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Analysis and Critique: How to Engage and Write about Anything 1How to Write about Anything 1. 2How to Be an Effective Reader 2. 3How Literature Can Help 3. 4Shaping Your Voice 4. 5Knowing Your Reader 5. 6The Art of the EssayHow to Start 6. 7How to Organize an Argument 7. 8Supporting Your Argument 8. 9Finishing Strong 9. 10The Uses of Poetry 10. 11Poetic Diction and Syntax 11. 12DramaWriting Out Loud 12. 13What You Can Learn from Autobiography 13. 14Writing and Leadership 14. 15The Rules of Rhetoric 15. 16Invention and Arrangement 16. 17Ethos and Pathos 17. 18Finding What You Need 18. 19Using What You Find 19. 20Getting StartedWriting First Drafts 20. 21EditingFinding What's Wrong 21. 22RewritingFixing What's Wrong 22. 23Avoiding Common Errors in Grammar and 23.
Usage

Writing Creative Nonfiction

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24The Power of Words

1Welcome to Creative Nonfiction 2Finding the Story 3Honoring the Nonfiction Contract 4Writing Great Beginnings 5Show, Dont Tell 6Launching a Narrative Arc 7Cliffhangers and Page Turners 8Building Dramatic Sentences 9Rhetorical Devices and Emotional Impact 10Putting It All Together 11Revealing Character in Words and Actions 12Creating Compelling Characters 13Character Psychology 14Getting Inside the Heads of Your Characters 15Using Narrative Perspective 16Shaping Your Voice 17Writing the GutterHow to Not Tell a Story 18Dialogue Strategies in Creative Nonfiction 19Researching Creative Nonfiction 20How to Not Have People Hate You 21Revising Your Work 22Building Your Audience 23Getting Published 24. 24Being a Writer

Building Great Sentences: Exploring the Writer's Craft 1A Sequence of Words 2Grammar and Rhetoric 3Propositions and Meaning 4How Sentences Grow 5Adjectival Steps 6The Rhythm of Cumulative Syntax 7Direction of Modification 8Coordinate, Subordinate, and Mixed Patterns 9Coordinate Cumulative Sentences 10Subordinate and Mixed Cumulatives 11Prompts of Comparison 12Prompts of Explanation 13The Riddle of Prose Rhythm 14Cumulative Syntax to Create Suspense 15Degrees of Suspensiveness 16The Mechanics of Delay 17Prefab Patterns for Suspense 18Balanced Sentences and Balanced Forms 19The Rhythm of Twos 20The Rhythm of Threes 21Balanced Series and Serial Balances 22Master Sentences 23Sentences in Sequence 24Sentences and Prose Style
Dr. Brooks Landon is Herman J. and Eileen S. Schmidt Professor of English and Collegiate Fellow at The University of Iowa and Director of the university's General Education Literature Program. He earned his M.A. and Ph.D. from The University of Texas at Austin.

Dr. Dorsey Armstrong is Associate Professor of English and Medieval Literature at Purdue University, where she has taught since 2002. The holder of an A.B. in English and Creative Writing from Stanford University and a Ph.D. in Medieval Literature from Duke University, she also taught at Centenary College of Louisiana and at California

Dr. Tilar J. Mazzeo is the Clara C. Piper Professor of English at Colby College in Maine and the New York Times best-selling author of The Widow Cliquot: The Story of a Champagne Empire and the Woman Who Ruled It and The Secret of Chanel No. 5: The Intimate History of the Worlds Most Famous Perfume.

State University, Long Beach. Her research interests include medieval women writers, late-medieval print culture, and the Arthurian legend, on which she has published extensively, including the 2009 book Sir Thomas Malory's Morte Darthur: A New Modern English Translation Based on the Winchester Manuscript and Gender and the Chivalric Community in Sir Thomas Malory's Morte d'Arthur, published in 2003. In January 2009, she became editor-in-chief of the academic journal Arthuriana, which publishes the most cutting-edge research on the legend of King Arthur, from its medieval origins to its enactments in the present moment. Her current research projectMapping Malory's Morteis an exploration of the role played by geography in Malory's version of the story of King Arthur. Professor Mazzeo earned her Ph.D. in English from the University of Washington. In 2008, she won the Gourmand Award for the Best Work of Wine Literature in the United States for The Widow Cliquot. She is also the author of Back Lane Wineries of Sonoma and Back Lane Wineries of Napa. Her travel, food, and wine essays have appeared in a range of national publications, including Food and Wine magazine. Professor Mazzeo held the prestigious Jenny McKean Moore Writer-in-Residence position at The George Washington University. Her lessons, exercises, and advice on the art and craft of creative nonfiction have appeared in collections including Now Write! Nonfiction: Creative Nonfiction Exercises from Todays Best Writers.

Since 1978, Professor Landon has regularly offered a prose-style course focused on the sentence. He has also taught courses in nonfiction writing, contemporary American fiction, 20th-century American literature and culture, modern fiction, science fiction, hypertext fiction and scholarship, and electronic textuality. Published widely in the fields of contemporary American literature and science fiction, Professor Landon is the author of numerous books, including Science Fiction After 1900: From the Steam Man to the Stars; The Aesthetics of Ambivalence: Rethinking Science Fiction in the Age of Electronic (Re)Production; and Thomas Berger. Among his many awards and accolades are a University of Iowa M. L. Huit Teaching Award and an International Association for the Fantastic in the Arts Distinguished Scholarship. COURSE DESCRIPTION Great writing beginsand endswith the sentence. Whether two words ("Jesus wept.") or 1,287 words (a sentence in William Faulkner's Absalom! Absalom!), sentences have the power to captivate, entertain, motivate, educate, and, most importantly, delight. Understanding the variety of ways to construct sentences, from the smallest clause to the longest sentence, is important to enhancing your appreciation of great writing and potentially improving your own. Why do some lengthy sentences flow effortlessly while others stumble along? Why are you captivated by the writing of particular authors but not others? How can you craft sentences that reflect your own unique outlook on the world? Get the answers to these and other questions about writing and style in Building Great Sentences: Exploring the Writer's Craft, a lively 24-

COURSE DESCRIPTION For thousands of years, writing has been a powerful way for us to communicate with one another, to share our distinct thoughts and ideas through the power of words. Even in today's technologically saturated 21st century, we still express ourselves in writing almost every single day. And oftentimes, we write to argue our viewpoints, persuade others that we're right, and share our unique experiences and perspectives. But all writingwhether it's a powerful essay, a persuasive letter, a detailed business report, or an autobiographical storyis at its most effective and memorable when it's built on the fundamental critical and analytical skills that transform your words from "good" writing to "great" writing. Regardless of your subject, your goal, or your occasion, these skills are the heart and soul of engaging and effective writing. They include the

COURSE DESCRIPTION We all have a story we want to share with others. Maybe it's a funny or dramatic moment in your everyday life. Perhaps it's an unforgettable trip overseas or a heartwarming family reunion. Or possibly even the life of a close relative or public figure that has inspired you in some unique way. Regardless of the story or experience, there's no better way to write, record, and share it than through the power of creative nonfiction. Bringing together the imaginative strategies of fiction storytelling and new ways of narrating true, real-life events, creative nonfiction is the fastestgrowing part of the creative writing worldand the fastest-growing part of the market for books as well. It's a cutting-edge genre that's reshaping how we write (and read) everything from biographies and memoirs to blogs and public speaking scripts to personal essays and magazine articles.

ability to organize your thoughts into a coherent piece that never leaves your reader behind; make a persuasive argument rooted in solid facts; draw on the styles and characteristics of various literary genres; make responsible use of research materials and outside resources; and avoid common grammatical errors that could cost you your credibility. You'll find the secrets to these and other concepts and methods for clear and strong writing in the 24 accessible and practical lectures of Analysis and Critique: How to Engage and Write about Anything. Delivered by Professor Dorsey Armstrong of Purdue Universitywhose work with students involves the art and craft of analytical and persuasive writing this course immerses you in the elements of successful writing. With its engaging literary and everyday examples, inspirational prompts, and unforgettable insights, Analysis and Critique makes the perfect reference guide for both professional and casual writers. Five Literary Genres, Endless Insights One of the essential keys of effective writing: understanding literary genres and the ways their unique styles and characteristics can shape and inform your own voice. Professor Armstrong spends the first lectures of her course guiding you through the five major literary genres and the ways some of their most enduring examples can show you the path to stronger persuasive and critical writing. Fiction: By learning how to actively read a range of short stories and novels by authors including Jane Austen, Ernest Hemingway, Edgar Allan Poe, and Charlotte Perkins Gilman, you'll strengthen your

But learning the secrets and techniques of creative nonfiction offers you so much more than just insights into this exciting style of writing. Mastering the art and craft of creative nonfiction can help you write more effectively in a variety of professional and personal situations, provide dynamic new ways for you to preserve life experiences as they truly occurred or as you felt them, allow you to share your stories in ways that other people are sure to find compelling, and open up new windows on how you think about your own personal historyand the personal history of others. Whether you're looking to launch into a new professional career as a creative nonfiction writer, dabble in the genre as a pastime, start a personal blog, or simply get inside the mind of a creative nonfiction writer at work, you'll find much to learn from and enjoy in Writing Creative Nonfiction. These 24 lectures by award-winning writing instructor and Professor Tilar J. Mazzeo of Colby College, a New York Times best-selling author, are a chance for you to explore the entire process of writing creative nonfiction, from brainstorming for the perfect idea to getting your final product noticed by literary agents and publishers. Filled with helpful tips and techniques, memorable examples from well-known writers, and engaging exercises, it's a learning experience that proves thatwith the right instructorwriting creative nonfiction can be mastered, practiced, and enjoyed by anyone with a desire to share his or her personal story. Explore All Aspects of the Creative Nonfiction Craft More dynamic than a simple how-to writing guide you could find in a bookstore, Professor Mazzeo's

lecture course taught by Professor Brooks Landon from the University of Iowaone of the nation's top writing schools. You explore the myriad ways in which we think about, talk about, and write sentences. You discover insights into what makes for pleasurable reading. You also learn how you can apply these methods to your own writing. More Than Just a String of Words Building Great Sentences revives the sentenceoriented approach to studying writing. Unlike common nuts-and-bolts approaches to discussing writing, this course provides a greater context for what makes sentences great. You investigate how to recognize the mechanics of the sentences you read and write, you learn how language works on your thoughts and emotions, and you discover basic strategies to sharpen your ability to recognize great sentences and make your own everyday writing more effective. More than just a string of words, "sentences are shaped by specific context and driven by specific purpose," notes Professor Landon. "No 'rules' or mechanical protocols can prepare us for the infinite number of tasks our sentences must accomplish." Explore a Vast World of Sentences Consisting of a subject, a verb, and sometimes an object ("The girl raised the flag."), the kernels from which sentences grow are called minimal base clauses. Adding modifying words ("slowly") or phrases ("because doing so would inspire her compatriots") creates larger sentences that lead toward great writing. In Building Great Sentences, you delve into the

ability to understand how a writer creates his or her "voice," and how a writer conveys particular information to his or her audience. Essay: Of all the literary genres, the essay is the richest resource for studying the characteristics of a powerfully written argument. You'll discover how essays such as Jonathan Swift's "A Modest Proposal" and Henry David Thoreau's "Walden" demonstrate effective strategies for starting, organizing, supporting, and concluding your arguments. Poetry: Somewhat surprisingly, poetry has much to offer nonpoetic writers looking to strengthen their craftespecially its command and flexibility. In examining the work of poets such as William Carlos Williams, John Donne, and e. e. cummings, you'll learn how to tap into the power of figurative language, careful word choices, and dramatic word ordering. Drama: Speeches, conference papers, and other writing intended for oral presentation offer their own set of challenges to everyday writers. By using selected excerpts by William Shakespeare, history's greatest playwright, Professor Armstrong gives you invaluable tips for mastering the art of tone, timing, and delivery of writing meant to be spoken out loud. Autobiography: Writing that draws on your life to achieve a goal or enhance your credibility isn't as daunting as it may seem. Detailed looks at excerpts from autobiographies by Benjamin Franklin, Frederick Douglass, and others offer helpful hints about how much personal information to include, how to take the most effective approach, and more. Frequently, the lectures are enhanced with writing prompts and practice examplessuch as rewriting a passage in five different styles or writing an idea from different narrative perspectivesdesigned to help you better understand how to use and apply

interactive lectures are a chance for you to learn right alongside a master professor and best-selling writer as she guides you through all aspects of the process. Fundamentals of creative nonfiction: Many of the lectures unpack fundamental concepts and principles involved in writing creative nonfiction. These include narrative arcs, captivating beginnings, sentence variation, perspective, characterization, dialogue, and metaphors. You'll uncover ways to decide how to best employ them to fit your particular work as well as to make your writing more engagingwithout breaking the nonfiction contract with your reader. Writing process: Pulling from her own personal experience as a writer, Professor Mazzeo guides you through each stage of writing creative nonfiction, from researching your topic to revising your first draft. Along the way, she offers tips and advice for everything from working around the problem of missing sources to pushing your way through writer's block to finding a community of writers who can offer you constructive criticism. Publishing tips: How do you find the right agent? What goes into a successful book proposal? How can you find out which publications are the right venues for your pieces? In a series of lectures centered on the practical business of marketing and publishing your work, you'll discover the answers to these and other questions about getting your start as a publishedand maybe even professional writer. Learn Tricks of the Creative Nonfiction Writer's Trade "I'm an English professor and a writer myself,"notes Professor Mazzeo at the start of her course. "And what I can tell you is that there are tricks of the trade; things that published writersthe people

ways that literary and popular writers work with these larger sentences (called cumulative sentences) and encounter the three distinct levels that enhance these sentence kernels by: Adding information and keeping a sentence moving in place ("She served the dessert, a French pastry affair dripping in dark chocolate.") Moving a sentence forward with increased specificity ("He drove carefully, one hand on the wheel, the other hand holding a sandwich, a ham and cheese fossil, a strangely colored lump made days before by his sister.") Adding information and moving a sentence forward at the same time ("Big Al headed back into the bar, a demented grin twisting his scarred face, his bloodshot eyes narrowed to a fierce squint, looking around the dim and smoke-filled interior, scanning the terrified inhabitants for any of his tormentors.") You also explore sentence constructions that make writing more complex and add exciting levels of suspense, and you see tactics that create balance and rhythm in sentences. Professor Landon makes these writing methods clear and easy to apply to your own reading and writing habits. Some of the many illuminating methods you come across are: Using a mirroring effect between words to suggest confidence ("Dryden's page is a natural field, rising into inequalities, and diversified by the varied exuberance of abundant vegetation; Pope's is a velvet lawn, shaven by the scythe, and leveled by the roller.") Using three phrases of parallel construction to create unity and emphasis in a sentence ("I came, I saw, I conquered.") Beginning each element in a series with the same word or words ("The reason I object to Dr. Johnson's style is that there is no discrimination,

the insights found in these five genres. Explore the Fundamentals of Rhetoric From there, Analysis and Critique turns to a series of lectures that focus on the art of rhetoric (the foundation of argumentation) and the ways it can help you adapt your writing to a variety of different situations. And make the most of them. Rhetorical ideas are so deeply woven into the fabric of Western culture that it's easy to miss out on opportunities to maximize their benefits in your writing. Knowing this, Professor Armstrong not only explains them thoroughly but also shows you how to use them regularly and systematically to make your writing stronger and more persuasive. Some of the most applicable rhetorical concepts you explore in this part of the course include deductive reasoning, a form of reasoning that moves from the knowledge you already have to the knowledge that has yet to be discovered and articulated; commonplaces, which are well-known words and phrases that can easily communicate your theme or topic to your audience; and pathos, which works to inspire emotion in your readers (particularly feelings of sympathy). The increased awareness of classical rhetoric you gain from these particular lectures will go a long way to helping you become a stronger writer by calling your attention to the basics of compelling analytical writing. You may never use terms like "commonplaces" and "pathos" in your actual writingbut understanding how they work will enhance the importance of what you write and the way you write it. Get a Step-by-Step Guide to the Writing Process

whose books you've read and enjoyed and recommended to friendslearn from doing over and over.

no selection, no variety in it.") Ending each element in a series with the same word or words ("Raphael paints wisdom; Handel sings it, Phidias carves it, Shakespeare writes it, Every lecture of Writing Creative Nonfiction is filled Wren builds it, Columbus sails it, Luther preaches with these tricks of the trade; nuggets of it, Washington arms it, Watt mechanizes it.") information, insight, and advice that you can learn Recognizing and appreciating these and other eyefrom and use whenever you sit down to tell a opening aspects of sentences helps you personal story. Whether you're planning on tackling understand the work that goes into creating an a memoir, a piece of travel writing, a personal effective, pleasurable sentence. With the essay, or nearly any project in which effective (and newfound knowledge gained from Building Great truthful) storytelling is required, these and other Sentences, you become more aware of why tips and tricks revealed in this course will go a long particular lines, passages, or phrases in the poems, way toward building a powerful toolkit you can use novels, or articles you read so enchant you. any time you sit down to write. Learn from the Masters Include three things every good story needs: You know you've got a good story to work with when it Building Great Sentences draws abundantly on has a narrative arc, dramatic tension (conflict that examples from the work of brilliant writers who works as an obstacle), and interesting characters are masters in the craft of writing, including Don who experience and try to surmount obstacles. DeLillo, Virginia Woolf, Joan Didion, and Samuel Introduce ambiguity: Free indirect discourse Johnson. Their novels, essays, and short stories are doesn't require attribution of speech or thought frequently cited to illustrate how sentences can and invites readers to attribute your thoughts to tease, surprise, test, and satisfy you. the thoughts of the character. Whether your readers accept or reject the invitation, you've been Whether it was an epic poem, an 800-page novel, truthful about not making claims of fact and have or a passionate op-ed in a local newspaper, you've maintained the nonfiction contract. no doubt been captivated by a particular line, Write the "gutter: Giving your readers two pieces passage, or phrase in something you've readbut of information and trusting them to use their you can't understand why. With Building Great imaginations to transform them into a single Sentences, you get the secrets you need not only storyline (filling in the "gutter) is a great way to to recognize great writing, but also to understand avoid overnarrating. Engaging their imaginations what exactly makes it so great. also makes them a more active participant in the story you're telling. You also investigate numerous instances in which Draft a pitch instead of an outline: While pitches an author's writing style reflects key points in the are normally written to secure contracts for lectures. For example: nonfiction works, they can also be a helpful way for you to avoid getting stuck when you're having The opening paragraph of Ernest Hemingway's A difficulty outlining your story. Farewell to Arms reflects the author's "tough-guy"

What about the act of writing itself, which can often be daunting to the most seasoned writer? You can be drafting a work presentation, a cover letter for a job application, an editorial for your local newspaper, or a persuasive letter for a public officialin any case, knowing how to approach the act itself can reap many rewards. The final section of Analysis and Critique is a fascinating, step-by-step guide through the writing process. With her keen eye for providing helpful strategies and using real-world examples, Professor Armstrong provides answers to frequently asked questions about each of writing's four major stages: Researching: How do you determine what your research goals are? Where should you look for reliable sources of information? How do you narrow your research focus? Writing a First Draft: How long does a productive brainstorming session last? Why is it OK to write a deliberately bad first draft? What are good ways to conquer writer's block? Editing: How long should you wait before you start editing your writing? How can you tell when you've used too many quotations? What grammatical errors should you watch out for? Rewriting: What makes a rewrite different from an edit? What specifics should you pay attention to in rewriting? How do you recast supporting points to better fit your argument? Writing Made Effectiveand Fun As a university professor with years of experience, the instructor of a general education writing course at Purdue University, and a distinguished editor, Professor Armstrong spends nearly every day in the company of writingboth good and bad. She knows which techniques work and which do not.

Practice with Exercises Crafted by a New York Times Best-Selling Author With Writing Creative Nonfiction, you're not just learning from a dynamic writing instructor. You're learning from a prolific nonfiction writer whose booksincluding the New York Times bestseller The Widow Cliquot: The Story of a Champagne Empire and the Woman Who Ruled Itare examples of the form at its best: factual and honest while being genuinely engaging reads. Professor Mazzeo brings the same skill and experience to her course that she's brought to her creative nonfiction work. And to help you practice and hone your newfound skills, she has crafted specific exercises to help you tap into your inner writer. For example, you'll take an event in front of you and write a page of detailed description (without actually saying what's happening) to witness the effects of showing, not telling, about specific moments; write a couple of paragraphs using both direct and indirect discourse to learn the strengths and weaknesses of either approach to storytelling; and write a pitch for an imaginative travel piece (its story, its characters, its arc) in 100 words or less to see how well you can propose a piece of writing to a prospective editor. Who knows? Perhaps one of these or the other exercises will spark that great idea that sets you on your way to writing creative nonfiction that engages your readerand even sells. Throughout the entire course, Professor Mazzeo's passion for her craft and her devotion to sharing her knowledge and instilling confidence in fellow writers are constant. "You need to write what's in you; in your mind and in your imagination,"she

narrative style in its use of simple and direct writing. The lengthy sentences in Thomas Pynchon's Against the Day demonstrate the importance of enhancing writing through the use of figurative language. The final sentence of Joseph Conrad's The Secret Sharer displays just how much information can hide beneath the surface of sentences. Professor Landon's animated readings of these and other examples (including some of his own sentences) help you grasp the various structures and rhythms of sentences. They also give you new ways to look at why these and other writing styles have delighted so many readers. Avoid Dense Grammar Building Great Sentences provides you with key insights into the craft of writing, but it never becomes a dull grammar lesson. Rather, the course is designed as a study of sentences within the larger framework of prose style and writing theory. Grammar is only used to address larger issues about writing; as you examine the rewards (and potential risks) of various sentence forms, you never become bogged down in a study of dense grammar. You focus on why and how these various sentence forms use language to achieve particular goals, not on labeling parts of a sentence. A thorough and helpful study of what makes for elegant and effective writing, notes Professor Landon, cannot depend solely on grammar. A Passionate Approach to the Craft

She knows the common pitfalls, concerns, and fears that most writers have. And she knows just how important effective writing skills are in expressing yourself successfully to others.

says. "And you need to tell a great story.

And that's exactly what you'll learn how to do in Writing Creative Nonfiction. By the conclusion of these rewarding lectures, you'll have the But even more important than her experience knowledge, tools, and, most important, inspiration working with writers and her knowledge of the craft you need to discover your stories and finally start is the way Professor Armstrong makes writing feel telling them the right way. like a fun process of self-discovery. Her lectures are always engaging, always accessible, and always filled with information and takeaways that you can use any time you need to write. So tap into the power of effective writing with Analysis and Critique, and learn what it's like to have a masterful and supportive instructor standing right by your side as you learn the ways to write about practically anything.

Professor Landon is the Director of the General Education Literature Program at the University of Iowa and the recipient of the school's M. L. Huit Teaching Award. Having regularly taught a sentence-based prose style course at the University of Iowa for more than 25 years, he is the perfect guide to take you into the intricate pleasures of great sentences. Building Great Sentences stems from Professor Landon's passion for a sentence-based approach to writing, commonly overshadowed by more technical, theory-based approaches that ignore the pleasures of reading and writing. You see Professor Landon's countertraditional approachemphasizing the pleasure of language and not the avoidance of mistakes. This method makes this course a unique way to experience and understand the pleasure that Gertrude Stein found in the sequences of words that constitute our sentences. With its passionate approach to writing and reading, and its indulgence in the sheer joy of language, Building Great Sentences will change the way you read and write. It's a journey that gives you unique insights into the nature of great writingit also teaches you how you can achieve some of this greatness yourself.