September 13 - November 21
Sometimes it can be harder to write short than to write long, but the flash essay presents a fun and potentially immensely rewarding challenge. Paradoxically, the word-count limitations may offer writers a certain kind of liberty. As author Julia Cameron has written, “In limits there is freedom. Creativity thrives within structure.”
This class is designed for writers who are familiar with the basics of flash nonfiction and want to go deeper into the form. We’ll explore a range of short nonfiction forms, styles, and structures. We’ll focus on specific elements of the craft of writing and learn ways to use these elements within the confines of up to 1,500 words.
"Why are miniature things so compelling?" asks author Lia Purpura. Why do we marvel at teacup pigs, bonsai trees, and the perfect paragraph? How can we squeeze the pulsating, swirling meaning of life into a page or two? This week, we’ll look at a variety of short nonfiction forms. We'll examine why each is so compelling and how these forms are integral to creative nonfiction's past, present, and future.
"The world is everywhere whispering essays," wrote essayist Alexander Smith. If essays are the stuff of life, how do we stuff our lives into a short memoir or personal essay? This week we'll explore the building blocks of narrative nonfiction and experiment with shrinking those blocks to fit into the tiny spaces of flash. Writing exercises will train our writers' eyes to see with several dual perspectives: literal and figurative; past and present; big and small.
Not all flash nonfiction has a clear narrative arc or plot, but all essays have some kind of beginning, middle, and end. This week we’ll look at techniques to write engaging openings, interesting middles, and powerful endings. Individual craft components will include rendering vivid characters and descriptive settings and identifying indispensable dialogue. We’ll also practice finding the best balance of showing and telling in short essays.
Just as there’s not a single way to write flash nonfiction, there’s not a single way to revise it. This week we’ll explore a variety of methods for revision and editing based on personal preference, creative aesthetic, thought patterns, and work habits. Students will also have the opportunity to create a personal writing manifesto focused on the concepts of vision and revision.
"Tell the truth but tell it slant." So go the oft-quoted words of wisdom from Emily Dickinson. The second line of that poem is quoted less often: "Success in Circuit lies." This week, we'll find ways to tell the truth by going the long way round … or is it the short way through? We'll dive deep into using details, imagery, and metaphor to create texture and convey meaning.
Does form always follow function? Or, is it possible that an essay’s content and structure are one and the same? This week we’ll explore the wide range of structures that are possible in flash nonfiction, including narrative, lyric, chronological, fragmented, micro, and more.
Our stories, experiences, observations, and thoughts should transcend the personal. This week we’ll learn about constructing a bridge from the personal to the universal. We’ll look at how elements such as specificity and external research can contribute to deeper, more resonant essays.
"When I experience anything," wrote poet Dylan Thomas, "I experience it as a thing and a word at the same time, both equally amazing." Why should poets have all the fun? After all, flash nonfiction often occupies the space between prose and poetry. This week we’ll explore how both the mechanics and aesthetics of language can enhance our work.
Great singers have stage presence. Great writers have page presence. Voice is always important in creative nonfiction, but it's exponentially more important (and noticeable) in short forms. In flash, the writer's voice has the potential to carry an even heavier load than normal; it can compel readers to keep reading—and to share the writer's vision. We'll play with our own writing voices (yes, we each have more than one) to discover how voice can create something substantial out of thin air.
This week we’ll discuss finding a "home" for your work out in the world. We’ll cover the ins and outs of submitting to literary magazines and how to decide where to submit. Students will have the opportunity to identify potential outlets for their own work as well as that of their classmates.
Out of stock
It is not uncommon for classes to fill up before the end of early registration, particularly in the last few days before the deadline. If you know for certain that you wish to take a particular class, we recommend registering early. If you'd like to be added to a waitlist for a sold-out class, please email our director of education, Sharla Yates, at [email protected].
Creative Nonfiction’s online writing classes have helped more than 3,000 writers tell their stories better.
Usable lessons, really great readings, doable assignments that really sparked writing for me, and a cohort of writers who were extremely supportive of each other.Leslie Doyle
Usable lessons, really great readings, doable assignments that really sparked writing for me, and a cohort of writers who were extremely supportive of each other.
All course work is saved in Wet.Ink. When the course closes, you can find the archive by logging in to your account, and choosing “Past Classes.” Archives include course content (lectures, readings, writing prompts, etc.), your posts and writing submissions, and any feedback given on your writing. The course archive will not include your classmates’ writing submissions.
FUNDAMENTALS—open to all levels.Our fundamentals courses are designed for those who are new to writing or new to creative nonfiction, as well as those who could benefit from a back-to-basics review on how to effectively and intentionally use elements of the writer’s craft.
INTERMEDIATE—prerequisites suggested. Our intermediate courses are designed for writers who have some experience either in the genre or CNF’s courses. Past course participation is not required, but we do recommend starting with one of our fundamentals courses, especially Foundations of Creative Nonfiction.
ADVANCED—prerequisites for enrollment. Our advanced courses are for writers who have completed two previous online courses (not including self-guided courses) with Creative Nonfiction (one must be an intermediate level course).
FlexibilitySome online programs work on a “synchronous” model, which requires you to be online at an assigned time each week. The asynchronous model used in our classes means that you do not have to be online at any particular time of day, and can approach the class assignments at your own pace throughout the week based on your schedule. While some optional events, such as class video conferences, do take place at a specific time, the majority of class activities can be completed according to your schedule.
Intimate ClassesClasses are small—limited to 14 students per section—which means you’ll receive individual attention and feedback on your work.
Experienced InstructorsGood writing instructors not only need to be skilled writers, but also need to have experience in teaching what they know to others. That’s why all of our instructors are professional writers with extensive teaching experience.
Substantial and Meaningful Writing AssignmentsMany online writing programs ask you to complete short writing exercises each week, and only near the end of the class are you invited to write a single essay or chapter. At Creative Nonfiction, we recognize the value of exercises, but also believe that completing an essay or chapter is the best way for developing writers to really explore how all the elements of creative nonfiction work together. Writing complete pieces also leaves you with a sense of accomplishment and with work that you can share when the class is completed. For this reason, in our classes you are invited to submit longer essays multiple times during a course. See course syllabus for more information.
Sense of ConnectionWe realize that it is difficult to find one’s writing community—which is why we now offer every new student membership to a Community Page where you can meet with other CNF students, during and after class.
Our courses run asynchronously; meaning, you will NOT need to be online at any particular time. Assignments for CNF classes are given on a weekly basis; you should submit each assignment by a given deadline, but in most classes you will have at least an entire week to complete the assignment. We realize that our students live in many different areas and have different work schedules, so classes are designed to be flexible. Courses feature one live conference session, which does require that you be online at a particular time; however, participation in this session is completely optional, and instructors make an effort to offer times that can accommodate most students. This is scheduled by the instructor after class begins.If you are not able to participate in the live conference you will still be able to view a recording of it during the remaining weeks of the class. Please note that there are no video conferences in boot camp courses.
Our terms include 5- and 10-week courses and run in fall (September-December), winter (January-March), and spring (April-June). In summer (July-August), we offer only 5-week courses.
It’s every writer’s goal: the first magazine byline, the first essay acceptance, the first book publication. It can take months — even years — to get there, and what happens next is a mystery.
“Worldbuilding” calls to mind fictional settings — Hogwarts, Gatsby’s mansion, Alice’s Wonderland — but creating a vivid world on the page is just as essential to creative nonfiction. Using hyper-specific detail and sensory images, memoirists can pull readers in, keep them engaged until the final sentence, and make them care about our stories and characters.
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