July 25 - August 19; Enrollment is OPEN through August 12th, 2022
“Creativity is just connecting things. When you ask creative people how they did something, they feel a little guilty because they didn’t really do it, they just saw something. It seemed obvious to them after a while.” — Steve Jobs
Storytelling is a basic human impulse. It sounds easy—and sometimes it is, once we tap into our deeper expressive power. The problem is not always finding the time to write, or even what to write, but how to make the connections with our material so that we can be true to our own unique perspectives.
In this class, you will learn how to recognize natural patterns and connections, and practice synthesizing them for top emotional impact. No matter the length of your project, this means asking questions about your narrator’s goals, your favored style, and yourself as a writer and human. You will have opportunities to experiment with making connections in your work without fear of consequences.
This isn’t about being the smartest or most intellectual writer, but it is about having the most heart and asking yourself the hardest questions. As you connect and synthesize your ideas, you’ll see how a strong voice and structure emerge in your work—elements that, ultimately, make readers want to turn pages.
Each week provides:
After the course closes, you will receive a zip file containing all of the course content and the work you developed during the month. You’ll also continue to be a member of our Creative Nonfiction Writing Classes’ Community Page where you can share writings and calls for submissions, recommend books, and stay connected with other writers.
We will use a modernized approach of the “Hero’s Journey” to look at what makes us tick as writers. What are we better at that anyone else, and how can we capture that in our story? Exercises include summarizing our story using three adjectives, developing a “logline”, creating a purpose statement, and addressing how to avoid bravado in our narrative. Reference material will be: Living the Hero’s Journey: Exploring Your Role in the Action-Adventure of a Lifetime by Will Craig and The Art of Memoir by Mary Karr.
In this session, we will look at the natural connections to the work you’ve already done. What have you been in the habit of doing that works, or that doesn’t? What kind of language makes time fly as you read it? Strategies for synthesizing those connections will include a lesson on “clustering”—a brainstorming technique that opens and clears the creative pathways, often undoing old habits that aren’t working. Reference material will be Writing the Natural Way by Gabriele Rico, Ph.D.
Memoir or memoir-like essays can do many things with the form, but in order to have impact, they require a certain degree of brutal honesty. In this session, we will address some tough questions: What are the lies in your story—the ones you’re telling yourself and the ones you’re telling others? Which are the ones you can stand to admit? We'll work together to connect the dots and get to our deepest truths.
We might love a certain style but what we produce looks and feels like something different. We will explore different forms by reading short pieces and generating work based on our reactions, mimicking style at times. We will engage in a creative letter-writing exercise and process feedback from peers with the intention of coming closer to learning about our own limitations and gifts.
"The Zen of Process" was developed by Sarah Cannon for the Creative Nonfiction Foundation. Sarah Cannon is the author of The Shame of Losing (Red Hen Press), which was a Finalist for the Washington State Book Awards in 2019. Her essays have been featured in The New York Times (Modern Love column), Salon, Bitch magazine, Chicken Soup for the Soul, and elsewhere. She earned her MFA in Creative Writing from Goddard College, where she helped launch the inaugural Lighthouse Writers’ Conference and Retreat for MFA alumni in Port Townsend, WA. She lives in Edmonds, WA.
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.
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.
Online courses are 5- and 10-week courses that offer firm deadlines, a flexible schedule that fits your needs, and instructor feedback to help you keep writing and improving your work. Terms start quarterly, and sections are capped at 14 students to help foster community and connection.
Self-guided classes are 4-week courses and differ from our other online courses in significant ways. There are no due dates, no cap on enrollment, and no instructor feedback will be provided. However, you can post questions for your peers and give and receive feedback on writing posted in the classroom.
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.
Self-guided classes differ from our other online courses in significant ways. There are no due dates, no cap on enrollment, and no instructor feedback will be provided. However, you can post questions for your peers and give and receive feedback on writing posted in the classroom.
After you register for a self-guided course, we manually process your information and invite you to join an online classroom where you will find the course materials. The course invite will come to your email account (please check your spam/junk folder).
Please note: if you register before the start date, you’ll receive an invite to join your class the Friday before class begins. If you register after class begins, we’ll send you a course invite within 72 hours, and you will then have access to the previous weeks’ materials.
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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