Assay's Nonfiction Syllabi Bank
Please be courteous with the ideas you find here.
Creative Writing Workshops
"Science and Nature Writing"| Ted Anton | Eng 491 | DePaul University
Students will read and write wonderful stories in a variety of forms—from news releases, essays and columns to investigative pieces and feature articles. We learn the skills of finding stories, and reporting, writing and selling them. We define science as broadly as possible, from nature, health and recreation to traditional sciences like physics and astronomy, to softer sciences like economics or sociology. Most of all, this is a course in storytelling. Beginning with research updates, we move on to feature articles and the most creative and artful modes of writing. We operate on the principle that articles are to be submitted for publication in magazines, newspapers and on websites. We are here to dream, to analyze and to share the awe and wonder of a mysterious world.
"Workshop: Nonfiction Places and Spaces." | Barrie Jean Borich | Eng 484 | DePaul University
The most compelling nonfiction subjects are located somewhere, beholden to places and spaces it takes all our senses to describe. How do personal and lyric essayists, memoirists and literary reporters use location to: ponder the relationships between memory, landscape, politics and identity; explore issues of immigration and exile; scrutinize loyalty to home and places of origin; embrace or reject some ground they can't forget? In this workshop we write, critique and revise new writing as we consider the work of a few creative nonfiction writers whose stories, immersions and inquiries are bound to public and private landscapes and whose works attempt to describe, explore, question and honor the hard-to-pin-down aspects of place and space.
"Experimental Nonfiction." | Steven Church | ENGL 250T | Fresno State University
This course will examine experimental American literature, focusing on form and writing technique. We’ll spend some time discussing the impact of post-modern literary theory on the development of alternative forms of nonfiction and consider specific forms such as the collage and lyric essay. We’ll also discuss the blurring of genre boundaries and the incorporation of forms, techniques and tropes traditionally associated with poetry, fiction, visual art, drama, and/or other subgenres of literature. We’ll look at texts that change the way we think about form and about the world, texts that resist easy classification and hopefully force us away from genre provincialism.
"Writing Creative Nonfiction." | Kelly Daniels | ENCW 203 | Augustana College
"Intermediate Creative Nonfiction: Workshop." | Sarah Einstein | Eng 3950 | Ohio University
The primary goal of this class is to provide you with a supportive workshop experience within which you can experiment with different genres within creative nonfiction and build a portfolio of work, at least one piece of which should be ready for submission to literary journals, to introduce you to working writers in the genre, and to give you the opportunity to participate in the literary community.
"The Lyric Essay." | Joanna Eleftheriou | LITR 3371
The primary goal of this class is to provide you with a supportive workshop experience within which you can experiment with dThis course, much like the lyric essay’s brief history, will be a site of experimentation. We’ll interrogate the notion that “lyric essay often accretes by fragments, taking shape mosaically” by investigating the arrangement of fragments in other contexts: archaeologists, for example, rarely have anything but fragments to work with, and to enter a gallery or a museum exhibit is to enter a site that, too, works “mosaically.” This is the premise behind a class visit to the Tacoma Art Museum and the on-campus Scandinavian Cultural Center. By responding to weekly writing prompts and developing two of these into longer essays, by semester’s end students will have acquired a strong sense of the genre’s possibilities and challenges. Moreover, by engaging closely with a rapidly evolving form, students will complete the course equipped with a nuanced understanding of how genre boundaries evolve and influence our reading and writing practice.
"Creative Nonfiction." | Melissa Frederick | CRW 7145 | Rosemont College
In this course, we will explore the craft of nonfiction, both in our own writing and in the works of published authors. Focusing on the three most common subgenres (memoir, literary journalism, and 3 personal essay), we will examine the practical aspects of the field—what techniques are being used, how a piece is put together, what narrative voice gives the piece an intimate quality and what sounds more like navel-gazing—as well as debate some of the gray areas that are bound to appear whenever any of us tries to put “the truth” into words.
"Creative Nonfiction: Exploring the Personal Essay." | Charlie Green | Eng 2890 | Cornell University
In Exploring the Personal Essay, we will read and write personal essays, exploring the various possibilities within the genre: the memoir essay and the contemplative essay, among others. We will explore the power of image and specific detail, the uses and limits of persona, and the boundary between public and private. Reading will include David Sedaris, James Baldwin, Annie Dillard, Virginia Woolf, Jamaica Kincaid, and others; we will also pay close attention to the students’ writing. Working through drafts, students will develop fuller skill at criticism and revision.
"Creative Nonfiction Writing." | Silas Hansen | Enl 306 | Ball State University
This class is an intensive study in the craft of writing creative nonfiction. In this course, you will read a great many published essays with a focus on identifying and evaluating the effectiveness of various craft techniques. You will then practice these craft techniques in weekly writing exercises, write and significantly revise your own essays, and read and critique your classmates’ work. You will read, write, share your writing, and talk about what you’ve read and written in each and every class.
"Explorations to the Fringes of Nonfiction." | B.J. Hollars | Eng 412/612 | Univ of Wisconsin-Eau Claire
English 412/612 will focus on writing and reading nonfiction, with an emphasis on producing several essays of near-publishable quality for a general, literate audience. While this class will discuss a range of nonfiction components (plot, setting, conflict, etc.) we will pay particularly close attention to “the fringes of nonfiction”; that is, innovating the essay form via structure, language, content and various other techniques.
"Creative Nonfiction." | Sonya Huber | ENW 206 | Fairfield University
"Creative Nonfiction Writing." | Marissa Landrigan | ENGWRT 500 | Univ of Pittsburgh--Johnstown
The course will function partly as a seminar in creative nonfiction and partly as a workshop. This means we will read a lot, and we will write a lot. For part of each unit, we read and discuss important works of contemporary creative nonfiction in an effort to formulate an understanding of the genre. Most of these readings will be followed by in-class writing prompts designed to jumpstart your own mind-engines. These prompts will lead us into writing three proto-essays, which will be shared and critiqued by your peers. After extensive practice in giving and receiving critical response, the semester will culminate in revision, expansion and development of those proto-essays into three full-grown essays capable of driving cars, paying bills, and moving out of their parents’ basements. Your final portfolio is your artifact of the semester, your own Cheshire-grinning version of what it means to tell the truth, but tell it slant.
"Narrative Nonfiction (Advanced)." | Marissa Landrigan | ENGWRT 1058 |Univ of Pittsburgh--Johnstown
Over the course of the semester, we will grapple with the questions fundamental to this fuzzy hybrid genre. What is a fact? What is the truth? How can a nonfiction writer conduct research without succumbing to the Heisenberg principle? How can we shape the plot arc of a story and develop compelling characters without sacrificing our journalistic integrity? What stories do we have a right to tell? What stories do we have an obligation to tell? We will discuss the role of the narrator and the ideology of objectivity. We will learn and practice the imaginative writing techniques of the novelist alongside the research strategies of any good journalist, and we might, if Hunter S. Thompson is any indication, drive ourselves a little crazy.
"Special Topics: The Lyric Essay." | Gary McDowell | ENG 6300 | Belmont University
Not a poem, not a narrative, not an idea-driven essay, but something other. Outside and/or inside this post-structuralist definition exists a genre of writing contemporarily vital to our literature. Braided through image, language, story, rhythm, and mimetic technique, the lyric essay expands upon its forbearers (Creative Nonfiction and New Journalism) popularized in the 1960s and 1970s by the likes of Joan Didion and Hunter S. Thompson and Tom Wolfe. The lyric essay, however, has pushed beyond even those gorgeously textured, vibrantly alive texts to include new levels of perception and insight, music and poetry. In this workshop-style class, we will read contemporarily to discover the lyric essay (writers will include, among others, Lia Purpura, Joni Tevis, T Fleischmann, Karen Green, Brian Lennon, and Brenda Miller) and then write our own lyric essays in conversation with our readings.
"Writing Capstone." | Cathy McMullen | Eng 489 | Concordia College
The theme for the course is research in creative writing; we will explore how writers bring depth, context, credibility and texture to their work through research. This capstone is comprised of two types of building blocks. The first is a solid portfolio of creative work; each of you should leave this class with a portfolio containing your best, most polished work—stories, poems or essays that are ready to be published or sent to graduate-program selection committees. The second material is an intellectual or scholarly understanding of your genre. This will be contained in a roughly 2,500-3,000-word essay, in which you discuss some specific aspect of creative writing.
"Creative Nonfiction Writing." | Robbie Maakestad | Eng 399 | George Washington University
In order to create an introduction to the craft, terminology, and techniques of creative nonfiction, we will pursue these learning goals: (1) Further our knowledge of both the craft and art of writing creative nonfiction; (2) Gain an understanding of how to apply nonfiction craft elements such as “Eye vs. I,” major dramatic questions, and lyricism; (3) Further an understanding of and ability to utilize general writing craft elements such as point of view, voice, story arc, dialogue, description, and scene/summary; (4) Grow in our knowledge of creative nonfictions subgenres: memoir, personal essay, narrative journalism, flash essay, lyric essay, essay of place, and portrait essays; (5) Endeavor to explain how creative nonfiction works as both readers and writers. By studying literature as a writer – considering it as a craft as well as an art – we will come to a better understanding of what goes into creation of that literature; (6) Work together in small-group workshops, and individually after those workshops, in order to explore and practice the discipline of revision.Together, these learning goals allow us to see writing as a process of art, craft, and discipline, which will benefit not just our ability to write creatively in this course, but also our ability to meet the creative and critical demands required of us in the future.
"Creative Nonfiction Workshop." | Amy Monticello | Eng 371 | Suffolk University
In French, the word essai means “to try.” Personal essays, then, attempt to make meaning of our life experiences, and to situate those experiences within a larger cultural, historical, and humanist framework. Though our stories may happen specifically to us, in telling them we reach across the arbitrary divides between ourselves and the rest of humankind. Our stories are part of human universalism and literary tradition. And our “attempts” to tell them as such involve making important choices as writers in terms of craft. To those ends, we will study the history and craft of the personal essay, short memoir, literary journalism, and lyric essay through model and instructive texts, and we will write our own essays to converse with those models. A combination of craft analyses, short-form essays, and workshop letters will contribute to your grade in the course.
"Creative Writing Workshop: Nonfiction." | Dinty W. Moore | Eng 3950 | Ohio University
This is an advanced workshop in the reading and writing of nonfiction literary prose – commonly called creative nonfiction. The course will begin by exploring the flash form in nonfiction and the importance of detail and scene. Students will read widely and write a number of their own essays.
"Creative Nonfiction Workshop." | Michele Morano | MCW 461-50 | Northwestern University
Telling true stories, and in the process grappling with what “true” means and where meaning resides, can be a thrilling, daunting, and artistically complex act. In order to help you generate and craft material in the most effective way, I have organized this course around several subgenres of creative nonfiction, from memoir to travel writing to profiles to personal/political essays. Studying the structures and techniques of published works in these subgenres (which often overlap), will help you choose appropriate angles from which to tell your own stories. Along the way, we will identify and discuss and practice many of the essential skills of creative writing in general.
"Nonfiction Writing/Advanced Nonfiction Writing." | W. Scott Olsen | Eng 377/477 | Concordia College
This is a combined seminar for students just entering the nonfiction sequence and for students who have a bit more experience. We will work toward refining our understanding of contemporary nonfiction, its place in contemporary letters, and we will work toward developing our skills and insights as authors. We will spend the majority of our time reading the published work of contemporary authors as well as the work-in-progress of our classmates. We will attempt, through a frequent use of an in-class workshop, to articulate our trials as authors and our needs as readers.
"Writing Nonfiction: Popular Culture." | Dan Roche | CMM 397 | LeMoyne College
This is a writing class in which the subjects can range from Dancing With the Stars to the Twilight series, from hip hop to Facebook, from ESPN to DKNY, from Disney World to Howard Stern—in other words, anything associated with commercial culture and all its trappings (movies, TV, radio, cyberspace, advertising, toys, games, etc.). You will be able to pursue your own subjects, as we read and practice the three primary ways in which people write nonfiction about popular culture: journalism, personal essays, and criticism. Our primary goal is to get better at producing nonfiction prose that is vivid, entertaining, and thoughtprovoking.
"Advanced Article & Essay Workshop." | Ned Stuckey-French | ENC 4311 | Florida State University
This is a course in the writing of creative nonfiction. Because creative nonfiction is a large and unwieldy genre, we will focus within it on the personal essay and because it’s summer and our time is short and accelerated, we will focus on writing fairly short essays. We will begin to explore the range and flexibility of this form in discussions of our own work and that of published essayists. Everyone in the class will also be part of a small group, which will be responsible for leading workshop for one of four weeks and for selecting copy for inclusion in a little magazine, which they will turn in the last week of class.
"The Personal Essay." | Deborah Thompson | E 641 | Colorado State University
This course is designed to explore the range, possibilities, and perils of this sometimes unnervingly flexible form. Students will both read and write a range of personal essays and will learn how to talk critically and appreciatively about essays at many stages of formation, from first draft to published (and presumably “finished”) pieces.
"Graduate Workshop--Nonfiction." | Rachel Toor | CRWR 517 | Eastern Washington University
We will be reading and writing fact-, thought-, and observation-based essays that use the techniques of fiction to tell compelling and true narratives. Throughout the semester we will discuss issues of craft: how to create an effective narrative arc; how to develop a sense of urgency or tension using sentence structure, syntax, and/or organization; how to use dialogue, description, and the telling detail; ultimately, we will focus on how to keep the reader engaged. We will study each other’s work as writers, looking at the decisions the creators of each piece have made and asking questions about how well those choices work; we will read the work of published writers to search for moves and tricks that we can steal and use in our own writing. We will discuss the inevitable ethical issues that arise from writing about living people, explore strategies for maintaining standards of accuracy and fairness, and dwell on the obvious and important issue of the all-too-human ways in which memory works and often fails.
"Memoir and Journal Writing." | Whitney Walters | WRIT 1006 | University of Minnesota-Duluth
This writing course is designed to introduce students to the craft of memoir and journal writing through analysis of texts in the field and practice writing the nonfiction genres. Like any other skill, the ability to write well takes time, effort, and practice. This course will help you build on the creative writing skills that you already have and shape your nonfiction writing by focusing on scene, characters, dialogue, purpose, and writing as a process, among other elements. Through the practice of close reading and critical thinking, you will additionally gain a deeper understanding of the social, historic, economic, and political milieu of a given text; the ability to provide fellow writers with thoughtful feedback; and revision strategies when writing alone. By the end of the semester, you should feel confident in your ability to write compelling, focused, and well-developed creative nonfiction.
"Writing Workshop, Prose Nonfiction." | Amy Wright | ENGL 4200 | Austin Peay State University
This course will focus on prose nonfiction—the genre that employs narrative and lyric literary devices to organize and relay information. We will read essays that use characterization, metaphor, plot development, etc. to connect readers with the exposition’s emotional effects. We will consider how brevity affects attempted revelation. We will remain open to the genre’s promise, considering the word “essay” originates in Montaigne’s French term essais, meaning an attempt or foray. We will also answer, as writers, to Strayed’s criteria for choosing the best of the Best American Essays by their ability to conclude, “As if nothing would ever be the same again.”
"Topics in Literature: Creative Nonfiction Classics." | Barrie Jean Borich | Eng 379 | DePaul University
Contemporary writers frequently talk about Creative Nonfiction as an evolving, genre-defying form, but the origins of this literature are quite old and extraordinarily diverse. The roots of today's creative nonfiction include a myriad of time-honored writings of witness, testimony and lyric musing that critique, confront and comment on circumstances of the actual world. In this class we read literary nonfiction works published before the contemporary use of the term “creative nonfiction.” Our focus includes: captivity and immigration narrative; personal rumination on race, identity, atrocity, justice and feminism; literary documentary and the nonfiction novel; nostalgic recollection; and meditation on the political necessity of self-naming.
"LGBTQ Memoirs" | Barrie Jean Borich | Eng 272 | DePaul University
What makes a queer life story? Are lesbian, gay, bisexual, transgender, and genderqueer memoirs merely literary selfies? Or do authors who make literature of actual queer lives help create worlds within which we all might better thrive? This course will examine the histories and contemporary forms of literary memoirs created by LGBTQ authors in post-Stonewall USA, contextualizing our reading in relation to time and location, considering both visibility and representation, and exploring queer narratives of activism, intersectionality, and self-invention.
"Exploring the World: The Global South." | Creighton Nicholas Brown | Eng 203 | University of Kansas
"Turning the Weird Pro: The Craft of Narrative Journalism." | Amaris Ketcham | UHON 400 | Univ of New Mexico
Narrative journalism has been called gonzo, the art of hanging out, full immersion, and participant journalism. Critics have called it stunt journalism or playing tourist, but this research strategy involves introducing an experiment into your life and using yourself as a baseline to learn more about your subject, yourself, and the surrounding world. In this course, we will investigate narrative journalism through readings, writing, research and most importantly, action. Throughout this creative writing course, students will develop techniques for approaching the angle of journalistic and anthropologic assignments, such as finding the telling detail, writing profiles, covering events, and characterizing place. Students will be comfortable holding craft-based writing discussions, writing articles with narrative arcs, developing tension through scene and syntax, keeping the audience engaged with the text, acknowledging their stance within the text, and offering constructive criticism based in the goals of the piece. They will also develop a basic understanding of ethical issues involved in writing about living people and the fallibility of memory. We will work on acknowledging subjectivity, placing the journalist within the writing, conducting interviews, and reconstructing scenes, characters, and dialogue.
"Special Topics: True Passions: Nonfiction Authors on their Favorite Things." | Natalie Kusz | CRWR 539 | Eastern Washington University
This course examines the characteristics of nonfiction in which the author addresses a personal passion, fixation, or obsession. In some of the literature we’ll discuss, the passion in question is an author’s signature literary subject—food, for instance, in the case of M.F.K. Fisher—while, in others, such as Hemingway’s Death In the Afternoon (which regards bull fighting), it is a one-time nonfictive foray into an area about which, in his/her private life, the writer feels strongly. Our study will look into solitary passions, philosophical passions, and others, all the while illuminating the various voices, tones, and other craft matters which distinguish the passionate work from the laissez faire.
"Historical Creative Nonfiction" | Robbie Maakestad| UW 1020 | George Washington University
In historical creative nonfiction, writers research the past in order to inform the present. By reexamining and retelling history within the genre of creative nonfiction, writers inhabit the space between past and present, tying the two together by thinking critically on the page.Through consideration of the greater context of historical events and persons, the reader juxtaposes the past with their own life and better understands how to create meaning in the present.In this class we will read essays by Elizabeth Kolbert, John McPhee, John Jeremiah Sullivan, Joan Didion, Gay Talese, and many other writers. These readings will focus on historical events and persons and allow for discussion of the way the past informs the present. By reading researched, argument-driven historical essays and discussing them in the classroom, students will learn the rhetorical situation and see how writers use argument in historical creative nonfiction writing. Students will then apply the rhetorical situation and their own research to three historical creative nonfiction writing projects throughout the semester: a profile essay, and two researched narratives.
"Women and Writing: 19th, 20th, and 21st-century Women's Autobiography" | Micah McCrary| Eng 3060J | Ohio University
This particular course will focus on the intersection of autobiography and history, viewed especially through the lens of women's autobiography spanning three centuries. Together we will explore subjects and pose questions (specifically What can we learn about history through reading women's autobiography?) regarding the conventions of autobiography as a genre, the evaluation of history through subjective lenses, and the significance of writing through multiple time periods. Course readings include, but are not limited to, texts by Laura Ingalls Wilder, Anne Frank, and women's slave narratives.
"Directed Reading in Nonfiction: First Essay Collections." | Ana Maria Spagna | Eng 550 | Northwest Institute of Literary Arts
What makes an essay collection work? How closely linked do the individual essays tend to be in theme or subject? How similar in length and point of view? What qualities, if any, do first-time essayists share in common? How do new writers push the boundaries of the genre and/or how do shifting boundaries challenge the writer? We’ll read ten contemporary first-time collections in search of answers to these and other craft questions. We’ll also examine the venues where the books and the individual essays have been published to delve into differing reader expectations.
"Magazine Culture and the Modern American Essay" | Ned Stuckey-French | WRITING R6225 | Columbia University
Essays enter the canon primarily through first-year writing anthologies, where they are yanked from their historical context and used as models for this or that kind of student writing. E. B. White's “Once More to the Lake,” for instance, is a well-known and oft anthologized essay about a father and son fishing on a lake in Maine. It is generally read as a nostalgia piece and used to prompt an exercise essay about “what I did on my summer vacation,” but when it first appeared in Harper's in 1941 and was collected the following year in White’s book One Man's Meat, readers recognized it also being as a critique of isolationism and warning about the gathering clouds of war. We will begin by reading articles about the form of the essay, the creation of the essay canon, and the rise of American magazine culture before studying essays by several American writers, including H. L. Mencken, Zora Neale Hurston, Richard Wright, James Baldwin, John McPhee, Joan Didion, David Shields, David Foster Wallace, Jenny Boully, and Eula Biss. We will examine these essays as they appeared originally in magazines and journals such as the New Yorker, Harper’s, Ms., the Iowa Review, and the Saturday Evening Post in order to learn what their historical context can tell us about their form and meaning.
"The Art of True Crime: Readings in Creative Nonfiction" | Sarah Viren | Eng 2308:008| Arizona State University
As a culture, we are saturated with true crime stories, most of which follow a predictable narrative arc: there is a victim, an investigation, and the satisfaction at the end that justice has been done. Occasionally, however, writers use stories of crimes and criminals as a means of exploring the philosophical, metaphysical, spiritual, and existential questions of daily life. Work by authors such as these will be the focus of our course, with nonfiction readings spanning in form from the memoir to the documentary and exploring such crimes as rape, murder, drunk driving, and orchid theft.
Form & Theory
"Special Topics: Research for Creative Nonfiction." | Silas Hansen | Enl 405 | Ball State University
This class will focus on the use of research in creative nonfiction: the purpose it serves, the various research methods creative nonfiction writers employ, the ways one can incorporate research into literary work, etc. We will read a great deal of published work that utilizes research, practice numerous research methods and writing styles through short exercises, and then focus in on a single project for workshop.
"Special Topics: Me, Myself, or I? Techniques in Non-fictional Point of View." | Natalie Kusz | CRWR 539 | Eastern Washington University
The literary term Point of View refers to the dominant pronoun (I, You, He/She, etc.) used in any piece of work. In nonfiction prose, the POV is often First Person Singular (even in pieces which are not about the author), and the verb form is usually Past Tense, but by no means does this indicate that one writer’s works will all “read” similarly. The art of nonfiction is an acting job, and, like an actor, the essayist performs a character role each time he or she starts a new piece. The author’s theater is the page, and his/her persona is a function of textual, rather than physical or audible, “gestures.” This course will examine those gestures in minute detail, and students will spend the term analyzing and practicing them.
"Literary Nonfiction I: Ancient Roots through 19th C." | Natalie Kusz | CRWR 586 | Eastern Washington University
"Literary Nonfiction II: 20th C. and Beyond." | Natalie Kusz | CRWR 587 | Eastern Washington University
"Literary Nonfiction III: Special Topics--Mountains out of Molehills: Great Essays, Small Subjects." | Natalie Kusz | CRWR 588 | Eastern Washington University
"Literary Nonfiction I: Ancient Roots through 19th C." | Rachel Toor | CRWR 586 | Eastern Washington University
In this course we’ll examine a range of nonfiction writing with the intention of learning to read like writers. Students will look at elements of craft (narrative versus exposition, sentence structure, characterization, use of the telling detail, organization and narrative arc, setting scenes, handling time and tension) in order to find tricks and moves that they can use in their own work. Students will learn to set aside their personal responses to a piece of work in order to focus on what the writer is trying to do and how she achieves that. We will learn about the history of the genre and by the end of the course, each student should be able to define what he or she thinks counts as creative nonfiction.
Composition & Rhetoric
"Rhetoric as Argument: The Rhetoric of Science." | Karen Babine | Eng 151 | Univ of Nebraska-Lincoln
English 151 focuses on the study and practice of writing and rhetoric as rhetoric—that is, students will use writing and rhetorical concepts such as purpose, audience and context to pose and investigate problems that are meaningful in their lives or communities, explore open questions, and/or examine complex tensions. This course provides students with extended practice in writing and rhetoric as argument in a supportive, student-centered environment. We will be looking at different uses for argument and how it finds different expressions on the page.
"College Writing: Place and Community" | Karen Babine | Eng 1200/1201 | N.. Hennepin Community College
This course will investigate the relationship of place and community, a lens through which we will develop a way of looking at what and who surround us, physically, intellectually, and emotionally. Through our major writing projects, we will participate in community conversations and make choices as writers based on what we learn about writing in the communities we study. Throughout the class, as you study, read, and write about issues important to you, you’ll develop three writing projects through which you will 1) examine your own literacy, your history of reading and writing, and analyze the different ways you claim your own literacy; 2) explore and analyze a community you are connected to through the use of interviews and field research; 3) use what you learned in Writing Project 2 to identify an area of need in that community and advocate for that community. Our purpose in this class is to develop a greater understanding of the ways place influences our community identity, to actively inquire into the ways that community is formed and expressed, and to communicate what we have learned in modes that best suit our audience and purpose.
"Rhetoric: The Essay." Assay 1.1| Robert Brooke | Eng 475/875 | Univ of Nebraska-Lincoln
Called “Rhetoric: The Essay,” this course asks students—as both writers and teachers—to locate themselves in the tensions of the essay. Central to my approach to “Rhetoric: The Essay” are two concepts: (1) the essay is a complex form, with at least four specific variations; (2) “thinking moves” to structure an essay may well be the element all the variations have in common.
"Autobiography and Life Writing." Assay 1.1 | Richard Louth | Eng 370 | Southeastern Louisiana University
This is a creative writing course in which we write nonfiction as opposed to fiction, poetry, or drama. Our creative nonfiction will focus on our own lives and observations of the world around us. Emphasis is on students as writers and on the course as a writing course supplemented by readings. We study outstanding examples of autobiographical writing to better understand the art of writing about one’s own life in different nonfictional genres. Writers in the course 1) participate in “writing marathons” and other journaling activities to generate material for rough drafts; 2) participate in response groups and critiques to revise drafts into artful finished works; and 3) publish their work online and through “author’s chair” public readings the last week of class.
"Writing and Rhetoric I: Creative Composition." | Micah McCrary | Eng 1510 | Ohio University
Students in this workshop-style course will conduct research on subjects of their own interests, the end result being a long-form, exploratory essay. This course emphasizes creative and academic writing at once, and students’ writing will simultaneously privilege idea and execution. A final essay will resemble work of both a scholarly and creative nature, for a mixed, public audience. We will look at scholarly texts to help seat ourselves within research that explores the theories espousing a blend of the creative and the academic, as well as contemporary texts that execute the kind of sustained research, writing, and thinking students will be expected to perform. We will explore an alternative approach to composition by using a traditional approach to creative writing, relying heavily on peer review and collaborative learning as aspects of writing and revision.
"Adventure, Exploration and Risk: Moral Courage." | Cathy McMullen | IWC 100 | Concordia College (Linked course with Olsen's INQ 100, below.)
The theme and readings for this course complement those in your Inquiry Seminar, Adventure, Exploration and Risk, wherein you will examine the issues brought to light in the travel and adventure narrative: conquest, self-discovery, science, and a good bit more. Here in IWC, we will examine different types of adventure, exploration and risk: those of the intellectual, ethical and societal nature.
"Inquiry Seminar: Adventure, Exploration, and Risk." | W. Scott Olsen | INQ 100 | Concordia College (Linked course with McMullen's IWC 100, above.)
This is a course that examines the issues brought to light in the travel and adventure narrative. We will talk about conquest, self-discovery, science, and a good bit more. How much of our cultural background do we project onto a new place? How do our goals (personal, political, etc.) influence how we value what we see and experience? How do we think about the literature of travel and its relation to any kind of accuracy or truth?
"Inquiry --Written Communication." | W. Scott Olsen | IWC 100 | Concordia College
"Creative Writing Pedagogy." | Heidi Czerweic | University of North Dakota
Creative Writing Pedagogy as a discipline has been debated for years, but has only gained traction as an area of research and praxis in the last 10-15 years, with a particular proliferation in the past 5 years. In keeping with best practices held by this discipline, this creative writing pedagogy course will teach students multiple approaches to design, teach, and manage a creative writing workshop, and will empower you to select an approach which enables you to teach to your strengths, skills that will make you more confident and successful teachers, and more marketable as you apply for teaching jobs.
"Seminar in Composition and Creative Writing Pedagogy." | Julie Platt | ENGL 5153 | Univ of Arkansas-Monticello
This course is designed for MFA students who wish to teach composition and/or creative writing at the undergraduate level. It provides an introduction to the basics of pedagogical theory while foregrounding praxis. Special attention will be given to exploring the intersections between composition and creative writing, and the challenges of teaching writing effectively in online and hybrid spaces. Students who successfully complete this course will have the beginnings of a basic teaching portfolio that reflects an understanding of current issues and practices in undergraduate writing pedagogy.
"Topics in Editing & Publishing: The American Literary Magazine." | Barrie Jean Borich | Eng 477/377 | DePaul University
This course examines the American literary magazine, from inception to contemporary practice. We explore the missions, functions, styles, personalities, experiments, and aesthetics of select little magazines and literary journals published from the early 20th century to the present day, particularly those representative of great moments of change in both political and literary culture. Class participants compare and contrast the ways literary journals develop in response to changing times, in keeping with innovations in literary form and in tandem with changes in publishing technologies, and analyze the literary journal’s relationship to both book publishing and individual authors’ careers.
"The Writer's Journal." | Jeff Oaks | Eng 1092 | Univ of Pittsburgh
A writer's journal, as opposed to a diary, should involve a more considerable attempt by the writer to interrogate the experience, the language, and especially the writerly self. Central to the work of the class will be your ability to be messy, to trust in your creative process and to allow yourself liberty to say things that might make you feel very vulnerable.