Contact & Permalinks
Syllabus (Coming very soon!)
Texts (ebooks from the CSUMA library website):
A Self Made of Words : Crafting a Distinctive Persona in Nonfiction Writing
by Carl H. Klaus
Metawritings toward a theory of nonfiction
by Jill Lynn Talbot
Welcome to our Class!
Wednesday, January 19: Ethnographic Writing–You as the Subject
- What is ethnography?
“Ethnography is a genre of writing common in the social sciences, especially anthropology. A comprehensive study of a culture, an ethnography informs its reader through narrative immersion, often using sensory detail and storytelling techniques alongside objective description and traditional interview style.” Thompson Writing Program, Duke U. (Here’s their great handout!)
Auto-ethnography: You are a topic of interest! You are a character!
2. Some Basics to Consider Before Starting:
Do you keep a journal? Consider keeping one for this class.
The “Who cares?” factor: The importance of audience. You need to have one. Also, your audience must include you.
Creating subtext: see this infographic on theme
3. Let’s read some auto-ethnographic writing
“Hanatomy,” by Hannah Lajba, student
Jamaica Kincaid reads her poem, “Girl“
4. Universal Discussion Questions
Why would somebody want to read this piece (the “Who cares?” factor)?
• Can you clearly identify the author’s intention for the piece?
What else would you like to know?
• Does the author portray herself as a round character? How does she do this?
• Do you trust the author of this piece? Why or why not?
• How clearly does the author establish a sense of setting/space in this piece?
• How clearly does the author establish characters other than the self in this piece?
• Did you learn anything new from reading this piece? If so, what?
• Would you read more writing from this author? Why or why not?
5. A device is something we will practice with in many of the writing assignments—a tool that allows you to tell a story in a logical way when you might not otherwise have been able to tell it organically in the structure of your narrative. The following are short descriptions of devices used to define character in a piece of writing:
Neziah uses her history with eyeglasses to define her character.
Emma chooses defining moments from a series of ages, presented chronologically, to define his character.
Zachary describes his struggles with low self-esteem to establish his character.
Justine examines her history of relationships with others and her tendency to cry to examine her character.
Hannah uses humor to examine her body and define her character.
Jeffrey shows himself as an overworked student in order to define his character.
Joomi uses her height as a frame to examine her character.
Short exercise: write a one sentence description of a device that you can use to explain yourself as a character.
Homework, due Wednesday, January 26:
Self-as-Character Assignment (one page, single-spaced), by Melissa Tombro
We all love a good character, someone who is complex yet relatable, full of all of the human foibles we are aware of, who may act differently from what we could ever anticipate.
This is by far the hardest assignment of the semester and also your first major assignment. Unless you have been honing your persona in writing for many years, you will have a hard time with this piece.
For this assignment, you will need to write a self-portrait. There are many ways you can do this. You can identify a structural element that allows you to move through personality traits, use interesting qualities or amusing actions to form a story or create narrative story lines that let us see you at your best and worst. So much of writing this piece is about making choices.
However you approach this piece, make sure to focus on yourself in an interesting way. In other words, for better or worse, make yourself a character we want to hear and care about.
This work will be shared with classmates during class discussion.
Wednesday, January 12: The 5 R’s and the Importance of Deep Observation
- Review first freewrite: personal writing vs. academic writing:
Q: What have you been taught about the differences between personal and academic writing?
Q: Is there a specific answer that explains the difference?
Q: Can you put the personal in the academic? (Yes!)
2. Review the “5 Rs” of Nonfiction Writing:
“‘Immersion journalists’ immerse or involve themselves in the lives of the people about whom they are writing in ways that will provide readers with a rare and special intimacy.”
“[C]reative nonfiction, is a concept that offers great flexibility and freedom, while adhering to the basic tenets of nonfiction writing and/or reporting. In creative nonfiction, writers can be poetic and journalistic simultaneously. Creative nonfiction writers are encouraged to utilize fictional (literary) techniques in their prose – from scene to dialogue to description to point-of-view – and be cinematic at the same time. Creative nonfiction writers write about themselves and/or capture real people and real life in ways that can and have changed the world. What is most important and enjoyable about creative nonfiction is that it not only allows, but encourages the writer to become a part of the story or essay being written. The personal involvement creates a special magic that alleviates the suffering and anxiety of the writing experience; it provides many outlets for satisfaction and self-discovery, flexibility and freedom.”
Vanity Fair (print only in library)
3. “Real Life”–You’re busy students, but you do have lives worthy of thinking and writing about. Why not write about what you know?
“Research”–Oh yeah. You don’t know everything about what you know. What’s still out there to learn? What have you missed, or misunderstood?
“Reflection”–Your thoughts are vital parts of your writing but must include an interest in what your reader might want (or not want) to read.
“Reading”–We’ll do a lot of it in this class, don’t worry. We need to see what some of the best nonfiction writers do, and how they do it.
“Riting”–That too :). Get ready.
4. Observation Exercise, from Teaching Autoethnography: Personal Writing in the Classroom, Melissa Tombro
Spend at least twenty minutes in a public space, observing one person you have never seen or met before. The person need not be someone who strikes you as interesting. In fact, somebody who appears to be less than interesting to you is often the best choice for this assignment.
This is a difficult assignment for a number of reasons. It is hard to find someone who will be still and accessible for twenty minutes; if the person moves, move with him or her. The subject also might become aware of being observed. This is not a problem; simply talk to the person if he or she inquires, or move on to another observation if it seems at all bothersome to the person being observed. Your goal is not to make someone uncomfortable but to pause and consider your environment and those who inhabit it.
Using your five senses, take notes on everything around you and everything about the person, focusing on the subject’s appearance, how she carries herself, her actions and interactions, the way she interacts with her environment, any speech you might overhear, the feeling, look, smell and feel of the space your subject inhabits.
After you have finished taking notes, as close to the observation time as possible, construct a narrative description of this person and his or her life based on the details you have recorded.
This is an assignment you may enjoy doing more than once. If you are riding public transportation or have free time in a public space, you can practice your observational skills and storytelling abilities by basing pieces on this real-life observational note taking.
This is a fiction-writing assignment based on real observation and will be shared during class discussion.
P.S. If anyone is interested in reading Annie Dillard’s “Schedules,” someone in India copied the whole book here.
Introductions: What’s your name, your major, and either: tell us a skill or interest you developed during Covid, or tell us your favorite character in the Marvel Universe, and why.
This semester, we will be investigating your personal writing, and helping you discover the personae living inside of you!
Exercise: Freewrite Assignment, from Teaching Autoethnography: Personal Writing in the Classroom, Melissa Tombro
What is personal writing? What is academic writing?
Over the course of the semester, I will be asking you to create responses through something called freewriting.
Freewriting is also known as stream-of-consciousness writing—essentially writing whatever comes to mind on a particular subject. The theory behind freewriting is to allow your mind to make connections among given topics and your own thoughts and experiences. It is not meant to be an edited piece of formal writing, but rather an exploration of your responses to a particular topic.
Throughout this course, it will be necessary to make connections with one another and focus on communicating clearly and effectively with classmates. This first exercise will help you get to know your fellow students, consider the focus for the class, and also to get acclimated to sharing your writing with your peers.
For this exercise, I would like you to write about the terms personal writing and academic writing and what they mean to you. You will be writing continuously for twelve minutes.
The goal of a freewrite is to keep your pen or pencil to the paper for the entire length of time I give you to write. It is natural for the mind to wander. Often in life we are thinking of many things at the same time: class, how hungry we are, what time it is. When you feel as if you have run out of things to say or you find you can no longer focus on the topic, don’t stop writing! Simply continue to write about what is distracting you and carefully make your way back to the topic. These pieces are not collected or graded, so do not edit yourself. Write whatever comes to mind in response to the prompt. Be prepared to read this writing out loud for the class. We will define the two terms as a group based on your contributions.
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