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ENG 302

Creative Writing II: Fiction Topics

Topics in fiction writing with particular concentration on specific forms or other aspects of the genre using readings as models and inspiration. This might include the novella or the short-short story or techniques such as magical realism, meta-fiction, minimalism, etc., depending on the instructor. Prerequisite: ENG 201.

Distribution Area Prerequisites Credits
ENG 201 1 course

Spring Semester information

Allison Lynn

302A: Fiction Writing: Topics: Turning Fact Into Fiction

In this fiction workshop, we'll use real life events as jumping-off points for richly imagined short stories. These events will include both incidents from your own life and moments from public history (recent public occurrences -- this year, even -- and/or more distant historical events). We'll use established stories that incorporate public and private histories as our models. Over the course of the semester you'll complete two full stories of your own, one of which you'll take through a thorough revision process.


Fall Semester information

Gregory Schwipps

302A: Fiction Writing: Topics: Fictionalizing Life

While all fiction writers draw from real life experience when writing short stories and novels, what they create is not -- or should not be -- creative nonfiction merely labeled as fiction. This class examines the way writers turn life into art. Students will study fiction that draws heavily from the author's personal experience, like Tim O'Brien's The Things They Carried, fiction that uses a setting the author knows well, like Bonnie Jo Campbell's American Salvage, as well as fiction that relies on intimate conflict, to examine the link between real and imagined lives. Students will then write both creative nonfiction pieces and short stories that spring from their own lives.


Elizabeth Eslami

302B: Fiction Writing: Topics: Looking Back: On Memory and Retrospective Narration in Fiction

Whether we wish to render worlds familiar or fantastic, one of the best writing prompts is to begin with two delicious and dangerous words: "I remember." Such a beginning asks us to consider not just one narrator's authority, bias, and reliability, but two: the narrator of the present, who recounts, shapes, and even manipulates a story, and the narrator of the past, who is often (but not always) the story's protagonist. Together we'll examine stories and novels that capitalize on double-sided narration. How do these authors modulate the presence of older vs. younger narrator? What is the difference between retrospection and "faux memoir"? Through a series of guided exercises and assignments, we'll try our hand at incorporating memory and retrospective narration in our own fiction, culminating in a portfolio of stories or novel chapters. Prerequisite: ENG 201.