each seeks to capture the human experience in words. This is a reading
and writing course, with the careful emphasis on reading. But the purpose of our reading
is not simply to understand or appreciate the text in an academic, isn’t-that-interesting
kind of way; we’re reading to learn to write better ourselves and also examine some of
the key literary journalism genres.

In the course of this semester, we will examine the features and genres that are particular
to writing in the type of creative nonfiction sometimes called literary journalism. The
reputations of the selected writers on whom we will focus- James Agee through Tom
Wolfe vary greatly, yet most readers agree that each has made a significant contribution
to a certain genre of non-fiction writing. This is a reading and discussion course;
however, there are several essential academic and creative nonfiction writing assignments
outlined below.

We will examine and survey various journalistic and literary qualities and genres with an
eye toward understanding how the two fields come together in their witing. Here are
some questions to keep in mind:
• How did journalism shape the literary styles of those American writers who
worked in it?
• What material did it provide for these writers?
• What fictional devices do these literary journalists use?
• What is a fact? What is the truth? And what’s the difference?

We will explore how each writer struggles to represent a “real” world outside language;
examine social, political, and aesthetic aspects of using narrative in that representation;
discuss the writer’s attraction to violence and extremity as well as the specific effects of
Truman Capote’s “objectivity” in his book, In Cold Blood in contrast to Agee’s moral
subjectivity; study Hunter Thompson’s comic exaggeration, and also Joan Didion’s
personalism. Finally, through a close reading and assignments students will understand
how these writers all use “scene-by scene construction similar to that found in fiction;
examine carefully how these journalists record full dialogue instead of the selective use
of quotation normally found in objectified mainstream journalism; examine “immersion
writing” in their subject matter and in the process through our selected readings and

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writing assignments discover “the voice” of the journalist.

Course Objectives:

• To introduce you to the genre of creative nonfiction or “ American literary

journalism” themes and to many outstanding examples in the field.
• To help you develop, understand and transfer personal experience and thought
into writing that speaks to a larger audience.
• To practice and improve overall writing skills, focusing especially on developing
abstract ideas, feelings, and subjects with concrete examples.
• To practive working with a discussion group (this classroom community) in order
to improve critical thinking (reading skills) and writing skills.
• To produce a portfolio of your own creative nonfiction.

COURSE REQUIREMENTS:

1. One narrative informative feature written from primary sources or an optional

choice is a personal essay. Approx. 1.000-1,200 words (equivalent to four or five
double-spaced word-processed pages.) 20% of grade
2. One character profile sketch approx. 800-1000 words double-spaced 20% of
grade.
3. One academic essay related to the course subject matter, specifically Truman
Capote’s In Cold Blood. (approx. 1000-1100 words) 20% of grade.
4. Weekly reading participation which includes oral and written presentations of
assigned selections. 20% of grade. (see details below). Abbreviated writing
assignments are an essential part of the class performance.
5. Your best essay, revised for publication and submission. Plus close review of
entire portfolio. 10% of grade.
6. Final exam. 10%.
7. Note: Extra credit will be offered for feature article (articles) and or profiles
published in the student newspaper, The Ant Hill.

Presentations are a fundamental part of the readings and discussions. Each of you will
during the course of the semester have numerous opportunities to lead discussions and of
course, that means to initiate discussion of an assigned text or excerpt from a narrative.
You may even want to distribute specific discussion prompts AHEAD OF TIME to
aid in the class participation. These presentations will be 10-12 minutes in length and
should lay out briefly your understanding of central issues in the assigned reading and /or
its narrative structure and questions or puzzlements that you wish to pursue further with
the class. (The presentation should be a beginning; an encouragement to discussion and
not a didactic lecture.)

Note: Each week commencing Sept. 3, every student will be required to bring to class a
completed critique of the article/essay (anthology assigment/article handout) we will be
discussing in class on that particular day. I will provide you with a master copy analysis

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form/handout. Please make multiple copies of this master form for use in all of your
reading assignments. Complete these assignments and do save as part of your overall
writer’s portfolio. I will be reviewing all of them as part of your overall portfolio. Print as
legibly as possible on your form. In our class discsussions, we will examine the writer’s
use of literary techniques such as the following:

Character (characters)
Set scenes
Action (that unfolds over time)
Voice
Style
dialogue
First person versus third (objective)

Reading responses. Over the course of the semester, in addition to the (three)
essays/papers, and the completion of these weekly reading analysis forms, each of you
willl write at least (2) two page, typed (double-spaced) informal responses to the assigned
readings. It is imperative that you complete the analysis form for each reading assigned.
We will sometimes divide the class into groups to better understand the narrative
approach used by the author. Keep one copy for yourself of the completed analysis form.
Again, you must hand in a total of two computer-generated reading responses by
Nov. 24.

Think of these as detailed reading journal entries, but for an audience. Choose something
about the work that interests you and discuss it or speculate about it. You can use these as
places to begin exploring potential topics for your (work-in-progress), if you wish. You
may also use the discussion starter questions to provide topics for your responses, but you
are always free to write about some other topic as long as it is related to the text (reading)
under discussion. On those days when you have analysis responses to turn in, you should
be prepared to read from them or discuss them in some detail with the class. What is
important is to be prepared, having at least a sense of where you think we should begin
and where we should aim to go after we begin, of what you truly think is significant
about the text. Be ready to talk and to lead the discussion. Response writing need not be
formal and “finished.” The best responses will explore and speculate on the meaning of a
single, specific feature of a text or issue related to or suggested by that text. Note. If a
response reflects concentrated and serious thought about its topic, if it is turned in on
time, if it is free from intrusive errors in the use of English, and if you are prepared to
share it in class with your colleagues, it will receive an “A.” Late responses (turned in
after discussion of a text has finished or after the deadlines mentioned above) will
receive no credit.

Manuscript format:
These assignments offer both an opportunity to develop a creative non-fiction narrative
and also in another assignment to analyze and illuminate some aspect of one of our
assigned readings. Papers are to be typed in Times New Roman, 12 font, double-spaced,
one-inch margins. Each paper submitted will have a cover page that includes your name
of paper, your name, and date…nothing else. These extended assignments should be 4-5
typed, double-spaced pages long. Please present to me your idea/ideas as early as
possible into the semester or no later than Sept. 15 for either a feature or the approach

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to your autobiographical vignette. Since this is a course in understanding themes in
creative nonfiction and an examination of certain genres of writing, revisions will be
considered a fundamental part of the writing experience. There will be established writing
milestones along this journey. See the detailed syllabus. The creative nonfiction efforts
should be viewed as a “work-in-progress” undergoing what I term deep revision, or an
extensive rethinking of what you have written, rather than simply edited versions of
earlier pages.

FINAL PORTFOLIO:

The final portfolio should be submitted to me on Monday Dec. 1. No exceptions. If you

are unable to attend class, it may be dropped into my mailbox located outside of my
office. Please submit in this format:

1. Title page with name of class (English 285: Themes in American Creative
Nonfiction)
2. Your name, address, and semester (Fall 2008). Also, include a title for the
portfolio, as if it were a book manuscript.
3. A short introduction in which you honestly discuss your work this semester and
the contents of the portfolio, pointing out key things you would like your reader
to notice or commenting on what you have achieved.
4. Three polished essays double-spaced. Each revised and final essay (narrative)
should have its own title centered and spaced down 3 inches from the top of the
first page.
5. In addition to the three main essays/narratives include any other exercises, or
selective journal entries that would make a good impression and that show the
range of your completed work over the semester. These journal entries need not
be polished works but they should be typed (double-spaced), proofread, and
corrected. Finally, state what grade you have earned.

GRADING STANDARDS:

A= achievement outstanding relative to the level necessary to meet all of the cited course
requirements. This translates simply as excellent work.
B= achievement significantly above the level necessary to meet course requirements.
This represents satisfactory and very good college work.
C= achievement meeting the basic course requirements in every respect (in this course,
that includes regular attendance in addition to completing the writing assignments and
exams.)
D= achievement worthy of credit even though it does not fully meet the basic course
requirements in every respect.

ATTENDENCE POLICY:
The student is expected to be in class on time. Each class meeting’s activities will build
on those of the preceding day(s). Final course grades may be lowered by one letter
grade for each unexcused absence over three. In the case of illness or family
emergency, the student must make arrangements to make up missed work. Excused or
unexcused, anyone who misses class is liable for any missed work or work not turned in
on time. At the very least send me an e-mail.

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LATE PAPER POLICY:
Late paper will be marked down. No paper will be accepted if it is not submitted within
forty-eight hours of the due date.

CHEATING & PLAGIARISM:

If the student is caught cheating (including intentional plagiarism) in this class, the
student will receive a grade of F for the class. The student may also be expelled from the
University. (See the University Student Conduct Code for more information)

Enjoy the journey with me this semester. My door is always wide open for student
conferences.

English 285 Themes in American Literary Journalism

COURSE CALENDAR AND ASSIGNMENTS

Week 1 Aug. 25-27 Building Blocks of Creative Nonfiction

Introductions: course description and requirements. A detailed review of the course

syllabus.Understanding the forms of “narrative journalism,” “participatory journalism,”
and the techniques and use of scene-by-scene construction, real dialogue, status details,
and point of view. Handouts* “Toward a History of Literary Journalism” by Paul Many
For Wed. 8.25 read Chapter 2 “What Makes Nonfiction Creative” in The Truth of the
Matter pp. 8-18 also pp. 276-278 “Making the Truth Believable” by Tracy Kidder in The
Truth of the Matter. Read for Wed. pp. 13- 20 The Art of Fact.

Discussion of plot, style, structure, scenes-the building blocks of creative nonfiction.

Look ahead at next week’s assignment.

Week 2 Sept. 1* (Labor Day holiday)-

Sept. 3 (Wed.) resume class.

Characterization and Scene Construction
Read Stephen Crane’s “When Man Falls, a Crowd Gathers” pp.58-70 in The Art of Fact..
Read chapter 4 in The Truth of the Matter pp. 29-41. Complete for Wed. and choose (one)
of the two writing prompts located on p. 40 in The Truth of the Matter. Write a 150-200
word computer generated characterization through dialogue draft. Make two copies and
bring them to class on Monday Sept. 8.

Week 3 Sept. 8-10 Profiles/Character Sketches Read from The Art of Fact pp. 129-138
“Portrait of Hemingway” by Lillian Ross and pp. 143-160 “The Silent Season of a Hero”
by Gay Talese. Also, pp. 212-217 in The Art of Fact. Read pp. 21-24 in The Truth of the
Matter. Peer review of writing prompts. Optional reading: Tom Wolfe’s “The Girl of the
Year” pp. 469-479 in The Art of Fact. Begin development of a character profile/sketch
due Monday Sept. 22. See handout on specific profile assignment.

Week 4 Sept. 15-17 New Voices of the Narrator

Read Chapter 5 pp. 42-51 in The Truth of the Matter and pp. 290-301 Norman Mailer
“From The Armies of the Night” in The Art of Fact. Also, A.J. Liebling’s “The Earl of
Louisiana” pp. 258- 270 in The Art of Fact. Be prepared to present ideas on

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structure/literary devices: character, action, point of view, setting, style from assigned
stories and lead discussion. Allocate class time for discussion/preview of profile
assignment due next week. Handout on excerpt from “The Right Stuff” by Tom Wolfe.

Week 5 Sept. 22- 24 The Narrative Persona

Read pp.469-479 Tom Wolfe’s “ The Girl of the Year” and James Agee from “Let Us
Now Praise Famous Men on pp. 417-421 in The Art of Fact. Reader response to the
stories due on Wed. Sept. 24. Read in The Truth of the Matter pp. 74- 82. Preparation for
execution of your narrative essay. Please submit idea/one page double-spaced detailed
outline plan for narrative feature or personal essay. Handouts for next week. Joan
Didion from “Slouching Towards Bethlehem.”

Week 6 Sept. 29-Oct. 1 West Coast: California Dreaming

Approval on themes for narrative essay. . Complete reading of handout/excerpts from
Joan Didion’s Slouching Towards Bethlehem.” Read in The Art of Fact pp. 480- 484
“Los AngelesNotebook” by Joan Didion. Class oral/written presentations. Profile due
Wed. Oct. 1.

Week 7 Oct. 6- 8 In Cold Blood: The Nonfiction Novel Truman Capote’s In Cold
Blood Read pp. 1-74 “ The last To See Them Alive”. Class discussions on text.
Understanding the use of fictional techniques in a work of nonfiction. Handouts.
Submission of drafts of creative feature/autobiography. Work-in progress. Min. of 4-5
double spaced pages. Peer review. Mid-point in semester.

Week 8 Oct. 13- 15

In Cold Blood cont. pp. pp. 77- 155 “ Persons Unknown.” and pp. 159- 248
“Answer.”Class discussions. Focus on author’s techniques in reconstruction of events.
Writing exercises. Peer review on work-in-progress. Reader suggested prompts
distributed for assigned academic essay.

Week 9 Oct. 20- 22 Finish In Cold Blood pp. 251- 343 “Corner”. Clips from the film, In
Cold Blood. Handouts. Reminder- Plan ahead, academic essay due Wed. Nov. 3.

Week 10 October 27- 29 The Personal Essay

Read in The Truth of the Matter pp. 200- 206 Jamaica Kincaid’s “ Biography of a
Dress,” and in The Art of Fact pp. 461- 465 “ Lethal Lightning” by Jimmy Cannon and
“Living Like Weasels” by Annie Dillard pp. 140-142 in The Truth of the Matter. Read pp.
84- 91 in The Truth of the Matter. Assign discussion leaders.

Week 11 Nov. 3-5 Memory

Michael Herr from Dispatches on pp. 494- 506 in The Art of the Fact. And “Buckeye”
by Scott Russell Sanders pp. 224- 228 and “Reading History to My Mother” by Robin
Hemley pp. 174-183 in The Truth of the Matter. Reading handouts. Discussion leaders.

Week 12. Nov. 10-12 New Yorker Style

“Running to Beijing” by Peter Hessler and Elizabeth Kolbert “The Island in the Wind”
and in The Art of Fact, Joseph Mitchell’s “Lady Olga” pp. 439-451. Class discussion and
presentations expected. Sign up sheet distributed in class for next week.

Week 13 Nov. 17- 19 Assessment of works-in-progress and received. Bring in all work-
in-progress for scheduled meeting in my office. Sign up sheet to be distributed in advance
for individual review sessions. This is for both Monday and Wed. class sessions. Expect

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handouts. Due: Final draft narrative feature/ or personal essay due Nov. 17. Drop off
in my in box located outside my office. Be prepared to discuss in depth at evaluation
session.

Week 14 Nov. 24-26* Thanksgiving holiday Read “Holiday Pageant: The Importance of
Being Bluebell” by Michael Winerip pp. 549-551 in The Art of Fact Also, go online print
out and read this New Yorker article by Larissa MacFarquhar at
http://www.nieman.harvard.edu/narrative/digest/notable/obama-newyorker-050707.html
Short writing assignment/handout about sense of place.

Week 15 Dec. 1-3 Final week of classes. Read online and print out
http://www.nieman.harvard.edu/narrative/digest/notable/matt-aastate-092206.html.
Wrap-up of all readings and works completed. Final submission of completed portfolio.

Final assessment /discussion on works-in-progress/papers and preparation for final exam.

Final Exam: Dec. 8 2:30- 4:00

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