July 11 - August 14, 2022
As writers, we often find that we want to write about loss, grief, or trauma in order to both understand how our personal narrative has changed us, and to relate our changed self to the world.
The course will present strategies for strong creative nonfiction writing about these subjects, and discuss cross-disciplinary research in creating trauma narratives.
Each week will include a written lecture, specific reading recommendations tied to the lecture, and a writing assignment
In this first week we’ll look more closely at what motivates us to write about trauma and other difficult experiences that have changed us. We’ll discuss how writing can be a powerful vehicle for self-discovery, personal transformation, and social change. Which writers do we admire and why? What are some vivid examples of creative nonfiction that has influenced public conversation and “made a difference"? We will discuss our “right to write.” Participants will complete an optional writing exercise to share with the group.
We’ll talk about how we choose moments for material (and how these moments sometimes choose us). Following this, we’ll talk about our purpose for writing, and theme. How can we make our stories relevant to our readers, and more than simply about us? We’ll consider the idea of “positionality,” and alternate points of view. Participants will complete an optional writing exercise to share with the group.
Having trouble organizing your material? This week ought to help. We’ll talk about plot, and the elements of a narrative including scene, summary and reflection. We’ll consider the role of detail in creating compelling scenes on the page. We’ll also delve deeper into what motivates our central character, define the concept of Major Dramatic Question, and find our answer to the question: so what? Lastly, we’ll define the elements of an essay, and consider a handful of mentor texts with effective ledes. Participants may revise their first submission as this week’s assignment, or write something new.
Every text is embedded in context— the time and place it was written, when it’s being read, as well as other people’s perspectives. What happens when our writing meets its readers? We’ll discuss the potential benefits to sharing our writing publicly, and look at some “cautionary tales.” We’ll explore how the act of telling our stories publicly is political, and how it may expose us to criticism. We’ll discuss ways of reducing potential harms. Participants will write an essay or memoir draft chapter employing elements from the preceding lectures.
During this final week, we’ll discuss what we’ve learned so far about ourselves through our writing. We’ll talk about what our writing practice currently looks like, and what more we could do to support our work. We’ll talk about what steps to take next, and explore the option of publishing our writing.
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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