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Telling the Tale

storyteller-268x300Spring 2010 ENG 430: Telling the Tale
Tuesday, 4:00 – 6:20

Open to Day and DGCE students

Don’t meet the prerequisites? Contact me. X 7032 or by email.

TENTATIVE planning

In ENG 430, Special Topics in Professional Writing,  Telling the Tale, a class appropriate for all English students, we will identify those elements of the storyteller’s craft common to several forms.

As a class, in groups, and individually we will deconstruct work to define and identify the common elements of drama, discussing the creator’s choices as shaped by authorial purpose. The final five weeks of the class will be devoted to a student workshop during which students will imagine, design, and create a tale of their own.

Possible readings, viewings, and “listenings”:
bradley
Excalibur - Lancelot & Guinevere
star wars
alien

  • Hansel and Gretel
  • Beauty and the Beast (possible viewing of the 1976 film produced, directed, and starring George C. Scott)
  • “El Paso” – Marty Robbins
  • “The Bishop Order His Tomb at St. Praxed’s Church – Robert Browning
  • “The Glove” by Robert Browning compared to “Terrapin Station” by Hunter and Garcia, as sung by The Grateful Dead.
  • Excalibur - John Boorman, director
  • “An Age of Marvels and Wonders,” a  novella by Perry Glasser (free)
  • Star Wars, episode IV – A New Hope, George Lucas, director
  • The Lord of the Rings, Part I (film) – “The Fellowship of the Ring,” Peter Jackson, director.
  • The Handmaid’s Tale – Margaret Atwood
  • Possible student report/group presentations on:
    • Persepolis: The story of a childhood – Marjan Satrapi (a graphic novel)
    • contemporary teleplay
    • contemporary film - class outing
    • Watchmen – Moore and Gibbons (a graphic novel)
    • Firestarter – Stephen King
    • Kidnapped - Robert Louis Stevenson
    • The Sea Wolf - Jack London
    • The Mists of Avalon - Marion Zimmer Bradley 
    • The 300 – the film and graphic novel (Miller and Varley)
    • Aliens – the 1986 sequel starring Sigourney Weaver, James Cameron, director.

Theory – The Creator’s Choices

  • How is drama created?
  • Point of view – the filter of consciousness
  • Structure: How do chronological order and dramatic order differ?
  • Retrograde plotting.
  • How do the existing assets and liabilities of protagonists and antagonists create action?
  • Making meaning: strategies beyond closure