September 13 - November 21, 2021
In this ten-week course, we will follow the path laid out in Dianne Jacob’s food writing manual, Will Write for Food.
In her national bestseller Julie & Julia: My Year of Cooking Dangerously, Julie Powell embarks on a year of cooking her way through all 524 recipes in Julia Child’s cookbook Mastering the Art of French Cooking. In this ten-week course, we will undertake a food writer’s version of Powell’s feat: following the path laid out in Dianne Jacob’s food writing manual, Will Write for Food.* Every two weeks, we will taste test a new subgenre of food writing. We’ll gain inspiration from food writing published in magazines such as Taste, Kitchn, and Bon Appétit. By the end of the course, you will have drafted a portfolio of food writing—including a post for a food blog, a restaurant review, a concept for a cookbook, recipes, and a personal essay on food.
*Please note, there is no need to buy this book; we’ll be using it as a road map/inspiration and not as a textbook. However, if you would like to purchase the book, you can find it on Bookshop.org.
We’ll begin with an overview of the food writing genre and an introduction to our guidebook, Will Write for Food. Then, we’ll delve into food blogging by studying some successful examples. You’ll also have the opportunity to pitch ideas for a food blog post.
This week, we’ll continue outlining the do’s and don’ts of successful food blogs and studying examples of posts from professionals in the field. Then, you’ll submit a 1500-word blog post for peer and instructor feedback.
If you’re going to call yourself a food writer, you’ll want to be sure to include at least one restaurant review on your resume. This week, we’ll dig into the ins and outs of writing restaurant reviews and look at published examples. You’ll pitch ideas for a restaurant review you want to write.
This week, we’ll continue discussing what it takes to write a successful restaurant review for different types of publications. Then, you’ll submit a 1500-word restaurant review for peer and instructor feedback.
Publishing a cookbook is the dream of many food writers. This week, we’ll talk about what it takes to write a cookbook. And you’ll pitch ideas for the cookbook you’ve always wanted to write.
Next, we’ll continue our discussion of cookbooks by looking at excerpts from some of the most successful ones to hit the market in recent years. Then, you’ll submit a concept for a cookbook.
“Recipe Developer” is a trendy new job description in the food media world. This week, we’ll discuss how to write recipes for an audience, and we’ll examine published examples. You’ll submit a few recipes for peer and instructor feedback.
Next up, we’ll explore the role food memoirs and nonfiction books play in the food writing world. We’ll look at published essays and book excerpts for inspiration. You’ll pitch some story ideas of your own.
This week, we’ll continue discussing how to write captivating food memoirs and nonfiction books. You’ll submit a 1500-word story for peer and instructor feedback.
During our final week, we’ll discuss tips for freelancing as a food writer. We’ll also talk about the world of publishing and how to submit your writing to food publications.
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’ve recommended Creative Nonfiction classes to several friends. Great classes!Kathy Haaga
I’ve recommended Creative Nonfiction classes to several friends. Great classes!
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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