WRIT 1122 | Writing: Horror | firstname.lastname@example.org
The horror genre is distinctly rhetorical, working carefully to produce visceral effects in its audience. It’s a popular genre, but also a marginalized one, creating space for writers and artists to ask difficult questions, political questions, personal questions, questions about gender, race, disability, queer bodies, identity formation, history, etc. Horror reveals something about who we are as humans, reminding us we have both outsides and insides, skin and guts, eyes and gray matter, ideas and appetites. The critics of horror are usually too distracted by blood and guts to notice the more radical potentials of the genre.
A class is a process, an independent organism with its own goals and dynamics. It is always something more than even the most imaginative lesson plan can predict. ~ Thomas P. Kasulis
And so we’ll start with a syllabus and schedule, but it will evolve throughout the term driven by our discussions and discoveries. In this class, we’ll approach writing in novel ways, examining and experimenting with rhetorical texts, including film, multimodal composition, games, and other interactive narratives.
Note: The subjects of this course will lead us through difficult terrain (monsters, slashers, dead things, the walking dead, etc.). Our work will be thoughtful and cathartic, but we'll have to sludge through some gore along the way. (I often refer to doesthedogdie.com, which tracks 80+ categories, offering "crowdsourced emotional spoilers for movies, tv, books and more.")
What We'll Do and How We'll Do It
Our world is increasingly complex, and so we can't know exactly what shape this course will take over the next several months. Officially, this course is hybrid, so we’ll have scheduled in-person meetings each week (where possible), but we'll do most of our work together asynchronously online and out on the open Web. Not all of us are encountering this moment in the same ways, so each of us will have to make decisions about how we can engage. I want to be clear about several things:
- This course will be built to function primarily asynchronously online.
- When allowed, we will have scheduled face-to-face sessions.
- Given the current circumstances, our face-to-face sessions are optional. I trust you to make decisions about what feels safe for you, and we all want you to do what you can to keep others safe.
- We will also have scheduled synchronous online sessions. I encourage you to connect with me and your classmates in whatever ways makes sense and is safest for you. Ultimately, this is a community, and there are lots of different ways we can each contribute.
- This course will live primarily on the Web, in three places: this site, our Discord server, and wherever you choose to put your work for the course. Whatever face-to-face sessions we are able to have (on-ground or online) will inform our other work.
- I look forward to getting to know you as a student, a writer, and a person.
I will be available for virtual office hours as necessary. Just reach out to schedule a video meeting, or feel free to engage via DM in Discord, which is the fastest way to get feedback or questions answered.
I've worked to make this course adaptive and flexible, so that you can find your own way into the work, whatever your context. DU's Disability Services Program guides, counsels, and assists students with disabilities. If you have already met with them, feel free to chat with me about any changes we can make to help your learning. I will certainly offer accommodations. I'd rather we work together to make sure the course meets your needs. You do not need to divulge any personal information in order to have these conversations or to receive accommodations. I trust you. Learning is something we do together. And, of course, I will hold information you do share with me in confidence unless you give me permission to do otherwise. If you do not require accommodations due to a disability, understand that some of your fellow students might, and it is important to me that you do not make assumptions about where, when, or how they learn.
Basic Needs Security
What's most important to me is that you feel able to show up fully to our work together. I'm human first. Students are humans first. If you face challenges securing your food or housing and believe this may affect your learning in this course, visit DU's basic needs resource site for support. Please also let me know personally if you are comfortable doing so, because there may be ways I can help.
You can seek confidential mental health services in the Health & Counseling Center (HCC) and My Student Support System (My SSP). Another helpful campus office is Student Outreach & Support (SOS), where staff can connect you to other campus resources.
I'm decidedly putting these accessibility and basic needs statements at the top of this syllabus, rather than buried with the fine print at the bottom. At this moment, at any moment, our basic humanity is something we need to be leading with.
Nothing in this syllabus will be set in stone or taken for granted. The outline and objectives here are a beginning, something we’ll treat roughly as the course proceeds. This is not a map, but rather a direction we’ll point ourselves with the goal of vigorously rewriting the syllabus as we go, discovering what we’ll learn together as we learn it, questioning what we’ll do even as we begin to do it.
You can find the DU University Writing Program's standard outcomes for Writing 1122 here.
To these I'll add that we will:
- Interrogate writing as a practice. We'll write for other audiences, but much of the writing will be for ourselves, helping hone our own approach and processes.
- Wonder at genre, audience, and intention, working to invent for ourselves the shape(s) and form(s) of academic writing.
- Consider the intersections between text, images, moving images, games, etc.
- Experiment with multimodal composition. This is a course about critical thinking and also critical making.
- Change our mind about stuff.
- Have epiphanies.
The Work of the Course
This course will be as much about breaking stuff as it is about building stuff, focusing on critical thinking and process more than finished product.
Required Films and Texts
There is not a traditional textbook for this course. We will do some reading and watch some films, but the course will center around what we make and our discussions about what we uncover.
You will need to rent a handful of films throughout the term. There may be a small rental charge for these. Some are also available on streaming services like Netflix or Amazon Prime. You should plan to spend about $30 - $40 for the term. If that presents a challenge, for whatever reason, let me know.
The rest of our readings and films will be available openly online.
Each week, the course schedule will guide you through the various activities of the week, including information about synchronous sessions, both face-to-face and online. Watch our schedule and Discord for updates as we proceed.
This is a collaborative course, focusing on discussion and work in groups. The class will be a cooperative learning experience, a true intellectual community. And so, you and your work are, in a very real sense, the primary texts for this course. In order for us to work together as a community, we all have to come prepared to participate. If you can’t finish work for any reason, chat with me (and your collaborators) in advance.
You may collaborate with your peers on any of our projects. I've created a channel in Discord called #looking-for-group, which you can use to find collaborators. If you have questions about the various ways collaboration can work, chat with me at any point.
You'll do lots of writing for this course, some of it short, some long, some rough, some polished, some for an audience, and some of it just for yourself. There will be lots of room for you to decide how much time and energy you want to invest in each of the activities or assignments we'll do. The most important work you'll do is to reflect on your own writing and writing process. Ultimately, this course is not about proving to me that you can write, but about helping you find new ways into your work as a writer.
Much of your work for this course will live publicly on the Web within open platforms. If you would like to remain anonymous, I encourage you to use a pseudonym. Think carefully about these choices. We will discuss issues related to privacy and the open Web extensively during this class.
Grades and Assessment
"Extrinsic motivation, which includes a desire to get better grades, is not only different from, but often undermines, intrinsic motivation, a desire to learn for its own sake." ~ Alfie Kohn, "The Case Against Grades"
Everyone who participates in our course community and completes their self-reflections will get an "A." Instead of your grade, here's what I want you to focus on:
- Actively engage in the work of the course. Writing is ultimately what this course is about, but there will be lots of different ways for each of us to engage.
- Determine what participation in our community looks like for you – online, in-person, synchronously, asynchronously, on Discord, in our physical classroom, wherever you can best contribute and learn. Listening and reflecting can be just as important as speaking and questioning. Writing is not an independent exercise, so I encourage you to focus a good amount of your energy on helping your peers, reading their work, championing their accomplishments, and offering feedback that pushes them in their own writing process.
- Reflect on your own work. This course is about process, not product, and so writing about our own writing is the most important work we'll do.
I will not be grading individual assignments, but rather asking questions and making comments that engage your work rather than simply evaluate it. The intention is to help you focus on working in a more organic way, as opposed to working as you think you’re expected to. If this process causes more anxiety than it alleviates, see me at any point to confer about your work in the course to date.
You should consider this course a “busy-work-free zone.” If an assignment does not feel productive, we can find ways to modify, remix, or repurpose the instructions.
Authorship is a hotly contested topic in the academy. At what point do we own the words we say and write or the images we create? In literature and digital media, creative influence, collaboration, and borrowing are usually acceptable (even encouraged). So, what sort of statement or warning about plagiarism would be appropriate in this class? Let me go out on a limb and say: in this class, I encourage you to borrow ideas (from me, from the authors we read, from the films we watch, from your classmates). But, even more, I encourage you to truly make them your own — by playing with, manipulating, applying, and otherwise turning them on their head. In the end, it’s just downright boring to rest on the laurels of others. It’s altogether more daring (and, frankly, more fun) to invent something new yourself — a new idea, a new way of thinking, a new claim, a new image. This doesn’t give you license to copy something in its entirety and slap your name on it. That’s just stealing. Instead, think very consciously about how you’re influenced by your sources — by the way knowledge and creativity depend on a sort of inheritance. And think also about the real responsibility you have to those sources.
It is my commitment to you that I will not submit any of your papers to Turnitin. Plagiarism-detection software like Turnitin monetizes student intellectual property and contributes to a culture of suspicion in education. I trust you. I trust that your work is your own. If you have questions about how to properly cite sources, let me know. If you want to know more about Turnitin and how you can protect your own intellectual property, here is an essay with info.
While some of the work for this course will be done independently or with a small group, think of all your peers as an audience for your work, as well as a source for feedback and encouragement. Draw on their expertise. This class will be as much (or more) about you teaching yourselves and each other as it is about me teaching you. Because of this, it's incredibly important to me that we create an inclusive community that is respectful of our differences and offers space for the boundary-setting necessary for positive relationships to form. Our diversity is reflected by differences in race, gender, sexuality, ability, class, religion, nationality, and other cultural identities and material circumstances.
Discrimination, Harassment & Gender-Based Violence (TITLE IX)
Discrimination, harassment, and gender-based violence can happen to anyone regardless of race, class, age, appearance, gender identity, or sexual orientation. The University of Denver is committed to providing an environment free of discrimination on the basis of sex (gender) and other protected classes, such as race, color, national origin, age, and disability. The Office of Equal Opportunity & Title IX (EOIX) is responsible for responding to and investigating reports and complaints of discrimination, harassment, and gender-based violence. In addition, all non-confidential University employees are considered “responsible employees” and required to report such incidents to EOIX. For more information, please visit the Office of Equal Opportunity & Title IX website.
DU Writing Center
The Writing Center provides writing support for undergraduate and graduate students at all levels, on all kinds of projects, and at any stage of the process: from generating ideas to learning new editing strategies. Consultants take a collaborative approach, working with you to help you develop your writing in light of your specific goals and assignments. To make an appointment for a free, 45-minute consultation, call 303-871-7456 or go to MyWeb > Student > Writing Center. Visit the Website (www.du.edu/writing/writingcenter/ ) for hours and additional information.
Critical thinking is like eating, something lively and voracious, something that drips and reels. It isn’t (and can’t be) virtual. And yet, somewhat paradoxically, we must increasingly find ways for this work to happen online. We must bring our subjects to life for both ourselves and our digital counterparts. Learning must fire every neuron — must touch us at the highest levels of consciousness and at the cellular level. No matter where it happens, this is what learning must do. It must evolve — and revolt.