Assignment for Weeks 11 & 12: GET ME REWRITE

Writers, in all the excitement of The Good Squid and the Great La Farge, and with the proliferation of delayed or half-finished Week 10 work (busy time, I get it), and since by process of elimination everyone but Loulou knows what they’re doing the next two weeks (revision), and since logic likewise would dictate that your editor would be the one person you have not yet worked with this term, I neglected to post the pairs and the prompt until now: Everyone, including Loulou, should rewrite something in the coming weeks. This is great timing, as it can dovetail with Good Squid edits.

As for deadlines, let’s agree that we’re not going to put everything off until the last minute, but we also don’t have to beat our brains out to make the Sunday midnight cut. There’s some air built into our last four weeks together, meaning no assignments scheduled for Weeks 13 & 14. But if everyone gives themselves the same extension, there will be nothing to crit during class, so work with me here, or we’ll wind up watching Strauss operas for the next three weeks. (And if you’re here in June, let nothing get between you and seeing Elektra at the Deutsche Oper – it’s a miracle.)

Please do post your La Farge response this week while it’s fresh in your mind. And get me your Egan rewrites pronto, if you haven’t already.

Here’s the rewrite prompt:

STEP 1: ASAP, email me and your new editor (you are welcome to seek input from your old editor, but they are not obliged to provide it) a proposal that fleshes out the the original story goals, problems and opportunities, and where you plan to take it. Give yourself 24 hours to brainstorm before you start putting down too many new words. This email is worth 0.3 points of your score.

NB: original assignment prompts are void–though they may be helpful-–this is about pursuing the idea where you want to take it.
STEP 2: Start over with a blank document and the old draft and new notes within reach. DO NOT COPY AND PASTE. Real rewriting is not mere revision. Starting over is liberating and powerful. If there’s a sentence that’s good enough to make it from the old draft to the new, it’s worth retyping. Just the exercise of retyping it will introduce the possibility of changes that wouldn’t occur to you with a paste operation. Don’t cheat! This is a practice that will serve you well in all your future rewrites and revisions.
As for scoring, be aware that these will be held to a higher standard than the originals. But if you follow these steps, you will meet it.



Loulou Oudshoorn (Acacia Mays)

Lindsay Parkhowell (Alona Cohen)

Olorin Etemad-Lehmer (Irina Bunčić)

Ronni Shalev (Joel Dombrower)

Wilma Ewerhart (Lola Jalbert)




Acacia Mays (Loulou Oudshoorn)

Alona Cohen (Lindsay Parkhowell)

Irina Bunčić (Olorin Etemad-Lehmer)

Joel Dombrower (Ronni Shalev)

Lola Jalbert (Wilma Ewerhart)

Assignment for Weeks 11 & 12: GET ME REWRITE

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