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ENGL 293: BEGINNING NONFICTION WRITING
FALL 2018 SYLLABUS
MWF 2:30-3:20 pm | TLC 244
INSTRUCTOR: Caitlin Hill
EMAIL: cjhill@uidaho.edu
OFFICE: Brink 102
OFFICE HOURS: T/W/Th 1-2 pm and by appointment
COURSE INTRODUCTION AND LEARNING OUTCOMES
It’s easy to feel a bit miffed when it comes to the term “creative nonfiction.” Essentially, the recognized
definitions of the two words contradict each other; how can we possibly merge imagination with fact?
When it comes to understanding the genre, often we do so by first determining what it’s not. It’s not
constructed out of lines and it doesn’t rhyme, it isn’t based on make believe or fantasy. But what we come
to learn through this negation process is that creative nonfiction does implement many of the same
elements used to write poetry and fiction—which is exactly where the creative comes in.
Creative nonfiction is never bland old, straight cut factual writing. Creative nonfiction has a knack for
taking conventions from other genres and using them in recording, exploring, and hypothesizing the truth,
including scene creation, character development, and lyricism among a number of others. Perhaps some
alternative definitions of creative nonfiction: it is the truth, crafted. It is the truth, told at a slant. It is the
stories we tell ourselves.
English 293 is an introductory course designed to familiarize you with the craft of creative nonfiction. This
course is as much a reading-intensive course as it is a creative writing course, in which you will learn the
skills to become a more rigorous and perceptive reader and use the texts we read as a springboard for your
own writing.
By the end of the course, you should be well practiced at doing the following:
• Detecting the elements of craft commonly used in nonfiction including, but not limited to,
character, setting, research, voice, and scene development
• Differentiating between a variety of subgenres within creative nonfiction and critically reading each
according to the conventions of its subgenre
• Applying specific nonfiction techniques from assigned readings to your own writing
• Revising your work in an attempt to truly “re-see” the focus and theme of your writing
• Accurately proofreading your own work in order to produce writing that maintains the conventions
of published English
• Giving constructive feedback to peers
Additionally, we will work as a class to identify learning outcomes that you would like to achieve as
individuals and a collective.
MATERIAL REQUIRMENTS
• Sondra Perl & Mimi Schwartz, Writing True: The Craft and Art of Creative Nonfiction, Second
Edition. Cengage Learning. ISBN: 0618370757
• Bredna Miller & Suzanne Paola, Tell it Slant: Writing and Shaping Creative Nonfiction, McGraw-
Hill. ISBN: 0071781773 (Provided FOR FREE as a PDF link on our BbLearn site)
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• Supplemental essay/memoir readings provided in BBlearn
• A writer’s journal or notebook dedicated entirely to this course to be handed in periodically
COURSEWORK REQUIREMENTS
Over the course of the semester, you will be writing a series of short exercises and essays. During the final
third of the class, you will draft a full-length essay which we will workshop. You will use feedback from the
workshop process to revise and polish this essay as the final requirement for this course.
Short Exercises (300 points total):
Daily Journals (50 points)
250-word responses to in-class writing prompts given daily. These will be graded at midterm and
the final week of class.
Exercise #1: On an Object (25 points)
250-500 word assignment. The prompt will be provided in class.
Exercise #2: On a Place (25 points)
250-500 word assignment. The prompt will be provided in class.
Exercise #3: On a Person (25 points)
250-500 word assignment. The prompt will be provided in class.
Exercise #4: On an Activity, Idea, or Event (25 points)
250-500 word assignment. The prompt will be provided in class.
Short Essay #1: Combine Two (50 points)
A three-page essay in which you combine two of the subjects of the previous exercises.
Short Essay #2: Combine the Other Two (50 points)
A three-page essay in which you combine the remaining two subjects of the previous exercises.
Short Essay #3: Craft Analysis (50 points)
A three-page essay in which you analyze a craft element or technique used in a piece of published,
literary, creative nonfiction writing. This essay is a requirement for the fulfillment of ENGL 293
and failure to turn it in will result in a final grade of F.
Long Workshop Essay (400 points total):
Long Workshop Essay Rough Draft (100 points)
A ten to twelve-page fully developed essay. You should be pondering this essay through the
entirety of this course and discussing potential topics, themes, and focuses with me during office
hours.
Long Workshop Essay Conference and Revision/Analysis Cover Letter (100 points)
After your essay is workshopped, you will be expected to conference with me to discuss revision
plans and strategies based on your feedback. From this conversation and others, write a one to two-
page cover letter for the final draft of your essay that discusses the process of your writing and
revision that focuses heavily on the scope of craft.
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Long Workshop Essay Final Draft (100 points)
A ten to twelve-page fully developed and polished essay that reflects a keen awareness of and care
for the revision process. This essay is a requirement for the fulfillment of ENGL 293 and failure to
turn it in will result in a final grade of F.
Workshop Critique Letters (100 points)
For each piece workshopped, type a one-page, single-spaced letter to the writer that responds with
positive feedback and questions/suggestions for revisions for the final draft. While informal in
tone, these letters should draw upon your understanding of craft readings and analysis and exhibit
your increased understand of genre elements as well as your readerly observations. Bring two
hardcopies of the letter to class for each workshop—one for the writer and one to be submitted to
me.
Participation (100 points total):
Regular Course Attendance and Participation (80 points)
You will receive a holistic participation grade at midterm and finals week based on your
engagement, preparedness, attendance, contributions, and adherence to our classroom
commitments over the course of the semester. This includes collaborative discussion of ideas and
observations, engagement, and productive workshop contribution.
Attending Two UI English Department Events (20 points)
To earn 20 of the course’s collective 100 participation points, you must attend two events
sponsored by the UI English Department. This includes readings both on campus and downtown
as well as craft talks given by visiting writers. I will post a schedule of these events on BbLearn so
you can plan when you will complete this assignment. To earn these points, you must hand in to
me a hardcopy, typed, one-page response of each event you attend detailing what took place and
what your take-aways are.
GRADE SCALE
The above assignments add up to a total 800 possible points. Your grade is calculated according to the
following scale. A running total will be viewable on the course’s BbLearn site as assignments are graded.
A: 720-800
B: 640-719
C: 560-639
D: 480-559
F: 0-479
COURSE POLICIES
Late Work Policy
The due dates for all readings and drafts are posted on course schedule attached to this syllabus, as well as
this course’s BbLearn site. I will not accept late work past three days beyond the due date (typically the
Monday following) and any late work is subjected to a 10% deduction per day late. Please be aware that
course materials and deadlines posted on the syllabus schedule are subject to change. You should check
the BbLearn site and your University of Idaho email account at least once a day to stay properly updated,
in addition to paying keen attention in class.
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Attendance Policy
Attendance in English 293 is mandatory. After the allowed three unexcused absences have been reached,
additional absences will begin to be reflected in your grade in the form of a ten point deduction on your
participation grade per day absent. An excused absence is an official note specifying the days and reasons
you were required to miss class. Excused absences must be in writing from an official such as a doctor or a
university instructor or administrator (in the event of athletic events or field trips). You are responsible for
making up work you miss due to absences.
Course Etiquette Policy
Upon entering the English 293 classroom, students are entering into a contract that comes with nonfiction
writing. The writing created and shared in this class is personal by nature, and this fact has the potential to
stir up strong feelings, memories, and opinions.
Over the course of the semester, we will encounter complicated and challenging topics, including but not
limited to issues of race, class, gender, sexuality, faith, mental health, power and authority, violence, and
trauma. It will be important that we speak to each other with care, that we avoid statements that are
dismissive of others or that deny the humanity of individuals or groups. It will be our collective
responsibility to maintain the integrity and respectfulness of our discussions.
Our class will therefore be guided by the following commitments:
• Confidentiality. We want to create an atmosphere for open, honest exchange. BY
AGREEING TO PARTICIPATE IN THIS CLASS, YOU ARE AGREEING
NOT TO SHARE THE CONTENT OF YOUR PEERS’ PERSONAL WRITING
OUTSIDE OF THIS CLASSROOM. PERIOD.
• Our primary commitment is to learn from each other. We will listen to each other, not talk at each
other. We acknowledge differences amongst us in backgrounds, skills, interests, and values.
• We will not demean, devalue, or “put down” people for their experiences, lack of experiences, or
difference in interpretation of those experiences.
• We will trust that people are always doing the best they can.
• Challenge the idea and not the person. If we wish to challenge something that has been said, we
will challenge the idea or the practice referred to, not the individual sharing this idea or practice.
• Speak your discomfort. If something is bothering you, please share this with the group. Often our
emotional reactions to this process offer the most valuable learning opportunities.
• Recognize personal responsibility. Be aware of how much space you are taking up and avoid taking
up much more space than others. Also, be willing to speak up when others are dominating the
conversation. The more voices, the better.
Additionally, please be advised of the university’s civility clause and of your rights as a UI student:
University of Idaho Classroom Learning Civility Clause
In any environment in which people gather to learn, it is essential that all members feel as
free and safe as possible in their participation. To this end, it is expected that everyone in
this course will be treated with mutual respect and civility, with an understanding that all of
us (students, instructors, professors, guests, and teaching assistants) will be respectful and
civil to one another in discussion, in action, in teaching, and in learning.
Should you feel our classroom interactions do not reflect an environment of civility and
respect, you are encouraged to meet with your instructor during office hours to discuss
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your concern. Additional resources for expression of concern or requesting support
include the Dean of Students office and staff (208-885-6757), the UI Counseling & Testing
Center’s confidential services (208-885-6716), or the UI Office of Human Rights, Access,
& Inclusion (208-885-4285).
Sharing Policy
Sharing written work and responding with thoughtful, productive feedback is a required aspect of this
class. My expectation is that you come to class prepared to share what you have written. This does NOT
mean that I will ever force you to read everything you write in class. If a piece of writing ventures into
sensitive territory, you are welcome to pass when asked to share. When it comes to assignment
submissions, however, please remember: your instructor and your peers will be reading and/or hearing the
content of your piece, responding to elements of craft, and engaging with your work. If you have material
you wish to write about, but do not feel comfortable sharing in class, feel free to come talk to me during
office hours for more private conversation.
Technology Policy
All cell phones must put away during class time. Unless you have been given explicit permission to use
your laptop in class, all laptops should be shut and stowed. Even if you aren’t called out in class for using
this technology, inappropriate use will be reflected in your participation points.
Email Etiquette Policy
I welcome your emails and questions. When you do contact me, however, please treat it as a professional
correspondence. Your message should have a greeting, be written in complete sentences, and signed with
your name and section number at the bottom. Generally, you can expect a timely response during regular
business hours (Monday-Friday, 8-5 PM).
Plagiarism Policy
Plagiarism—using someone else’s ideas or words as yours own without proper attribution—is a serious
matter. Also, turning in work you have previously completed for another course—either an entire paper or
significant portions of it—can also be considered an unethical use of your own work and can be considered
a form of plagiarism worthy of reporting as an instance of academic dishonesty.
If evidence of plagiarism is found in student work in English 293, the instructor is empowered by
Regulation 0-2 of the general catalog to assign a grade of F for the course, a penalty that may be imposed
in particularly serious cases. In most cases of plagiarism, the instructor will also make a complaint to the
Dean of Students Office, which is responsible for enforcing the regulations in the Student Code of
Conduct. So in addition to the academic penalty of receiving an F in the course, you may also be subject to
other disciplinary penalties, which can include suspension of expulsion.
ACCOMODATIONS
Reasonable accommodations are available for students who have documented temporary or permanent
disabilities. All accommodations must be approved through the Center for Disability Access and
Resources located in the Bruce M. Pitman Center, Suite 127 in order to notify your instructor(s) as soon
as possible regarding accommodation(s) needed for the course.
Phone: 208-885‐6307 | Email: dss@uidaho.edu | Website: access.uidaho.edu
FALL 2018 ENGL 293 TENTATIVE COURSE SCHEDULE:
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MONDAY WEDNESDAY FRIDAY
Week 1
Aug. 20-24
Friday, August
21st
: Last day to
drop the
course without
a grade of W.
INTRO TO CNF→
Introduction to the course
schedule, syllabus, policies,
and one another
Reading Due:
Miller & Paola Tell it Slant
“Introduction”
(Un)defining Creative
Nonfiction & the art of
observation
Reading Due:
WT: “Why Creative Nonfiction?” &
“The Power of the Notebook”
Didion “On Keeping a Notebook”
Gutkind “The Five ‘R’s of Creative
Nonfiction”
The ethics of writing what
really happened
Reading Due:
WT: “The Ethics of Creative
Nonfiction”
TIS: Ch. 8
Clark “The Line Between Fact
and Fiction”
Sullivan “Feet in Smoke”
Week 2
Aug. 27-31
Monday,
August 27th
:
Last day to add
the course
WITH a late
fee.
INTRO TO CNF→
The various forms, shapes,
and breeds
Reading Due:
WT: “Taking Shape”
TIS: Ch. 9-11
Moore “Son of Mr. Green Jeans”
Nelson “Bluets”
Writing CNF: Where to start
Reading Due:
WT: “Ten Ways to Draft” “Finding
Voice” (including 20 ways…) &
Stafford “The Writer as Professional
Eavesdropper”
Bascom “Picturing the Personal
Essay”
TIS: Ch. 12-13
OBJECT
Reading Due:
WT: McClanahan “Book Marks”
Selzer “The Knife”
Olsen “The Love of Maps”
Week 3
Sept. 3-7
NO CLASS:
LABOR DAY
OBJECT→
Reading Due:
Sugar “The Baby Bird”
Shonagan The Pillow Book
Chesterton “A Piece of Chalk”
Writing Due:
Exercise #1: On an Object
Reading Due:
Biss “Time and Distance
Overcome”
Week 4
Sept. 10-14
PLACE→
Reading Due:
TIS: Ch. 3
WT: White “Once More to the
Lake”
Biss “No-Man’s-Land”
Readings Due:
WT: Iyer “Chapels,” Huang
“Southern Hospitality,” & Legler
“Moments of Being”
Writing Due:
Exercise #2: On a Place
Reading Due:
WT: Chaves “Independence Day”
Kinkaid “A Small Place”
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Week 5
Sept. 17-21
Early Warning
Grades Due on
Tues. Sept. 18
PERSON→
Reading Due:
TIS: Ch.2
WT: Sanders “Under the
Influence”
Baldwin “Notes of a Native Son”
Reading Due:
Monticello “Playing the Odds”
Sullivan “Michael”
Mann “Thomas”
Writing Due:
Exercise #3: On a Person
Reading Due:
Bogart “So Much for Family
Values”
Marquart “Hochzeit”
Week 6
Sept. 24-28
ACTIVITY, IDEA,
EVENT→
Readings Due:
TIS: Ch. 5-7
WT: Levy “Mastering the Art of
French Cooking”
Sedaris “Journey Into Night”
Wallace “9/11, as Seen From the
Midwest”
Readings Due:
WT: Doyle “Being Brians,” Tayebi
“Warring Memories,” & Walker
“Before Grief”
Hugues “Salvation”
Writing Due:
Exercise #4: On an Activity, Idea,
or Event
Reading Due:
WT: Clendinen “The Good Short
Life” & Simic “Dinner at Uncle
Boris’s”
Week 7
Oct. 1-5
TWO THINGS→
Readings Due:
Gornick “The Situation and the
Story”
Callahan “Chimera”
Johnson “The Math of Marriage”
Readings Due:
Beard “The Fourth State of Matter”
Strayed “Heroin/e”
Wallace “Consider the Lobster”
Writing Due:
Short Essay #1: Combine Two
Reading Due:
Deming “Science and Poetry”
Week 8
Oct. 8-12
THE OTHER TWO
THINGS→
Midterm Journal
Submission
Readings Due:
Moore “The Personal (Not
Private) Essay”
WT: Martin “Never Thirteen”
Didion “Goodbye to All That”
Readings Due:
Wallace “Tennis, Trigonometry,
Tornadoes”
Hoffert “The Culinary Lessons of a
Person Without Needs”
Writing Due:
Short Essay #2: Combine the
Other Two
Reading Due:
Jamison “The Empathy Exams”
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Week 9
Oct. 15-19
Midterm
Grades Due on
Monday Oct.
15
CRAFT ANALYSIS→
Making sense of what we do
Readings Due:
WT: Knopp “‘Pherhapsing’…”
Moore “A Closer Look: ‘Leisure’”
Readings Due:
Biss “It Is What It Is”
Writing Due:
Short Essay #3: Craft Analysis
Reading Due:
Lopate excerpts from The Art of
the Personal Essay introduction
Week 10
Oct. 22-26
Friday,
October 26th
:
Last day to
drop the
course with a
grade of W.
RESEARCH→
Meet in the library this week
Reading Due:
WT: “The Role of Research,”
“Exploring New Media,” &
Moore “Write What You Wish
You Knew”
Orlean “Meet the Shaggs”
Reading Due:
WT: Selzer “Four Appointments
with the Discus Thrower” & Kidder
“from Among Schoolchildren”
Reading Due:
May “Confessions of a Memoir
Thief”
Week 11
Oct. 29-Nov. 2 Writing Due:
Long Essay: First Draft
Reading Due:
TIS: Ch. 14
WT: “Workshopping a Draft”
WS 1, 2 WS 3, 4
Week 12
Nov. 5-9
WS 5, 6 WS 7, 8 WS 9, 10
Week 13
Nov. 12-16
WS 11, 12 WS 13, 14 WS 15, 16
Week 14
Nov. 19-23 Fall Recess →
Week 15
Nov. 26-30 Revision Conferences
No Class
→
Week 16
Dec. 3-7
REVISION→
Reading Due:
WT: “The Craft of Revision” &
Miller “A Lecture on Revision”
Moore “On Becoming an
Excellent Rewriter”
Final Journal Submission
Reading Due:
Noble “Before We’re Writers,
We’re Readers”
Last Class
Writing Due:
Long Essay: Final Draft
Week 17
Dec. 10-14 Finals Week
No Class
→
