January 10 - March 20, 2022
This course will help you expand your writer’s tool kit by experimenting with a variety of structures—everything from straightforward, traditional presentations to offshoots of the lyric essay, such as braids, collages, or the many varieties of borrowed forms that we find in “hermit crab” essays. You will read great examples and then try out each shape, if only briefly. Over the course of 10 weeks, you can choose to write about one subject using these different shapes, or let the shapes inspire an essay you hadn’t planned to write.
Students are encouraged to write at least 800 words each week for the first six weeks to become familiar with each shape, and to choose two essays to complete. Throughout the course, writers will submit work for peer and instructor critique and engage in online discussion—please see below for more details.
Storytelling expectations that date all the way back to Aristotle can inform our creative nonfiction, helping us to dig deep into the significance of our experience and shape our work to foster connections with our audience. This week, we’ll look at the elements of a typical story arc as defined by Aristotle and reinterpreted by a variety of writers, and experiment with how it might apply to a story you want to tell.
Writers including Janet Burroway, Kurt Vonnegut, and Jerome Stern have proposed methods of looking at story structure. We’ll explore a number of models, diagrams, patterns, and metaphors, many of which draw from fiction and all of which offer us varied and flexible approaches to thinking about our stories.
A frame story begins with an introduction that may disappear altogether or reappear only at the end, providing an entry into a story that might otherwise seem foreign to the reader. A really complex frame story might contain several nested stories, like a Russian doll. You will explore this technique by writing a frame story.
John D’Agata and Deborah Tall describe the lyric essay as a form that “takes from the prose poem in its density and shapeliness, its distillation of ideas and musicality of language.” This week, we will look at how our essays can take structural cues from poetry.
The braid weaves together complementary or contrasting threads. It can be an artful way to switch between past and present, to offer two perspectives, or to introduce a metaphor that takes the story deeper. Explore what happens when you interweave complementary or contrasting topics or time periods or perspectives through reading examples and trying it yourself.
The fragmented essay relies on contrast and resonance to achieve a sense of continuity, and often incorporates external material: photos, quoted material, lists, etc. This week, you may choose to turn in for feedback an essay that employs any techniques we have discussed so far.
The term hermit crab was coined by Brenda Miller and Suzanne Paola to describe an essay that “appropriates existing forms as an outer covering, to protect its soft, vulnerable underbelly. It is an essay that deals with material that seems born without its own carapace—material that is soft, exposed, and tender, and must look elsewhere to find the form that will best contain it.” Also called found, borrowed, or appropriated, these essay forms take their shapes from other written texts, such quizzes, recipes, liner notes, questionnaires, field guides, bibliographies, reviews, footnotes, indexes, or letters.
A particularly popular form of the hermit crab essay takes its form from the instruction manual. We will look at offshoots of this form and play with them in our own work.
Read the essay by John McPhee about how he finds the structures for his essays and write about what shape you find most attuned to your style of writing. This week you will choose another essay to complete and turn it in for feedback.
We’ve isolated these shapes for the purpose of learning how to use them, but they inform and merge with each other when used skillfully. This week, we’ll revisit the traditional story arc and consider how it is enhanced, transformed, or even challenged by the other forms and shapes we’ve explored.
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.
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.
Some 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 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.
Classes are small—limited to 14 students per section—which means you’ll receive individual attention and feedback on your work.
Good 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 Assignments
Many 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 you can share when the class is completed. For this reason, in our classes you are invited to submit longer pieces multiple times during a course. See course syllabus for more information.
Sense of Connection
We 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.
Creative Nonfiction is committed to creating a welcoming and comfortable experience for all staff and participants regardless of gender identity and expression, sexual orientation, disabilities, neurodiversity, physical appearance, ethnicity, nationality, race, age, or religion.
We expect that staff and participants will treat each other with respect in all interactions. We will not tolerate discrimination or harrassment in conjunction with any of our programs. Harassment could include but is not limited to:
Community posts violating any of these guidelines can and will be removed from the page at any time. Anyone asked to stop harassing behavior is expected to comply immediately.
Harassment does not include respectful disagreement or critique in good faith. Reading and writing, by their nature, include exposure to controversial, challenging, and sometimes offensive language. We encourage all participants to follow the peer review guidelines provided by their instructor.
Online communication happens without the benefit of body language and tone. Therefore, it can be easy to misinterpret. The following tips may help participants engage in civil, intelligent, vigorous discourse without impugning the personal dignity of others:
See your course for additional feedback guidelines provided by your instructor.
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).
Life is full of quarrels, failures to understand, even outright disagreements and conflict. Any story has many sides—and that can become a problem when you’re writing.
Revising a memoir can feel overwhelming. But it’s a crucial process that helps memoirists take their story to the next level, making it compelling to readers and irresistible to agents.
Dive in with CNF Founder Lee Gutkind
Get started with the best CNF has to offer
Search 25+ years of essays
The best of Creative Nonfiction in your inbox. We offer a variety of email newsletters to fit many interests, so you’ll find one that’s right for you.