CRWR

Nature writer Barry Lopez suggests that knowing a place intimately and writing about it — whether that place is an Arctic ice floe or an urban taco stand — creates an important “sense of belonging, a sense of not being isolated in the universe.” In this course, we will read fiction by writers who explore the impact of place on community, culture, and the individual. We will take Lopez’s advice to “become vulnerable to a place,” and to represent that place and its people with rich and complex detail. Writing exercises and the occasional field trip will help to generate material, while responses to assigned readings will give you a bit more direction as you address issues specific to writing about places, as well as other fundamentals of fiction writing.

Scenes are often considered the building blocks of narrative story-telling. In this course, we’ll examine short fiction through the lens of scene, starting from the basics: What are scenes, how do they work, and what should they accomplish in a story? We’ll consider the scene’s relationship with context, tension, subtext, narrative arc, and other story elements. Together we’ll examine how authors like Bret Anthony Johnston, Rebecca Lee, and Jhumpa Lahiri use scenes to great effect, with a particular focus on setting, dialogue, action, and detail. In addition to readings, students 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.

"All writers are exiles wherever they live and their work is a lifelong journey toward a lost land.” So wrote Janet Frame, a singularly talented author who was institutionalized at the age of 21, then saved from a lobotomy only because she won a literary prize. In keeping with Frame’s reflection, this course will focus on strategies for saving our lives through fiction writing: how to cultivate a convincing voice; how to extract strength from our writerly weaknesses; and, ultimately, how to forge a home for ourselves in our own words. Through a combination of creative exercises, we will explore and examine the craft components of strong, original fictions, including character development, descriptive detail, compelling dialogue, and rich sentences. We will learn how to read the works of published writers for creative inspiration, mining texts by masters such as Janet Frame, Alice Munro, Julio Cortazar, Sofia Samatar, and Yasunari Kawabata. We will also workshop original student writing throughout the term, developing a portfolio of stories that reflect our individual interests, desires, and needs as writers. 

Writers at all levels learn through the careful reading of works they admire. We spend more than a third of our time in this class reading stories worth learning from, both classic and contemporary, with focus on the choices that writers make, the nuts and bolts of craft, with special emphasis on point of view (who speaks and why?). In-class exercises fire your creativity and get you writing. In workshop, each student has the opportunity to present work to the group.

This thesis workshop is for students writing a creative BA or MA thesis in nonfiction, as well as creative writing minors completing the portfolio. Student work can be an extended essay, memoir, travelogue, literary journalism, or an interrelated collection thereof. It’s a workshop, so come to the first day of class with your work underway and ready to submit. You’ll edit your classmates' writing as diligently as you edit your own. I focus on editing because writing is, in essence, rewriting. Only by learning to edit other people’s work will you gradually acquire the objectivity you need to skillfully edit your own. You’ll profit not only from the advice you receive, but from the advice you learn to give. I will teach you to teach each other and thus yourselves, preparing you for the real life of the writer outside the academy.

This thesis workshop is for students writing a creative BA or MA thesis in nonfiction, as well as creative writing minors completing the portfolio. Student work can be an extended essay, memoir, travelogue, literary journalism, or an interrelated collection thereof. It’s a workshop, so come to the first day of class with your work underway and ready to submit. You’ll edit your classmates' writing as diligently as you edit your own. I focus on editing because writing is, in essence, rewriting. Only by learning to edit other people’s work will you gradually acquire the objectivity you need to skillfully edit your own. You’ll profit not only from the advice you receive, but from the advice you learn to give. I will teach you to teach each other and thus yourselves, preparing you for the real life of the writer outside the academy.

This thesis workshop is for students writing a creative BA or MA thesis in poetry, as well as creative writing minors completing the portfolio. Because it is a thesis workshop, the course will focus on various ways of organizing larger poetic “projects.” We will consider the poetic sequence, the chapbook, and the poetry collection as ways of extending the practice of poetry beyond the individual lyric text. We will also problematize the notion of broad poetic “projects,” considering the consequences of imposing a predetermined conceptual framework on the elusive, spontaneous, and subversive act of lyric writing. Because this class is designed as a poetry workshop, your fellow students’ work will be the primary text over the course of the quarter.

This thesis workshop is for students writing a creative BA or MA thesis in poetry, as well as creative writing minors completing the portfolio. Because it is a thesis workshop, the course will focus on various ways of organizing larger poetic “projects.” We will consider the poetic sequence, the chapbook, and the poetry collection as ways of extending the practice of poetry beyond the individual lyric text. We will also problematize the notion of broad poetic “projects,” considering the consequences of imposing a predetermined conceptual framework on the elusive, spontaneous, and subversive act of lyric writing. Because this class is designed as a poetry workshop, your fellow students’ work will be the primary text over the course of the quarter.

This thesis workshop is for students writing a creative BA or MA thesis in fiction, as well as creative writing minors completing the portfolio. It is primarily a workshop, so please come to our first class with your project in progress (a story collection, a novel, or a novella), ready for you to discuss and to submit some part of for critique. As in any writing workshop, we will stress the fundamentals of craft like language, voice, and plot and character development, with an eye also on how to shape your work for the longer form you have chosen. And as a supplement to our workshops, we will have brief student presentations on the writing life: our literary influences, potential avenues towards publication, etc.

This thesis workshop is for students writing a creative BA or MA thesis in fiction, as well as creative writing minors completing the portfolio. It is primarily a workshop, so please come to our first class with your project in progress (a story collection, a novel, or a novella), ready for you to discuss and to submit some part of for critique. As in any writing workshop, we will stress the fundamentals of craft like language, voice, and plot and character development, with an eye also on how to shape your work for the longer form you have chosen. And as a supplement to our workshops, we will have brief student presentations on the writing life: our literary influences, potential avenues towards publication, etc.