Undergraduate

What do we create in creative nonfiction? In this introductory workshop, we will explore the imaginative possibilities of the genre with a focus on bringing place to life. We will begin by asking: what meets the essayist’s eye?  How do we tell the stories of a particular world that are difficult to see? We will define place richly, as landscape, geography, locale, yes; but also as memory, people, language, carapace, and ecosystem. To wit, place is context. Place is an invitation, in the tradition of creative nonfiction, to weave from facts a story yet to be told. 

In this class, you will learn to render landscape as a character and ecological disruption as a human narrative. You will practice translating technical lingo into the voice of your piece. We will unsettle our ideas of culture/nature divide. Throughout the course of the quarter, we will engage enthusiastically with one another’s work, developing a vocabulary for a critical perspective that recognizes the aim and potential of each piece. You will leave this course with a strong grasp of the tenets of voice, language, and form, and a more nuanced understanding of creative nonfiction as a whole. Readings will include: Linda Hogan; J Drew Lanham; Helen McDonald; Ocean Vuong *texts/visiting writers*

Day/Time: Monday, 3:00-5:00

What does it mean to study another person’s life—a real person—and craft the collected pieces into a work of nonfiction? How do we gain insight into other people? How can we write about them with authority? As students report and write profiles in this nonfiction workshop, we will explore the practice and limits of this popular genre. Through weekly writing exercises and reading assignments, we will study techniques of interviewing and observing subjects, of using secondary sources and social and historical context. We will develop the abilities to depict people through physical detail, dialogue and action. In considering the extent to which we can and can’t know the real people we portray, we will also explore how writers (along with documentary filmmakers, historians, sociologists, writers of case studies) address these limitations in their work. Students will complete a short profile each week, and they will write one longer, workshopped and revised profile.

Day/Time: Friday, 12:40-2:40

A story's end point determines its meaning. The history of a life can be covered in a sentence, a few pages or seven volumes. How do writers decide? In this advanced workshop, we'll look at different ways to handle narrative time, paying special attention to building blocks like direct and summary scene, flashback, compression, slowed time and fabulist time. We'll examine work by writers whose long stories feel like novels, like Alice Munro and Edward P. Jones, alongside those who say everything in a short single scene of a page or two, like Grace Paley and Justin Torres. Students will be encouraged to experiment with time in both writing exercises and story revisions. Each student will workshop two stories, with strong emphasis on focused and productive peer critique and in-class commentary. 

Day/Time: Monday, 12:40-2:40

This advanced workshop asks you to complete new stories at a rapid clip.  Composing short works in quick succession, you will gain a more confident handling of narrative, a writing practice that pushes forward, and a more objective view of your own trajectory as a writer.  For the sake of brevity and the example of serial development, we will study models such as Lydia Davis, Yasunari Kawabata, Clarice Lispector, and Franz Kafka.  In addition to completing and sharing several writing exercises, you will twice submit a batch of stories for workshop.  

Day/Time: Tuesday, 1:00-4:00 

What must an ending do? Tragic endings define the story that comes before; epiphany transcends it.  Some endings hardly matter at all—and that's okay.  Why do different stories demand different endings and how should we conceive of endings as we write towards them?  Our own stories go unfinished when we don't know how to end them—but what exactly is the nature of that failure?  Is the story like an equation that the ending has to solve?  Or might the tyranny of the perfect ending invite us to reconsider the nature of storytelling?  In this technical seminar we'll study fictions that end triumphantly (Austin), damningly (James), surprisingly (detective novels), and not at all (as in Kafka's unfinished novels).  We'll weigh the problems and politics of endings—the unexamined need for closure, the too-easy sacrifice of the heroine—and consider critical views from Aristotle, Benjamin, and Shklovsky. Creative exercises, such as writing new endings for set texts, will complement weekly critical responses and—in the end—a final paper.

Day/Time: Friday, 9:10-11:10

This course explores literary responses to Chicago's boundaries and sites of contention through fiction, drama, poetry, and literary journalism. We'll examine work by writers and artists including Saul Bellow, Lorraine Hansberry, Nate Marshall, Bruce Norris, and Studs Terkel. How does one map the city's conflicts along zoning ordinances, street corners, playgrounds, and rumors? What histories undergird the city's racelines? In exploring these aspects of the city, where does a writer draw the boundary between fiction and nonfiction, between verse and prose? Engaging these larger questions, participants will develop their own individual and collaborative creative responses to "the city in a garden."

Day/Time: Tuesdays, 2:40-4:00pm

This course aims to deepen your understanding of the craft of short fiction through intensive study of contemporary writers and through workshops of both your own work and that of your classmates. Together we will examine stories by Mary Gaitskill, Kevin Brockmeier, Charles Yu, and others, reading as writers, searching not for theme but for a sense of how the stories were created, what craft choices the authors made, and what their structures can teach us as we create our own narratives. In addition to these readings, you will complete several short writing exercises and one longer story, which you will workshop and substantially revise. You will also engage with the work of your peers, delivering thoughtful, encouraging, constructive critiques.

Day/Times: Mondays, 11:30-1:30 pm

What do we create in creative nonfiction? In this introductory workshop, we will explore the imaginative possibilities of the genre with a focus on bringing place to life. We will begin by asking: what meets the essayist’s eye?  How do we tell the stories of a particular world that are difficult to see? We will define place richly, as landscape, geography, locale, yes; but also as memory, people, language, carapace, and ecosystem. To wit, place is context. Place is an invitation, in the tradition of creative nonfiction, to weave from facts a story yet to be told. 

In this class, you will learn to render landscape as a character and ecological disruption as a human narrative. You will practice translating technical lingo into the voice of your piece. We will unsettle our ideas of culture/nature divide. Throughout the course of the quarter, we will engage enthusiastically with one another’s work, developing a vocabulary for a critical perspective that recognizes the aim and potential of each piece. You will leave this course with a strong grasp of the tenets of voice, language, and form, and a more nuanced understanding of creative nonfiction as a whole. Readings will include: Linda Hogan; J Drew Lanham; Helen McDonald; Ocean Vuong.

Day/Time: Mondays, 3:00-5:00 pm

In this workshop-based course we'll investigate how strangeness and magic function in short fiction. We'll read stories by authors like Kelly Link, Carmen Maria Machado, and Alice Sola Kim, examining how these writers portray the fantastical and impossible. We'll explore concepts like defamiliarization, versimilitude, and the uncanny. We will contemplate how magical realism and surrealism differ from sci-fi and fantasy genre writing, and ask how we, as writers, can make the quotidian seem extraordinary and the improbable seem inevitable, and to what end? Students will complete several short creative exercises and workshop one story that utilizes magic or strange effects. Students will also be expected to write thoughtful, constructive critiques of peer work. Throughout the course, we'll consider how the expectations of literary fiction might constrain such narratives, and we can engage with and transcend these archetypes.

Day/Time: Thursdays, 2:40-5:40pm

Third-person narration is a crucial tool in the writer's toolbox, handy--and in some cases practically crucial--for a variety of tasks. Yet its use and various possibilities can seem intimidating to some writers who may be far more comfortable with the "I". In this seminar, we'll examine third-person point-of-view, seeking to understand its uses more fully. We'll learn about free indirect discourse, psychic distance, artifice, tone, and omniscience. We'll carefully dissect a variety of texts, including excerpts or stories from Jonathan Dee, James Agee, Jennifer Egan, Danielle Evans, Ottessa Moshfegh, and others. Students will be responsible for reading responses, short craft analyses, vigorous class participation, and several creative exercises putting what they learn into practice.

Day/Time: Thursdays, 9:40-11:00 am (synchronous)