Please follow the instructions and rubric very carefully! 

ENG 510 Module Six Journal Guidelines and Rubric

Overview: Journal activities in this course are private between you and the instructor. A course journal is generally made up of many individual assignments.

The journals in this course will help to prepare you for Final Project II, the creative writing tool kit. In this final project, you will select creative writing styles and
techniques that you believe will be most effective in both expressing your goals as a writer and reaching the audiences you plan to target in your work.

Prompt: Select one of the texts in the Module Six resource list that contains a place (or setting) that appeals to you most as both a reader and a writer.

Specifically, the following critical elements must be addressed:

x Defend preferences for a particular setting, fi a a eade and econd a a i e U e e ample f om hi mod le e o ce o ppo o idea

Next, use one of your two selected books (either the classic or the contemporary) and:

x Explain the impact ha anal ing he o k in hi co e f om a i e andpoin ha had on o pe onal app oach o c ea ing e ing
x Examine how this knowledge will inform and serve your personal goals as a writer.

Guidelines for Submission: Submit assignment as a Word document with double spacing, 12-point Times New Roman font, and one-inch margins. Your journal
assignment should be no more than 350 words and any sources should be cited in MLA format.

Critical Elements Exemplary (100%) Proficient (90%) Needs Improvement (70%) Not Evident (0%) Value
Setting Meets “Proficient” criteria and

provides exceptional detail in
defending preferences for a
particular setting first as a
reader and second as a writer,
using examples

Defends preferences for a
particular setting first as a
reader and second as a writer,
using examples

Defends preferences for a
particular setting first as a
reader and second as a writer,
using examples, but defense
lacks details or is unclear

Does not defend preferences for
a particular setting first as a
reader and second as a writer

30

Impact Meets “Proficient” criteria and
provides exceptional detail in
explaining the impact that
analyzing the works in this
co e f om a i e
standpoint has had on a
personal approach to creating
settings

Explains the impact that
analyzing the works in this
co e f om a i e
standpoint has had on a
personal approach to creating
settings

Explains the impact that
analyzing the works in this
co e f om a i e
standpoint has had on a
personal approach to creating
settings, but explanation lacks
details or is unclear

Does not explain the impact
that analyzing the works in this
co e f om a i e
standpoint has had on a
personal approach to creating
settings

30

Goals Meets “Proficient” criteria and

provides exceptional detail in
examining how this knowledge
will inform and serve your
personal goals as a writer

Examines how this knowledge
will inform and serve your
personal goals as a writer

Examines how this knowledge
will inform and serve your
personal goals as a writer, but
examination lacks details or is
unclear

Does not examine how this
knowledge will inform and serve
your personal goals as a writer

30

Articulation of
Response

Journal assignment is free of
errors in organization and
grammar

Journal assignment is mostly
free of errors of organization
and grammar, which are
marginal and rarely interrupt
the flow

Journal assignment contains
errors of organization and
grammar but they are limited
enough so that assignment can
be understood

Journal assignment contains
errors of organization and
grammar that make the journal
difficult to understand

10

Total 100%

Assignments 6-1 Journal: Familiar and Unfamiliar Places

6-1 Journal: Familiar and Unfamiliar
Places

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Instruc!ons

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Select one of the texts in the Module Six resource list that contains a place
(or se#ng) that appeals to you most as both a reader and a writer. You will
defend your preferences for se#ng.

Next, use one of your two selected texts (either the classic or the
contemporary).

Explain the impact that analyzing the works in this course from a
writer’s standpoint has had on your personal approach to crea!ng
se#ngs.
Examine how this knowledge will inform and serve your personal
goals as a writer.

To complete this assignment, review the Module Six Journal Guidelines and
Rubric document.

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Module Overview

The Deep South at the cusp of the Civil War. Old New York in the

Gilded Age. A futuris!c dystopian wasteland. An empty café terrace

late at night. No ma”er when, where, or what, se#ngs ma”er. The

degree to which they ma”er depends, in part, on the style of the

crea!ve work, the tone, the characters, and the theme. Some

wri!ng relies heavily on se#ng (Edith Wharton’s The House of

Mirth could take place nowhere but old New York in the late

nineteenth century, for example), and some wri!ng uses it merely as

background to highlight characters and ac!on. But the se#ng is

always there, an integral part of the world of the piece. Module Six

explores se#ng, focusing on methods of building a world through

place and atmosphere.

To begin building a world, you must first iden!fy where it is and

what goes in it. Se#ng is more than simply locale. It also includes

!me—both !me period (present day, medieval !mes, the nineteenth

century, and so on), !me of day (early morning, dusk, midday), and

!me of year (summer, fall, winter, spring). Weather too is a part of

!Listen”#

!Listen”#

SP

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!me of year (summer, fall, winter, spring). Weather too is a part of

se#ng—just ask any fan of George R. R. Mar!n’s A Song of Ice and

Fire series, and they will tell you what it means that winter is

coming. Se#ng also includes interiors, such as drawing rooms,

kitchens, living rooms, bedrooms, and exteriors, including yards,

porches, and pa!os. The type of house a character lives in—be it a

grand planta!on home, a dilapidated Creole townhouse, or a

corporate apartment—is a part of the se#ng. Even the props (e.g.,

the furniture, the wall hangings, the photographs) inside that home

are a part of the se#ng, a part of what “grounds a story in place”

(Burroway 156).

Your world must also have an atmosphere because “without it, your

characters will be unable to breathe” (Burroway 159). To establish an

atmosphere, you take the se#ng and add tone. This is most

prominent, perhaps, in darker crea!ve works, such as “The Fall of

the House of Usher” (which you may have read in Module Five), or

“The Yellow Wallpaper” (which you may read in Module Six). In both

pieces, the authors use the se#ng (the House of Usher and the

room with the yellow wallpaper) to create a sense of impending

doom.

In movies, se#ng and atmosphere can have more of an overt

establishment with visual and aural elements, too. For instance, the

opening clip from Fargo (cc) establishes se#ng and mood right off

the bat, using music to help to build the atmosphere. The writer

does not have music; the writer has only words, and those words

must be concrete, significant, and carefully chosen for this world to

come to life.

https://www.youtube.com/watch?v=F4UNH-nGKNQ

Writers are encouraged to make their se#ngs and worlds

“believable,” which means that everything on the page—a character’s

ac!ons, dialogue, or thought, along with the se#ng itself—must be

congruous. To make it believable, your world must have established

rules. This does not mean laws, exactly, or even a moral code.

“Rules” in this context refer to what can and cannot happen, or what

does and does not exist in this world. For example, in the world of A

Song of Ice and Fire, dragons exist, as do giants, and it is established

early on that what dies is not always permanently dead. In Mar!n’s

world, white walkers, Red Priests, and magic can raise the dead. In

Margaret Atwood’s Oryx and Crake trilogy, mutant hybrid animals

such as pigoons and mohairs roam the post-apocalyp!c land. But

even in realist wri!ng, there are worlds with their own sets of rules.

These rules might mimic the real world (dragons might be merely

mythical creatures and the dead might stay dead), but there are

rules just the same.

This week, you will defend your preferences for se#ng in a group

discussion. You will also turn in the next milestone of your final

project, in which you will analyze your classic and contemporary text

for their uses of storytelling elements, literary conven!ons, and

themes.

Works Cited

Burroway, Janet. Wri!ng Fic!on: A Guide to Narra!ve Cra%.

Boston: Pearson, 2007. Print.

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Module Six: Se!ng

Learning Objec!ves

By the end of this module, you will meet these learning objec!ves:

Explain preferences for se”ng in a crea!ve work

Analyze a contemporary work for the core storytelling

elements of narra!ve structure (conflict, crisis, and resolu!on)

and character development choices

Determine how an author’s choices relate to relevant literary

conven!ons of the !me

Reading and Resources

Required Resources

Short Story: Rockets Red

This contemporary short story by Mary Robine#e Kowal serves as

an

example of the reader’s immersion into the world of fic!on.

!Listen”#

!Listen”#

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an example of the reader’s immersion into the world of fic!on.

This is one of the texts you can choose to discuss in this module’s

journal, which requires you to choose one of the works from the

module resources to analyze for the element of se”ng.

Short Story: The Yellow Wallpaper

This classic short story by Charlo#e Perkins Gilman serves as an

example of the reader’s immersion into the world of fic!on.
This is one of the texts you can choose to discuss in this module’s
journal, which requires you to choose one of the works from the

module resources to analyze for the element of se”ng.

Poem: Lines Composed a Few Miles above Tintern Abbey, On

Revisi!ng the Banks of the Wye During a Tour. July 13, 1798

This classic poem by William Wordsworth serves as an example of

se”ng in poetry.

This is one of the texts you can choose to discuss in this module’s
journal, which requires you to choose one of the works from the
module resources to analyze for the element of se”ng.

Poem: Traveling Through the Dark

This contemporary poem serves as an example of se”ng in poetry.

This is one of the texts you can choose to discuss in this module’s
journal, which requires you to choose one of the works from the
module resources to analyze for the element of se”ng.

https://www.gutenberg.org/files/1952/1952-h/1952-h.htm

https://www.gutenberg.org/files/1952/1952-h/1952-h.htm

http://www.poetryfoundation.org/poem/174796

http://www.poetryfoundation.org/poem/174796

http://www.poetryfoundation.org/poems-and-poets/poems/detail/42775

http://www.poetryfoundation.org/poems-and-poets/poems/detail/42775

module resources to analyze for the element of se”ng.

One-Act Play: Riders to the Sea

This contemporary play by John Millington Synge serves as an

example of se”ng in drama.

This is one of the texts you can choose to discuss in this module’s
journal, which requires you to choose one of the works from the

module resources to analyze for the element of se”ng.

Essay: The Beau!ful City of Tirzah

This contemporary essay by Harrison Candelaria Fletcher serves as

an example of se”ng in nonfic!on.

This is one of the texts you can choose to discuss in this module’s
journal, which requires you to choose one of the works from the
module resources to analyze for the element of se”ng.

Video: How to Build a Fic!onal World (5:24)

This video discusses how to build a fic!onal world. This resource

supports the module journal and Milestone Three.

https://web.archive.org/web/20160814134557/http://www.one-act-plays.com/dramas/riders_to_the_sea.html

https://web.archive.org/web/20160814134557/http://www.one-act-plays.com/dramas/riders_to_the_sea.html

http://sfwp.com/beautiful-city-of-tirzah-by-literary-awards-finalist-harrison-candelaria-fletcher/

http://sfwp.com/beautiful-city-of-tirzah-by-literary-awards-finalist-harrison-candelaria-fletcher/

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