W2 - Poetry
Overview and Platforms
Everything to do with assignments is listed here; you can always go to the Gradebook for assignments.
You always go to Discussions for workshops, sign-ups, and related activities.
Lecture notes, weekly summaries, syllabus, content, activities, interactions, discussions, workshops, grade book, and self-explanatory assignments are the core resources—the “gold standard” for breaking things down step by step.
In your student preview, remember to click on Instructions when you go to Gradebook; Submission views show feedback signs when you submit.
The instructor uses an example with an informal grade (e.g., there’s an F shown to illustrate the viewing of submissions) to demonstrate submission status.
When submitting via Gradebook, you’ll see indicators like "Submit now" and various status icons.
Block two is the workshop-focused block; block three revisits what we did and continues the practice, including kick-starting a poem for next week (theme: a poem about place).
The weekly syllabus and schedule specify topics for poems; you’ll see under the weekly schedule the assigned poem topics.
There may be more questions about presentations, which will be addressed in this session.
Highlights of the workshop include discussions about what presentations are all about and the lead-in time in block three for the kick-start activity.
Sign-ups for presentations are located in the designated area; it’s a self sign-up, first-come, first-serve system.
Example acknowledgement: “Thank you, Elliot.”
Blackboard offers a short summary, but you should also consult deeper details in the course materials; you are encouraged to study with more detail if you want.
The instructor emphasizes that students should not simply rely on Blackboard’s summary; you should dive deeper and study thoroughly.
The instructor personally shares that they like to provide a lot of detail so students can decide how much they want to engage with.
Workshop Blocks and Weekly Theme
Three-block structure for the course: Block 1 (foundations), Block 2 (workshop), Block 3 (kick-start for next week’s poem).
Block 2 centers on the workshop format; Block 3 focuses on continuing practice and planning for the upcoming poem on place.
The weekly schedule notes that you will be assigned topics for your poems; these topics are consistently detailed in the syllabus.
The weekly workshop includes a focus on presentations and the lead time for kickoff activities in Block 3.
Group Formation and Sign-Up Policy
Blackboard is configured to randomly assign five groups of four students each:
Group formation is designed to manage workshop discussions and peer feedback efficiently.
Presentations sign-ups are self-managed by students; it’s a viable method to ensure fair access to presentation slots.
The sign-up policy is explicitly described as First Come, First Serve.
Presentations: Preparation, Submission, and Grading
If you’re doing a presentation, you would complete a questionnaire before you start presenting.
The completed questionnaire is uploaded to Gradebook with your name and the required details.
You must replicate the exact structure: include the title of the poem, the author, the source, and the presentation date.
The instructor will mark whether you read the poem aloud (circle: Yes).
Save the questionnaire under your name and in the specified title format.
Students generally submit poems before the deadline; formatting and submission are tracked.
Grading framework for a presentation:
The presentation is worth 5 points.
Uploading your materials (the questionnaire and related materials) is worth 5 points.
Total potential:
A key grading criterion is demonstrating thoughtful, skill-based understanding and application in classroom workshop discussions (not just generic praise).
For exemplars, the instructor references past colleagues’ presentations and their approach (including linking to the source) to illustrate expected quality.
Uploads can include a live link to the source; this is aesthetically pleasing and professional but does not yield extra marks.
In terms of specifics, at least one quotation from the chosen poem must be included as part of the presentation material.
A well-prepared presentation includes material from the poem, a clear demonstration of reading aloud, and a thoughtful analysis rather than solely subjective praise.
Digital Poetry Bookshelf and Weekly Readings
The course features a Digital Poetry Bookshelf, specifically the Digital Canada Poetry in Canada Digital Poetry Bookshelf.
The bookshelf is highly diverse, reflecting genders, backgrounds, indigeneity, BIPOC, etc.—a deliberate representation of the community.
Students pick one poem from the bookshelf to respond to; each entry includes the poet’s bio, a poetic statement, and the poem itself.
The instructor provides a colleague example (e.g., Adi) who has a new book out, with a bio, poetic statement, and a sample poem.
The platform showcases a broad body of poetic work from poets around the world, offering diversity in nationality and life experience.
Poems are posted every Tuesday; the poets range from traditional to experimental, using various craft elements.
An example poem discussed: Connell Smiley’s "Propheces" (a sample title referenced during a reading exercise).
Reading practice is integrated into the workshop, focusing on close reading and internals such as sounds and beats in lines.
Reading, Pronunciation, and In-Session Practice
In class, readers practice aloud by reading stanzas together to feel the rhythm and sounds.
Emphasis on listening for vowel sounds and cadence (e.g., noticing variations like u and a sounds) to inform performance and interpretation.
The instructor models reading and invites students to participate in a structured way to build confidence with the text.
Presentations, Materials, and Peer Feedback Workflow
After presenting, you complete a questionnaire and upload it to Gradebook with your name and poem details.
The instructor will download uploaded materials (e.g., from discussion threads) to project during class.
When presenting in front of the class, you can use the uploaded materials as a display reference (the instructor can pull up the poem on screen).
You may choose to live-link to the poem’s source; this helps demonstrate the provenance of your chosen work.
A well-executed presentation includes a single quotation from the poem as a concrete example.
Some presenters may adopt more elaborate formats (e.g., linking to external sources or including visuals); however, extra embellishments do not yield extra marks unless they contribute to the learning objectives.
Draft Submissions, File Formats, and Organization
Students are asked to upload their draft poems week after week and save them in Word format (preferred) rather than letting Blackboard convert to PDF.
The first line of the file name should include your name (e.g., "Martin …").
The instructor commends impeccable formatting and notes that many entries demonstrate strong quality; those who forget formatting are reminded to adjust.
In the UBC creative writing context, the practice is different: there is less lecture content and more emphasis on draft forms and active participation from the outset.
Students log into class with the draft forms and submit them usually a week in advance; instructors mark and provide feedback.
Forms used in workshops are varied and tailored (e.g., imagery form, sound form, etc.).
The process emphasizes capturing thoughts in writing during the workshop and then polishing for submission by the due date.
Each form captures a specific focus, with two primary questions guiding the discussion in workshop sessions.
Using a voice memo to record workshop discussions is encouraged; transcripts can be generated later to create a rough draft.
The process supports iterative development: everything you create in this class should be saved in a drafts folder (on phone, tablet, or computer) to maintain a complete record.
A recurring reminder: the workshop is the main activity for the next eight weeks; the overall aim is to practice and improve poetry writing through iterative critique and discussion.
Questions, Support, and Accessibility
If any student experiences extreme anxiety about presenting, they should see the instructor after class for accommodations or alternative arrangements.
Audience members are encouraged to ask questions after a presentation to foster a collaborative learning environment.
Students should come prepared with questions for their peers and engage actively in the discussion.
Practical Implications and Real-World Relevance
The course mirrors real-world collaborative writing environments where planning, drafts, feedback, and revision cycles drive improvement.
The blend of asynchronous resources (Gradebook, Blackboard content, the Digital Poetry Bookshelf) and live practice (presentations, workshops) models how professionals manage projects with multiple channels.
The emphasis on ethical practice (e.g., no AI-generated content; iterative editing and citation of sources) aligns with academic integrity in creative disciplines.
The structure supports developing both technical skills (poetry craft, quotation use, close reading) and soft skills (presentation, peer feedback, professional formatting).
Key Numbers and Formulas to Remember
Group formation:
Total course points:
Presentation-related score:
Upload-related score:
Drafts submission format: save as Word, not PDF; file naming includes your name.
Two workshop questions per session:
Due-date range mentioned:
Points with emphasis for a particular item:
Week count for workshop focus:
Summary of Core Practices to Succeed in this Course
Regularly consult both Blackboard and the weekly syllabus for updated assignments, topics, and due dates.
Engage actively in the workshop: read peers' poems ahead of time, participate in discussions, and help facilitate group conversations when possible.
Prepare for presentations with a completed questionnaire, citation of at least one quotation from the chosen poem, and a clear, professional submission.
Submit weekly draft poems in Word format with proper naming conventions; avoid converting to PDF unless instructed.
Use the provided forms during workshops to capture insights (imagery, sound, etc.) and keep everything organized in drafts folders.
Use tools like voice memos and transcripts to capture ideas and refine them iteratively.
Seek instructor feedback proactively if anxiety or questions arise; accommodations can be discussed.
Embrace the diversity of the Digital Poetry Bookshelf as a resource for exposure to different poetic styles, voices, and cultures.
Next Steps
Review the Digital Canada Poetry in Canada Bookshelf and select a single poem that resonates with you.
Familiarize yourself with the presentation questionnaire and the required submission format.
Confirm your presentation slot via the sign-up system (remember: First Come, First Serve).
Prepare your draft poem and plan your workshop participation for the next session.
Keep a drafts folder and stay consistent with saving work across devices.