Literature of Science Fiction:
The SF Short Story

Fall 2017
ENGL 506 & 690 (3 credits)
or not-for-credit (for professionalization) Draft syllabus (to be updated)

 

Table of Contents

Click the links below to go to the appropriate section of this syllabus.

Course Goals
Diversity and Disability
Readings
   Required Books
Your Instructor
   Contact Information
   Office Hours

Weekly Schedule

Course Requirements
Class Periods
   Discussants
   Attendance and Class Participation
   Attendance and Class Participation Scoring
Papers
   Weekly Response Papers
      Weekly Paper Scoring
   Mid-Term Paper
   Final Research Project
      Option A: Traditional Research Paper
      Option B: Course Outline, Lesson Plan, or Study Guide
      Option C: Creative Work
      Final Project Deadline
Group Presentation
Grading
More Good Stuff
   Recommended Works

Course Goals

"The most powerful works of SF don't describe the future - they change it." - Annalee Newitz, io9. By successfully completing this course, you'll become fluent in SF by studying some of the most-influential short stories that shaped the genre and the world we inhabit today - and where we'll live tomorrow.

The goal of the course is to provide an understanding of contemporary and future science fiction by studying the history of the genre and many of the works that started important conversations about what it means to be human in a changing world. After reading a diversity of short SF and excerpts from longer pieces, we discuss how the genre got to be what it is today by comparing the stories and their context in the evolution of SF, from the earliest prototypical examples through more recent work. Demonstrate your understanding of the genre by writing weekly reading responses, a mid-term paper, participating in a group presentation, and a substantial final project. SF author and scholar Chris McKitterick leads the course.

Officially satisfies at least KU Core Goal 6, "Integration and Creativity."

Diversity and Disability

Everyone enjoys equal access to the Gunn Center's offerings, and we actively encourage students and scholars from diverse backgrounds to study with us. All courses offered by Gunn Center faculty are also available to be taken not-for-credit for professionalization purposes by community members (if space is available). Click here to see the Center's Diversity Statement.

The Academic Achievement and Access Center (AAAC) coordinates accommodations and services for all eligible KU students. If you have a disability for which you wish to request accommodation and have not contacted the AAAC, please do so as soon as possible. Their office is located in 22 Strong Hall; their phone number is (785)864-4064 (V/TTY). Also please contact us privately about your needs in this course.

 Readings

See the reading list, below, for the most-current set of stories we'll read and discuss. You will find this handy Readings Guide very useful in finding the stories in our various volumes (for reference only - see the syllabus, below, for which stories we read, when). Always read the short essays that introduce each story, as well as the book introductions whenever we start a new volume.

When you lead class discussions, you are also expected to do additional research about the day's topics and authors beyond the fiction readings and share what you learn with the rest of the class, as well.

Graduate students: Each week, find, read, and respond to an additional SF work that represents the week's topic, time period, author, or literary movement. Include your response to this work as part of your regular response paper. If you found it online, provide a link in your response paper! Otherwise, include bibliographic information. Also share these as recommendations for your classmates!

 Required Books

This list reflects important works that helped shape the genre. For Fall 2014, we will read most of the stories in the first four volumes of The Road to Science Fiction, edited by James Gunn. The titles below contain links to online booksellers like Amazon and Powell's; click these links to find the books for sale online:

Full details about which stories we'll be reading and discussing on each day are available below.

 Your Instructor

Chris McKitterick is a science-fiction author and Director of the Gunn Center for the Study of Science Fiction, and teaches SF and creative writing at KU. He's been a professional writer for more than 20 years, an editor for nearly as long, managed technical writers and editors, and currently freelances for a variety of publishers. He writes not just SF stories and novels, but also nonfiction such as astronomy articles, technical documents, gaming supplements, scholarly articles, and journalism (and some poetry, too). He's also a popular public speaker. Feel free to mine his experience for tips and advice about writing, editing, and the SF industry.

If you have questions, need assistance, or just want to chat about SF, visit me in my office (3040 Wescoe, Lawrence campus). You can phone me or drop me email any time. If I'm not in the office, please leave a message. It might take a little time to respond to email longer if I'm out of town or in the middle of a project, so don't wait until the last minute!

Contact Information

Email address: cmckit@ku.edu

Office: Wescoe 3040
Phone: (785) 864-2509
Email: cmckit@ku.edu (for most class communication)
         cmckit@gmail.com (personal address)

Other contact info:

Personal website
Facebook
Goodreads
Google+
The Internet Speculative Fiction Database
LinkedIn
LiveJournal
Tumblr
Twitter
Wikipedia

Go to this page to meet other people at the Center for the Study of Science Fiction.

Office Hours

tba

Other times by appointment: I am sometimes in my office when not in class and almost always available via email.

Weekly Schedule

Here are the works we'll discuss each day, with links to online booksellers like Amazon and Powell's; click these to find the books for sale online. The University of Kansas Jayhawk Ink Bookstore tries to have copies of these books on hand, and many other bookstores carry them, as well.

Each week, two or three students lead the discussions, bringing enough good questions to keep a lively discussion going for the entire class period; aim for at least a dozen questions and discussion prompts for each class session. Discussants also seek relevant information about the authors, how the books influenced the science fiction that was to follow, and so forth. You must lead the daily discussion at least twice, but may serve more often. This is a major part of your grade and an important learning opportunity!

Syllabus last updated October 20, 2016.
Note
: Syllabus gets regular updates.

Week 1: August 28
Course Introduction / Defining Science Fiction

Topics and Readings

Discussants

Introductions, course and syllabus overview, discussant leaders sign-up.

McKitterick leads the discussion for the first week, but bring your thoughts, questions, and maybe even your reading response to help guide your thoughts!

Here is the set of definitions that I quote from throughout the semester.

Discussion: What is science fiction?

Read the definitions of SF on this page.

Check out Ward Shelly's excellent "The History of Science Fiction" illustration.

Your reading response paper for this week is about the readings linked above, plus your definition of science fiction. Always turn these in to the appropriate Blackboard Assignment slot before class starts.

Week 2: September 4

Road to SF Volume

Readings for Class Discussion.

Also read all of Gunn's story introductions.

Authors

Student Discussants

vol 1

Volume 1 introduction

James Gunn

.

vol 1

excerpt from Frankenstein (1818 anonymous; 1823 Shelley)

Mary Shelley

vol 1

"Rappaccini's Daughter" (1844)

Nathaniel Hawthorne

vol 1

"The Diamond Lens" (1858)

Fitz-James O'Brien

vol 3

"The Cold Equations" (1954)

Tom Godwin

vol 3

"The Engine at Heartspring's Center" (1974)

Roger Zelazny

vol 1

"The Star" (1897)

H.G. Wells

vol 2

"The Machine Stops" (1909)

E.M. Forster

vol 2

"Twilight" (1934)

John W. Campbell

 

Week 3: September 11

vol 1

excerpt from A True Story

Lucian of Samosata

Student Discussants

vol 1

excerpt from The Voyages and Travels of Sir John Mandeville

Anonymous

.

vol 1

"Somnium or Lunar Astronomy"

Johannes Kepler

vol 1

excerpt from The Journey to the World Underground

Ludvig Holberg

vol 1

"Mellonta Tauta"

Edgar Allan Poe

vol 1

excerpt from Twenty Thousand Leagues Under the Sea

Jules Verne

vol 1

excerpt from Around the Moon

Jules Verne

vol 1

excerpt from Looking Backward

Edward Bellamy

vol 1

"With the Night Mail"

Rudyard Kipling

vol 1

excerpt from Utopia

Thomas More

vol 1

excerpt from The City of the Sun

Tommaso Campanella

vol 1

excerpt from The New Atlantis

Sir Francis Bacon

Want to read more proto-SF? Check out this page about some of the earliest speculative-fiction literature.

 

Week 4: September 18

vol 2

Volume 2 introduction

James Gunn

Student Discussants

vol 1

excerpt from A Voyage to the Moon (1657; Gutenberg edition)

Cyrano de Bergerac

.

vol 1

excerpt from A Voyage to Laputa (from Gulliver's Travels, 1726)

Jonathan Swift

vol 1

"Micromegas" (1752)

Francois Marie Arouet de Voltaire

vol 2

"The Revolt of the Pedestrians" (1928)

David H. Keller, M.D.

vol 2

excerpt from Brave New World (1932)

Aldous Huxley

vol 1

"The Damned Thing" (1898)

Ambrose Bierce

vol 2

"The Moon Pool" (1918 [in 2002 RtSF edition only; link is full book version])

A. Merritt

vol 2

"The Red One" (1918)

Jack London

vol 2

"Dagon" (1919)

H.P. Lovecraft

 

Week 5: September 25

vol 1

excerpt from She (1887)

H. Rider Haggard

Student Discussants

vol 2

From Under the Moons of Mars  (aka A Princess of Mars, 1912)

Edgar Rice Burroughs

.

vol 2

"A Martian Odyssey" (1934)

Stanley G. Weinbaum

vol 2

"Proxima Centauri" (1935)

Murray Leinster

vol 2

"Black Destroyer" (1939)

A.E. van Vogt

vol 2

"The New Accelerator" (1901)

H.G. Wells

vol 2

"The Tissue-Culture King" (1927)

Julian Huxley

vol 2

"With Folded Hands" (1947)

Jack Williamson

vol 3

"Brooklyn Project" (1948)

William Tenn (Philip Klass)

 

Week 6: October 2

vol 3

Volume 3 introduction

James Gunn

Student Discussants

vol 2

excerpt from Last and First Men (1930)

Olaf Stapledon

.

vol 2

"What's It Like Out There?" (1952)

Edmond Hamilton

vol 2

"The Faithful" (1938)

Lester del Rey

vol 2

"Requiem" (1939)

Robert A. Heinlein

vol 2

"Hyperpilosity" (1938)

L. Sprague de Camp

vol 2

"Nightfall" (1941)

Isaac Asimov

vol 3

"Reason" (1941)

Isaac Asimov

vol 3

"Critical Factor" (1953)

Hal Clement

 

Week 7: October 9

 

"The Science Fiction Sentence"

"The Protocols of Science Fiction"

Also check out C.P. Snow's "The Two Cultures" talk (pdf).

Various

Student Discussants

vol 3

"Sail On! Sail On!" (1952) For our live-reading convenience, here's a pdf of the story online.

We will do a close reading of this story to discuss the protocols of SF: How do we read SF differently than other literature? What is the "science fiction sentence"? How do "the two cultures" read differently?

Philip Jose Farmer

We'll start today with an round-robin reading of "Sail On! Sail On!" led by McKitterick.

xyz for the rest of the time.

vol 3

"All You Zombies" (1959) Check out this timeline of the story.

Robert A. Heinlein

vol 3

"We Can Remember It for You Wholesale" (1966)

Philip K. Dick

vol 3

"Sundance" (1969)

Robert Silverberg

 

Week 8: October 16

vol 3

"Desertion" (1944)

Clifford D. Simak

Student Discussants

vol 3

"The Game of Rat and Dragon" (1955)

Cordwainer Smith

.

vol 3

"Who Can Replace a Man?" (1958)

Brian W. Aldiss

vol 3

"Dolphin's Way" (1964)

Gordon R. Dickson

vol 3

"Day Million" (1966 [hear Pohl reading this piece here])

Frederik Pohl

vol 3

"Tricentennial" (1976)

Joe Haldeman

vol 3

"The Million-Year Picnic" (1946)

Ray Bradbury

vol 3

"Thunder and Roses" (1947)

Theodore Sturgeon

vol 3

"That Only a Mother" (1948)

Judith Merril

vol 3

"The Terminal Beach" (1964)

J. G. Ballard

vol 3

"The Big Flash" (1969)

Norman Spinrad

 

Week 9: October 23

vol 3

"Mimsy Were the Borogoves" (1944)

Lewis Padgett (Henry Kuttner and C. L. Moore)

Student Discussants

vol 3

"The Sentinel" (1951)

Arthur C. Clarke

.

vol 3

"Kyrie" (1968)

Poul Anderson

vol 4

"Schrödinger's Kitten" (1988)

George Alec Effinger

vol 3

"Coming Attraction" (1950)

Fritz Leiber

vol 3

"Harrison Bergeron" (1961)

Kurt Vonnegut, Jr.

vol 3

"Slow Tuesday Night" (1965)

R. A. Lafferty

vol 3

"Aye, and Gomorrah" (1967)

Samuel R. Delany

vol 3

"The Jigsaw Man" (1967)

Larry Niven

vol 3

excerpt from Stand on Zanzibar (1968)

John Brunner

 

Week 10: October 30

vol 4

Volume 4 introduction

James Gunn

Student Discussants

vol 3

"Fondly Fahrenheit" (1954)

Alfred Bester

.

It's almost Halloween - come to class in costume, get bonus points!

vol 3

"Pilgrimage to Earth" (1956)

Robert Sheckley

vol 3

"The Streets of Ashkelon" (1962)

Harry Harrison

vol 3

"I Have No Mouth, and I Must Scream" (1967)

Harlan Ellison

vol 3

"Masks" (1968)

Damon Knight

vol 3

excerpt from The Left Hand of Darkness (1969)

Ursula K. Le Guin

vol 3

"When It Changed" (1972)

Joanna Russ

vol 4

"The heat death of the Universe" (1967)

Pamela Zoline

vol 4

"Of Mist, and Grass, and Sand" (1973)

Vonda N. McIntyre

vol 4

"Abominable" (1980)

Carol Emshwiller

 

Week 11: November 6

vol 4

"Born of Man and Woman" (1978)

Richard Matheson

Student Discussants

vol 4

"Common Time" (1953)

James Blish

.

vol 4

"Nobody Bothers Gus" (1968)

Algis Budrys

vol 4

"The Dance of the Changer and the Three" (1968)

Terry Carr

vol 4

"The Last Flight of Dr. Ain" (1974)

James Tiptree, Jr. (Alice Sheldon)

vol 4

"View from a Height" (1979)

Joan D. Vinge

vol 4

"Flowers for Algernon" (1959)

Daniel Keyes

vol 4

excerpt from Dune (1965)

Frank Herbert

vol 4

"The Island of Doctor Death and Other Stories" (1970)

Gene Wolfe

vol 4

"Gather Blue Roses" (1971)

Pamela Sargent

 

Week 12: November 13

Mid-term papers due before class today.

Student Discussants

vol 4

"The Library of Babel" (1941)

Jorge Luis Borges

.

vol 4

"With a Finger in My I" (1972)

David Gerrold

vol 4

"Rogue Tomato" (1975)

Michael Bishop

vol 4

"The Word Sweep" (1979)

George Zebrowski

vol 4

"The Luckiest Man in Denv" (1952)

C.M. Kornbluth

vol 4

"Where No Sun Shines" (1970)

Gardner Dozois

vol 4

"Angouleme" (1971)

Thomas M. Disch

vol 4

"Uncoupling" (1975)

Barry Malzberg

vol 4

"This Tower of Ashes" (1976)

George R.R. Martin

 

Week 13: November 20

vol 4

"My Boy Friend's Name is Jello" (1954)

Avram Davidson

Student Discussants

vol 4

"The First Sally (A), or Trurl's Electronic Bard" (1974, part of The Cyberiad)

Stanislaw Lem

.

vol 4

"The World Science Fiction Convention of 2080" (1980)

Ian Watson

vol 4

"The Moon Moth" (1961)

Jack Vance

vol 4

"Light of Other Days" (1966)

Bob Shaw

vol 4

"The Planners" (1968)

Kate Wilhelm

vol 4

"Air Raid"  (1977)

John Varley

vol 4

"Particle Theory" (1977)

Edward Bryant

vol 4

"Exposures" (1981)

Gregory Benford

online

contemporary story -
Cory Doctorow's Sturgeon-Award winning "The Man Who Sold the Moon"
(Also see the whole bunch of other suggested readings I sent to the group.)

November 27
No Class: Thanksgiving Break

No class - Thanksgiving Break.

December 4
Awesome Student Presentations!
(or awesome final discussion about SF!)

Group

 

 

 

December 11
Awesome Student Presentations!

Group

 
 
 
 

December 18—19
No Class: Final Project Due

No final test - focus on completing your final project this week!

Final project deadline: Post to Blackboard by Thursday, December 18, at 5:00pm.

Late projects: To receive (reduced) credit, hand off your missing response papers and other prior work before 5:00pm to Blackboard by Friday, December 19. If you didn't manage to finish something when it was due, turn it in after you turn in your more important final project.

 Course Requirements

To successfully complete the course and get out of it all you can, you are required to:

  • Attend class each week.
  • Participate in class, which means being involved in every discussion, each day.
  • Lead at least one session with a partner or partners.
  • Read the required books and other materials.
  • Write insightful weekly response papers.
  • Write a formal mid-term research paper in place of one of your weekly responses.
  • Create a longer final project due at the end of the semester.
  • Participate in a live group presentation on one of the last two days of class.

 Class Periods

Each day we discuss a variety of readings, their authors, the science fiction genre, and the historical context in which they appeared. Occasionally, we might have guest speakers. Class periods revolve largely around discussion, with some lecture.

Discussants

After an introduction to the topic by your instructor, two or more students act as discussants for each day and lead (not monopolize) the discussion. Everyone is required to act as discussant at least once during the semester, preferably twice. If you have special needs and cannot perform this task, let me know early.

Discussants perform additional research prior to class (further readings on the genre movements at hand and the day's authors, identifying possible multimedia content, and so forth) and come prepared with at least 12 questions and discussion prompts to stimulate discussion among your peers about the day's topic and readings. Include your discussion-leader notes as part of your reading response, or in addition to it. I expect all students to participate in discussions, but I also request that you avoid talking too much or talking over others. Be civil: These are discussions about ideas, not arguments or lectures!

Your instructor will likely open each day with some background on science fiction, especially the topics and genre movements relevant to the day's discussions, and some information about the authors. After that, the day's student discussants take over. You can split up the tasks among your fellow discussants based on stories, topics, or however you see fit. I simply expect everyone to serve equally.

Graduate students and teachers: Demonstrate solid pedagogical theory! Act as if you're teaching this course for a day. I expect you to participate every day, providing insightful comments and questions while encouraging those less inclined to participate - but not to dominate the discussions.

Attendance and Class Participation

This is a discussion course, so class participation is weighed heavily! Coming to class and getting involved in the discussions each week are necessary for getting a good grade, not to mention how much value you get from the course. The discussions aren't just explication of plot or concept, though we will discuss those; I expect you to exercise your critical-reading skills. That is, don't just read the fiction for pleasure, don't just accept the related scholarship or introductions as canon, and don't feel the need to agree with your classmates' ideas - no one scholar can tell you the One True History of Science Fiction. By the end of this course you should possess expertise of your own in the topic. In the discussions, I want to witness your growing understanding of the genre based on the required readings, your outside readings, and your own experience with SF over the years. Of course, be polite and diplomatic if you disagree, but don't be shy either.

If you know you are going to miss a class for an academic event, illness, or other excusable reason, contact me as soon as possible to see if we can work out something so it does not negatively affect your overall grade too much. If appropriate, I can mitigate this loss so your attendance percentage remains unaffected. Otherwise, here is how I score attendance and participation:

Because we only meet once per week, each unexcused absence after the first drops your final course grade by a third; that is, missing two weeks might mean your final grade drops from an A- to a B+, missing three drops it to a B, and so forth. Missing zero classes usually serves to bump most students up a fraction of a grade (for example, from a B to a B+ when points are close), so don't miss classes! The next table illustrates this relationship.

Graduate students and teachers: I expect you to participate every day, providing insightful comments and questions while encouraging those less inclined to participate - but not to dominate the discussions. 

Attendance and Class Participation Scoring

For those taking the course for credit, here is how I grade attendance and participation:

Classes Missed Grade Result
(assuming perfect score)

0

A (bonus effect if you actively participate in all discussions)

1

A
(minor effect)

2

A-

3

B+

4

B
(down one full grade)

5

B-

And so forth

1/3 grade per missed class

During discussions, do not expose yourself or others to distractions such as checking email, Facebook, and so forth. Obviously, turn off your phone ringer/buzzer and put it away. I know it's sometimes a challenge to focus during extended discussion, but recent studies show that the human mind cannot pay attention to more than one thing at a time, and fracturing your attention means you're not getting everything possible out of each discussion. Even worse, monkeying around online also interrupts your neighbors' attention.

Feel free to take notes on your computer or portable device - or pull up your discussion and response notes - if you choose, just stay away from distractions. It's difficult to remain engaged in discussions if your mind is elsewhere, and doing so also bumps down your overall grade. On the other hand, actively participating in class discussions bumps up your overall grade.

I'm sure you have heard this before, but it is as true as ever: You get out of any activity only what you put into it. The more effort and creativity you apply to your projects and to class discussions, the more you will learn and the better the class will be for everyone else, as well. If you do not regularly attend class or do not participate in discussions, you will miss out on a lot of opportunities to learn and grow as a person.

 Papers

In addition to good participation, much of your grade depends on the short response papers you write on a weekly basis, your mid-term paper, plus the longer research project. If you use non-standard software to create your projects, be sure to save them in standard formats (for example, most computers can read .doc, .html, .rtf, and .pdf formats). Turn in papers via Blackboard before class begins on the due date or by end of day on days when we don't meet for class. They will be graded and returned via Blackboard in a reasonable time.

Want to enhance your literary-criticism chops by incorporating traditional (or novel) lit-crit approaches into your papers? Check out this overview page about "Literary-Criticism Approaches to Studying Science Fiction."

 Weekly Response Papers

Prior to each class, write a short reading-response paper and turn it in via Blackboard. Please paste the text from your response into the Submission text box rather than (or in addition to) attaching the document, to make it simpler for me to read everyone's papers each week. Along with participation in each week's discussion, these papers are scored as an important measure of your engagement with the day's topics.

This short (300-500 words for undergrads, 400-1000 words for graduate students) paper is a brief but thoughtful response to all of the readings for that week. (If you go a little long, that's better than too short, but be kind to your teacher!) Provide your thoughts on the week's assigned works in terms of theme, ideas, character, story, setting, position in the SF canon, influence on other works, and so forth. Don't just give me a plot summary, but instead provide insightful, critical, and thoughtful reflections on the works. When responding to the fiction, ask yourself what the author was trying to say (themes), and how the story responds to the changing times in which it was written. When leading the week's discussion, include your discussion-leader notes as part of your reading response, or in addition to it.

As in the discussions, exercise your critical-reading skills when writing these responses; that is, don't just read the fiction for pleasure and don't just accept everything that scholars have written about them as canon. I want to hear how you synthesize new ideas from the assigned readings, your outside readings, and your own experiences.

Regarding format, many people use bullets for various discussion points, bold the reading titles, or use the titles as headings. Some people write responses that resemble essays, citing the works in tandem, while others just respond to each individually. However you prefer to handle it is fine, but what's most important is that you've thought through all the readings for each day and their relationship to one another as well as to SF's evolution.

Tip: Include at least a couple of questions to pose to the class or points to stimulate discussion, even if you are not leading the week's discussion. I suggest printing out your paper - especially your questions - or otherwise bringing them to class to help formulate ideas during discussion. (Also be sure to turn them in via Blackboard in advance of class.) They are usually returned to you via Blackboard, scored, by the following week.

Graduate students: As you might imagine, I expect more from your papers. They should reflect your mastery of the form as well as provide insights worthy of your added experience and education. Additionally, for each topic, please find, read, and respond to an additional work that matches the week's themes, authors, or so forth; include your response to this work as part of your regular response paper. If you found it online, provide a link in your response paper. Otherwise, include bibliographic information. Insightfulness and clarity are important. Think about this: If you were teaching this course, what additional short-nonfiction readings might you add to the week's readings to aid the students? What book(s) might you add to the pairings - or what books might you use to replace one or both of the assigned readings? Keep in mind that they aren't necessarily the best-ever works but the most representative and influential.

Weekly Paper Scoring

Here is how I score the weekly papers, based on 0-4 points each:
    0 - no paper.
    1 - paper turned in, but does not convince me that you did all of the reading.
    2 - paper convinces me that you did some of the reading.
    3 - paper either has interesting insights on most of the readings or convinces me that you did all of the reading.
    4 - paper convinces that you did all the reading and provides interesting insights.

Missing response papers are due ASAP, at the very latest during Finals Week at a reduced score.

Late papers lose 1 point if turned in after class sessions or up to one week late; after that, they might lose more. Turn them in on time!

 "Mid-Term" Paper

Choose any of the weekly sets of readings, and - instead of writing a regular reading-response - write a short, formal paper about the group. Additionally, add at least three more short pieces or at least one book- or movie-length piece; these may be fiction, nonfiction, multimedia, or other sources that support or illustrate your themes. You can either think of this project as an extended weekly response with additional support and a bibliography and other references as appropriate (Wikipedia is not a source, but is often a good place to find sources), or a formal paper that uses those works to make an argument or provide interesting insights into SF or its evolution over the years.

This paper must be at least 1000 words for undergraduates, 2000 words for graduate students, up to a max of 4000 words for undergraduates or 6000 words for graduates (again, longer is okay, just consider how much your teacher needs to read). They are graded on the quality of writing (including grammar and spelling), the quality of thesis and argument, the quality and diversity of research, and how interesting you make it.

Format your bibliography as appropriate for your field of study (MLA for most Humanities, Chicago for most other fields, and so forth; here's a good list of style guides).

Graduate students: In addition to the basics of writing an insightful paper, I expect you to demonstrate mastery of the form.

This paper takes the place of your regular reading-response paper for one week, but be sure to turn it in to the Blackboard Assignment called "Mid-Term Paper," not the regular weekly response paper slot. You must leave a note in that week's response assignment letting me know that you are turning in your Mid-Term Paper in place of that week's response so I don't think you're missing that response - drop this note into the relevant week's response assignment slots in Blackboard before class so I know what's up.

Due date: Turn in papers via Blackboard. You may turn in your paper as early as Week 2 or as late as Week 12; you need not turn this in on the same week that the reading response would be due, but it's due by Week 12 at the latest. Late papers get -2 points per day late for the first week (that's -10), then -2 points per day late after that. "Late" is after Friday of Week 12. Turn them in on time! Missing papers are due ASAP, at the very latest during Finals Week (at a deduction).

 Final Project

The final project can be either a traditional essay, a set of teaching materials, or a creative work. Your project explores a topic in science fiction, preferably something not listed in the syllabus or discussed in class - though you may pursue those if you select an angle we didn't already cover or discuss. Projects must be at least 2000 words for undergraduates (max of max of 7500 words), 3000 words for graduate students (max of 10,000 words). Non-text-based projects must clearly demonstrate a similar level of effort.

At the very least, answer this question:

How does the work(s) you're analyzing or creating fit into the larger discussion that is science fiction? What does it add? What are its influences? What is it responding to? How does it extend what you think of as "science fiction"? Discuss as usual in a scholarly piece, or define in your creative piece's artist statement.

Some resources you might find useful:

You must include an alphabetized bibliography with a traditional paper or lesson plan, or an annotated bibliography at the end of your document if it is a creative work. An annotated bibliography is a set of references that provide a summary of your readings and research, to give me an idea of where you got your inspiration, scientific or technical resources, and so forth. List your sources alphabetically and include a brief summary or annotation for each work that you quote in the paper or that you use as a reference (or inspiration). Format your bibliography as appropriate for your field of study (MLA for much of the Humanities, Chicago for most other fields, and so forth; here's a good list of style guides). Turn in this project via Blackboard.

Grad students: In addition to the basics of writing an insightful paper, I expect you to demonstrate mastery of the form.

References, bibliographies, artist's statements, and endnote pages do not count toward your word-count.

Option A: Traditional Paper

I grade formal papers on the quality and diversity of research (both fictional and non-fictional), the writing (including grammar and spelling), and the strength of the topic and argument. What I most want is for you to demonstrate what you've learned from the course readings, your outside readings, and in-class discussions, and how you express this synthesis: Demonstrate your understanding of science fiction, its development, and possibly where it might go from here.

This is not something that you can successfully complete at the last minute. The research paper represents a semester-long investigation of topics that interest you. If you wish to use works from the assigned readings that we discussed in class, I expect you to have something new to say that we didn't already discuss.

Option B: Course Outline, Lesson Plan, or Study Guide

Participants who choose this option are often teachers and those pursuing that profession. Choose from these three options or provide another option that fits your pedagogical approach:

  • Course outline: Design a course in science fiction. This can cover any aspect of SF or serve as an introduction to the field. Successful course outlines I've seen before include "Feminist Science Fiction," "Utopian Science Fiction," and others targeted at college undergraduate students, and "Science Fiction: An Introduction" targeted at junior-high schoolers. You can pick any age group you wish, just be sure to specify that when you turn it in. I understand that a complete course plan is a major project, so this can be relatively high-level. Required elements include pedagogy (why teach these materials and how), reading list, and high-level syllabus. If you wish to write a formal, complete course plan, that's great! But it needn't exceed the required word-count. I encourage you to share this project with other teachers via AboutSF.com.
  • Lesson plan: Design in detail a single lesson plan for a series of short pieces or a book. This includes the part that students see (from a larger syllabus), plus your teaching notes (lecture comments, questions for student discussion, and so on), and writing prompts.
  • Study guide: This is a detailed examination of a single long work or group of short pieces on a single topic. It usually covers plot, character, ideas, themes, setting, and so forth, and often ends with self-study questions. The audience for this ranges from students working independently to teachers looking to develop a lesson plan.

All of these options make wonderful additions to AboutSF.com! I encourage you to share this project with other teachers via this educational-outreach program.

Option C: Creative Work

A creative work (story, series of poems, play, short film, collection of artworks, website, creative nonfiction, and so forth) must dramatize how the ideas and themes posed in your work could affect believable, interesting characters living in a convincing, fully realized world in addition to revealing substantial understanding of the science fiction genre. For the purposes of this course, your annotated bibliography (normally not included in creative work) is particularly important if you pursue this option, because I want to see the diversity of readings that helped you develop your work (both fictional and non-fictional). Show me your research with a good annotated bibliography, demonstrate your understanding of science fiction, and make your creative work stand on its own.

To be crystal-clear in defining how your creative work displays your understanding of SF, its history, and your response to it, also include an "artist's statement," as it very much helps me in evaluating creative work. Write this either as an appendix to your document (but don't count this toward your word-count) or paste it into the Submission text box of the Blackboard assignment.

Be aware that this option is more challenging - especially if you haven't taken creative-writing courses - because I expect the same level of research as in the other options plus a good story or other creative expression. Click here for some useful creative-writing resources

Final Project Deadline

Your final project is due by Thursday, December 18, at 5:00pm. The completed project is due via Blackboard. If you've created a website, posted a short film to the internet, or otherwise cannot upload the project directly, just provide a link (website URL) to where I can find the project online in the Submission section of the appropriate Blackboard Final Project assignment slot.

 Group Presentation

The two last sessions of the course are reserved for student oral or multimedia presentations. Here's your chance to pitch your great idea for the in-class presentation project, build teams, chat, and otherwise prep for the last two class sessions. Your job is to share your understanding of SF through a live or multimedia presentation to your classmates. You can present about particular SF works, genre movements, films, TV shows, other other topics - it's up to you! What's the "big picture" you've taken away about science fiction, especially the SF novel? How have you come to understand how SF reflects human beings experiencing change? Especially strive to elucidate what SF means to you, or how it informs the future. And share your insight into the future of speculative fiction.

The form of the presentation is open: Feel free to make it a panel discussion, debate, movie, live game, quiz-show, radio play, skit, guided interactive activity, or other form. Let your imagination run free! This is a great opportunity to express yourself and your understanding of science fiction and its history as well as its future shape, its creators and creative side, ideas and inspirations, and so forth.

Form up with a group of students (3-5 is optimal for most), and present for a total of about 6 minutes per group member; that is, a 4-person group presents for 25 minutes, while a 5-person group presents for about 30 minutes. If you're showing a short 5-minute film you created, bring discussion prompts for afterward. Your group chooses a topic that illustrates or dramatizes what you all feel is important about science fiction, works together to develop the idea into a shape suitable for sharing with others, then presents it to the class.

Every group member provides an equal level of participation overall, including research, preparation, and presentation. You may decide if one member is more of a script-writer or video-editor than actor or presenter, for example, as long as everyone's work is balanced - just let me know how you divided the work in the Submission notes section of the Blackboard assignment slot. You may divide your total number of minutes among the presenters however you see fit; let me know how each participated in the project if you're not dividing your live-presentation time equally. Each individual within the group is graded on the clarity and organization of the presentation, the quality of the analysis, the appropriate use of reference material, and individual contribution.

If you can, please turn this in via Blackboard or post a link to where it lives online. The majority of how I score this project comes from experiencing your live presentation.

 Grading

Your course grade is based upon these factors. Out of a possible 208 (approximate) points:

  • Class participation: Varies. This includes attendance, participation in each day's discussion, and leading at least one discussion with partners.
    Missing three (3) classes drops your final grade by one full letter grade; missing two (2) days drops a full grade to a minus grade (or a minus grade to the next-lower plus grade). Missing more classes drops your overall grade by 1/3 of a grade per day missed. Also, if you attend but do not participate in most class discussions, this also lowers your overall grade significantly. Be sure to show up and get involved!
  • Weekly response paper (4 points each, for a total of 48) = 23%
  • Mid-term paper (40 points) = 19%
  • Presentation (40 points) = 19%
  • Final project (80 points) = 39%

Graduate students: As you might imagine, I expect more from you. Your work must reflect your mastery of the paper form, provide insights worthy of your added experience and education, and reflect a broader understanding of the genre, critical approaches, and SF's place in literature and broader culture. See my comments directed to you throughout this document!

More Good Stuff

If you're interested in getting more science fiction in your life, you can find upcoming regional SFnal events on the CSSF News page.

Want to hang out (at least virtually) with other SF folks? See the Lawrence Science Fiction Club on Facebook.

The Center for the Study of Science Fiction offers several multimedia offerings online. Click here to see them on this site, or click here to see our YouTube channel.

Benjamin Cartwright, former Volunteer Coordinator of the Center's AboutSF outreach program, created a wonderful podcast program. Check it out at the AboutSF.com main page or at our Podomatic site!

To learn about more stuff, more quickly, you can also find events and lots of SF-related chat with the Lawrence Science Fiction Club! Info, discussions, and (hopefully soon!) meeting times are regularly posted at our Facebook page. Know of something of interest to like-minded folks? Join and drop a note there!

Here's a cool event each Spring, right after Spring finals:

Spectrum Fantastic Art Live Show
Friday and Saturday, in mid-May
Also the Spectrum Awards Show
Grand Ballroom of Bartle Hall Convention Center
Kansas City, MO

What are you doing on Memorial Day Weekend? Why not attend the ConQuest science fiction convention in Kansas City.

Sticking around for the summer? Don't miss the annual Campbell Conference and Awards weekend in June.

Want to take more speculative-fiction courses? Check out our growing list of offerings.

Going to be in the Kansas City area in 2016? Then you're in luck! The KC fan community won the World Science Fiction Convention bid, so the world of SF is coming to the KC area in 2016! Details at the MidAmeriCon II website.

 

Go here to see lots more resources on the Center's website.

 Recommended Works

Want to read more SF? You've come to the right place!

The Center's lending library holds many books, magazines, and more, so if you are local to Lawrence or are in town for our other summer programs, check with McKitterick to see if we can lend you a copy. These are available on a first-come, first-served basis. We also have a course-specific lending library for our SF courses - which is primarily supplied by previous students donating copies after completing their course - so if you want to pass on the love to the next generation rather than keep your books, let your teacher know!

Want more? Check out the finalists for the John W. Campbell Memorial Award for best SF novel of the year, and the finalists for the Theodore Sturgeon Memorial Award for best short SF of the year. Many years, the majority of those works could have won these awards if the juries had just a few different members.

Want lots of free SF ebooks and e-zines? Check out Project Gutenberg's growing SF collection.

Want even more recommendations? The Center's "A Basic Science Fiction Library" is a go-to internet resource for building reading lists. It's organized by author.

The Gunn Center holds many books, so if you are local to Lawrence or are in town for our other summer programs, check with me to see if we can lend you a copy. These are available on a first-come, first-served basis. This lending library is primarily supplied by previous students donating copies after completing their courses, so if you want to pass on the love to the next generation rather than keep your books, let your teacher know!

Want to take more speculative-fiction courses? You're in luck! Check out our growing list of offerings.

Go here to see lots more resources on the Center's website.

If you like novels, or just want to prepare for next year's SF-novels version of this course, here you go:

And here are the books that we removed from the SF-novels version of this course - still important and recommended works for understanding the history of the SF novel, but we only have so much time to discuss:

McKitterick was on Minnesota Public Radio's "The Daily Circuit" show in June 2012, which was a "summer reading" show dedicated to spec-fic and remembering Ray Bradbury. Great to see Public Radio continuing to cover SF after their "100 Best SF Novels" list. Here's what he added to the show's blog:

A great resource for finding wonderful SF is to check out the winners and finalists for the major awards. For example, here's a list of the John W. Campbell Memorial Award winners. And here's a list of recent finalists for the Award. Here's the list of the Nebula Award novel winners. And the Hugo Award winners, which has links to each year's finalists, as well. A couple of books I didn't get a chance to mention include Ray Bradbury's R Is for Rocket, which contains a story that turned me into an author: "The Rocket" (along with Heinlein's Rocketship Galileo and Madeleine L'Engle's A Wrinkle in Time). Bradbury's Dandelion Wine is another, along with books like Frank Herbert's Dune, Douglas Adams' The Hitchhiker's Guide to the Galaxy, Clifford Simak's City (a Minnesota native), SF anthologies like James Gunn's Road to Science Fiction and the DAW Annual Year's Best SF, and tons more. Personally, my favorite Bradbury short story is pretty much everything Bradbury every wrote. His writing is moving and evocative like Simak and Theodore Sturgeon's - probably why those three made such an impression on the young-me. But if I had to pick only one that most influenced me as a writer, it would probably be "The Rocket," a beautiful story about a junk-man who has to decide between his personal dreams of space and love of his family. It was adapted into a radio show for NBC's "Short Story" series (you can listen to the MP3 audio recording here).

He was also on again in September 2012, when they did a story on "What did science fiction writers predict for 2012?" The other guest was a futurist - an interesting discussion!

Stay tuned for more to come!


* "'History of Science Fiction' is a graphic chronology that maps the literary genre from its nascent roots in mythology and fantastic stories to the somewhat calcified post-Star Wars space opera epics of today. The movement of years is from left to right, tracing the figure of a tentacled beast, derived from H.G. Wells' War of the Worlds Martians. Science Fiction is seen as the offspring of the collision of the Enlightenment (providing science) and Romanticism, which birthed gothic fiction, source of not only SF, but crime novels, horror, westerns, and fantasy (all of which can be seen exiting through wormholes to their own diagrams, elsewhere). Science fiction progressed through a number of distinct periods, which are charted, citing hundreds of the most important works and authors. Film and television are covered as well."

- Ward Shelly discussing this excellent "History of Science Fiction" infographic - now available for purchase!

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