CCOG for WR 240 Fall 2023
- Course Number:
- WR 240
- Course Title:
- Creative Writing - Nonfiction
- Credit Hours:
- Lecture Hours:
- Lecture/Lab Hours:
- Lab Hours:
Intended Outcomes for the course
Upon completion of the course students should be able to:
- Articulate techniques and strategies of a wide range of established creative nonfiction writers demonstrate in their work in order to recognize the elements of prose (e.g., plot, dialogue, character, point of view).
- Employ creative writing techniques drawn from fiction, poetry, and scriptwriting, such as characterization, setting, descriptive detail, concreteness, dialogue, flashbacks, juxtaposition, metaphor, voice, tone, formality and informality, alternate narrative, summary, and scene.
- Use self-reflection and writing techniques for employing the imagination to generate new essays and then to revise the essays, using techniques for “re-entering” or “re-seeing” a piece of writing.
- Use critical thinking and problem solving to critique others' nonfiction and communicate suggestions about strengths and weaknesses of drafts to peers.
- Become familiar with creative nonfiction websites, awards, readings, workshops, and publication opportunities, and submit manuscripts for publication or performance.
Students completing an associate degree at Portland Community College will be able to reflect on one’s work or competencies to make connections between course content and lived experience.
General education philosophy statement
English and Writing courses align with the PCC General Education philosophy by providing an appreciation of writing and literature from global and personal perspectives. Students in English courses engage the imagination, critical inquiry and self‐reflection, and in the process of doing so, cultivate a more complex understanding of their own culture(s), linguistic/communication practices, and perspectives in relation to others. Because the literary arts lie at the heart of most human cultures, they are essential for understanding ourselves and each other and navigating our differences. Like all artistic practices, Creative Writing allows us to process experience and, in doing so, discover and create meaning. In Creative Writing courses, students produce and revise original writing, workshop their writing and the writing of others, study literature, and learn about editing and publishing. Courses in creative writing empower students to realize themselves as writers. In the process, students nurture and harness their creativity, develop their unique writing voices, and explore interdisciplinary aspects of their craft — connections with art, music, and science, for example. Writing and Literature courses foster a stronger sense of engagement with history, culture, and society. Writing and Literature students develop an awareness of themselves as readers and writers in a global world, and an enlarged understanding of the relationships between language, identity, ideas, scholarship, communication, and transformation.
Course Activities and Design
Students are expected to write several papers of 500 to 1,500 words each. Assignments are made with broad parameters, so that students of advanced skills may take responsibility for making as many choices as possible about their writing, including the appropriate length. The final assignment may consist of a significant revision of one essay. Approximately one-third of class time is spent discussing essays or other writings by established writers that have been assigned from a text or from handouts. These readings, related to assignments, illustrate contemporary techniques of creative nonfiction. Roughly two-thirds of class time is devoted to workshop format, in which students, usually as a single large group, discuss each other’s work, copies of which are provided to the class by the students. Student critique also takes the form of written comments. All out-of-class writing must be typed or keyboarded. Other activities may include listening and/or viewing recordings of writers reading their work and/or talking about the craft of writing, guest writer visits or field trips to readings. Students are required to attend a minimum of one hour of out-of-class conferences with the instructor.
Outcome Assessment Strategies
The course grade is determined by appraisal of the student’s writing and participation in the workshop process, including contribution to discussion and the quality of written comments on the work of others. Students may be asked to demonstrate their understanding of reading assignments, technique and craft through journals, quizzes, exams or portfolios. Regular attendance and meeting deadlines for assignments are essential to the workshop process and may figure into the final grade. Attendance policies vary with instructors: students missing a week’s worth of class may not expect an A; those missing two week’s worth may not pass the course.
Course Content (Themes, Concepts, Issues and Skills)
Narrative voice and distance
Scene vs. summary
Point of view: first, second, third person
segmented, or associative structure
Sources of material: personal experience, interview, research using resources
online, in print and in person (interviews), walking the ground,
meditation and reflection
Elements which create a piece’s voice: metaphors, images, choice of dialogue
to quote, quality of reflection, humor, irony, allusion, symbol
Methods of handling time: flashbacks, frames, juxtaposition and
interweaving, straight and reverse chronology
Writing as a process
Close reading and analysis
Paraphrasing and quoting
Audience, Purpose, and Occasion
The following items are intended as descriptions of instructors’ choices of texts in the past as an aid to choosing texts in the future. This is not intended as a prescribed or recommended list of texts.
1. Many instructors use “how to write” texts designed for college level creative writing courses, such as:
· Lynn Z. Bloom, Fact and Artifact: Writing Nonfiction.
· Theodore A. Rees Cheney. Writing Creative Nonfiction: How to Use Fiction Techniques to Make Your Nonfiction More Interesting, Dramatic and Vivid.
· Lydia Fakundiny. The Art of the Essay.
· Philip Gerard. Creative Nonfiction: Researching and Crafting Stories of Real Life.
· Lee Gutkind. The Art of Creative Nonfiction: Writing and Selling the Literature of Reality.
· Iversen, Kristen. Shadow Boxing: Art and Craft in Creative Nonfiction.
· Patsy Sims Literary Nonfifction
· William Zinsser. On Writing Well: An Informal Guide to Writing Nonfiction.
2. Along with a textbook and sometimes as the only text, instructors often use anthologies of creative nonfiction, such as:
· [Current Editor] Best American Essays [particular year]
· Mark Kramer and Norman Sims, eds. Literary Journalism: A New Collection of the Best American Nonfiction.
· Phillip Lopate, ed. The Art of the Personal Essay: An Anthology from the Classical Era to the Present.
· Robert L. Root and Michael Steinberg, eds. The Fourth Genre: Contemporary Writers of/on Creative Nonfiction.
3. Instructors also sometimes choose books by individual writers, the choice depending upon the instructor’s tastes, inclinations, and intentions for the class.
· William Kittredge. Owning It All.
· Terry Tempest Williams. Refuge: An Unnatural History of Family & Place
· Mary Clearman Blew: Bone Deep in Landscape: Writing, Reading and Place
Instructors new to the course should contact the campus creative writing chair, creative writing SAC chair, writing SAC chair, faculty department chair, or administrative support person for further information.