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EWRT 65Red Wheelbarrow Literary Magazine: The Course
Instructor: Randy Splitter
Class: late afternoon or early evening, once a week, approx. two hours; distance learning option is available
Red W Office: inside L41 (next to La Voz office) (please check with me for office hours each quarter)
Instructor’s Office: F61e (in F6 building), 408-864-8600
Email: SplitterRandolph@deanza.edu (email is better than phone)
Online group/listserv: http://groups.yahoo.com/group/redwheelbarrow; redwheelbarrow@yahoogroups.com
Magazine website: http://www.deanza.edu/redwheelbarrow
File server: http://homepage.mac.com/rsplitter
Green sheet online: http://faculty.deanza.edu/splitterrandolph/stories/storyReader$10
The MagazineWe publish two editions a year: a National Edition (featuring the work of writers and artists from around the country and the world) and a Student Edition (consisting of the best writing and art work submitted by De Anza and Foothill students). The National Edition is put together during fall and winter quarters, sent to the printer, and distributed in the spring. The Student Edition is produced in spring quarter and published at the very end of the quarter. We hold a Publication/Awards ceremony for the Student Edition at that time.
Magazine StaffThe magazine is produced by an Editorial Staff of class members (EWRT 65, one unit), under the guidance of a Faculty Editor (Instructor). Several class members, usually the most experienced, sometimes serve as Poetry Editors, Fiction Editors, Managing Editor, and so on (EWRT 65X). For the National Edition, the job of Poetry and Fiction Editors is to help the Faculty Editor screen manuscripts (i.e., read them in advance to decide which ones the class as a whole will consider). For the Student Edition, the Editors work with student contributors on revisions. The Managing Editor keeps track of submissions, communicates with authors and printer, and so on. Other editors may specialize in print production or website maintenance. Editors need to put in an extra three hours per week outside of class.
The Class: Editing/Production/MarketingAll staff members are required to read the week’s manuscripts BEFORE the weekly class meeting. This will take you about two hours per week outside of class. Manuscripts will be available online on the file server listed above. You should download the files, print them out, read them, take brief notes, and bring them with you to class, ready to explain why you think they should or shouldn’t be accepted for publication. During the class meeting, we discuss the manuscripts and collaboratively decide whether to accept or reject them (voting yes, no, or maybe). We sometimes work with writers on revisions. We make final decisions later in the production cycle.
If you miss a class—or if you need to participate online instead of in class—then you should post your vote for each submission (with a brief explanatory comment for each) to the class listserv.
We also interview well-known writers, usually from the Bay Area, and publish those interviews in the magazine. Sometimes these interviews are conducted by a separate Special Projects class, but sometimes they are done through this class. Sometimes they are done in person and sometimes by email. The writers we’ve interviewed include Chitra Divakaruni, Al Young, James Houston, Alfredo Vea, Tracy Kidder, Khaled Hosseini, and Kim Addonizio.
Towards the end of the winter and spring quarters, we meet in the Publications Lab in L41 to proofread, edit, lay out the magazine with professional page layout software, update the Red W website, and so on. At various times we may also work on publicity, advertising, and fundraising. After the magazine is printed, we send out copies to contributors, libraries, patrons, subscribers, etc.; we sell copies on campus and (for the national edition) at selected bookstores (currently Kepler’s in Menlo Park and St. Mark’s Bookshop in New York).
In addition to classes in Technical Writing, Page Layout & Design, Website Design & Construction, Graphic Design, and Marketing, we encourage you to take classes in Literature and Creative Writing. This class will help you to critically read and evaluate creative writing, to see how different readers respond, and to apply the lessons you’ve learned to your own writing.
CreditThis is a Pass/No Pass course. Passing is based on preparation for class (careful reading of mss.), thoughtful participation in class, and dedicated contribution to the editorial and production activities of the magazine. This means that if you can’t come to class, you need to post your votes and comments to the listserv. The magazine is really a collaborative effort among a small group of dedicated individuals, so please be sure to put in your share of time and effort. We need your help!
You may sign up for one (EWRT 65) or two (EWRT 65X) units per quarter. If you're new to the class, you should probably sign up for one unit (EWRT 65) and expect to put in about two hours of week outside of class. The 2-unit option is for experienced editors or managers (if any). They will receive more credit for putting in more time outside of class (2-3 hours per week, beyond what is required for EWRT 65).
Suggested Criteria for Evaluating Creative WritingPlease put aside your personal, subjective biases and judge each submission on its own merits. On the other hand, keep in mind that having a few good lines or an interesting premise is not enough. If the piece has one or two flaws, we can work with the author on revisions. Keep the following criteria in mind as you read:
unity/focus/coherence
development/depth (of character, plot, idea, etc.); complexity, multiplicity
clarity, conciseness (avoiding unnecessary words, esp. adverbs & adjectives)
concreteness, as opposed to abstraction ("show, don’t tell") (proper balance of abstract and concrete)
musicality (fluidity, phrasing, esp. for poetry; but poems don't always have to be musical!)
dramatic progression; conflict, crisis, resolution (but "open-ended" stories are fine)
engaging voice, consistent point of view
verisimilitude, plausibility, truth-telling, social insight, moving from personal to shared/universal
sensitivity, empathy, psychological insight
surprise, originality (avoiding clichés, formulas, stereotypes, predictable events)
ambiguity, gaps, openness (minimal or indirect explanation/evaluation; space for reader participation)
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