English 354: Introduction to Creative Nonfiction

Tues/Thurs, 2-3:50
(Annotated Sample Syllabus)
It is sometimes comforting to know that others seem to fail as often and as
oddly as we doand it is even more comforting to have such stories told
to us with style, the way a writer has found to an individual expression of
a personal truth.
--Scott Walker, Editor
Essays, Memoirs & eflections
In this course, you will learn how to translate personal experience and research into
effectie pieces of creatie nonfiction! We will strie to define the term "creatie
nonfiction# by readin$ work across a broad spectrum of content and form, and you will
learn how to read these pieces both as a scholar and as writer! We will also dele into the
ethical considerations that come into play when writin$ from "real# life!
%exts&
!ell it "lant# $riting and "haping %reative &onfiction (Second %rade Edition),
'iller and (aola
!he !ouchstone 'nthology of %ontemporary %reative &onfiction, Williford and
'artone
(revity, an online literary )ournal& http&**www!creatienonfiction!or$*breity*
Seeral handouts that you will print from +lackboard (you must brin$ them to
class)
In this introductor creative nonfiction course, our o!"ectives are to:
,) -ain a better understandin$ of yourself as a writer. insi$ht into your process as a
writer. shortcuts to $ettin$ words on paper, and*or a breakthrou$h in reision
methods!
/) -rasp some basic concepts about creatie nonfiction& what the terms implies, the
forms it takes, the craft elements necessary to its success!
0) 1efine your $rasp of syntax and $rammar so that you can write effectie prose!
2) +e$in thinkin$ about the ethical implications inoled when writin$ about your own
life and the lies of others!
3) 4earn how to read published nonfiction writers as models for your own work, and
learn how to read your collea$ues5 writin$ with authority, compassion, and insi$ht!
6) 4earn how to interact effectiely in the $roup workshop, so that you may deelop
your own readin$*writin$ $roups in colle$e and beyond!
Course #e$uire%ents
&ttentive and &ctive 'artici(ation is )ital* 7ou will be allowed %W8 absences. any
more than two absences will adersely affect your class participation $rade! 7ou will be
expected to actiely participate in class discussions and small-$roup workshops,
thou$htfully respondin$ to both assi$ned texts and your collea$ues5 work! I expect you
to complete the assi$ned readin$ before each class, comin$ to class prepared with
passa$es underlined, 9uestions, and comments!
In-Class and +ut-of-Class ,riting* Each week we will do in-class writin$ exercises
desi$ned to help you $enerate ideas, be$in new pieces, and*or reise existin$ work! Some
of these may remain fra$ments or be$innin$s. others may wind up as complete short
essays in themseles! 7ou must write for the entire time $ien for the exercise! If you
feel you cannot write anywhere but in your writin$ space at home, then you shouldn:t be
in this class! If ou refuse to do the -riting in class, or if it is o!vious ou are not
doing the -or., ou -ill !e as.ed to leave, as our disengage%ent -ill affect others*
8ut-of-class writin$ assi$nments may be done alone or in a $roup!
/revit 'resentations: See ;andout for specific details!
& 0idter% Essa and a 1inal 'ortfolio* These are graded assign%ents* 7ou will
build on the work we do throu$hout the course to complete these writin$s! 7our $rade
will reflect your class participation (includin$ the (revity presentation! I will $ie you
handouts on these assi$nments as the time draws near!
& Note on Content: In this class we will not tolerate work that is intentionally
offensie! %his is not the place to express $ratuitous iolence or $raphic sexual
content, nor will we tolerate hate speech toward any $roup of people! We mi$ht
encounter work that is able to ne$otiate sexuality and iolence in effectie ways,
and these mi$ht be 9uestions that spur some of our discussions, but it will be my
call if I feel your work is inappropriate in the context of this class!
(art of bein$ in a creatie writin$ class is learnin$ how to be a responsible
and effectie member of a literary community, to be aware of your audience and
of the purposes of different types of writin$! If you feel this $uideline is a
restraint on your creatie process, this will not be the class for you! (ersistent use
of offensie lan$ua$e or content that creates a hostile enironment will result in a
failin$ $rade!
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2o%e Essential 3uestions to 4uide our #eading and ,riting:
,! What is "creatie# about "creatie nonfiction<#
/! When does the "creatie# part become fiction<
0! What are the ethical considerations writers must take into account<
2! What writerly techni9ues are most effectie in this $enre<
3! ;ow do writers effectiely structure pieces in this $enre<
6! ;ow do we characteri=e a stron$ "oice# in this $enre<
>! ;ow do we oercome inhibition while writin$ in this $enre<
?! What about writin$ other people5s stories< Who "owns# the story<
@! ;ow does a writer $ain access to memory< ;ow can this memory be represented
both accurately and aesthetically<
,A! ;ow do writers incorporate research in creatie nonfiction<
,,! Why are personal stories interestin$ to others< What makes them "uniersal<#
What are your particular 9uestions about creatie nonfiction<
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English 354 Class Calendar
'nyone can write if you read. I mean, anyone can )egin to write if that*s what he or she
wants to do. +ou*ve got to ,ust read and read and read.
B-retel Ehrlich
Week 8ne
%hursday, Sept! //& Intro, syllabus, 4ynda +arry
C"4ynda +arry# is an interiew with the cartoonist on the nature of creatiity, broadcast
on the radio show !o the (est of our -nowledge. It proides some wonderful lan$ua$e to
use about the creatie mind s! the thinkin$ mind, and it5s funny too! I play this for the
students on the first day, and we discuss the points that resonate with them&
http&**wpr!or$*book*A@,,//b!cfmD
Week %wo
%uesday, Sept! />
1ead& "Where to +e$in# in !I", and "Introduction# by Scott 1ussell Sanders in
!ouchstone. Enderline any passa$es that to you either explain the $enre well
and*or brin$ up more 9uestions! Fome prepared to discuss these passa$es in class!
+rin$& %ype up a passa$e from a book or ma$a=ine or blo$ (or somethin$ else)
that to you seems to fit into the cate$ory of creatie nonfiction (, para$raph or
so)! After typin$ up the passa$e, write a para$raph that explains why you chose
this passa$e, what it means to you, where you first encountered it, and what
makes it stron$ or memorable! 0a.e TEN C+'IE2 of this single (age
docu%ent*
Intro to (revity ma$a=ine in class! In-class writin$!
CEach student, throu$hout the course of the 9uarter, will choose an essay from the
online )ournal (revity to present to the class! ;ere is the actual assi$nment&
.(revity Maga/ine# (revity is an online )ournal that publishes short-short creatie
nonfiction (under >3A words) in 9uarterly editions! 7ou will read throu$h current
and back issues of (revity, choosin$ one piece that you feel exemplifies stron$
oice in creatie nonfiction! 7ou will write up a response to this essay (up to ,
pa$e), pointin$ out the craft elements that make this piece and effectie short
essay and*or write your own small essay (or the start of one) as a direct emulation
or imitation of this piece! 7ou will post the link to the essay and your response to
it on +lackboard, so the class can use your research as a resource, as well as
printin$ out a copy for me!#
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We then start each class with one or two of these presentations, and if time allows,
do in-class writin$ based on what the students hae done!D
%hursday, Sept! /@
1ead& !I", Fhapter 8ne& %he +ody of 'emory and "Girst# by 1yan Han 'eter
(+lackboard ;andout& (1II% 8E% %;IS ESSA7 and brin$ it to class! Enderline
any passa$es that stand out to you, in either positie or ne$atie ways!)
CI use "Girst# as an excellent example of how to use present tense in creatie
nonfiction. the power of sensory details. the ability to suspend a moment in time.
and how to create effectie turnin$ points! It is aailable online at&
http&**www!$ettysbur$reiew!com*selections*essays*index!dot<
inodeJ/6,6,@3Kpa$e%itleJGirstKcrumb%itleJGirstKauthorJ1yanL/AHan
L/A'eterKstoryJtrue
+ut a nicer ersion is aailable in Han 'eter5s +ook& If +ou -new !hen $hat I
-now &ow, or in (est 'merican Essays, 01123
In-Flass writin$! CI hae students emulate "Girst# and*or do "%he earliest
memory# exercise from !I"D
Week %hree
%uesday, 8ct! 2&
W1I%II- ASSI-I'EI%& Mo at least one more exercise from the "%ry It#
Section of Fhapter 8ne in !I". %ype one up and brin$ GIHE copies to class! (,-0
pa$es, double-spaced)!
1ead& "+url5s# by +ernard Fooper in !ouchstone
%hursday, 8ct! 6&
1ead& Fhapter %wo& Writin$ the Gamily, in !I",
1ead& "%he Ii$ht 'y 'other 'et +ruce 4ee# by (aisley 1ekdal (+lackboard
handout, print out and brin$ to class) "%he Foroner5s (hoto$raphs (+lackboard
;andout, print out and brin$ to class)
C%hese two handouts show different ways of approachin$ family material! "%he
Ii$ht 'y 'other 'et +ruce 4ee# is aailable in her book of the same name, or
online! "%he Foroner5s (hoto$raphs# by +rent Staples is always ery powerful
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for students! It is aailable in his book 4arallel !ime# 5rowing up in (lack and
$hiteD
1ead& In !ouchstone# "Interstellar# by 1ebecca 'cFlanahan!
Week Gour
%uesday, 8ct! ,,&
W1I%II- ASSI-I'EI%& Mo at least two %ry-it Exercises from Fhapter %wo of
%IS AIM*81 type up and reise any in-class writin$ from %hursday, 8ct! 6. type
these up and brin$ two copies of each to class (,-0 pa$es each)!
1ead& Maid Sedaris, "1epeat After 'e# in !ouchstone
%hursday, 8ct! ,0&
1ead& "1eadin$ ;istory to 'y 'other,# by 1obin ;emley in !ouchstone.
CI use this essay as a way to talk about the use of form and isual elements in creatie
nonfictionD
In-class writin$& /ring a fa%il (hoto to class*
CI hae the students write about their own photos, but also about each other5s!D
Week Gie
%ues, 8ct! ,?&
Writin$ Assi$nment& Mraft of 'idterm essay due& +rin$ GIHE copies to class
1ead& Fhapter %hree of !I"# !aking 4lace.
1ead & "4iin$ 4ike Weasels# by Annie Millard, and "A Small (lace# by Namaica
Oincaid, both in !ouchstone.
/ring: /ring a (hsical o!"ect to class that, to ou, re(resents a (articular
(lace* In-class -riting*
CIote& if you5re on semesters and hae more time, this would be a $ood place to insert
Fhapter Gour& "%he Spiritual Autobio$raphy#D
%hurs, 8ct! /A&
1ead& !I" Fhapter ,3& Sharin$ 7our Work& %he Writin$ -roup and Workshop#
CEse this chapter to create $uidelines and "best practices# for workshop
discussion!D
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Workshop on 'idterm Essays!
Miscussion of reision!
Week Six
%ues, 8ct! /3&
,riting &ssign%ent: 1inal 5raft of 0idter% Essa 5ue6 /#IN4 T,+ C+'IE2
1ead& Fhapter Gie in !I", "Writin$ the Arts!#
1ead & "Somehow Gorm a Gamily# in !ouchstone
In Pclass writin$
%hurs, 8ct! />&
1ead & Fhapter Six of %IS& "-atherin$ the %hreads of ;istory!#
1ead "4eap# by +rian Moyle, in !ouchstone. In-Flass Writin$
CGor in-class actiity on the day you read these, do the exercise "Matin$ a
Si$nificant Eent!#D
Week Seen
%ues, Io! ,& 1ead %IS Fhapter Seen& "Writin$ the 4ar$er World# and %IS Fhapter
Ei$ht& "Esin$ 1esearch to Expand 7our (erspectie!#
CIf you are teachin$ on semesters and hae more time, break this readin$ up into at least
two sessions!D
1ead& "%he ;a=in$ of Swans# Su=anne (aola, in %IS "Sample Essays#
1ead& "'oon Snail# by +arbara ;urd Caailable in "hort !akes# (rief Encounters with
%reative &onfiction. 6 take this as an opportunity to look at some +reity pieces or
other works in !ouchstone.3
%hurs, Io! 0&
Writin$ Assi$nment Mue& Incorporatin$ historical or cultural back$round into a
personal story! +rin$ 0 copies to class!
Week Ei$ht
%ues, Io! ?&
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1ead& !I" Fhapter Iine& "%he %radition of the (ersonal Essay#
1ead& "Fonsider the 4obster# Maid Goster Wallace, in !ouchstone
%hurs, Io! ,A&
1ead& Fhapter %en in !I"# "(layin$ with Gorm& %he 4yric Essay and 'ixed
'edia#
1ead& "A +raided ;eart& Shapin$ the 4yric Essay# by +renda 'iller, in "Sample
Essays# in !I".
1ead& Anthony Garrin$ton, "Oissin$# and Minty 'oore, "Son of 'r! -reen)eans#
in !ouchstone
C 7ou can also show the students Minty 'oore5s wonderful "-oo$le 'aps# essay&
"'r! (limpton5s 1een$e,# aailable online& http&**maps!$oo$le!com*maps*ms<
ieJE%G?KoeJE%G?KmsaJAKmsidJ,,>3,?3AA>@2/2/?//@0>!AAA26c/>@//ecb
66b6fcaD
7&ote# the last two weeks are pretty packed with reading for the 8uarter system. If
possi)le, and you have time, spread these out, with more writing in )etween, or drop one
of the !I" chapters.3
Week Iine
%ues, Io! ,3&
1ead !I" Fhapter Eleen& "%he (articular Fhallen$es of Freatie Ionfiction#
1ead& No Ann +eard, "Gourth State of 'atter# in !ouchstone
CGor a currentBGebruary /A,/Bcontroersy in creatie nonfiction ethics, check out the
heated conersation on (revity9s creatie nonfiction blo$ about the liberties Nohn M5A$ata
takes with facts in his recent work& http&**breity!wordpress!com*/A,/*A/*A@*how-
ne$otiable-is-a-fact-in-nonfiction*D
%hurs, Io! ,>&
1ead& Fhapter %wele& %he +asics of -ood Writin$ in any form and Fhapter
%hirteen& %he Writin$ (rocess and 1eision!
,riting &ssign%ent: 5raft of 1inal Essa due, !ring T-o Co(ies to class*
In-class work on reision!
Week %en
%uesday, Io! //& Workshop
8
CIf you are teachin$ on the semester system or hae more time, you can use a week to
study Fhapter Eleen& "8nline Writin$ and Social 'edia# and*or Fhapter Sixteen&
"(ublishin$ 7our Freatie Ionfiction!#D
%hurs, Io! /2
&
%hanks$iin$, no class
Week Eleen
%ues, Io! /@& ,or.sho( 5raft of 1inal Essa! /ring T-o Co(ies to Class*
Ginal workshop in small $roups. reiew and reflection! Flass ealuations
%hurs, Io! 0A& Ginal 1eadin$. Flass Antholo$y. Ginal (ortfolio Mue
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