January 09 - February 12, 2023
Some experiences beg us to write about them, but we often feel overwhelmed when trying to capture the whole story at once. In this class, we’ll explore the art of flash nonfiction and short essays. Life is made up of moments: big showy ones and small quiet ones—many of them infused with deeper meaning. Sometimes we can easily articulate a moment’s meaning, but often we can only make sense of it peripherally. In a flash essay, the moment and the meaning must be distilled to their purest essence. Through a series of writing exercises, you will generate a list of potential essay ideas and identify key details and imagery to help you dig into the heart of those stories. You will also write several flash pieces of varying lengths.
What is a flash essay? More importantly: What makes a flash essay sizzle and spark? This week, we’ll dive into the fray with a brief history of the genre and an exploration of what makes an essay part of the “flash” genre. We’ll read a selection of flash essays to get a taste of the form—and to explore our own aesthetics related to the genre. We'll kick off the course with writing exercises designed to give you a list of potential “jumping in” points for the essays you’ll write throughout this course (and beyond).
This week we’ll follow the advice of Annie Dillard: “Push it. Examine all things intensely and relentlessly. Probe and search each object in a piece of art; do not leave it, do not course over it, as if it were understood, but instead follow it down until you see it in the mystery of its own specificity and strength.” We will examine a variety of writing craft techniques that can be used to distill a story into the small and powerful space of flash. We’ll look at framing your subject matter, choosing and shading details, and using imagery to support meaning.
Beyond length, there is nothing about the flash essay that mandates its form or contents. This week, we’ll look beyond the narrative- and personal-essay forms to other kinds of short works, including lyric essays, “hermit crab” essays, and micro-essays. This exploration of forms will also broaden the way we think about our own memoir-based subject matter by enabling us to come at our work “sideways.”
We will discuss techniques to revise and sharpen a flash essay to make it ready for publication. We’ll build upon the last three weeks and dive deeper into the nitty-gritty of how every single decision (from word choice to punctuation) counts in a flash piece.
Once you have a flash essay, what do you do with it? And what happens if you end up with a flash essay that wants to become something else? This week we'll explore sending our work out into the world for publication, as well as how to expand a flash into a longer piece. We'll look at some publications that feature flash essays and cover the basics of how to submit your work to literary journals. We'll also discuss if and when it's a good idea to transform a flash essay into something else, such as a longer essay or a collection of flash-sized pieces.
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.
I enjoyed reading other peoples work and getting feedback about my own work– the handouts/video links and class lessons were also very informative and relevantly paced to the give structural guidelines.Catherine O’Neill
I enjoyed reading other peoples work and getting feedback about my own work– the handouts/video links and class lessons were also very informative and relevantly paced to the give structural guidelines.
Replays include ongoing access to the recording and downloadable supplemental materials.
Every true story contains gaps. By imagining our way into these gaps, we can transform our material and our writing experience.
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