Category Archives: CNF Workshops

TELL ME WHAT YOU EAT: Writing About Food and Ourselves, taught by Kristen Martin, June 7-28, 2022

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Writing About Food and Ourselves
taught by Kristen Martin
for beginner to advanced nonfiction writers
Four weeks
June 7–28
Zoom meetings 5:30–7:30 PM ET on Tuesdays 6/7, 6/14, 6/21, 6/28
Class Limit: 12
$250

POSTPONED

 

TELL ME WHAT YOU EAT and I will tell you who you are. Food writing most often calls to mind food criticism: reviews that capture and evaluate the experience of a meal. But the best food writing illuminates beyond food’s immediate appeal, providing insight into identity, culture, memory, and place. A sub-genre of food writing that provides that insight is the food-centric personal essay or memoir. In this four-week course, we will read and discuss work by writers like Toni Tipton-Martin, Francis Lam, Michelle Zauner, Mayukh Sen, and Ruth Reichl, and we will use our own memories of food as lenses into exploring ourselves.

Each week, we will meet on Zoom (5:30–7:30 PM EST on Tuesdays) for synchronous discussions of readings and writing exercises. During the last two weeks, participants will have the opportunity to workshop one essay/memoir piece with their peers. Participants will also receive written instructor feedback on one essay/memoir piece.

Week One: The Proustian Madeline—Using Food as a Doorway to Memory

Week Two: Food and Personality

Week Three: Food and Cultural Identity / Workshop Group 1

Week Four: Smorgasbord / Workshop Group 2

Kristen Martin is working on a narrative nonfiction book that deconstructs myths of American orphanhood for Bold Type Books. Her writing has been published in The New York Times Magazine, The Los Angeles Times, NPR Books, The Baffler, Lapham’s Quarterly, The Believer, Bookforum, and elsewhere. She received an MFA in nonfiction writing from Columbia University and is a graduate of the University of Pennsylvania, and the Università degli Scienze Gastronomiche in Italy, where she was a Fulbright-Casten Family Scholar. She has taught at the University of Pennsylvania, New York University, Columbia University, and CUNY Baruch College, as well as for the Philadelphia literary community Blue Stoop.

WRITING THE BODY, taught by Marnie Goodfriend, May 25—June 22, 2022

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WRITING THE BODY
Taught by Marnie Goodfriend
For beginner to advanced nonfiction writers
5 weeks
May 25—June 22
Zoom meetings 7 pm—8:30 pm ET on Wednesday 5/25, 6/1, 6/8, 6/15 and 6/22
$250
Class limit: 12
Questions: [email protected]

SOLD OUT

We all live in and through our bodies. Connection to the self and how we perceive, and are perceived, by the world around us is intrinsically tied to the vessel we reside in. Bodies can be political battlegrounds, sacred spaces, pleasure palaces, and crime scenes. As creative nonfiction or hybrid writers, how can we deepen our writing and understanding of ourselves by looking at the layered relationship we have with our bodies?

Open to new and seasoned writers, this six-week workshop will focus on six pressure points to generate new material from different life experiences: eating, politics, health, intimacy, physical and emotional trauma, and crime. We will read works by writers such as Roxane Gay, Chanel Miller, Kiese Laymon, Maggie Nelson, and Porochista Khakpour to spark ideas about we can approach our own stories about the body.

Each class will include exercises, writing prompts, and discussions of assigned readings. Participants will workshop one essay and receive feedback on their generative writing in a safe and encouraging environment.

Week One: Eating

What we feed our bodies with shapes the physical vessel we inhabit and affects the way we are seen in the world. Week one explores the stories we have about edible consumption, deprivation, diets, habits, and traditions. We’ll write and share our in-class writing prompt in a safe and supportive space and discuss ways to expand upon generative exercises.

Week Two: Illness and Injury

Our physical and mental maladies — and those that affect our loved ones — can scar and strengthen us. What can we learn from listening to our bodies’ first language? How do we answer back? Week two includes in-class writing, sharing, readings and conversations around it hurts — the very first words we learned to express pain.

Week Three: Sex

Sex can be an act of love, passion, obsession, power, abuse, ectasty, and pain. It’s also arguably one of the trickiest experiences to write about. It requires the same vulnerability necessary to shed our clothing and express ourselves through touch. We will approach writing about sex with gentleness, honesty, and, depending on the experience, anger or humor. Week four will explore the often taboo subject and how we mine for the words to articulate our relationship to intimacy or the absence of it.

Week Four: The Body Politic

The choices we make for our bodies are hotly-debated issues that cause division among people and places. What do we do when our bodies become battlegrounds and personal choices are designated a public domain? How do we reclaim our bodies if we never had choices to begin with? Week three explores the body as a political instrument of power, persuasion and fear. We’ll write about seeing the body as a larger entity and our personal relationship to other people and institutions invading the skin we live in.

Week Five: Movement

Movement is another tool to express how we walk through this earth. Like touch, sense or smell, it guides a reader through our personal experience by showing not telling. As life observers and documentarians, how can we use gestures, motion or inertia to deepen a story? In week five, we’ll consider where we can include movement to add depth and dimension to our written narratives.

Marnie Goodfriend is a writer, sexual assault advocate, and social practice artist. She is a 2018 VCCA fellow, recipient of the Jane G. Camp scholarship, and a 2016 PEN America fellow. Her advocacy work, Write to Healing, helps sexual assault survivors reauthor their experience through narrative healing. Marnie’s essays, articles, and other writing appear in TIME, Washington Post, The Rumpus, She Knows, Health, and elsewhere.

Read her essay “Fund What You Fear” on Cleaver.

UNSHAPING THE ESSAY: Experimental Forms in Creative Nonfiction, taught by Sydney Tammarine, May 29—June 26, 2022

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UNSHAPING THE ESSAY:
Experimental Forms in Creative Nonfiction
Taught by Cleaver Editor Sydney Tammarine
for intermediate and advanced nonfiction writers
5 weeks
May 29—June 26
Zoom meetings 11 am—12 pm ET on Sundays 5/29, 6/5, 6/12, and 6/19
$250
Class limit: 12

Questions: [email protected]

 

SOLD OUT

Memoirist Patricia Hampl said, “Memoir isn’t for reminiscence; it’s for exploration.” Just as nonfiction writers explore the world and the internal landscape of their lives, they also explore the landscape of language: What is the best way to tell your story? How can the form we choose help us convey complicated ideas and experiences? And how do we know when a structure is working for us, rather than limiting us?

To answer that last question, I’ll borrow a few words from writer Brandon Schrand: “[I]f you have finished reading something experimental and if by the end, you can’t imagine it written in any other way, then the piece was successful.”

In this class, we will explore the boundaries—and boundlessness—of creative nonfiction, diving deeply into questions of memory and language while trying our hands at various innovative forms. Topics will include:

Week One: Found Forms, also known as the “hermit crab essay”
Week Two: The Braided Essay, to help us write what’s too hard to speak about directly
Week Three: Nonlinear Narrative, a breaking-free to flash backward and forward in time
Week Four: The Lyric Essay, where poetry and prose intersect

We will have weekly readings, writing prompts, peer workshops (asynchronous through Canvas), and discussions (synchronous through Zoom: 11am to 12pm EST on Sundays. Students will also revise one essay for instructor feedback. We welcome both new and experienced writers looking for motivation, structure, and enthusiastic feedback on their work.

Sydney TammarineSydney Tammarine’s work has appeared in Ploughshares, B O D Y, Pithead Chapel, The New School’s LIT, and other journals. Her essay “Blue Hour” was selected as a Notable Essay in The Best American Essays 2021. She is the co-translator of a book of poems, The Most Beautiful Cemetery in Chile. She holds an MFA in Creative Writing from Hollins University and teaches writing at Virginia Military Institute. She has led workshops at The Ohio State University, Hollins University, Otterbein University, and at high schools, including as Writer-in-Residence at Appomattox Regional Governor’s School. She serves as flash and creative nonfiction editor for Cleaver.

 

OPEN WOUNDS: Writing Trauma and Memory, taught by Drew Pham June 7-July 21, 2021 [SOLD OUT]

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OPEN WOUNDS
Writing Trauma and Memory

Taught by Drew Pham
5 sessions, 5 weeks (Monday Evening) on Zoom 
June 7, 14, 21, 28, and July 12
6-8 pm ET
$200
Questions: [email protected]
Class Limit: 12

[SOLD OUT]

“Don’t write a poem about war. Write a poem about standing in your brother’s empty room.”
—Guante

This course isn’t meant to heal the traumas of the past, nor does it seek to make sense of them, rather, we’ll seek out the fragments violently embedded in our wounds to use as the materials from which to craft something new. This inter-genre workshop will focus on the role and use of time, place, memory, narrative distance, form, and negative space, in order to render our traumas into sites of connection between ourselves, our lived experiences, our writing, and our readers.

Together, we will read from a broad range of poetry, fiction, and creative non-fiction to help illuminate the different roads we might take to begin to build our own narratives from sites of pain and loss in ourselves toward sites of compassion and empathy in our writing. Each session includes a short craft discussion, discussions of assigned readings, craft exercises, and a writer’s workshop (with the exception of our first session, which will be primarily discussion-based).

Although this course seeks to explore the most painful of our experiences with kindness and patience, the readings, discussions, and written work may cause distress. I only ask that those taking this course be mindful of their peers and be gentle with themselves.

Week One: Exit Wounds
Our introductory discussion seeks to navigate our personal traumas by locating sites of trauma, making space for ourselves and others in this process from both within and without our written work, and learning how writing might be used as a vehicle for curiosity, discovery, and empathy.

Week Two: Time, Place, and Memory
In week two, we’ll focus on how we can take the fragmentation that occurs when we’ve been deeply hurt and use these materials to rebuild them into structures that reflect the emotional landscape of the traumatic past. Here, we will focus on time management, making space for place as a concept, and memory as a flawed but essential tool.

Week Three: Mapping the Wound
This craft session is concerned with sensory detail, structure, and constraint. In examining readings on past traumas, we’ll explore how sensory details universalize a narrative, rather than rarifying them. We’ll also examine constraints like lapses in memory, negative space, and silence, and incorporate these into narrative and lyric structures that contain the emotional truths of the experiences we seek to render.

Week Four: Narrative Distances
Week four focuses on considering narrative distance not as a gulf to cross, but as a way of seeing. This week’s exercises, discussion, and readings will center around how employing narrative distance as technique might allow us to see our traumatic memories, our work, and ourselves as whole, rather than fragmented or broken.

Week Five: Scar Tissue|
In our final session, we’ll focus on measures of grace, not just for the subjects of our poems, the experiences we lay bare on the page, or the characters of our stories, but also for ourselves and those around us. This class will be a space for participants to synthesize what they’ve discovered, and extend those new perspectives into their bodies of work, revision, and practice.

Drew PhamDrew Pham is a queer, transgender writer of Vietnamese heritage. A child of war refugees, her work centers on legacies of violence in times of conflict. She has published in Blunderbuss Magazine, McSweeny’s, Slice Magazine, Foreign Policy, Time Magazine, The Daily Beast, and Columbia Journal, among others. She lives with her two cats in Brooklyn, NY, and she serves as an adjunct English lecturer at CUNY Brooklyn College.

THE SHARPEST TOOLS IN THE DRAWER, a masterclass with Lise Funderburg, April 3-24, 2021

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THE SHARPEST TOOLS IN THE DRAWER:
Honing Critical Distance in First-Person Narratives
A Masterclass by Cleaver Nonfiction Editor Lise Funderburg

Four Saturdays on Zoom
12:00pm – 3:00 pm:  April 3, 10, 17, 24
$200
Class limit: 10
Questions: [email protected]

Register Now

Writing from personal experience is always a double-edged sword in Creative Nonfiction: on the one side, we have almost limitless access to material. On the other, familiarity often breeds blind spots, cheating the work of dimension, resonance, and narrative drive. Through close readings of exemplary work, craft essays, writing exercises, discussion, and peer review, we will build strategies and practices that elevate your personal essays and memoir projects. Expect to become a stronger writer, a better reader, and an enthusiastic reviser.

Lise Funderburg HeadshotLise Funderburg’s latest book is Apple, Tree: Writers on Their Parents, a collection of all-new work by twenty-five writers, which Publishers Weekly deemed a “sparkling anthology” in its starred review. Previous books include the memoir, Pig Candy: Taking My Father South, Taking My Father Home, and the recently reissued collection of oral histories, Black, White, Other: Biracial Americans Talk About Race and Identity. Her work has been published in the New York Times, TIME, the Philadelphia Inquirer, The Nation, MORE, Chattahoochee Review, Oprah Magazine, and Prevention. Lise has been awarded residencies at the Civitella Ranieri Foundation, MacDowell, Thurber House, and Blue Mountain, among others, and she won a Nonfiction Fellowship from the Pennsylvania Council on the Arts. She teaches creative writing at the University of Pennsylvania and teaches at the Paris Writers’ Workshop.

SYLLABUS:

Session 1: Filling the toolbox

Session 2: Experimenting with Form

Session 3: The Art of Revision

Session 4: Deep Dives: Close Looks at Student Work Samples (up to 5000 words)

“Lise spoke deeply and generously from her own formation as a writer, and about the writing of her two very different books. In my journey to become a published writer of a memoir, even though my formation is as a visual artist and critic, her generosity gave me a case in point to think about. Right now, for me at least I am finding the most inspiration from the teachers of these workshops as models for professional-level work in the field.”

“Lise is sensitive and generous while giving constructive criticism. She is also adept at guiding group discussions.”

Write Where you are

UNSHAPING THE ESSAY: Experimental Forms, taught by Sydney Tammarine | July 18 – August 14 [SOLD OUT]

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UNSHAPING THE ESSAY:
Experimental Forms in Creative Nonfiction
Taught by Cleaver Editor Sydney Tammarine
for intermediate and advanced nonfiction writers

Session: 5 weeks
July 18 – August 14
Zoom meetings 11am – 12pm EST on Sundays 7/18, 7/25, 8/1, and 8/8
$200
Class limit: 12
Questions: [email protected]

SOLD OUT

Memoirist Patricia Hampl said, “Memoir isn’t for reminiscence; it’s for exploration.” Just as nonfiction writers explore the world and the internal landscape of their lives, they also explore the landscape of language: What is the best way to tell your story? How can the form we choose help us convey complicated ideas and experiences? And how do we know when a structure is working for us, rather than limiting us?

To answer that last question, I’ll borrow a few words from writer Brandon Schrand: “[I]f you have finished reading something experimental and if by the end, you can’t imagine it written in any other way, then the piece was successful.”

In this class, we will explore the boundaries—and boundlessness—of creative nonfiction, diving deeply into questions of memory and language while trying our hands at various innovative forms. Topics will include:

Week One: Found Forms, also known as the “hermit crab essay”
Week Two: The Braided Essay, to help us write what’s too hard to speak about directly
Week Three: Nonlinear Narrative, a breaking-free to flash backward and forward in time
Week Four: The Lyric Essay, where poetry and prose intersect

We will have weekly readings, writing prompts, peer workshops (asynchronous through Canvas), and discussions (synchronous through Zoom: 11am – 12pm EST on Sundays 7/18, 7/25, 8/1, and 8/8). Students will also revise one essay for instructor feedback. We welcome both new and experienced writers looking for motivation, structure, and enthusiastic feedback on their work.

Sydney TammarineSydney Tammarine’s work has appeared in Ploughshares, B O D Y, Pithead Chapel, LIT, Cleaver, and other journals. She is the co-translator of a book of poems, The Most Beautiful Cemetery in Chile. She holds an MFA in Creative Writing from Hollins University and teaches writing at Virginia Military Institute. She has led workshops at The Ohio State University, Hollins University, Otterbein University, and at high schools, including as Writer-in-Residence at Appomattox Regional Governor’s School. She serves as flash and creative nonfiction editor for Cleaver.

TELLING TRUE STORIES, taught by Sydney Tammarine | May 10 – June 11, 2021 [SOLD OUT]

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TELLING TRUE STORIES
A Workshop in Creative Nonfiction
Taught by Cleaver Editor Sydney Tammarine

5 weeks
May 10 to June 11, 2021
Class limit: 12
$200
Questions: [email protected]

[SOLD OUT]

Writer Dinty W. Moore says that creative nonfiction equals curiosity plus truth. CNF comes in a variety of forms: from expansive memoir to intimate personal essay to the lightbulb “eureka!” of flash. But in any form, the CNF writer is a guiding voice in the dark: a storyteller seeking truth, thinking alongside the reader toward a deeper understanding of ourselves and our world.

In this class, we’ll practice the essay in its most dynamic form: a verb that means “to test; to practice; to taste; to try to do, accomplish, or make (anything difficult).” Each week, we will read and discuss one or more example essays and generate new work from prompts. Students will share their work for peer and instructor feedback.

This workshop has weekly readings and writing assignments to inspire you—and deadlines to motivate you—but the work can be done at your own pace and on your own time. There are no required meetings, although we’ll hold optional Zoom write-ins and discussions for those who are interested. We welcome both new and experienced writers looking for motivation, structure, and enthusiastic feedback on their work.

Sydney TammarineSydney Tammarine’s work has appeared in Ploughshares, LIT, Pithead Chapel, The Missing Slate, and other journals. She is the co-translator of a book of poems, The Most Beautiful Cemetery in Chile. She holds an MFA in Creative Writing from Hollins University and teaches writing at Virginia Military Institute. She has led workshops at The Ohio State University, Hollins University, Otterbein University, and at high schools, including as Writer-in-Residence at Appomattox Regional Governor’s School. She serves as flash and creative nonfiction editor for Cleaver.

SYLLABUS

Topic One: Writing the Tough Stuff

In our first week together, we’ll explore: Why does the most powerful writing often come from loss, grief, or trauma? What value do the “tough stories” of our lives have to others? Why is nonfiction uniquely posed to connect us to others, and what value do the “tough stories” of our lives have to them? We’ll also practice strategies for writing our toughest material in an environment that’s safe and encouraging.

Topic Two: Finding Your Truth

Novelist Tim O’Brien often talks about the role of truth in his fiction: “I want you to feel what I felt. I want you to know why a story-truth is truer sometimes than happening-truth.” In CNF, we have an obligation to truth that is greater than just getting the facts right. How do we write the story-truth, the happening-truth, as best we know it? Can any piece of writing be objectively true? We’ll talk about strategies for writing in the face of these questions, and also for finding what we think we can’t remember.

Topic Three: Hell is (Writing About) Other People

Writer Anne Lamott said, “You own everything that happened to you. Tell your stories. If people wanted you to write warmly about them, they should have behaved better.” But that doesn’t always feel so easy, does it? This week, we’ll practice making characters in nonfiction—including yourself—feel real on the page, and discuss the ethics of writing about other people.

Topic Four: Finding Poetry in Prose

The Seneca Review describes the lyric essay as “[l]oyal to that original sense of essay as a test or a quest, an attempt at making sense,” but with prose that “might move by association, leaping from one path of thought to another by way of imagery or connotation, advancing by juxtaposition or sidewinding poetic logic.” This week, we’ll try out such poetic logic, experimenting with moves that can bring the music of poetry to our prose.

“Other than the topics that were all useful and valuable, Sydney included a wonderful revision exercise that I had never considered before–incorporating prose poetry into a piece. I revised my least favorite piece, and it became my favorite piece. ”

“Sydney was a very gifted teacher, capable of elevating my writing, even though I’m a beginning writer. I appreciated her sensitive, thoughtful and practical feedback and how she managed the feedback we gave each other.”

“Sydney was one of the more considerate, warm and insightful facilitators I have met. She was a sharp and welcome contrast to some of the horror stories that we sometimes hear about how such groups can be unkind and kill budding writers’ desire to “expose” their work.”

“This was a fantastic group with a great sense of community. I miss them.”

“I had never experienced the value of the writing community for feedback and encouragement. Wow, Sydney really set the tone, offering acceptance and providing lots of positive direction.”

Write Where you are

WEEKEND WRITING with Andrea Caswell | Ongoing Sunday Morning Series

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WEEKEND WRITING
for practice and inspiration
open to all levels and genres|Taught by Cleaver Editor Andrea Caswell

Three-week sessions, Sundays 10:30 am – 12:00 pm ET
Session 1: September 12, 19, 26
Session 2: October 3, 17, 24
Session 3: November 7, 14, 21
Session 4: December 5, 12, 19
Cost: $100 per session
Class limit: 12
This class can be repeated monthly (re-registration required).
Questions: [email protected]
Register NowWEEKEND WRITING is a generative writing session for writers of all levels and genres. Enjoy this 90-minute writing retreat as we read and discuss short prose, experiment with optional prompts during in-class writing time, and nurture a personal writing practice rooted in curiosity and creativity. Whether you want to build structure into your writing week or simply play in your notebook, you’ll enrich your weekend with other writers in a motivational and supportive setting.

“How we spend our days is, of course, how we spend our lives. What we do with this hour, and that one, is what we are doing.” ~Annie Dillard, The Writing Life

The class can be repeated as many times as you like.

What you’ll get from this class:

– Real-time meetings with your instructor and fellow writers

– Reading and discussion of short inspirational texts

– Dedicated in-class writing time in each meeting

– Optional prompts that invite experimentation and discovery

– Consistency in building a personal writing practice

– A safe and supportive writing community

“I found Andrea’s creation of a ‘gentle accountability,’ as she once put it, very effective.”

“I really appreciate writing in community without the pressure of sharing or workshopping. For me, it’s most important to get my butt in the seat and keep it there, and this 90 minutes each week feels sacred and protected.”

Andrea Caswell ‘s writing has been published widely in print and online. Her work appears or is forthcoming in Tampa Review, River Teeth, The Normal School, Columbia Journal, Atticus Review, and others. She holds a master’s from Harvard University and an MFA from the Bennington Writing Seminars. She’s a fiction editor for Cleaver Magazine, and is the founder of Lime Street Writers, a monthly workshop north of Boston. In 2019 she was a fiction contributor at the Sewanee Writers’ Conference. A native of Los Angeles, Andrea now lives and teaches in Newburyport, Massachusetts. Contact her at www.andreacaswell.com.

Write Where you are

 

THE ART OF THE SCENE, a Workshop in Fiction and Creative Nonfiction, taught by Lisa Borders | January 3 to February 5, 2021

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The art of the scene cover image

THE ART OF THE SCENE 
A Workshop in Fiction and Creative Nonfiction
Taught by Lisa Borders

5 weeks
January 3 to February 5
introductory Zoom meeting at 2 pm ET on Sun Jan 3

Register Now$225
Class limit: 12
Questions: [email protected]

The writer Sandra Scofield describes a “pulse”—that spark that makes the story come alive— as a vital element to all scenes. This pulse is especially crucial for opening scenes, as many agents and editors report that if they are not hooked on a manuscript within the first five pages, they will not read on.

But what is a “pulse,” and how can a writer ensure that each scene—not just the opening— has one? How can we write in such a way that our characters come to life, that a scene breathes emotion and urgency, while moving the plot forward and keeping tension taut?

In this class we’ll look at opening scenes, pivotal scenes and transitional scenes in published novels and memoirs, analyzing them for a “pulse”—that spark that makes the story come alive—and for the ways in which they hook the reader, introduce the characters, and (for opening scenes) signal the book’s scope. We’ll define the elements of a scene and discuss techniques for writing scenes that breathe emotion and urgency while moving the plot forward and keeping tension taut.

We’ll also workshop an opening scene from your novel or memoir in progress of no more than 1800 words in length, applying a checklist to help you determine whether your book’s opening passes the “pulse” test—and if not, strategies for creating a first scene the reader can’t put down. You will then revise these scenes, or submit a new opening scene for instructor feedback.

This class will have one synchronous meeting: an introductory Zoom meeting on Sunday, January 3 from 2 – 3:30 pm EST. Writers will receive a schedule for submitting scenes to be workshopped in Weeks 2 – 4 as part of the Week 1 lesson.

Readings will include scenes from works by Rishi Reddi, Hanya Yanagihara, Joan Didion, Elizabeth Strout and Piper Weiss, among others.

SYLLABUS

Week 1: Introduction

  • What is a scene?
  • Scene elements
  • Creating tension within a scene
  • Readings

Week 2: Types of Scenes – Part I

  • Opening Scenes
  • Pivotal Scenes
  • Readings
  • Four scenes workshopped

Week 3: Types of Scenes – Part II

  • Flashback Scenes
  • Transitional Scenes
  • Readings
  • Four scenes workshopped

Week 4: Scene vs. Exposition

  • Definitions
  • Debunking “show don’t tell”
  • Pacing
  • Readings
  • Four scenes workshopped

Week 5: Scene CPR

  • Checklist for revision
  • Revise workshopped scene or submit new scene to instructor

Lisa Borders’ second novel, The Fifty-First State, was published by Engine Books in 2013. Her first novel, Cloud Cuckoo Land, was chosen by Pat Conroy as the winner of River City Publishing’s Fred Bonnie Award, and received fiction honors in the 2003 Massachusetts Book Awards. Lisa’s short stories, essays and humor have appeared in The Rumpus, McSweeney’s, WBUR’s Cognoscenti, Post Road, Washington Square and other journals. She has received grants from the Massachusetts Cultural Council, the Somerville Arts Council and the Pennsylvania Council on the Arts, and fellowships at the Millay Colony, Virginia Center for the Creative Arts, Hedgebrook and the Blue Mountain Center. Lisa also teaches at Boston’s GrubStreet, where she founded the Novel Generator program and co-founded the Novel Incubator program. More information on Lisa is available at lisaborders.com.

 

TELLING TRUE STORIES, a Workshop in Creative Nonfiction, by Sydney Tammarine | December 7, 2020- January 9, 2021 SOLD OUT

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cover image telling true stories a lightbulb on a dark backgroundTELLING TRUE STORIES
A Workshop in Creative Nonfiction
Taught by Cleaver Editor Sydney Tammarine

5 weeks
December 7, 2020- January 9, 2021
Class limit: 12
Questions: [email protected]
SOLD OUT

Register Now

Writer Dinty W. Moore says that creative nonfiction equals curiosity plus truth. CNF comes in a variety of forms: from expansive memoir to intimate personal essay to the lightbulb “eureka!” of flash. But in any form, the CNF writer is a guiding voice in the dark: a storyteller seeking truth, thinking alongside the reader toward a deeper understanding of ourselves and our world.

In this class, we’ll practice the essay in its most dynamic form: a verb that means “to test; to practice; to taste; to try to do, accomplish, or make (anything difficult).” Each week, we will read and discuss one or more example essays and generate new work from prompts. Students will share their work for peer and instructor feedback.

This workshop has weekly readings and writing assignments to inspire you—and deadlines to motivate you—but the work can be done at your own pace and on your own time. There are no required meetings, although we’ll hold optional Zoom write-ins and discussions for those who are interested. We welcome both new and experienced writers looking for motivation, structure, and enthusiastic feedback on their work.

Sydney TammarineSydney Tammarine’s work has appeared in Ploughshares, LIT, Pithead Chapel, The Missing Slate, and other journals. She is the co-translator of a book of poems, The Most Beautiful Cemetery in Chile. She holds an MFA in Creative Writing from Hollins University and teaches writing at Virginia Military Institute. She has led workshops at The Ohio State University, Hollins University, Otterbein University, and at high schools, including as Writer-in-Residence at Appomattox Regional Governor’s School. She serves as flash and creative nonfiction editor for Cleaver.

SYLLABUS

Topic One: Writing the Tough Stuff

In our first week together, we’ll explore: Why does the most powerful writing often come from loss, grief, or trauma? What value do the “tough stories” of our lives have to others? Why is nonfiction uniquely posed to connect us to others, and what value do the “tough stories” of our lives have to them? We’ll also practice strategies for writing our toughest material in an environment that’s safe and encouraging.

Topic Two: Finding Your Truth

Novelist Tim O’Brien often talks about the role of truth in his fiction: “I want you to feel what I felt. I want you to know why a story-truth is truer sometimes than happening-truth.” In CNF, we have an obligation to truth that is greater than just getting the facts right. How do we write the story-truth, the happening-truth, as best we know it? Can any piece of writing be objectively true? We’ll talk about strategies for writing in the face of these questions, and also for finding what we think we can’t remember.

Topic Three: Hell is (Writing About) Other People

Writer Anne Lamott said, “You own everything that happened to you. Tell your stories. If people wanted you to write warmly about them, they should have behaved better.” But that doesn’t always feel so easy, does it? This week, we’ll practice making characters in nonfiction—including yourself—feel real on the page, and discuss the ethics of writing about other people.

Topic Four: Finding Poetry in Prose

The Seneca Review describes the lyric essay as “[l]oyal to that original sense of essay as a test or a quest, an attempt at making sense,” but with prose that “might move by association, leaping from one path of thought to another by way of imagery or connotation, advancing by juxtaposition or sidewinding poetic logic.” This week, we’ll try out such poetic logic, experimenting with moves that can bring the music of poetry to our prose.

THE SHARPEST TOOLS IN THE DRAWER: Honing Critical Distance in First-Person Narratives, Masterclass by Cleaver Editor Lise Funderburg, October 11 to November 1, 2020 [SOLD OUT]

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THE SHARPEST TOOLS IN THE DRAWER:
Honing Critical Distance in First-Person Narratives
A Masterclass by Cleaver Nonfiction Editor Lise Funderburg

Four Sundays, 12:00pm – 3:00 pm:  Oct 11, Oct 18, Oct 25, Nov 1, 2020
$175 Early Bird / $200 regular
Class limit: 10
Questions: [email protected]

SOLD OUT

Writing from personal experience is always a double-edged sword in Creative Nonfiction: on the one side, we have almost limitless access to material. On the other, familiarity often breeds blind spots, cheating the work of dimension, resonance, and narrative drive. Through close readings of exemplary work, craft essays, writing exercises, discussion, and peer review, we will build strategies and practices that elevate your personal essays and memoir projects. Expect to become a stronger writer, a better reader, and an enthusiastic reviser.

Lise Funderburg HeadshotLise Funderburg’s latest book is Apple, Tree: Writers on Their Parents, a collection of all-new work by twenty-five writers, which Publishers Weekly deemed a “sparkling anthology” in its starred review. Previous books include the memoir, Pig Candy: Taking My Father South, Taking My Father Home, and the recently reissued collection of oral histories, Black, White, Other: Biracial Americans Talk About Race and Identity. Her work has been published in the New York Times, TIME, the Philadelphia Inquirer, The Nation, MORE, Chattahoochee Review, Oprah Magazine, and Prevention. Lise has been awarded residencies at the Civitella Ranieri Foundation, MacDowell, Thurber House, and Blue Mountain, among others, and she won a Nonfiction Fellowship from the Pennsylvania Council on the Arts. She teaches creative writing at the University of Pennsylvania and teaches at the Paris Writers’ Workshop.

SYLLABUS:

Session 1: Filling the toolbox

Session 2: Experimenting with Form

Session 3: The Art of Revision

Session 4: Deep Dives: Close Looks at Student Work Samples (up to 5000 words)

EMBRACING UNCERTAINTY II: A Workshop to Jumpstart Your Creativity, Taught by Tricia Park | Nov 7 to Dec 12, 2020

Cleaver Magazine Posted on by

EMBRACING UNCERTAINTY Part 2 of 2
A Workshop to Jumpstart Your Writing
open to all levels and genres
Parts 1 and 2 may be repeated or taken out of order
taught by Cleaver Editor Tricia Park

5 weeks
Nov 7, 14, 21, Dec 5, 12 (Note: No class Thanksgiving weekend, Nov 28)
5 Zoom classes, Saturdays 2-4 pm Eastern Time
$200
Class limit: 12
This class can be taken on its own or as a continuation of Part I
Questions: [email protected]

Register Now

EMBRACING UNCERTAINTY is a five-week online generative writing course for writers of all levels and genres. In these days of uncertainty and rapid change, it’s difficult to know what to hang onto. And social distancing leaves us struggling to maintain our mental wellness during this undetermined period of isolation.

But what if we can use this time to develop a skill; start a new project; follow a passion?

What if this sudden surplus of time is an opportunity for experimentation?

What if we embrace our vulnerability and take a deep dive into the unknown?

What might we discover about ourselves?

For many of us, the challenge is not getting to the writing desk but knowing what to do with ourselves once we’re there.

What does it mean to develop a writing practice? How do we create momentum from where we are right now? What if destabilizing ourselves as writers could move us forward in our work if experimentation and play catapulted us into our best writing?

As a classically trained violinist, I spent years looking for the “correct” way, endlessly seeking the most efficient path, setting myself upright if I began to wobble. The truth of the matter is that all of us—writers, artists, musicians—enter into the creative process from a place of instability. Our objective should not be to straighten up and fly right, but to embrace that physics and allow our work into it.

What you’ll get from the classes:

  • Once a week, real-time meetings with your instructor and cohort.
  • Gently intriguing prompts to jumpstart your creativity.
  • Reading and discussion of texts by inspiring writers.
  • A safe and supportive environment to cultivate your writing.
  • Small, clearly defined weekly assignments to keep you motivated.
  • New writing that you can continue to nurture and grow at home.

 

Tricia Park Author PhotoTricia Park is a concert violinist and writer. The recipient of an Avery Fisher Career Grant, she has appeared in concert on five continents. Tricia is the producer/host of a podcast called “Is it Recess Yet? Confessions of a Former Child Prodigy.” Tricia is a graduate of The Juilliard School and received an M.F.A. from the Writing Program at the School of the Art Institute of Chicago. Her writing has appeared in Cleaver Magazine, Alyss, and F Newsmagazine. She has also been a finalist for contests in C&R Press and The Rumpus. Currently, she is a Lecturer and Artist-in-Residence at the University of Chicago. Tricia has taught creative writing online and at the University of Iowa.

In this class, we won’t try to fix what isn’t broken. We’ll hold our vulnerability and begin creating from where we are. We’ll give ourselves permission to commence, no matter how fragile the surface under our feet feels. Together, we will enter and engage with the work as it begins to speak to us, and we’ll allow ourselves to follow that uncertainty and see where it takes us.

URBAN WILDLIFE: WRITING ABOUT THE ENVIRONMENT, Co-taught by Lucy Spelman and Susan Tacent | September 12 to October 3, 2020 [SOLD OUT]

Cleaver Magazine Posted on by

URBAN WILDLIFE: WRITING ABOUT THE ENVIRONMENT
Co-taught by Lucy Spelman and Susan Tacent

4 Saturdays, taught online on Zoom
September 12, 19, 26, and October 3, 2020
1pm-3pm Eastern Time
Sold out
$250
Open to writers of all genres and all levels of experience
Class limit: 10

Writing about the environment, from a literary and scientific perspective.  Scientist Lucy Spelman and writer Susan Tacent designed this intensive workshop to provide writers with tools and strategies for taking environmental action. In our four weeks together we’ll unpack articles written by scientists and field experts in conjunction with literary works by Alomar, Bishop, Eggars, Erdrich, Kingsolver, LeGuin, Limón, Saunders, Szymborska, Van Doren, and others. Together we will examine how craft issues like voice, point of view, tone, pacing, and character development change as we bring the knowledge of scientists and field experts to bear on our writing. This hybrid workshop will meet on Zoom for discussions and use the text-only platform Canvas for constructive feedback on uploaded drafts. Writers interested in a particular creature will be encouraged to tailor their writing accordingly and will be assisted with locating the best scientific materials for that writing.

SYLLABUS

Week 1: Homo Sapiens Sapiens, Alpha Species

Approach, terms, and strategies in the scientific literature. Approach, terms, and strategies in literary texts. Writing from the personal. Revising with science in hand. Readings will include: Eggars, Limón, Van Doren, Szymborska.

Week 2: Heartbreak Hotel

Extinction. Small and large tragedies. The art of incorporating difficult truths in fiction and nonfiction. The art of choosing reliable scientific source material. Readings: Kingsolver, Macdonald, Saunders, LeGuin, McLarney.

Week 3:Building Walls

Planetary resources. The tactics of exclusion. Walls, roads, fences. Delectable trash, compost bins, vegetable gardens. Readings will include: Bishop, Charara, Szymborska, Jaeger, Kingsolver.

Week 4: Affordable Housing

Diurnal, nocturnal, crepuscular—no matter the habits and rhythms, everything alive lives  somewhere. Detailing the requirements of habitat. Accessing science, scientists, and field experts beyond this workshop. Empowering informed action. Readings will include: al-Daas, Osama Alamar, LeGuin, Saunders.

Lucy Spelman bio picLucy Spelman is a board-certified zoo and wildlife veterinarian with degrees from Brown University and the University of California at Davis. During her tenure as the first woman and youngest person to head the Smithsonian’s National Zoo, she brought two giant pandas to the US from China and launched a major renovation plan. She worked as a consultant for Animal Planet before moving to central Africa to run the field program for the Gorilla Doctors. Inspired by the many connections between the arts and sciences, she began teaching biology to students at the Rhode Island School of Design in 2010, and founded the non-profit, Creature Conserve in 2015. She is the author of over 40 scientific articles, the National Geographic Animal Encyclopedia, and The Rhino with Glue-on Shoes.

Susan tacent author photo

Susan Tacent’s work has been published in a variety of academic and literary journals including Dostoevsky Studies, Tin House Friday Fiction Online, Michigan Quarterly Review, DIAGRAM, and Cleaver. She’s taught literature and creative writing in classrooms from kindergarten to college. She facilitates an assisted living book club, six years strong now, where the participants’ collective age exceeds 900 years. She has worked on a variety of projects with Dr. Spelman for almost thirty years, since their friendship began.   Visit her website.

TELLING TRUE STORIES A Workshop in Creative Nonfiction Taught by Cleaver Editor Sydney Tammarine | October 19–November 20, 2020 [SOLD OUT]

Cleaver Magazine Posted on by

cover image telling true stories a lightbulb on a dark backgroundTELLING TRUE STORIES
A Workshop in Creative Nonfiction
Taught by Cleaver Editor Sydney Tammarine

5 weeks
October 19–November 20
Class limit: 12
Questions: [email protected]

Writer Dinty W. Moore says that creative nonfiction equals curiosity plus truth. CNF comes in a variety of forms: from expansive memoir to intimate personal essay to the lightbulb “eureka!” of flash. But in any form, the CNF writer is a guiding voice in the dark: a storyteller seeking truth, thinking alongside the reader toward a deeper understanding of ourselves and our world.

In this class, we’ll practice the essay in its most dynamic form: a verb that means “to test; to practice; to taste; to try to do, accomplish, or make (anything difficult).” Each week, we will read and discuss one or more example essays and generate new work from prompts. Students will share their work for peer and instructor feedback.

This workshop has weekly readings and writing assignments to inspire you—and deadlines to motivate you—but the work can be done at your own pace and on your own time. There are no required meetings, although we’ll hold optional Zoom write-ins and discussions for those who are interested. We welcome both new and experienced writers looking for motivation, structure, and enthusiastic feedback on their work.

Sydney Tammarine’s work has appeared in Ploughshares, LIT, Pithead Chapel, The Missing Slate, and other journals. She is the co-translator of a book of poems, The Most Beautiful Cemetery in Chile. She holds an MFA in Creative Writing from Hollins University and teaches writing at Virginia Military Institute. She has led workshops at The Ohio State University, Hollins University, Otterbein University, and at high schools, including as Writer-in-Residence at Appomattox Regional Governor’s School. She serves as flash and creative nonfiction editor for Cleaver.

SYLLABUS

Topic One: Writing the Tough Stuff

In our first week together, we’ll explore: Why does the most powerful writing often come from loss, grief, or trauma? What value do the “tough stories” of our lives have to others? Why is nonfiction uniquely posed to connect us to others, and what value do the “tough stories” of our lives have to them? We’ll also practice strategies for writing our toughest material in an environment that’s safe and encouraging.

Topic Two: Finding Your Truth

Novelist Tim O’Brien often talks about the role of truth in his fiction: “I want you to feel what I felt. I want you to know why a story-truth is truer sometimes than happening-truth.” In CNF, we have an obligation to truth that is greater than just getting the facts right. How do we write the story-truth, the happening-truth, as best we know it? Can any piece of writing be objectively true? We’ll talk about strategies for writing in the face of these questions, and also for finding what we think we can’t remember.

Topic Three: Hell is (Writing About) Other People

Writer Anne Lamott said, “You own everything that happened to you. Tell your stories. If people wanted you to write warmly about them, they should have behaved better.” But that doesn’t always feel so easy, does it? This week, we’ll practice making characters in nonfiction—including yourself—feel real on the page, and discuss the ethics of writing about other people.

Topic Four: Finding Poetry in Prose

The Seneca Review describes the lyric essay as “[l]oyal to that original sense of essay as a test or a quest, an attempt at making sense,” but with prose that “might move by association, leaping from one path of thought to another by way of imagery or connotation, advancing by juxtaposition or sidewinding poetic logic.” This week, we’ll try out such poetic logic, experimenting with moves that can bring the music of poetry to our prose.

THE ART OF THE SCENE: A Workshop in Fiction and Creative Nonfiction taught by Lisa Borders | August 2 – September 4, 2020 [SOLD OUT]

Cleaver Magazine Posted on by

The art of the scene cover image

THE ART OF THE SCENE 
A Workshop in Fiction and Creative Nonfiction
Taught by Lisa Borders

5 weeks
August 2 – September 4
introductory Zoom meeting at 2 pm ET on Sun Aug 2
SOLD OUT
$200 early bird / $225 regular
Class limit: 12
Questions: [email protected]

The writer Sandra Scofield describes a “pulse”—that spark that makes the story come alive— as a vital element to all scenes. This pulse is especially crucial for opening scenes, as many agents and editors report that if they are not hooked on a manuscript within the first five pages, they will not read on.

But what is a “pulse,” and how can a writer ensure that each scene—not just the opening— has one? How can we write in such a way that our characters come to life, that a scene breathes emotion and urgency, while moving the plot forward and keeping tension taut?

In this class we’ll look at opening scenes, pivotal scenes and transitional scenes in published novels and memoirs, analyzing them for a “pulse”—that spark that makes the story come alive—and for the ways in which they hook the reader, introduce the characters, and (for opening scenes) signal the book’s scope. We’ll define the elements of a scene and discuss techniques for writing scenes that breathe emotion and urgency while moving the plot forward and keeping tension taut.

We’ll also workshop an opening scene from your novel or memoir in progress of no more than 1800 words in length, applying a checklist to help you determine whether your book’s opening passes the “pulse” test—and if not, strategies for creating a first scene the reader can’t put down. You will then revise these scenes, or submit a new opening scene for instructor feedback.

This class will have one synchronous meeting: an introductory Zoom meeting on Sunday, August 2 from 2 – 3:30 pm EST. Writers will receive a schedule for submitting scenes to be workshopped in Weeks 2 – 4 as part of the Week 1 lesson.

Readings will include scenes from works by Rishi Reddi, Hanya Yanagihara, Joan Didion, Elizabeth Strout and Piper Weiss, among others.

SYLLABUS

Week 1: Introduction

  • What is a scene?
  • Scene elements
  • Creating tension within a scene
  • Readings

Week 2: Types of Scenes – Part I

  • Opening Scenes
  • Pivotal Scenes
  • Readings
  • Four scenes workshopped

Week 3: Types of Scenes – Part II

  • Flashback Scenes
  • Transitional Scenes
  • Readings
  • Four scenes workshopped

Week 4: Scene vs. Exposition

  • Definitions
  • Debunking “show don’t tell”
  • Pacing
  • Readings
  • Four scenes workshopped

Week 5: Scene CPR

  • Checklist for revision
  • Revise workshopped scene or submit new scene to instructor

Lisa Borders’ second novel, The Fifty-First State, was published by Engine Books in 2013. Her first novel, Cloud Cuckoo Land, was chosen by Pat Conroy as the winner of River City Publishing’s Fred Bonnie Award, and received fiction honors in the 2003 Massachusetts Book Awards. Lisa’s short stories, essays and humor have appeared in The Rumpus, McSweeney’s, WBUR’s Cognoscenti, Post Road, Washington Square and other journals. She has received grants from the Massachusetts Cultural Council, the Somerville Arts Council and the Pennsylvania Council on the Arts, and fellowships at the Millay Colony, Virginia Center for the Creative Arts, Hedgebrook and the Blue Mountain Center. Lisa also teaches at Boston’s GrubStreet, where she founded the Novel Generator program and co-founded the Novel Incubator program. More information on Lisa is available at lisaborders.com.

 

EMBRACING UNCERTAINTY, a Workshop to Jumpstart Your Writing, taught by Tricia Park | September 19 to October 17, 2020 [SOLD OUT]

Cleaver Magazine Posted on by

A road

EMBRACING UNCERTAINTY, Part 1 of Two
A Workshop to Jumpstart Your Writing
open to all levels and genres
Parts 1 and 2 may be repeated or taken out of order
taught by Cleaver Editor Tricia Park

5 weeks
Sept 19, 26, Oct 3, 10, 17.
5 Zoom classes, Saturdays 2-4 pm Eastern Time
$200
Class limit: 12
Questions: [email protected]

[This session is sold out. Consider Session II, starting Nov 7. Sessions can be repeated and can be taken out of sequence.]

EMBRACING UNCERTAINTY is a five-week online generative writing course for writers of all levels and genres. In these days of uncertainty and rapid change, it’s difficult to know what to hang onto. And social distancing leaves us struggling to maintain our mental wellness during this undetermined period of isolation.

But what if we can use this time to develop a skill; start a new project; follow a passion?

What if this sudden surplus of time is an opportunity for experimentation?

What if we embrace our vulnerability and take a deep dive into the unknown?

What might we discover about ourselves?

For many of us, the challenge is not getting to the writing desk but knowing what to do with ourselves once we’re there.

What does it mean to develop a writing practice? How do we create momentum from where we are right now? What if destabilizing ourselves as writers could move us forward in our work, if experimentation and play catapulted us into our best writing?

As a classically trained violinist, I spent years looking for the “correct” way, endlessly seeking the most efficient path, setting myself upright if I began to wobble. The truth of the matter is that all of us—writers, artists, musicians—enter into the creative process from a place of instability. Our objective should not be to straighten up and fly right, but to embrace that physics and allow our work into it.

Syllabus:

Week One: Freewriting and Playfulness

Elizabeth Gilbert writes, “I made a decision long ago that if I want creativity in my life—and I do—then I will have to make space for fear, too.” We’ll find ways to move through resistance as we approach our writing with playfulness and curiosity. We’ll dive into freewriting and whimsical exercises/prompts.

Week Two: Using our Senses 

Maya Angelou reminds us that “once you appreciate…one of your senses, your sense of hearing, then you begin to respect the sense of seeing and touching and tasting, you learn to respect all the senses.” Sensory details infuse our writing with richness and dimension. We’ll respond to prompts that encourage us to take in our surroundings and connect with our senses.

Week Three: Walking Down Memory Lane

Lois Lowry says, “I’ve always been fascinated by memory and dreams because they are both completely our own. No one else has the same memories. No one has the same dreams.” We’ll delve into our unique memory banks to mine our past and present, generating writing that is bound to surprise us.

Week Four: Following our Obsessions

Ralph Waldo Emerson writes, “a man is what he thinks about all day long.” In this week’s class, we’ll discover ways to follow our obsessions and redirect our mind’s tendencies to fuel our writing.

Week Five : “Gaming” our Writing 

In the last class we will explore ways we can “game” our writing, approaching it obliquely with a light-hearted touch. We’ll see how prioritizing “play” through constraints and rules can, paradoxically, free up our writing.

What you’ll get from the classes:

  • Once a week, real-time meetings with your instructor and cohort.
  • Gently intriguing prompts to jump start your creativity.
  • Reading and discussion of texts by inspiring writers.
  • A safe and supportive environment to cultivate your writing.
  • Small, clearly defined weekly assignments to keep you motivated.
  • New writing that you can continue to nurture and grow at home.

 

Tricia Park Author PhotoTricia Park is a concert violinist and writer. The recipient of an Avery Fisher Career Grant, she has appeared in concert on five continents. Tricia is the producer/host of a podcast called “Is it Recess Yet? Confessions of a Former Child Prodigy.” Tricia is a graduate of The Juilliard School and received an M.F.A. from the Writing Program at the School of the Art Institute of Chicago. Her writing has appeared in Cleaver Magazine, Alyss, and F Newsmagazine. She has also been a finalist for contests in C&R Press and The Rumpus. Currently, she is a Lecturer and Artist-in-Residence at the University of Chicago. Tricia has taught creative writing online and at the University of Iowa.

In this class, we won’t try to fix what isn’t broken. We’ll hold our vulnerability and begin creating from where we are. We’ll give ourselves permission to commence, no matter how fragile the surface under our feet feels. Together, we will enter and engage with the work as it begins to speak to us, and we’ll allow ourselves to follow that uncertainty and see where it takes us.

TELLING TRUE STORIES, a Workshop in Creative Nonfiction, by Sydney Tammarine | July 27 – August 28, 2020 [SOLD OUT]

Cleaver Magazine Posted on by

cover image telling true stories a lightbulb on a dark backgroundTELLING TRUE STORIES
A Workshop in Creative Nonfiction
Taught by Cleaver Editor Sydney Tammarine

5 weeks
July 27 – August 28 [sold out]
Class limit: 12
Questions: [email protected]

Writer Dinty W. Moore says that creative nonfiction equals curiosity plus truth. CNF comes in a variety of forms: from expansive memoir to intimate personal essay to the lightbulb “eureka!” of flash. But in any form, the CNF writer is a guiding voice in the dark: a storyteller seeking truth, thinking alongside the reader toward a deeper understanding of ourselves and our world.

In this class, we’ll practice the essay in its most dynamic form: a verb that means “to test; to practice; to taste; to try to do, accomplish, or make (anything difficult).” Each week, we will read and discuss one or more example essays and generate new work from prompts. Students will share their work for peer and instructor feedback.

This workshop has weekly readings and writing assignments to inspire you—and deadlines to motivate you—but the work can be done at your own pace and on your own time. There are no required meetings, although we’ll hold optional Zoom write-ins and discussions for those who are interested. We welcome both new and experienced writers looking for motivation, structure, and enthusiastic feedback on their work.

Sydney Tammarine’s work has appeared in Ploughshares, LIT, Pithead Chapel, The Missing Slate, and other journals. She is the co-translator of a book of poems, The Most Beautiful Cemetery in Chile. She holds an MFA in Creative Writing from Hollins University and teaches writing at Virginia Military Institute. She has led workshops at The Ohio State University, Hollins University, Otterbein University, and at high schools, including as Writer-in-Residence at Appomattox Regional Governor’s School. She serves as flash and creative nonfiction editor for Cleaver.

SYLLABUS

Topic One: Writing the Tough Stuff

In our first week together, we’ll explore: Why does the most powerful writing often come from loss, grief, or trauma? What value do the “tough stories” of our lives have to others? Why is nonfiction uniquely posed to connect us to others, and what value do the “tough stories” of our lives have to them? We’ll also practice strategies for writing our toughest material in an environment that’s safe and encouraging.

Topic Two: Finding Your Truth

Novelist Tim O’Brien often talks about the role of truth in his fiction: “I want you to feel what I felt. I want you to know why a story-truth is truer sometimes than happening-truth.” In CNF, we have an obligation to truth that is greater than just getting the facts right. How do we write the story-truth, the happening-truth, as best we know it? Can any piece of writing be objectively true? We’ll talk about strategies for writing in the face of these questions, and also for finding what we think we can’t remember.

Topic Three: Hell is (Writing About) Other People

Writer Anne Lamott said, “You own everything that happened to you. Tell your stories. If people wanted you to write warmly about them, they should have behaved better.” But that doesn’t always feel so easy, does it? This week, we’ll practice making characters in nonfiction—including yourself—feel real on the page, and discuss the ethics of writing about other people.

Topic Four: Finding Poetry in Prose

The Seneca Review describes the lyric essay as “[l]oyal to that original sense of essay as a test or a quest, an attempt at making sense,” but with prose that “might move by association, leaping from one path of thought to another by way of imagery or connotation, advancing by juxtaposition or sidewinding poetic logic.” This week, we’ll try out such poetic logic, experimenting with moves that can bring the music of poetry to our prose.