CREATIVE NONFICTION WRITING
FALL 2013 SEMESTER
T/H 8-9:20 AM
215 BIDDLE HALL
PROFESSOR MARISSA LANDRIGAN
MKL18@PITT.EDU
PROFESSORMARISSA.WORDPRESS.COM
OFFICE: 233B BIDDLE
OFFICE HOURS: MW 11AM-1PM, T/H 9:30-11AM, OR BY APPOINTMENT
Overview
Maybe every essay automatically is in some way experimental—less an outline traveling toward a
foregone conclusion than an unmapped quest that has sprung from the word question.
~John D’Agata
In this class, we will seek to understand the shape-shifting genre that is creative nonfiction, by examining
manifestations of the creative nonfiction essay. We will read lyric experiments and literary journalism and
practice the various forms in between. We will learn the creative essayist’s research techniques. We will
grapple with craft concerns of imagery and emotional depth, as well as the ethical dilemmas of truthtelling. Above all, we will practice our own versions of creative nonfiction, attempting to draw our own
interpretation and understanding of what it means to tell a true story, but to tell it slant.
The course will function partly as a seminar in creative nonfiction and partly as a workshop, in which we
will read and discuss important works of contemporary creative nonfiction in an effort to formulate an
understanding of the genre at its current place in time. Through a combination of analytical blogging, peer
workshops, short in-class creative exercises, and three longer essays, we will practice writing and
discussing nonfiction essays. After extensive practice in giving and receiving critical response, the
semester will culminate in revision, expansion and development of a capstone essay portfolio.
Learning Objectives
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Develop observation and research skills that enable you, the writer, to move through the world
with a heightened awareness of the potentials of reality.
Familiarize yourself with contemporary narrative techniques in creative nonfiction and
understand the essay’s past, present and future.
Participate in substantive and respectful workshops whose goal is an appreciation of complex
literature and artful language, and a deeper understanding of how to provide and accept critique.
Apply feedback from workshops to revision of your own work.
Understand the basics of imaginative writing in any genre, including character, voice, plot,
tension, imagery, detail, setting, dialogue, and subtext.
What You’ll Need
Touchstone Anthology of Contemporary Creative Nonfiction: Work from 1970 to the Present, edited by
Lex Williford and Michael Martone (TA)
A dedicated folder/notebook for writing in the classroom. I will collect this several times throughout the
semester to see that you are keeping up with writing prompts and research exercises as homework.
Access to a reliable printer for other reading materials (PM) and workshop responses.
The rules for success in this course are simple:
1. Attend classes. In both discussion-based seminar classes and workshops, the process of learning
critical analysis and creative technique will happen in the classroom. In addition to hurting your
final grade, missing class also jeopardizes your ability to perform well on assignments. If you are
absent, it is your responsibility to consult the syllabus, Blackboard, and your classmates to find
out what you may have missed and to catch up. Missing more than four classes will lower your
final course grade one half step for each additional absence (from an A to an A-) and missing
eight or more classes results in an automatic F. Other ways to get marked absent include arriving
to class more than 15 minutes late, missing a scheduled conference, or using any electronic
device during class (when not permitted). (And yes, I know when you’re texting – no one just
looks down at their crotch and smiles.)
2. Listen and talk. I try to structure class so it is student centered rather than teacher centered. In a
teacher-centered classroom, the instructor lectures or leads discussions and the students listen,
take notes, and respond to questions. In a student-centered classroom, students play a more active
role: they initiate discussion, work collaboratively, and may even help set course goals. The
rationale for this approach is that students learn best when they are active participants. You learn
to write and critique effectively by working at those activities, not by listening to lectures. Our
class time will be devoted to discussions, writing exercises, small group collaboration, and
writing workshops. You should come to class ready to contribute. Please talk with me early in the
semester if you are uncomfortable with my student-centered pedagogy.
3. Do the work. Not completing all major assignments results in an automatic failure of the class.
Late assignments will be accepted by me, penalized at one letter grade per day late, but will not
be workshopped, as doing so would impose an unfair burden of additional reading on your
classmates. If you have any extenuating circumstances that will conflict with the deadlines for
these major assignments, you must speak with me in advance of the conflict to make other
arrangements. There’s always a way to work around a conflict, rather than hand in an assignment
late. No late workshop commentaries, blogs, or final portfolios will be accepted.
4. Challenge yourself. In-depth critical reading, thoughtful commentary and ambitious essays are
so much more captivating than safe, easy ones. Stretch yourself and I’ll be impressed, even if you
don’t always pull it off. I promise, no one will be a bigger cheerleader for your success this
semester than I will be – as long as I know you’re working hard.
Office Hours
I encourage you to come to me with specific questions about your essays at any stage of the writing
process, and I will schedule special appointments if my regular hours conflict with your other
commitments.
Office visits are opportunities for one-on-one instruction; they are not editing sessions where I merely
correct your work. Consequently, I have established the following guidelines for office hours: Whenever
you want to work with me on an essay draft, it is helpful if you bring two copies. It is hard for us to work
efficiently huddled over a single copy. You should make any handwritten changes to your own draft. I
will not serve as your proofreader. I don't believe you will learn anything from having me merely edit
your work. Do not come to my office and ask me to look over a paper "in general." If I am to help you
develop as a writer, you must come to me with specific questions, and you must learn to recognize the
areas in which you need help.
Asking me for help on an essay does not guarantee that you will receive a high grade. Use my advice
along with your own knowledge and skill to revise and edit carefully. I will help you, but you are
ultimately responsible for the quality of your essay.
If you miss a class in which we do a draft workshop, do not ask me to work through your draft
individually during office hours. You need to participate in all draft workshops in order to be eligible for
individual help. Giving individual assistance to those students who missed workshops would, I fear,
provide an incentive for absence on workshop days.
Assignments
Your grade in this class will be determined by a combination of your own original writing, your
participation in workshops, and your active participation in reading and discussion as detailed below:
1.
2.
3.
4.
A personal narrative essay for peer workshop (15%)
A lyric essay for peer workshop (15%)
A research-driven essay for peer workshop (15%)
Your writer’s journal, which will consist of a weekly analytical blog post (on the essay of your
choosing from that week’s readings), your in-class writing in response to creative prompts
(collected twice a semester), and your written responses to your peer’s essays in workshop (20%)
5. An individual presentation on an author you will work with me to choose over the course of the
semester (5%).
6. A final portfolio consisting of revised and expanded versions of all three previous essays (30%)
Please also note that you must attend one event (either a reading or a master class) as part of UPJ’s Fall
Reading Series, and write a blog in response to it. You may attend as many events as you like, but you
need only blog about one. This will be in addition to your regular weekly blog.
All events are held in Blackington 131. The reader will give a presentation on an element of craft at 6pm,
and then a reading of their work at 7pm.
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Thursday Oct. 3rd: Jeanne Marie Laskas, literary journalism.
Thursday Oct. 24th: Jan Beatty, poetry
Thursday Nov. 21st: Michael Cox (yes, that Michael Cox!), fiction
Classroom Respect & Coursework Ethics
Imaginative writing is a form of art, not an excuse to shock people. Dark subjects and taboo topics are par
for the course in the world of artistic exploration; we will certainly read “dark” and/or “edgy” published
work in class and you may choose subject matters that deal with sex, drugs, and rock and roll. Foul
language is fine if it is in the context of the story and consistent with the character’s way of speaking.
However, I do not accept essays or exercises that rely on excessive shock value: inappropriately graphic
violence, blatant pornography, and/or hate speech masquerading as art are not acceptable. Students whose
creative work is deemed to be a direct or indirect threat to other students or instructors will be dropped
from the class.
Workshop discussions are a chance for us all to practice our critique and learn both as a reader and writer
of nonfiction. This requires we all hold ourselves to rigorous standards of clarity and respect in sharing
our opinions in workshop. Please keep in mind that everyone’s emotional connection to his or her story is
different and requires consideration, and that critique is not the same as criticism. That being said, writers
should not submit pieces for workshop that deal with subjects about which they are not ready to receive
critique.
In addition, a creative writing class is a chance for you to showcase your brilliant originality, the depth of
your own experience and your emotional truths. So, plagiarism, aside from being a poor choice
academically, is a waste of everyone’s time. Such work will be dealt with in accordance with university
policy.
UPJ does not discriminate on the basis of race, color, age, religion, national origin, sexual orientation,
sex, marital status, or disability. An effective learning environment values and supports diversity. Our
classroom should be a place of lively discussion and all opinions are welcome. Intolerance and hateful
statements of any kind are not welcome, and anyone making the classroom environment uncomfortable
for shared learning will be asked to leave.
Course Schedule
Please note this schedule is tentative and subject to change.
Week
1
Day
T, Aug. 27
In Class
Syllabus and Course overview
To Do for Today
Navigating your blog
Th, Aug. 29
2
T, Sept. 3
What is creative writing? And
what on earth is creative
nonfiction?
Introducing the personal
narrative
Read: Didion’s “On Keeping a
Notebook” (PM)
“Picturing the Personal Essay”
Write: Blog response to Didion.
In-class prompt: I would
never…
Note: From here on, blogs are not
listed on the syllabus, but you must do
one per week in response to any
single essay of your choosing, in
advance of the class period for which
we read that essay.
Read: Strayed “The Love of My
Life,” (TA) and Monticello “I Know
Who You Are” (PM)
Thinking ahead: final
presentations
Narrative and empathy
Th, Sept. 5
3
T, Sept. 10
In-class prompt: scars
We live our lives with others:
writing nonfiction ethics when
others are involved
Read: Beard “The Fourth State of
Matter” (TA) and Franzen “Farther
Away” (PM)
Humor and Voice in creative
Write: Photo prompt or meal prompt,
your choice
Read: Sedaris “Repeat After Me”
Th, Sept. 12
4
5
(TA) and Bakes “Puck Tease” (PM)
In-class prompt: Funny
foibles, irritants, and fears
Imagination in creative
nonfiction: Wait, you don’t
only have to tell the truth?!
Read: Slater “Black Swans” (TA) and
Prentiss “Buying a House” (PM)
T, Sept. 17
How to Read an Essay/
How to Critique an Essay
Th, Sept. 19
Workshop Group #1
T, Sept. 24
Th, Sept. 26
6
nonfiction
T, Oct. 1
Th, Oct. 3
Workshop Group #2
Workshop Group #3
Introducing the lyric essay, or,
What the hell is this thing?
In-class prompt: Memory
Index
Flash nonfiction
Write: Place prompt or music prompt,
your choice
Essay #1 DUE: Please bring six
copies of your complete personal
narrative to class today.
Read and mark up: All your group
member’s essays.
Workshop groups will meet in my
office. Please bring a clean copy of
your own essay, and two copies of
your typed, written workshop guide
for the essay you’ve been assigned.
Read and mark up: All your group
member’s essays.
Workshop groups will meet in my
office. Please bring a clean copy of
your own essay, and two copies of
your typed, written workshop guide
for the essay you’ve been assigned.
Read and mark up: All your group
member’s essays.
Workshop groups will meet in my
office. Please bring a clean copy of
your own essay, and two copies of
your typed, written workshop guide
for the essay you’ve been assigned.
Read: Monson “Essay as Hack” (PM)
Read: Dillard “Living Like Weasels”
and Doyle “Leap (TA)
Focusing on language, image
In-class prompt: Diagram the
potential in a single object
Note: Jeanne Marie Laskas
reading and craft talk tonight!
Bring: A strange, random object.
Something weird. Something no one
else (probably) has.
7
T, Oct. 8
Th, Oct. 10
8
9
Group work on segmented
structure, juxtaposition, and
tangents
In-class prompt: a numbered
series branstorming
Hermit crab essays
Th, Oct. 17
In-class prompt: hermit crab
brainstorming
NO CLASS. Monday classes
meet today.
NO CLASS. Instead…
T, Oct. 22
Poetry and the Essay
T, Oct. 15
Review workshop methods
Th, Oct. 24
10
T, Oct. 29
Note: Jan Beatty reading and
craft talk tonight!
In-class workshops
Introducing research essays
In-class prompt: what’s in the
news?
Th, Oct. 31
11
T, Nov. 5
Narrative presence, narrative
curiosity in research
Using research to extend the
personal narrative
Immersion experiences
Field research
Th, Nov. 7
Finding research ideas in the
everyday
Going places
Read: Biss “The Pain Scale” (TA),
Martin “All Those Father’s That
Night,” and Atwood “The Female
Body” (PM)
Read: Moore “Mr. Plimpton’s
Revenge,” Clift “The Break-Up
Game,” and Talbot “The Professor of
Longing” (PM)
Check in with me in my office
sometime this week to run your idea
for the lyric essay by me and get any
advice you may need.
Essay #2 DUE. Please bring six
copies of your completed lyric to
class.
Read and mark up: All your group
member’s essays.
Please bring a clean copy of your own
essay, and two copies of your typed,
written workshop guide for the essay
you’ve been assigned.
Read: Foster Wallace “Consider the
Lobster” (TA)
Bring: a weird, random, or curious
news story. Be prepared to explain it,
briefly, to the class.
Read: Carlisle “Physical Evidence”
(TA) and Williams “The Clan of OneBreasted Women” (PM)
Write: list of questions prompt
Read: Purpura “Autopsy Report”
(TA) and Sullivan “Getting Down to
What is Really Real” (PM)
Write: annotating for facts prompt
Read: McPhee “The Search for
Marvin Gardens” and Laskas “Hecho
en America”
12
T, Nov. 12
In-class prompt: obsessions
Research in other forms
In-class brainstorming: What
form should your researchwriting take?
13
Th, Nov. 14
NO CLASS. Instead…
T, Nov. 19
Review workshop methods
Th, Nov. 21
Introduce final presentation
assignment
In-class workshops
Note: Michael Cox reading
and craft talk tonight (your last
chance to blog on the fall
reading series)!
14
T, Nov. 26
Th, Nov. 28
15
16
Introduce final portfolio
assignment and planning
revisions
Note: If you haven’t yet,
sometime this week or next,
you should check in with me
in my office to get your final
presentation author assigned.
Your blog post for today can
help you prepare for that
meeting.
NO CLASS.
Happy Thanksgiving!
Bring: an essay we read in one of our
first two units that you liked.
Write: blog post discussing how the
essay you’ve chosen incorporates
research
Check in with me in my office
sometime this week to run your
research essay by me and get any
advice you may need.
Essay #3 DUE. Please bring six
copies of your complete research
essay to class.
Read and mark up: All your group
member’s essays.
Please bring a clean copy of your own
essay, and two copies of your typed,
written workshop guide for the essay
you’ve been assigned.
Bring: All the marked up versions of
one of your first two essays.
Write: Blog post in preparation for
choosing your presentation author.
Read: essays for your final
presentation
T, Dec. 3
In-class revision work
Write: Work on your revisions
Read: essays for your final
presentation
Th, Dec. 5
In-class presentation prep
Write: Work on your revisions
Read: essays for your final
presentation
Final exam:
Fri, Dec. 13
9-11AM
Individual Presentations
Write: Work on your revisions
Final Revision Portfolios DUE