Writers have long enjoyed a major impact on contemporary thought by producing compelling essays about personal experiences, feelings, or ideas. This innovative experience allows students to earn either Nonfiction Workshop credit or a Nonfiction reading elective credit in a single, combined course. The workshop component allows students to experiment with memoir and the personal essay as distinct forms and as explorations of the self, while the reading component focuses on essay and memoir both short and long, with the goal of deeper understanding of these popular writing forms. Students may count this course as either a workshop or an elective, depending on their needs. There is no prerequisite for students in the Nonfiction concentration; students in other concentrations or programs must seek permission from their advisor and the Writing Program director.
This craft elective focuses on revision at the sentence and paragraph level and is open to fiction or nonfiction students. Through close reading and brief exercises, students learn various techniques to assemble sentences and establish syntactic relationships within paragraphs. Students imitate other writers, as well as revise, exchange and discuss revisions of their own work. Authors to be studied may include Updike, Munro, and Welty in fiction, and Dillard, McPhee, or Didion in nonfiction.
This popular elective course helps fiction and factual writers apply the techniques, vision and benefits of poetry to their writing. Through reading, discussion and writing, students explore the lessons of free verse and formal poems, especially their careful attention to language, rhythm, theme, and other tenets of poetic craft. This course engages those with experience in poetry, as well as those new to the field. As part of this course, students will write and workshop poems with their classmates. This onsite course also may involve some online interactivity.
This reading elective examines the historical development of fiction and nonfiction from a craft perspective, emphasizing the interrelationship of social and cultural development with the maturation of writing. Students learn to appreciate how contemporary authors have roots in the past, and how they themselves might be inspired by those who came before them. Readings and discussions will revolve around William Carlos Williams and T.S. Eliot, two giants who locked horns for forty years and whose disagreements have gone a very long way toward shaping literature in their own era and ever since. All of the authors students study in the class purposely challenged narrative art in the name of forging new and more relevant literary models. Reading list may include James Joyce, Ernest Hemingway, Virginia Woolf, James Baldwin, Philip Roth, Toni Morrison. The course requires extensive reading as well as creative and critical writing. Both nonfiction and fiction students are invited to enroll.
This course will look at how writing about the body documents and manifests the relationship between experience and consciousness. It will examine questions of self, politics, and genre as questions of craft: How can we shape the physical worlds of our writing? How is the self – and the way we write about the self – shaped by its physical vessel? How can paying attention to the body affect the way we write, and what we write about? Using major bodily experiences like eating, movement, illness, intimacy, and ecstasy as a frame, students will read and analyse work by writers such as Eula Biss, Garth Greenwell, Sinead Gleeson, and James Baldwin, as well as complete creative writing exercises. This elective is open to both fiction and nonfiction students.
This cross-concentration reading course, designed for fiction or nonfiction students, focuses on a writer’s analysis of masterworks in fiction, nonfiction, nature, travel or poetry – and how those forms may be combined in various hybrids. The course involves extensive reading and discussion of technique and the changing boundaries among the genres. The format includes craft reports, response writing and individual or team presentations, plus a final creative or critical work.
This craft elective, designed for students from any program concentration, focuses on how detail and setting combine with other techniques to create a sense of place in fiction, nonfiction or other forms. Readings come from travel, short fiction, memoir, science, novels, nature, poetry and creative nonfiction. Through reading, discussion and writing exercises, students learn how to enhance the sense of place in their own writing. This course counts as an elective in nonfiction or fiction.
In this craft elective, fiction and nonfiction students will take as a premise the words of novelist Alice LaPlante: “[O]ur first job as writers” is “to notice.” We all notice things as we make our way through each day, but “noticing” as a writer is different. Whether working on fiction, nonfiction, poetry, or any other genre, the writer needs to pay attention to the very small, to zoom in on the specific detail or insight that can make even the most mundane moment feel entirely new and surprising. Noticing in this way is a skill that, like most skills, is developed with practice. In this class, students will practice with weekly writing prompts designed to help them describe their physical and emotional worlds in concrete language. Along the way, students will review each their writing as a group and read works by great contemporary noticers, including Karl Ove Knausgaard, Chimamanda Ngozi Adichie, Ben Lerner, and Weike Wang.
As news organizations increasingly require journalists to work on multiple platforms, this digital storytelling class will help you move your narrative journalism off the page and onto the screen or into the earbud. In this hands-on, experiential course students will learn the basics of audio recording and editing as well as video recording and editing. Students will do multiple projects including developing a short podcast series and several short videos. They may wish to invest in some audio-video recording equipment or rent some for the course but can also use cell phones for these basic exercises.
In this cross-concentration craft elective, students examine aspects of voice in fiction and factual writing, considering how style, point of view, tone, structure and culture all contribute to an author's or narrator's individual writing personality. Students use exercises to strengthen their individual styles or the voices of the characters they portray. Readings include novels, short stories, essays, articles and nonfiction books, as well as articles on craft. Class assignments may include response writings and original fiction or nonfiction as well as oral presentations. This course is the dual-concentration version of 490.683 Voice in Modern Fiction, which covers only fictional works, and 490.705 Crafting a Nonfiction Voice, for factual writers.
This cross-concentration elective course presents intensive readings in fictional, factual, and poetic narrative. The course covers elements of narrative, including plot, character, setting, tone, pacing, dialogue, and theme, plus the terms writers use to discuss and analyze narrative. Readings in both traditional and contemporary narratives will include novels, short stories, essays, articles and nonfiction narrative books, and may include some poetry and articles on craft. Class assignments may include response writings and original narratives from prompts. This course counts as an elective in nonfiction or fiction.
This elective course is designed to hone skills in the elements of fiction through an intensive revision process. The course explores in depth exercises and techniques such as expanding/slowing down, mapping structure, defining and refining character and characterization, and using syntax and word choice to strengthen sentences. Students improve the use of these and other techniques by reviewing and revising their own writing and the writing of their classmates. While some workshop methods will be employed, this course focuses more on specific revision techniques and exercises than a workshop-style evaluation of student writing. Pre-requisite: Fiction Techniques.
Many writers begin novels, but far fewer finish them, let alone have the manuscripts fully ready for a publisher’s consideration. This course helps students move forward with their novels. The class will focus on writing, revising, selling novels in general, as well as some workshop components. Students should have completed Contemporary American Writers and Fiction Techniques before enrolling. They should have several completed novel chapters to work on and discuss.
This fully online course is designed for writers who have a specific nonfiction book project in mind and are looking to secure an agent or publisher based on the well-drafted proposal. Students can be working on a book based on reporting, a memoir, or a collection of essays but they should register for the class only if they already have an idea for a book and have two or three chapters completed. (Ideally those chapters have been workshopped and refined in other classes before enrolling in this course.). Over the course of the semester, students will draft, revise, and refine a 15-page proposal, will develop a chapter outline, and will refine a sample chapter or two. Based on feedback from the instructor and fellow students, each writer will complete the course with a polished proposal based on publishing industry standards.
Writing the Other focuses on practical approaches to writing characters who you identify as different from yourself. As such, we examine dominant paradigms of otherness, drawing from a worldview that is shaped by our own biographies. We explore fiction/non-fiction in which writers have successfully and unsuccessfully bridged cultural and other socially constructed differences, with the goal of bridging these differences successfully in our own fiction/non-fiction writing. To that end, we will conclude the course with a fiction/non-fiction workshop, sharing our own attempts to write the other and critiquing the attempts of our peers.
This cross-concentration reading and craft course focuses on the flaneur tradition and the curious link between the mind and feet. From Charles Baudelaire to Virginia Woolf, from Max Beerbohm to E.B. White, writers who walk –and write about their walks or their characters’ walks—have proliferated in the last two centuries. We will analyze this literature and make forays of our respective neighborhoods to experiment with the form. Drawing on the outward facing gaze of walkers, we’ll pay particular attention to creating a strong sense of place and braiding the exterior world with internal rumination. We will also be workshopping writing that is submitted in advance and hearing from an invited author each evening. This condensed course counts as an elective for students in either the fiction or nonfiction concentration.
Using classic western films as a springboard for discussion, this class will explore the evolution of a counter-narrative from writers of both fiction and nonfiction. Readings will include novels, histories and literary nonfiction, all with an eye toward understanding our complicated western expansion, and how our shifting literary legacy corrects, amends, or counters prevailing narratives of the American West. This condensed, one-week course will take place at the University of Montana in Missoula, where Writing students will join with students in the Science Writing and Teaching Writing residencies. The course counts as an elective for students in any concentration.
Because the stories we tell ourselves about place shape our identity and sense of self, students will study the craft of scenes and settings in these works with an eye toward deepening our own observations and skills through writing exercises in the landscape of Montana.
