
Wired Words: Electronic Writing Workshop
(Apr. 3-June 5, 2001)
Offered by Stanford University
Continuing Studies Program
Stanford, CA
Course Description
The digital revolution has opened an entirely new avenue for literature, as poets and fiction writers embrace the possibilities of the computer for artistic expression, exploiting such electronic techniques as hypertext, animated text, and self-generating text. We will explore existing works of literature and guide students in creating their own work that uses the computer screen instead of the printed page as its medium. Each week we will read and discuss important examples of electronic poetry and fiction, as well as some precursors that test the constraints of printed literature and point the way to the new genres. Students will learn the craft of electronic writing by sharing work- in-progress with classmates and the instructors. Students may choose to create new pieces or reconceive their existing fiction, poetry, or creative nonfiction for the digital medium. Students should have private access to a computer, email, and the Internet.
Continuing Studies EGL 141, Spring 2001
Dates: Apr. 3-June 5, Spring 2001
Time: Tuesdays, 6:15-9:05 PM
Tuition: $495
Units: 3
Location: Meyer 220 (Flexible Class-Lab)
Class Size Limit: 22
Continuing Studies Program
Building 590, Rm. 103
Stanford University
Stanford, CA 94305-3005
Phone: (650) 725-2650
Fax: (650) 725-4248
Email: continuingstudies@stanford.edu
Register
Online
How the Course Will Run
The first few class sessions will present an overview of different types
of electronic literature. You will read and discuss published electronic works,
along with some essays and articles about the genre. After gaining an understanding
of the possibilities available to you, you will begin work on your own electronic
writing project. The remainder of the course will be devoted primarily to
workshop sessions that will provide supportive feedback and constructive criticism
for your work-in-progress. We will continue demonstrating examples of electronic
literature throughout the course, attempting to choose pieces that relate
to the work you are creating.
During the workshop sessions you'll present your work to the class in various
stages of completion for feedback from us and other class members. There will
also be ongoing discussion of software options available to you, techniques
you can use, pitfalls you should beware of, and many nuts and bolts issues
of craft. To supplement classroom discussion, a Web discussion forum or e-mail
list will be available for further exchanges in between class sessions.
Critiques of student projects will focus on both the quality of the writing
itself and the effectiveness of the electronic elements used in the work.
You'll be encouraged to make your feedback as specific as possible: Describe
what is working well and why. Try to pin down exactly where problems lie and
how they might be solved. For students who choose to create an interactive
work, classmates will provide evaluative "user testing" for the
interface and navigational design. When your work is being critiqued, you
should mainly listen to the feedback rather than responding to it or explaining
your intentions. When everyone has had their say, you can then ask questions.
Classroom feedback will be supplemented by written evaluations of your work
from us.
Students can create their class projects in HTML, Storyspace, Flash, Director,
or any other appropriate format that can be shared with the class. There will
be some discussion of various software options for realizing different electronic
approaches, and we will cover some general electronic authoring techniques.
We will not, however, be able to provide tutorials on using HTML editors,
Flash, or other software. You should have a basic knowledge of the software
you plan to use for your project.
Texts and Materials
Wired Words Course Reader (available at Stanford Bookstore)
Poetry, fiction, and essays on the Web
Software for creating a class project (one of the following):
| Date |
Topics |
Reader |
Online Readings |
| Apr. 3 |
Getting Started
 | Student introductions |
 | Intro to what we'll be doing |
 | Brief overview of types of electronic literature |
 | Useful resources: Electronic Literature Directory |
 | Software for electronic literature
 | Web page editors |
 | Storyspace |
 | Animated GIF editors, Flash, DHTML |
 | Connection Muse |
|
Multimedia
 | Precursors: visual poetry, illuminated manuscripts, illustrated books |
 | Visual texts, kinetic texts, audio and video: Webartery, Jim Andrews |
|
 | Creeley collaborations |
 | visual poems |
|
|
| Apr. 10 |
Interactivity (Part 1)
 | Precursors: Cortazar, Pavic, Choose Your Own Adventure, Saporta |
 | Games vs. Hypertext
 | Alternative contexts and viewpoints |
 | Alternative plotlines |
|
 | Hypertext fiction: Joyce, Moulthrop, Jackson, Amerika |
 | Theories of hypertext |
|
 | Borges |
 | Coover's "The Babysitter" |
 | Ballard |
|
Kendall's "Writing for the New Millenium"
Coover's The
End of Books
Rich's Demo
Tibet Game
|
| Apr. 17 |
Interactivity (Part 2)
 | Problems of hypertext |
 | Hypertext techniques
 | Spacial metaphors |
 | Conditional links, adaptive hypertext |
|
 | Nonhypertextual interaction
 | Command-driven texts |
 | Rollover poems and "intratexts" |
|
Students present ideas for class projects
|
|
Conway
Changing Room
Grammatron
|
| Apr. 24 |
Indeterminacy
 | Precursors: Sumerian poetry, Emily Dickinson, Dada, Cage, Burroughs,
Oulipo, penelope |
 | Generated text and randomization: Peter Howard, John Cayley |
Poetry as pseudo-code
Reader Collaboration
|
 | Birkerts |
John Cage? |
Peter Howard |
| May 1 |
Students present ideas for class projects
How to prototype electronic writing
|
|
|
| May 8 |
Guidelines for good electronic writing
 | Interface design |
 | Layout and formatting considerations |
 | Principles for quality interaction |
 | Cross-platform accessibility and archival considerations |
|
|
|
| May 15 |
Students present prototypes or drafts of class projects |
|
|
| May 22 |
Students present prototypes or drafts of class projects |
|
|
| May 29 |
Students present final versions of projects |
|
|
| June 5 |
Students present final versions of projects |
|
|