Course Syllabus

 

Creative Nonfiction Workshop

 

Semester & Location:	Spring 2024 - DIS Copenhagen
Type & Credits:	Elective Course - 3 credits
Major Discipline:	Creative Writing
Prerequisite(s):	One course in creative writing or journalism at university level
Faculty Members:	Tommy Heisz, (Current students please use canvas inbox)
Time & Place:	Tuesdays 13:15-16:10 in N7-A20

 

Description of Course

Creative Nonfiction is about telling true stories in captivating ways. It is a form of storytelling that employs the creative writing techniques of literature to retell a true story. The nonfiction writer does not invent events or people but conveys them in a compelling and dramatic way. In this course, which is designed for advanced writers, we will explore the theory and practice of creative nonfiction by reading and writing in a variety of forms, including profile, travel writing, memoir, historical nonfiction, and literary journalism. This course includes a heavy writing component, and your work will be critiqued and edited in a workshop setting.

 

Learning Objectives

• To learn about the definitions, conventions, and issues that surround the genre of good creative nonfiction writing.
• To master important narrative techniques like writing scenes, finding your own voice, and structuring the story.
• To consider a number of different genres of creative non-fiction, and to learn how to write effectively in each.
• To become aware of ethics when dealing with other people’s real stories in nonfiction writing.
• To develop a portfolio of work that allows you to put this understanding of the genre and its possibilities into practice.
• To learn to critique others’ work effectively, constructively, and sensitively, in a collaborative setting.

 

Expectations

I expect you to attend all class sessions unless prohibited by illness or an emergency. Participation makes up 20 % of your grade.

Regardless of whether the work under consideration is by a famous published writer or by a fellow student, I expect you to read it closely and come to class prepared to discuss it respectfully and thoroughly.

I expect you to turn in assignments on time (this is necessary to give your readers a chance to thoroughly consider your papers before they are workshopped) and to incorporate the constructive opinions of the workshop as you revise.

I also expect that, while being honest, you will be kind and respectful when you critique others’ work and will strive to be open and receptive when others critique yours.

 

Readings

You are expected to come to class having done the assigned reading for that day and being prepared to discuss it thoughtfully. All readings will be posted to Canvas.

Readings include, but are not limited to:

Kapka Kassabova – Border Ghosts

Jackson Ryan - The Ghosts of Antarctica Will Haunt the End of the World

Gay Talese – Frank Sinatra Has A Cold

Sarah Menkedick – On interviewing 

Jack Hart - Story Craft (extract)

Alexander Clapp - Europe's Heart of Darkness

Geert Mak – The Bridge – A Journey Between Orient and Occident (extract)

Giles Tremlett - Three abandoned children, two missing parents, and a 40-year mystery

Marya Hornbacher – Drifters (Interstate 35)

Matthew Bremner - The man who built his own cathedral

Jon Franklin – Writing for Story (extract)

Kate Summerscale - The Haunting of Alma Fielding (extract)

 

Evaluation

As this is a writing course, there will be frequent written exercises. Some of these exercises will occur in class and will be spontaneous and ungraded, while others will require more polishing. These exercises are designed to give you an opportunity to apply thoughtfully the lessons and techniques discussed in class.

You will also be required to write two longer pieces, STORIES OF COPENHAGEN and MAIN PAPER, which will be workshopped, revised, and turned in after workshopping for a final grade.

In connection with these two papers, workshopping, rewriting, and refining are important parts of the writing process. The grades you receive for these papers will be based mainly on the final versions, but I will also consider the effort you put into improving the pieces throughout the entire process.

 

Academic Regulations  

Please make sure to read the Academic Regulations on the DIS website. There you will find regulations on: 

• Course Enrollment and Grading  
• Academic Expectations and Honor Code 

 

Grade breakdown

 

PARTICIPATION - 20 %

Participation includes attendance, coming prepared to class, joining thoughtfully in class discussions, completing the readings, and doing in-class writing exercises.

 

STORIES OF COPENHAGEN – 20 %

You recently landed in unknown territory, your new environment in Copenhagen. Now, use your curiosity to find a story that lives up to the criteria for good creative nonfiction. The theme will be Danish/Scandinavian culture. In class, you will be introduced to some different ways into stories and get a chance to develop ideas with your fellow students. After having turned in a draft, you take part in a workshop and receive feedback. After this, you turn in a final version of the story that will be graded. This grade will be based on the overall quality of the story, but also the effort you put into reporting and rewriting.

1,5–3 pages (line spacing 1,5).

 

MAIN PAPER - 40 %

After having been introduced to the different genres of creative nonfiction, it is time to choose what path you want to go down. You can work with travel writing, memoir, profile, historical nonfiction, true crime – or whatever challenge you choose within the field of creative nonfiction. After having turned in a draft, you take part in a workshop and receive feedback. After this, you turn in a final version of the story that will be graded. This grade will be based on the overall quality of the story, but also the effort you put into reporting and rewriting.

3-5 pages (line spacing 1,5)

 

LEARNING FROM THE MASTERS – 20 %

In small groups, you will get to work in-depth with a specific writer of nonfiction – a master, that we can learn from. As a group, your job is to give an oral presentation where you shed light on how we can learn from this experienced nonfiction writer. What is their approach to reporting? What tools do they use in their writing? All groups will be assigned their subject at the beginning of the semester, and I will share text examples with you. Groups are formed by me.