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Last updated on Oct 31, 2022

10 Personal Narrative Examples to Inspire Your Writing

Personal narratives are short pieces of creative nonfiction that recount a story from someone’s own experiences. They can be a memoir, a thinkpiece, or even a polemic — so long as the piece is grounded in the writer's beliefs and experiences, it can be considered a personal narrative.

Despite the nonfiction element, there’s no single way to approach this topic, and you can be as creative as you would be writing fiction. To inspire your writing and reveal the sheer diversity of this type of essay, here are ten great examples personal narratives from recent years: 

1. “Only Disconnect” by Gary Shteyngart

Personal narratives don’t have to be long to be effective, as this thousand-word gem from the NYT book review proves. Published in 2010, just as smartphones were becoming a ubiquitous part of modern life, this piece echoes many of our fears surrounding technology and how it often distances us from reality.

In this narrative, Shteyngart navigates Manhattan using his new iPhone—or more accurately, is led by his iPhone, completely oblivious to the world around him. He’s completely lost to the magical happenstance of the city as he “follow[s] the arrow taco-ward”. But once he leaves for the country, and abandons the convenience of a cell phone connection, the real world comes rushing back in and he remembers what he’s been missing out on. 

The downfalls of technology is hardly a new topic, but Shteyngart’s story remains evergreen because of how our culture has only spiraled further down the rabbit hole of technology addiction in the intervening years.

What can you learn from this piece?

Just because a piece of writing is technically nonfiction, that doesn’t mean that the narrative needs to be literal. Shteyngart imagines a Manhattan that physically changes around him when he’s using his iPhone, becoming an almost unrecognizable world. From this, we can see how a certain amount of dramatization can increase the impact of your message—even if that wasn’t exactly the way something happened. 

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2. “Why I Hate Mother's Day” by Anne Lamott

The author of the classic writing text Bird by Bird digs into her views on motherhood in this piece from Salon. At once a personal narrative and a cultural commentary, Lamott explores the harmful effects that Mother’s Day may have on society —how its blind reverence to the concept of motherhood erases women’s agency and freedom to be flawed human beings. 

Lamott points out that not all mothers are good, not everyone has a living mother to celebrate, and some mothers have lost their children, so have no one to celebrate with them. More importantly, she notes how this Hallmark holiday erases all the people who helped raise a woman, a long chain of mothers and fathers, friends and found family, who enable her to become a mother. While it isn’t anchored to a single story or event (like many classic personal narratives), Lamott’s exploration of her opinions creates a story about a culture that puts mothers on an impossible pedestal. 

In a personal narrative essay, lived experience can be almost as valid as peer-reviewed research—so long as you avoid making unfounded assumptions. While some might point out that this is merely an opinion piece, Lamott cannily starts the essay by grounding it in the personal, revealing how she did not raise her son to celebrate Mother’s Day. This detail, however small, invites the reader into her private life and frames this essay as a story about her —and not just an exercise in being contrary.

3. “The Crane Wife” by CJ Hauser 

Days after breaking off her engagement with her fiance, CJ Hauser joins a scientific expedition on the Texas coast r esearching whooping cranes . In this new environment, she reflects on the toxic relationship she left and how she found herself in this situation. She pulls together many seemingly disparate threads, using the expedition and the Japanese myth of the crane wife as a metaphor for her struggles. 

Hauser’s interactions with the other volunteer researchers expand the scope of the narrative from her own mind, reminding her of the compassion she lacked in her relationship. In her attempts to make herself smaller, less needy, to please her fiance, she lost sight of herself and almost signed up to live someone else’s life, but among the whooping cranes of Texas, she takes the first step in reconnecting with herself.

With short personal narratives, there isn’t as much room to develop characters as you might have in a memoir so the details you do provide need to be clear and specific. Each of the volunteer researchers on Hauser’s expedition are distinct and recognizable though Hauser is economical in her descriptions. 

For example, Hauser describes one researcher as “an eighty-four-year-old bachelor from Minnesota. He could not do most of the physical activities required by the trip, but had been on ninety-five Earthwatch expeditions, including this one once before. Warren liked birds okay. What Warren really loved was cocktail hour.” 

In a few sentences, we get a clear picture of Warren's fun-loving, gregarious personality and how he fits in with the rest of the group.

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4. “The Trash Heap Has Spoken” by Carmen Maria Machado

The films and TV shows of the 80s and 90s—cultural touchstones that practically raised a generation—hardly ever featured larger women on screen. And if they did, it was either as a villain or a literal trash heap. Carmen Maria Machado grew up watching these cartoons, and the absence of fat women didn’t faze her. Not until puberty hit and she went from a skinny kid to a fuller-figured teen. Suddenly uncomfortable in her skin, she struggled to find any positive representation in her favorite media.

As she gets older and more comfortable in her own body, Machado finds inspiration in Marjory the Trash Heap from Fraggle Rock and Ursula, everyone’s favorite sea witch from The Little Mermaid —characters with endless power in the unapologetic ways they inhabit their bodies. As Machado considers her own body through the years, it’s these characters she returns to as she faces society’s unkind, dismissive attitudes towards fat women.

Stories shape the world, even if they’re fictional. Some writers strive for realism, reflecting the world back on itself in all its ugliness, but Carmen Maria Machado makes a different point. There is power in being imaginative and writing the world as it could be, imagining something bigger, better, and more beautiful. So, write the story you want to see, change the narrative, look at it sideways, and show your readers how the world could look. 

5. “Am I Disabled?” by Joanne Limburg 

The titular question frames the narrative of Joanne Limburg’s essay as she considers the implications of disclosing her autism. What to some might seem a mundane occurrence—ticking ‘yes’, ‘no’, or ‘prefer not to say’ on a bureaucratic form—elicits both philosophical and practical questions for Limburg about what it means to be disabled and how disability is viewed by the majority of society. 

Is the labor of disclosing her autism worth the insensitive questions she has to answer? What definition are people seeking, exactly? Will anyone believe her if she says yes? As she dissects the question of what disability is, she explores the very real personal effects this has on her life and those of other disabled people. 

Limburg’s essay is written in a style known as the hermit crab essay , when an author uses an existing document form to contain their story. You can format your writing as a recipe, a job application, a resume, an email, or a to-do list – the possibilities are as endless as your creativity. The format you choose is important, though. It should connect in some way to the story you’re telling and add something to the reader’s experience as well as your overall theme. 

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6. “Living Like Weasels” by Annie Dillard

While out on a walk in the woods behind her house, Annie Dillard encounters a wild weasel. In the short moment when they make eye contact, Dillard takes an imaginary journey through the weasel’s mind and wonders if the weasel’s approach to life is better than her own. 

The weasel, as Dillard sees it, is a wild creature with jaws so powerful that when it clamps on to something, it won’t let go, even into death. Necessity drives it to be like this, and humanity, obsessed with choice, might think this kind of life is limiting, but the writer believes otherwise. The weasel’s necessity is the ultimate freedom, as long as you can find the right sort, the kind that will have you holding on for dear life and refusing to let go. 

Make yourself the National Geographic explorer of your backyard or neighborhood and see what you can learn about yourself from what you discover. Annie Dillard, queen of the natural personal essay, discovers a lot about herself and her beliefs when meeting a weasel.

What insight can you glean from a blade of grass, for example? Does it remind you that despite how similar people might be, we are all unique? Do the flights of migrating birds give you perspective on the changes in your own life? Nature is a potent and never-ending spring of inspiration if you only think to look. 

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7. “Love In Our Seventies” by Ellery Akers

“ And sometimes, when I lift the gray hair at the back of your neck and kiss your shoulder, I think, This is it.”

In under 400 words, poet Ellery Akers captures the joy she has found in discovering romance as a 75-year-old . The language is romantic, but her imagery is far from saccharine as she describes their daily life and the various states in which they’ve seen each other: in their pajamas, after cataract surgeries, while meditating. In each singular moment, Akers sees something she loves, underscoring an oft-forgotten truth. Love is most potent in its smallest gestures.  

Personal narrative isn’t a defined genre with rigid rules, so your essay doesn’t have to be an essay. It can be a poem, as Akers’ is. The limitations of this form can lead to greater creativity as you’re trying to find a short yet evocative way to tell a story. It allows you to focus deeply on the emotions behind an idea and create an intimate connection with your reader. 

8. “What a Black Woman Wishes Her Adoptive White Parents Knew” by Mariama Lockington

Mariama Lockington was adopted by her white parents in the early 80s, long before it was “trendy” for white people to adopt black children. Starting with a family photograph, the writer explores her complex feelings about her upbringing , the many ways her parents ignored her race for their own comfort, and how she came to feel like an outsider in her own home. In describing her childhood snapshots, she takes the reader from infancy to adulthood as she navigates trying to live as a black woman in a white family. 

Lockington takes us on a journey through her life through a series of vignettes. These small, important moments serve as a framing device, intertwining to create a larger narrative about race, family, and belonging. 

With this framing device, it’s easy to imagine Lockington poring over a photo album, each picture conjuring a different memory and infusing her story with equal parts sadness, regret, and nostalgia. You can create a similar effect by separating your narrative into different songs to create an album or episodes in a TV show. A unique structure can add an extra layer to your narrative and enhance the overall story.

9. “Drinking Chai to Savannah” by Anjali Enjeti

On a trip to Savannah with her friends, Anjali Enjeti is reminded of a racist incident she experienced as a teenager . The memory is prompted by her discomfort of traveling in Georgia as a South Asian woman and her friends’ seeming obliviousness to how others view them. As she recalls the tense and traumatic encounter she had in line at a Wendy’s and the worry she experiences in Savannah, Enjeti reflects on her understanding of otherness and race in America. 

Enjeti paints the scene in Wendy’s with a deft hand. Using descriptive language, she invokes the five senses to capture the stress and fear she felt when the men in line behind her were hurling racist sentiments. 

She writes, “He moves closer. His shadow eclipses mine. His hot, tobacco-tinged breath seeps over the collar of my dress.” The strong, evocative language she uses brings the reader into the scene and has them experience the same anxiety she does, understanding why this incident deeply impacted her. 

10. “Siri Tells A Joke” by Debra Gwartney

One day, Debra Gwartney asks Siri—her iPhone’s digital assistant—to tell her a joke. In reply, Siri recites a joke with a familiar setup about three men stuck on a desert island. When the punchline comes, Gwartney reacts not with laughter, but with a memory of her husband , who had died less than six months prior.

In a short period, Gwartney goes through a series of losses—first, her house and her husband’s writing archives to a wildfire, and only a month after, her husband. As she reflects on death and the grief of those left behind in the wake of it, she recounts the months leading up to her husband’s passing and the interminable stretch after as she tries to find a way to live without him even as she longs for him. 

A joke about three men on a deserted island seems like an odd setup for an essay about grief. However, Gwartney uses it to great effect, coming back to it later in the story and giving it greater meaning. By the end of her piece, she recontextualizes the joke, the original punchline suddenly becoming deeply sad. In taking something seemingly unrelated and calling back to it later, the essay’s message about grief and love becomes even more powerful.

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Personal Narrative Writing Guide

WHAT IS A PERSONAL NARRATIVE?

A Personal Narrative recounts an event or experience from the writer’s life in story form and often in intimate detail. This text type not only relates to the events happening around the author but also often reveals the writer’s inner thoughts and emotions also.

A personal narrative can be understood as nonfiction storytelling based on the writer’s thoughts, feelings, and experiences. Told in the first person, the writer draws on their life events to construct a story.

Combining elements of nonfiction recount writing with introspection and the frequent use of literary devices more commonly associated with fiction and poetry, a personal narrative can be best understood as a type of creative nonfiction .

PERSONAL NARRATIVE VERSUS A PERSONAL RECOUNT: SO WHAT’S THE DIFFERENCE?

Personal narratives are also frequently referred to as personal recounts. They share much in common but are unique text types, so let’s explore how they compare and contrast.

When we first instruct our students to write stories based on the events of their own lives, they will inevitably write simple recounts. These recounts are based on retelling personal incidents of their lives but lack the depth we can typically expect to find in a personal narrative.

While personal narratives also recount events from the writer’s life, with greater emphasis placed on exploring the writer’s thoughts and feelings on these events rather than just what happened.

A personal narrative is a means for the writer to explore the meaning of the events in their life. It is, at its core, an introspective and creative endeavor that focuses as much on the interior life of the writer as it does on external events.

While the conclusion of a traditional recount usually provides some of the writer’s insights, in a personal narrative, these are woven throughout the text.

STRUCTURE AND FEATURES OF A PERSONAL NARRATIVE

Personal narrative structure.

ORIENTATION Explain the who, what, when, and where of the experience in your introduction to your audience.

FOCUS Mainly focus on meaningful events.

CHRONOLOGY Events are described in the sequence in which they occurred.

ORGANIZATION Relevant information is organized into paragraphs

INSIGHT & MEANING Include personal comments, opinions or interpretations of the experience or event in your personal narrative.

PERSONAL NARRATIVE FEATURES

TENSE The first and third person are used most frequently and recall is always written in the past tense. Present tense can be used for analysis and opinion.

NOUNS Use proper nouns to refer to specific people, places times and events

VOICE Both active and passive voice are used in recounts. Use these to express your emotions and thinking clearly.

CONNECTIVES Use conjunctions and connectives to link events and indicate time sequence in your personal narrative.

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HOW LONG SHOULD A PERSONAL NARRATIVE BE?

The personal narrative is a modern text type and therefore has no traditionally defined optimum length, and we can find texts ranging from a couple of hundred words to a multi-volume series in this genre. 

However, for our students, this text type can be thought of in terms of length as similar to an essay. Like an essay, the text needs to be long enough to comprehensively answer the question, prompt, or the event/experience the student is retelling.

David Sedaris, the American writer and one of the best-known writers of humorous personal narratives, has written many books that could accurately be classified in this genre.

While these full-length books are often built around a loose theme, each chapter could stand alone as a personal narrative essay in its own right, each built around a single identifiable experience or event. 

As with an essay, the length of a personal narrative can be based on a variety of factors, including:

• Age and ability of the students
• Specifics of the question or writing prompt
• Any limitation imposed by a word count
• The complexity of the event/experience being written about.

Regardless of length, given its structural similarity with the essay, personal narratives usually follow a basic three-part structure.

HOW TO WRITE A PERSONAL NARRATIVE STEP-BY-STEP

We mentioned previously that this text type is relatively modern, so there aren’t many fixed rules concerning structure. That said, we can usually identify three distinct parts of a personal narrative corresponding to the three parts outlined in the hamburger essay or the 5-paragraph essay format. These are:

• The introduction
• The body paragraphs
• The conclusion

If you want an in-depth guide to this format, check out our comprehensive article here . But, for now, let’s take a brief look at the purpose of each section as it relates to a personal narrative.

WRITING THE INTRODUCTION OF A PERSONAL NARRATIVE

The introduction of a personal narrative performs several functions. 

1: It hooks the Reader

The first job of the introduction is to ‘hook’ the reader. If we can’t catch the reader’s interest initially, there will be no middle or end for the reader. A strong hook is needed at the very outset, and it can take several forms. 

Some effective hooks to open a personal narrative with include:

• A bold claim
• An interesting anecdote
• A fascinating fact or revealing statistic
• A compelling quotation

Whichever technique the student chooses to open their narrative with, they should ensure it is relevant to the subject matter explored, whether it focuses on external or internal events or experiences or a mixture of both. 

2: It orients the Reader

Like many other nonfiction and fiction text types, the opening paragraph (or paragraphs) will also orient the reader by answering some basic questions such as:

• What is the text about?
• Who is in this story?
• Where is it set?
• When do the events or experiences occur?

While it may also hint at why these events or experiences matter, a detailed answer to the why of a personal narrative may be saved for the text’s conclusion.

This section of the personal narrative can also be thought of as The Exposition .

3: It Sets the Tone

The introduction reveals not only what the text will be about but also how the writer (and, by extension, the reader) will treat the topic. This is the tone.

For example, a more sombre tone has been established where the language used is serious and formal. In this instance, the reader will adopt a more serious approach to the work.

On the other hand, if the treatment of the event or experience is humorous, this will be apparent in the language choices the writer makes and the mood they establish. Going forward, the reader can reasonably expect to be amused by what’s to come in the text.

THE BODY PARAGRAPHS OF A PERSONAL NARRATIVE

The body paragraphs of a personal narrative comprise the bulk of the text. 

As with any type of recount, this section will generally focus on the chronological retelling of an event or experience. 

However, there is another significant difference between this type of recount and the other types.’ The root of this difference can be found in the word ‘narrative’.

While the body paragraphs of a personal narrative can make use of some of the defining characteristics of more traditional types of recount, if the introduction acts as the exposition of the setting and character of the story, the body paragraphs move the text along its story arc.

Though we will cover the main elements briefly, structuring a story is an art in itself and if you want to find out more about it, check out our detailed article on the subject here.

Also, if you want to learn more about the structure of general recounts, find out more here .

While we’ve seen that the introduction of a personal narrative corresponds to a story’s exposition, the following elements of a story arc can be found in the text’s body.

1: The Problem

The problem or conflict is an essential ingredient in any story worth the name. It creates the story’s focal point, ignites the reader’s interest, and drives the story forward. In a personal narrative, this problem can be internal or external, however, there is often an emphasis placed on how the issues affect the writer psychologically.  2: The Rising Action  

As the narrative develops, the dramatic tension will tend to increase. The main problem will intensify, or the writer may introduce additional more minor problems to amp things up. 3: The Climax

This is where the story reaches its dramatic high point. In the case of a personal narrative where the conflict or problem is psychological, this drama and its climax may play out internally.

WRITING THE CONCLUSION OF YOUR PERSONAL NARRATIVE ESSAY

This third and final section of the personal narrative performs a slightly different function to a regular essay’s conclusion. 

While the conclusions of most nonfiction text types focus on restating a central thesis and/or providing a summary of arguments, the conclusion in a personal narrative follows a story’s final section more closely. 

That is, it usually contains the story’s falling action and resolution.

Let’s take a quick look at each.

1: The Falling Action

The story arc dips in dramatic tension after the dramatic high point of the climax. As personal narratives often focus on ‘internal’ events, this ‘action’ can also occur internally. 2: Resolution

The resolution marks the end of the story, and in this text type, it usually involves some personal change in circumstances or transformation. It can also take the form of a lesson learned or new knowledge attained.

TIPS FOR WRITING A GREAT PERSONAL NARRATIVE ESSAY

• Begin with a clear and compelling story: Your personal narrative essay should focus on a significant event or experience in your life that you want to share with the reader.
• Write in the first person perspective: Use “I” statements to describe your experiences and thoughts and take us inside your mind.
• Be descriptive: To bring your story to life, use descriptive language to paint a picture of the sights, sounds, and emotions of your experience.
• Focus on what matters the most: Tell a powerful story with just a few key details. When writing your personal narrative, focus on the most impactful events and thoughts that help convey your message.
• Emphasize the impact the experience had upon you: Leave the reader with a clear understanding of the impact that the experience had on your life.
• Be true to yourself: Ensure your personal narrative essay is honest and genuine in your descriptions and reflections.
• Deliver a powerful ending: The conclusion should summarize the major points of your essay and leave the reader with a lasting impression.
• Review and Revise: Don’t be afraid to proofread your essay several times to ensure it is the best it can be.

Teaching Resources

Use our resources and tools to improve your student’s writing skills through proven teaching strategies.

PERSONAL NARRATIVE TEACHING STRATEGIES AND ACTIVITIES

PERSONAL NARRATIVE PRACTICE EXERCISE: ACTIVITY 1

• Organise your students into small groups of four or five
• Provide each group with a selection of personal recounts
• Can the students identify how each sample text attempts to hook the reader in the opening paragraph?
• How effectively does the introduction of each text orient the reader?
• What is the tone of the text? How has this tone been created?

PERSONAL NARRATIVE PRACTICE EXERCISE: ACTIVITY 2

In their groups, with their sample personal narrative texts, ask students to identify how the writer deals with each element as listed below and discuss how effectively they have done so.

• The Problem
• The Rising Action

PERSONAL NARRATIVE PRACTICE EXERCISE: ACTIVITY 3

Now students understand how to structure and write each stage of their personal narrative, encourage them to spend some time brainstorming events and experiences from their lives that could serve as the topic for their writing.

When they have chosen a suitable topic, instruct them to begin planning the writing of their text using the categories listed above. They might even wish to create a simple graphic organizer to help. 

For example:

Introduction

• What is the opening hook?

Body Paragraphs

• What is the central problem?
• What happens in the rising action?
• How does the climax play out?
• What happens in the falling action?
• What is the resolution of the story?

Once students have their narrative adequately planned, it’s time to get them writing earnestly to put all that theory into practice.

PERSONAL NARRATIVE WRITING TEMPLATE / GRAPHIC ORGANIZER

PERSONAL NARRATIVE WRITING EXAMPLES

VIDEO TUTORIAL ON PERSONAL NARRATIVE WRITING

NARRATIVE WRITING CHECKLIST BUNDLE

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Explore our Teaching Unit on PERSONAL NARRATIVES

Tips for Writing Personal Narrative Essays and Peer Reviewing, from our Creative Nonfiction Competition Winners

The challenge of creative nonfiction is telling a genuine (and often deeply personal) story through a narrative lens. “I approached this essay similar to how you would approach a movie – scene by scene, capturing a couple moments, and then filling in the details later,” says Nausicaa Chu, winner of our Creative Nonfiction Competition . “I didn’t want my readers to see from my own eyes so much as see the whole picture along with me.”

Read on to learn more about the winners and how they approached writing and reviewing in this genre!

Nausicaa Chu, Winner:

How did you choose what to focus on in your winning piece?

Choosing something to focus on was definitely one of the hardest parts of writing the piece – there’s so many elements and experiences in every life, it’s difficult to zero in on just one or two. But at the end of the day, when I thought about what had shaped my identity the most, it was the Supper Club (it also helped that while I was brainstorming, my dad was wrangling a duck into the refrigerator for the Supper Club’s upcoming Peking Duck Competition).

This community of Asian-Americans in Alabama has been a big family I’ve grown up with for a long while, and when I thought about it, I realized that nothing marked my passage through my teenage years so definitively as this Supper Club. People say you’re a product of your environment – and that is, I feel, exactly my experience with the Club.

Guest Judge Sy Montgomery commended how your essay "looked at your own family as would a stranger." How did you achieve this narrative distance while discussing your own life and experiences?

I approached this essay similar to how you would approach a movie – scene by scene, capturing a couple moments, and then filling in the details later. I didn’t want my readers to see from my own eyes so much as see the whole picture along with me, or feel my own emotion so much as feel the joys and sorrows that come with being part of the Supper Club. I took a lot of inspiration from the creative nonfiction exemplars in this respect!

What is one book or piece of writing that you'd love to recommend to the Write the World community?

I’d love to recommend Interior Chinatown by Charles Yu. The sense of Asian community and the values its characters hold were actually a huge inspiration for this piece. It’s written like a screenplay and in second person, which allows for a lot of amusing interplay and dialogue between characters. Interior Chinatown is a witty, funny, and beautifully written read I would definitely recommend to the WtW community!

Iffah Shamim, Best Peer Review:

What is the first thing you do when writing a peer review?

I read the piece carefully. Sometimes obvious strengths and weaknesses stick out to me, but if not, I read over it again and again. The important thing is to be objective whilst reading a piece you're going to review, because you can't have biases colouring your feedback: it's better to consider the writer's intentions if they've written something that you don't understand at first just because it's not the way you’d do it. I think we often forget that everyone has their own unique style! I also ensure that I've praised as well as suggested feedback for improvement; it can be hard to balance between the two, but it is as crucial to point out the weaknesses as it is to point out the strengths. Of course I try to be constructive, so I try to explain my reasons why the writer could work on this and that. Phrasing is also key! Don't try to control someone else's writing, and phrase your feedback in a way that sounds approachable.

The Guest Judge praised how you "used questions to guide the writer." Is this an important part of giving feedback, and why?

I think it certainly is! Questions allow the writer to reflect on their decisions consciously, as writing is a craft: you don’t just put words on a page randomly or because they sound good, you put words that fit. With questions, the feedback becomes less controlling and more approachable because you’re not forcing the writer to change their piece; you’re merely presenting alternatives, which the writer may choose from if they wish, so you, the reviewer, are judging the writer in the right direction and allowing them to explore without being overly critical. 

What is your favorite genre to write or review in?

Definitely poetry or contemporary literary fiction! I've been dabbling in the mystery/thriller genre as well nowadays, because I find it the most enjoyable to read, particularly if it is written in a surreal and absurd style, which I've always tried to capture in my writing. I think it boils down to my views of writing: I believe that literature should show what is real and true, although in my work I also aim to show what is beautiful, and what is more beautiful than relatability? That's why I'm drawn to the genres I've mentioned. As for reviewing, though, I don't think a preference is required. I'll review anything as long as I'm familiar with it and have a grasp of its guidelines, but most of what I focus on in my reviews—things like grammar, paragraphing, sentence structuring, awkward phrasing, tone, flow, technique, imagery, thematic consistency—are universal across genres. In general, people review the kind of content they like, but I've always believed that it's vital not to limit yourself to just one.

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Write authentic, well-crafted personal essays in this creative nonfiction course.

If you have a story to tell, if you’re fairly confessional and believe that truth is stranger than fiction, then the creative nonfiction, personal essay writing class is for you.

Creative nonfiction and personal essay are powerhouses in the story-telling genre. They’re the volcanic marriage of real life and literary technique, and a chance to deliver our stories with sass, color and voice. By using a variety of techniques such as dialogue, scene, detail and narrative, creative non-fiction and personal essay breathe new life into the ordinary telling of our tales.

Anything is fodder for creative nonfiction; the fight you had with the supermarket check-out person, the time your brother ran you over with his bike, your first real kiss and the lessons you learned about yourself when you stopped to give change to the corner panhandler. By delving into our experiences we squeeze the marrow from our lives and explore our emotional territory, sharing and making meaning out of the ordinary events in our lives.

The ten-week class will focus on finding your voice and locating the heart of your story, as well as finding creative ways to tell these stories, edit what we have, and familiarize ourselves with non-fiction markets. There will be a weekly writing assignment, a chance to post each week and get in-depth, detailed feedback from your peers as well as feedback on five of your stories from Gretchen.

Gretchen was wonderful—positive, understanding, and helpful. She clearly put a lot of time into reading and responding to our work, and I am so thankful for that! —Kathryn Martinak

Introduction to Creative Nonfiction and Personal Writing: Course Syllabus

Each week a new writing lesson is posted and students are given a couple of assignment options as well as a deadline to turn a piece in each week. Writing lessons cover the territory of personal essay with an emphasis on voice, detail, scene, dialogue and resolve.

What is creative nonfiction and the personal essay? Personal essay is about uncovering the truth and telling our stories in our real voices. Creative Nonfiction uses elements of fiction in the telling of a true story. We use narrative combined with live voice to make the writing more melodic, more alive and more accessible.

Beginning our stories. What are we obsessed by and deeply interested in? What are the stories we must tell? Using free writing to unearth raw, unedited material and honing with diversity, melody and voice.

Week Three:

Using memories and images that burn to be told. Using the material from our lives, from our childhood to jump start story and delve in deeply.

Re-working our assignments.

 Week Five:

The stories we’re afraid to tell. Writing as liberation. What aren’t we writing about? Using the hardest parts of our lives as material for story because that’s where the energy is. When we write from these places our stories come alive because we’re writing from an edge.

Truth or Fiction? How creative can the personal essay be? How much can we bend the truth? Where do the boundaries blur?

Week Seven:

 week eight:.

Speaking to the dead. Who lingers in our lives and what kind of power do they hold for us? Choosing friends or relatives to write about, using their stories to tell our larger stories.

 Week Nine

Critiquing the personal essay. How can we help each other tell the truth better? Setting a stage: what stays and what goes? Using the elements that are intrinsic to the telling of the story.

To market to market. Where to sell our work? Ideas and suggestions for where the writers can send their work.

Why Take a Creative Nonfiction and Personal Essay Course with Writers.com?

• We welcome writers of all backgrounds and experience levels, and we are here for one reason: to support you on your writing journey.
• Small groups keep our online writing classes lively and intimate.
• Work through your weekly written lectures, course materials, and writing assignments at your own pace.
• Share and discuss your work with classmates in a supportive class environment.
• Award-winning instructor Gretchen Clark will offer you direct, personal feedback and suggestions on every assignment you submit.

Dive into creative nonfiction and the craft of the personal essay. Reserve your spot today!

Student feedback for gretchen clark:.

Definitely very happy with class content. Gretchen's critiques are so, so helpful. I liked the way Gretchen set up the class so that we were able to choose from many options for our assignments. We could revise an essay or write a new one. As a teacher, Gretchen is like chocolate cake with two scoops of vanilla ice cream. Can't get enough of her. I would take any class Gretchen offered. Caroline Commins

Gretchen was wonderful—positive, understanding, and helpful without being negative or overly critical. Her comments were insightful and extremely helpful to me. She clearly put a lot of time into reading and responding to our work, and I am SO thankful for that! Kathryn Martinak

This course helped me expand my understanding of what an essay can be, and encouraged me to push myself to try different forms of expression. I learned a lot from my fellow students and the instructor and received excellent feedback on my writing. I learned so much from Gretchen's lectures as well as from her comments, not only on my writing but on my fellow students' writings as well.  Elizabeth Speziale

Gretchen was great. I have taken over a dozen online writing courses and this one was almost calming. Instead of feeling like I 'had' to submit work for critique, I not only wanted to, but I was anxious to read the other writers' work.  Barbara Reidmiller

Gretchen seems to have a way of seeing things in my writing that I overlook; a series of details, a recurring theme, an underlying emotion I have yet to discover within myself. Her critiques are always thoughtful and thought provoking. She takes the time to read and respond carefully, challenging ideas and questioning my writing while encouraging and offering support. When I was looking for more personal and in-depth editorial critique, it was Writers.com and Gretchen that I turned to. Having taken the Personal Essay class, I knew that she would grant me the time and attention that I was seeking. She seems to have unlimited patience to answer questions and hash out ideas. Working one-on-one with her has provided me with a forum and a conversation about my writing. She is an invaluable teacher and editor.

 I learned a lot and had fun doing it. We were encouraged to think and write outside the box. It made me more creative. Loved the experience.  Svetlana Dietz

Gretchen has great ideas and gives coaching feedback as well as praise. It was exciting to learn about new forms in essay writing and how the form can help carry the story. The group of writers was helpful and positive in providing feedback to each others; I really enjoyed the experience of the community.  Karen McCall

I was recently offered my own bi-monthly column in Blue Water Sailing magazine. Writers.com and private time working with Gretchen has certainly contributed to my work improving enough to be given that opportunity. Heather Francis, yachtkate.com

Gretchen was extremely diligent with her feedback and it felt like nothing I wrote went unnoticed. She took the pains to respond equally diligently even with the re-posted material. Her feedback made me want to write more. Mannu Kohli

I thought Gretchen was great. Despite having a lot of people in the class, I always felt that she gave full attention to her feedback on my submissions. She was always quite responsive to questions I had. I really liked her lectures and her suggested materials, I found all of those quite helpful.  Allison Allen

I loved this course. Gretchen provided me with really helpful feedback and I appreciate how open she was to discussing the works in progress. I wrote ten pieces I want to keep working with and submit to journals, and want to keep playing with the form. I definitely got my money's worth and am happy with the progress I made in the course overall as a writer. Nicole Breit

Do you have a couple hours? Because that is how long it would take me to sing Gretchen's praises. Every piece she has helped me with, let's make that six, has been accepted for publication. All told, actually, I've received 11 acceptances within a relatively short time span for a writer who has just recently begun to submit her work. ... It isn't just that Gretchen is a gifted writer and teacher/editor, she possesses unusual insight. She reads with many eyes, ears, and hearts and on many different levels. She is present to the reading like a psychoanalyst is present to her patient's free associations: unbiased, unattached, letting herself be moved or struck by anything and everything. ... And she is patient and kind and even when her suggestions maddened me because they forced me to think and feel myself more deeply into my story, she was, 98% of the time, right on. ... What more can I say. I just love working with Gretchen! Pat Heim

Though Gretchen included specific assignments with each week's lecture...they were given to us as suggestions and for inspiration, but we were always free to go off on our own and write whatever caught our imaginations that week. I was also very pleasantly surprised at the high level of talent among my classmates in this course. ... Your classes allow every student to write and post something each week, not simply once or twice during the course, as other classes do. Elaine Kehoe

I thought the lectures were thoughtful and inspiring and I liked that the assignments were flexible in that I could write about anything that I wanted, but Gretchen gave us prompts for if we needed some ideas. I also liked that she provided some optional readings and referenced other books on writing, I ended up doing a lot of outside reading which was very helpful. I did feel like I learned a lot..... Gretchen was excellent. Her positive tone was just the thing to keep students in the class encouraged and motivated. She was also very willing to answer any questions students had and seemed to tailor her critique to what students were asking for, which was wonderful. Overall I felt that she was approachable and was there if I wanted to ask anything. McKenzie Long

I've taken several other on-line writing classes with other schools and this unique approach was the most interesting and challenging of all. I thought the teachers were the freshest and most thorough in the time they put into their critiques. I totally enjoyed the class. I would do something unique with these teachers again. Eve Bandler

I was very happy with both the class content and the teacher. Gretchen’s comments on my essays were insightful; she offered suggestions that I would not have thought of on my own. This was my first online writing class, and I will take another. Thank you so much! Kim Baumgaertel

Gretchen's writing and her lessons are superb and she's a great teacher. I learned a ton from her. I had never heard of the lyric essay before. Gretchen gave me a thorough understanding of it - and lots of practice. Bonnie Gold

Gretchen was great, and always available for questions/clarification. I am definitely driven by challenge, and felt that Gretchen has a good way of keeping you on your toes and helping you to consistently improve. Lessons were inspiring and assignments perfect for challenging the creative side of the brain. An advanced lyric class would be awesome! I would recommend the class to anyone interested in writing. I have signed up for several classes through November. Jenifer Patureau

I loved the class. The Lyric Essay is/was/and shall continue to be a favorte of mine now that I've taken this class. The freedom to manipulate material in new ways, soak words with lyric structure, really came through. Feedback was personal and always offered ways to take a piece to another level. Rewrites were encouraged and feedback was prompt and insighful. Keep those new classes coming so I can continue to write on your site for many years to come. Joanna Johns

This course is terrific. The lessons are creative and inspiring--just look at the lecture titles! Gretchen is smart, kind, and encouraging. Her critiques are full of insight and ideas for taking the writer a step or many steps further. I keep recommending Writers.com when I talk w/ friends. I'll be back for another class. Marge Osborn

Creative, inspiring, motivating, delightful, fun. <Gretchen's> lessons were written with so much imagination and creative juice. It just made you rub your hands together and want to dive in. She was encouraging as well. I have considered taking *this* class again! Tatyana Sussex

Gretchen's class was really great!The Lyric Essay was one of the best courses I've taken from Writers.com. I would like to take a "Lyric Essay 2" course. Caroline Commins

The class was wonderful. Couldn't have had better teachers. Wonderful about letting us veer in our own directions at times. They provided a very nurturing environment for everyone. ... Their comments were very helpful and clearly they know their stuff. ... I would absolutely take another class from either instructor. I can't give them a glowing enough review. ... This is the way you dream a class will work. David Ladd

This was my first online course, and I'm very glad I took it. I feel that the tuition was money well-spent and I emerge from this experience wiser about the subject and very much encouraged to continue my writing using techniques I learned in class. Jean Dutton

“Gretchen was wonderful—positive, understanding, and helpful without being negative or overly critical. Her comments were insightful and extremely helpful to me. She clearly put a lot of time into reading and responding to our work, and I am SO thankful for that!” —Kathryn Martinak

About Gretchen Clark

Gretchen Clark has been a freelancer for an online naming company and a creative arts mentor for at-risk teens. Her essay Pink Chrysanthemum  was nominated for the Pushcart Prize.  Her work has been published in The Boston Globe, Hamilton Stone Review, 94 Creations, Writer Advice, Literary Mama , Hip Mama , Flashquake , Blood Lotus , Foliate Oak , Skirt! , Word Riot , Quiet Mountain Essays , 34th Parallel , New York Family Magazine , Pithead Chapel , Switchback , Underwired , Toasted Cheese , Celia’s Roundtrip , Brevity , River Teeth , Flashquake , Tiny Lights , Ray's Road Review , Cleaver Magazine,   Hippocampus , The MacGuffin, Awakenings Review, and Nailpolish Stories, among others.

Gretchen's Courses

Creative Nonfiction and the Personal Essay The Lyric Essay Block Buster: Turbocharge Your Creativity with Breakneck Writing

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Purdue Online Writing Lab Purdue OWL® College of Liberal Arts

Finding Your Footing: Sub-genres in Creative Nonfiction

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Memoir is perhaps the “flagship” of creative nonfiction, the sub-genre most familiar to those outside of literary and academic circles. Most human beings lead interesting lives filled with struggle, conflict, drama, decisions, turning points, etc.; but not all of these stories translate into successful memoir. The success of the memoir depends on the writer’s ability to sequence events, to tell a story, and to describe characters in believable ways, among other things. Writer Carol Spindel reminds us that in the mid-2000s a scandal surrounding writer James Frey’s A Million Little Pieces erupted after he was forced to admit that large sections of his “memoir” were “fictionalized:” he’d embellished, made things up. A memoir that strays from the truth is not far removed from lying, because regardless of the writer’s intention, the story deceives the reader. Spindel writes that, unlike in novels, “The knowledge expressed in the memoir has the legitimacy acquired through first-hand experience.” Good memoir also provides reflection on the events that have happened to the writer, so it “can give readers insights into society, and even into the larger meaning of life itself” (Spindel).

The Braided Essay

The braided essay is a good tool for introducing writers—especially student writers—to the CNF genre. In a braided essay, the writer has multiple “threads” or “through-lines” of material, each on a different subject. The essay is broken into sections using medial white space, lines of white space on a page where there are no words (much like stanzas in poetry), and each time there is a section break, the writer moves from one “thread” to another. Braided essays take their name from this alternating of storylines, as well as from the threads the story contains; there are usually three, though to have four or two is also possible. Though there is not a strict formula for success, the form usually contains at least one thread that is very personal and based on memory, and at least one thread that is heavily researched. Often, the threads seem very disparate at first, but by the climax of the essay, the threads being to blend together; connections are revealed.

Topical Writing

Perhaps the genre closest to an essay or a blog post, topical writing is an author’s take on a given topic of specific interest to the reader. For example, nature writing and travel writing have been popular for centuries, while food writing is gathering steam via cooking blogs. Nature writing involves exploring the writer’s experience in a beautiful and thoroughly rendered natural setting, such as a cabin on a mountaintop. Travel Writing, as the name implies, details the writer’s experiences while traveling, whether by choice on a vacation or out of necessity due to business or serving in the military. Finally, contemporary food writing explores the writer’s connection to cooking and enjoying food of any variety. All three will occasionally step into the writer’s personal experiences via memories, but these episodes are always related to the topic driving the essay.

Whatever form a creative nonfiction piece takes, it must remain based in the author’s actual lived experiences and perceptions. Like academic writing, the piece must be accurately researched and the sources must be documented. Finally, the author must also always leave room to reflect on how their experiences have shaped them into the person they are now. It’s the reflection that makes the reader feel satisfied: it offers something to the reader that they can carry with them, a way of seeing the world.

Works Cited

Cokinos, Christopher. “Organized Curiosity: Creative Writers and the Research Life.” Writer’s Chronicle 42.7: April/May 2015. 92-104. Print.

Ironman, Sean. “Writing the Z-Axis: Reflection in the Nonfiction Workshop.” Writer’s

Chronicle 47.1: September 2014. 42-49. Print.

Spindel, Carol. "When Ambiguity Becomes Deception: The Ethics of Memoir." Writer's

Chronicle (2007): n. pag. AWP . Association of Writing Programs, 1 Dec. 2007. Web. 13

Sept. 2015.

Terrill, Richard. "Creative Nonfiction and Poetry." Writer's Chronicle (2004): n. pag. AWP .

Association of Writing Programs, Oct.-Nov. 2004. Web. 3 Oct. 2015.

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Clarifying creative nonfiction through the personal essay

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Creative Nonfiction: The Personal Essay

September 28, 2023 @ 1:00 pm - 2:30 pm EDT

This is a six-week writing seminar focused on crafting a short story or personal essay based on an actual event. The course consists of six 90-minute sessions, once a week for six weeks. Attendees will have the freedom to choose, within the framework of the course, what genre, short story or personal essay to write, remembering that everything you write about in this course will be based on fact .

Instructor: Ron Farina Register online or call 860-871-8222

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Research and Personal Writing

Those drawn to the writing of personal essays and memoirs may eventually discover the need to do some research.

Those drawn to the writing of personal essays and memoirs may eventually discover the need to do some research. You may find that your memory can take you only so far: You may need to go back to the old neighborhood and walk around, talk to old-timers, read up on local history or pore through genealogical archives, housing deeds, census records.

There are other benefits to research, besides filling in the gaps of recollection. Sooner or later, you run out of traumas and triumphs to recount; you have chewed up the tastiest limbs of your life story, and research becomes an alternative to further self- cannibalization. It can also bring a broader significance to your personal story. Research inspires curiosity, helps you break out of self-absorption and understand that you are not the only one who has passed down this road. You begin to see your experience as part of a larger pattern, be it sociological, historical, psychological, anthropological, cultural, political or theological—disciplines useful in supplying new lenses to your private tale.

Let us say you grew up in a relatively new suburb. It might not be a bad idea to examine the factors in American society that fueled the postwar growth of suburbia: the Federal Highway Act, FHA loans, the utopian ethos of planned decentralization, the decay of urban downtowns, racism, white flight and so on. (This is pretty much the approach that D.J. Waldie took in his “Holy Land: A Suburban Memoir.”) Or maybe you witnessed your parents going through an ugly divorce: What insights can be gleaned from the writings of child psychiatrists about the ways that children adapt—or don’t—to such situations? Say your parents were immigrants who spoke a language other than English at home, and you grew up torn between two cultures: What do anthropologists say about this problem?

You may begin researching some technical field to provide a stronger answer to the question “Why should my little story count?” and then end up more interested in the area under study than in your personal narrative.You may find you are using your I-character as a guide to help the reader through abstruse material, rather than as the central focus. In other words, the proportion between self and world may shift in the process of researching. Or you may end up throwing out most of the research and just using a little bit as a spice to vary the prose palate. In most cases, however, research will assist you in conceptualizing more broadly the questions you would like to put to your experience.

Travel literature is one area where the two approaches comfortably merge. While doing extensive research on the countries through which they are traveling, the best travel writers, such as Robert Byron, Patrick Leigh Fermor, Ryszard Kapuściński and Bruce Chatwin, employ their I-characters to fetch adventures that can then be juicily related.

Scientists or doctors have an advantage over the rest of us in that they can convey the knowledge from their research with an easy authority. Hence, the appeal of such graceful literary savants as Oliver Sacks, Stephen Jay Gould, Richard Selzer and Lewis Thomas. In my next lifetime, I hope to be a scientific scholar; but in the meantime, I give myself research assignments, sneaking off to the stacks whenever possible.

I was once asked to contribute a personal essay for an anthology about the Book of Genesis, by picking a Bible story and ruminating on it. I chose to write about a pair of incidents when Abraham, fearing for his life when approaching the border of a potentially hostile people, passes off his wife Sarah as his sister. I could have stayed home and merely reflected on it, but instead, I rushed off to the library to learn how the medieval rabbis and modern Biblical scholars interpreted this seemingly cowardly act by a patriarch. What I discovered (some rationalized his act, others disapproved) formed the basis of the first part of my essay. Then, I researched what Sigmund Freud and Karen Horney had to say about married couples devolving into sibling- like pairs; that became the second panel. Finally, I told the story of an incident that occurred during my first marriage, when we were traveling through Morocco. I hoped the personal vignette, which would have been inconclusive if recounted alone, would be enriched by the perspectives provided by Rambam, Adin Steinsaltz, Freud and Horney.

The main concern emerging writers have about the research process is how to know when to stop.You begin poking around a complex new field about which you know next to nothing—wine, say, or rugs, or nongovernmental organizations in Africa; you realize you could spend the rest of your life studying it, and you quickly become overwhelmed by its ever- expanding ramifications. Believe me, it does narrow eventually. After a few weeks at the library, on the Internet or in the field, you notice that the sources are telling you something you already know, and you grasp the major “schools of thought.” Here, the creative nonfiction writer can follow the journalists’ lead. Being trained generalists—quick studies who can opportunistically leap on intriguing vignettes and facts, give them a vivid twist and forget the rest—journalists know they don’t have to become specialists; they just have to absorb enough of the material under momentary scrutiny to file an interesting story. When researching, what you are looking for is the oddity that will spark your imagination, excite your love of paradox or humor.

There comes a time when you feel you have done enough research for your modest purposes and can begin to write. Now, you face a new dilemma: how to integrate the technical matter you have uncovered into your characteristic prose style. When I was writing “Waterfront,” I had to investigate a number of complex subjects: bridge engineering, marine biology, the anatomy of shipworms, public housing law. Each time I researched some new area, I was awed by the specialists’ expertise. I thought to myself: They know everything, and I know nothing—how can I pretend to explain it when their language is so persuasive? So I quoted them, but this led to long boring extracts, which my editor convinced me would have to go. I needed to paraphrase the research somehow, put it in my own words, warm it with my stylistic breath.To convert this obdurate magma into something relatively essayistic, intimate, conversational, I had to call on every trick, irony and witticism I could muster. At one point, this meant lampooning the tone of a pedantic biologist; at another, playing up in a self-deprecating way my ignorance. I gave myself the challenge of writing the heroic but too-familiar saga of the construction of the Brooklyn Bridge in one long, Jamesian, convoluted sentence. I speeded up the geological cycle of the Ice Age like a silent comedy. No one commented on these devices, or perhaps even noticed them, but they helped reassure me I had put a personal stamp on this technical matter.

Researching inspires in you an obligation to finish your writing project, if only to serve faithfully the scholarly materials. It is not longer all about you, but about them, too, as though they had somehow become your offspring when you weren’t watching. “Print me, Papa,” beseech those index cards, those notepads, those Post-Its.

Spring 2025 Semester

Undergraduate courses.

Composition courses that offer many sections (ENGL 101, 201, 277 and 379) are not listed on this schedule unless they are tailored to specific thematic content or particularly appropriate for specific programs and majors.

• 100-200 level

ENGL 201.ST2 Composition II: The Mind/Body Connection

Dr. sharon smith.

In this online section of English 201, students will use research and writing to learn more about problems that are important to them and articulate ways to address those problems. The course will focus specifically on issues related to the body, the mind, and the relationship between them. The topics we will discuss during the course will include the correlation between social media and body image; the psychological effects of self-objectification; and the unique mental and physical challenges faced by college students today, including food insecurity and stress.

English 201 S06 and S11: Composition II with an emphasis in Environmental Writing

S06: MWF at 10–10:50 a.m. in Yeager Hall Addition 231

S11: MWF at 12–12:50 p.m. in Crothers Engineering Hall 217

Gwen Horsley

English 201 will help students develop skills to write effectively for other university courses, careers, and themselves. This course will provide opportunities to further develop research skills, to write vividly, and to share their own stories and ideas. Specifically, in this class, students will (1) focus on the relationships between world environments, land, animals and humankind; (2) read various essays by environmental, conservational, and regional authors; and (3) produce student writings. Students will improve their writing skills by reading essays and applying techniques they witness in others’ work and those learned in class. This class is also a course in logical and creative thought. Students will write about humankind’s place in the world and our influence on the land and animals, places that hold special meaning to them or have influenced their lives, and stories of their own families and their places and passions in the world. Students will practice writing in an informed and persuasive manner, in language that engages and enlivens readers by using vivid verbs and avoiding unnecessary passives, nominalizations, and expletive constructions.

Students will prepare writing assignments based on readings and discussions of essays included in Literature and the Environment and other sources. They will use The St. Martin’s Handbook to review grammar, punctuation, mechanics, and usage as needed.

Required Text: Literature and the Environment: A Reader On Nature and Culture. 2nd ed., edited by Lorraine Anderson, Scott Slovic, and John P. O’Grady.

LING 203.S01 English Grammar

TuTh 12:30-1:45 p.m.

Dr. Nathan Serfling

The South Dakota State University 2023-2024 Undergraduate Catalog describes LING 203 as consisting of “[i]nstruction in the theory and practice of traditional grammar including the study of parts of speech, parsing, and practical problems in usage.”

“Grammar” is a mercurial term, though. Typically, we think of it to mean “correct” sentence structure, and, indeed, that is one of its meanings. But Merriam-Webster reminds us “grammar” also refers to “the principles or rules of an art, science, or technique,” taking it beyond the confines of syntactic structures. Grammar also evolves in practice through application (and social, historical, economic changes, among others). Furthermore, grammar evolves as a concept as scholars and educators in the various fields of English studies debate the definition and nature of grammar, including how well its explicit instruction improves students’ writing. In this course, we will use the differing sensibilities, definitions, and fluctuations regarding grammar to guide our work. We will examine the parts of speech, address syntactic structures and functions, and parse and diagram sentences. We will also explore definitions of and debates about grammar. All of this will occur in units about the rules and structures of grammar; the application of grammar rhetorically and stylistically; and the debates surrounding various aspects of grammar, including, but not limited to, its instruction.

ENGL 210 Introduction to Literature

Jodi andrews.

Readings in fiction, drama and poetry to acquaint students with literature and aesthetic form. Prerequisites: ENGL 101. Notes: Course meets SGR #4 or IGR #3.

ENGL 222 British Literature II

TuTh 9:30-10:45 a.m.

This course serves as a chronological survey of the second half of British literature. Students will read a variety of texts from the Romantic period, the Victorian period, and the twentieth and twenty-first centuries, placing these texts within their historical and literary contexts and identifying the major characteristics of the literary periods and movements that produced them.

ENGL 240.ST1 Juvenile Literature

Randi l. anderson.

A survey of the history of literature written for children and adolescents, and a consideration of the various types of juvenile literature.

ENGL 240.ST1 Juvenile Literature: 5-12 Grade

In English 240 students will develop the skills to interpret and evaluate various genres of literature for juvenile readers. This particular section will focus on various works of literature at approximately the 5th-12th grade level.

Readings for this course include works such as Night, Brown Girl Dreaming, All American Boys, Esperanza Rising, Anne Frank’s Diary: A Graphic Adaptation, Animal Farm, Fahrenheit 451, The Giver, The Hobbit, Little Women, and Lord of the Flies . These readings will be paired with chapters from Reading Children’s Literature: A Critical Introduction to help develop understanding of various genres, themes, and concepts that are both related to juvenile literature, and also present in our readings.

In addition to exploring various genres of writing (poetry, non-fiction, fantasy, historical, non-fiction, graphic novels, etc.) this course will also allow students to engage in a discussion of larger themes present in these works such as censorship, race, rebellion and dissent, power and oppression, gender, knowledge, and the power of language and the written word. Students’ understanding of these works and concepts will be developed through readings, discussion posts, quizzes and exams.

ENGL 240.ST2 Juvenile Literature Elementary-5th Grade

April myrick.

A survey of the history of literature written for children and adolescents, and a consideration of the various genres of juvenile literature. Text selection will focus on the themes of imagination and breaking boundaries.

ENGL 242.S01 American Literature II

TuTh 11 a.m.-12:15 p.m.

Dr. Paul Baggett

This course surveys a range of U.S. literatures from about 1865 to the present, writings that treat the end of slavery and the development of a segregated America, increasingly urbanized and industrialized U.S. landscapes, waves of immigration, and the fulfilled promise of “America” as imperial nation. The class will explore the diversity of identities represented during that time, and the problems/potentials writers imagined in response to the century’s changes—especially literature’s critical power in a time of nation-building. Required texts for the course are The Norton Anthology of American Literature: 1865 to the Present and Toni Morrison’s A Mercy.

WMST 247.S01: Introduction to Women, Gender and Sexuality Studies

As an introduction to Women, Gender and Sexuality studies, this course considers the experiences of women and provides an overview of the history of feminist thought and activism, particularly within the United States. Students will also consider the concepts of gender and sexuality more broadly to encompass a diversity of gender identifications and sexualities and will explore the degree to which mainstream feminism has—and has not—accommodated this diversity. The course will focus in particular on the ways in which gender and sexuality intersect with race, class, ethnicity, and disability. Topics and concepts covered will include: movements for women’s and LGBTQ+ rights; gender, sexuality and the body; intersectionality; rape culture; domestic and gender violence; reproductive rights; Missing and Murdered Indigenous Women (MMIW); and more.

ENGL 283.S01 Introduction to Creative Writing

MWF 1-1:50 p.m.

Prof. Steven Wingate

Students will explore the various forms of creative writing (fiction, nonfiction and poetry) not one at a time in a survey format—as if there were decisive walls of separation between then—but as intensely related genres that share much of their creative DNA. Through close reading and work on personal texts, students will address the decisions that writers in any genre must face on voice, rhetorical position, relationship to audience, etc. Students will produce and revise portfolios of original creative work developed from prompts and research. This course fulfills the same SGR #2 requirements ENGL 201; note that the course will involve creative research projects. Successful completion of ENGL 101 (including by test or dual credit) is a prerequisite.

English 284: Introduction to Criticism

This course introduces students to selected traditions of literary and cultural theory and to some of the key issues that animate discussion among literary scholars today. These include questions about the production of cultural value, about ideology and hegemony, about the patriarchal and colonial bases of Western culture, and about the status of the cultural object, of the cultural critic, and of cultural theory itself.

To address these and other questions, we will survey the history of literary theory and criticism (a history spanning 2500 years) by focusing upon a number of key periods and -isms: Greek and Roman Classicism, The Middle Ages and Renaissance, The Enlightenment, Romanticism, Realism, Formalism, Historicism, Political Criticism (Marxism, Post-Colonialism, Feminism, et al.), and Psychological Criticism. We also will “test” various theories we discuss by examining how well they account for and help us to understand various works of poetry and fiction.

• 300-400 level

ENGL 330.S01 Shakespeare

TuTh 8-9:15 a.m.

Dr. Michael S. Nagy

This course will focus on William Shakespeare’s poetic and dramatic works and on the cultural and social contexts in which he wrote them. In this way, we will gain a greater appreciation of the fact that literature does not exist in a vacuum, for it both reflects and influences contemporary and subsequent cultures. Text: The Riverside Shakespeare: Complete Works. Ed. Evans, G. Blakemore and J. J. M. Tobin. Boston: Houghton Mifflin, 1997.

ENGL 363 Science Fiction

MWF 11-11:50 a.m.

This course explores one of the most significant literary genres of the past century in fiction and in film. We will focus in particular on the relationship between science fiction works and technological and social developments, with considerable attention paid to the role of artificial intelligence in the human imagination. Why does science fiction seem to predict the future? What do readers and writers of the genre hope to find in it? Through readings and viewings of original work, as well as selected criticism in the field, we will address these and other questions. Our reading and viewing selections will include such artists as Ursula K. LeGuin, Octavia Butler, Stanley Kubrick and Phillip K. Dick. Students will also have ample opportunity to introduce the rest of the class to their own favorite science fiction works.

ENGL 383.S01 Creative Writing I

MWF 2-2:50 p.m.

Amber Jensen

Creative Writing I encourages students to strengthen poetry, creative nonfiction, and/or fiction writing skills through sustained focus on creative projects throughout the course (for example, collections of shorter works focused on a particular form/style/theme, longer prose pieces, hybrid works, etc.). Students will engage in small- and large-group writing workshops as well as individual conferences with the instructor throughout the course to develop a portfolio of creative work. The class allows students to explore multiple genres through the processes of writing and revising their own creative texts and through writing workshop, emphasizing the application of craft concepts across genre, but also allows students to choose one genre of emphasis, which they will explore through analysis of self-select texts, which they will use to deepen their understanding of the genre and to contextualize their own creative work.

ENGL 475.S01 Creative Nonfiction

Mondays 3-5:50 p.m.

In this course, students will explore the expansive and exciting genre of creative nonfiction, including a variety of forms such as personal essay, braided essay, flash nonfiction, hermit crab essays, profiles and more. Through rhetorical reading, discussion, and workshop, students will engage published works, their own writing process, and peer work as they expand their understanding of the possibilities presented in this genre and the craft elements that can be used to shape readers’ experience of a text. Students will compile a portfolio of polished work that demonstrates their engagement with course concepts and the writing process.

ENGL 485.S01 Writing Center Tutoring

MW 8:30-9:45 a.m.

Since their beginnings in the 1920s and 30s, writing centers have come to serve numerous functions: as hubs for writing across the curriculum initiatives, sites to develop and deliver workshops, and resource centers for faculty as well as students, among other functions. But the primary function of writing centers has necessarily and rightfully remained the tutoring of student writers. This course will immerse you in that function in two parts. During the first four weeks, you will explore writing center praxis—that is, the dialogic interplay of theory and practice related to writing center work. This part of the course will orient you to writing center history, key theoretical tenets and practical aspects of writing center tutoring. Once we have developed and practiced this foundation, you will begin work in the writing center as a tutor, responsible for assisting a wide variety of student clients with numerous writing tasks. Through this work, you will learn to actively engage with student clients in the revision of a text, respond to different student needs and abilities, work with a variety of writing tasks and rhetorical situations and develop a richer sense of writing as a complex and negotiated social process.

ENGL 492.S01 The Vietnam War in Literature and Film

Tuesdays 3-5:50 p.m.

Dr. Jason McEntee

In 1975, the United States officially included its involvement in the Vietnam War, thus marking 2025 as the 50th anniversary of the conclusion (in name only) of one of the most chaotic, confusing, and complex periods in American history. In this course, we will consider how literature and film attempt to chronicle the Vietnam War and, perhaps more important, its aftermath. I have designed this course for those looking to extend their understanding of literature and film to include the ideas of art, experience, commercial products, and cultural documents. Learning how to interpret literature and movies remains the highest priority of the course, including, for movies, the study of such things as genre, mise-en-scene (camera movement, lighting, etc.), editing, sound and so forth.

We will read Dispatches , A Rumor of War , The Things They Carried , A Piece of My Heart , and Bloods , among others. Some of the movies that we will screen are: Apocalypse Now (the original version), Full Metal Jacket , Platoon , Coming Home , Born on the Fourth of July , Dead Presidents , and Hearts and Minds . Because we must do so, we will also look at some of the more fascinatingly outrageous yet culturally significant fantasies about the war, such as The Green Berets and Rambo: First Blood, Part II .

ENGL 492.S02 Classical Mythology

TuTh 3:30-4:45 p.m.

Drs. Michael S. Nagy and Graham Wrightson

Modern society’s fascination with mythology manifests itself in the continued success of novels, films and television programs about mythological or quasi-mythological characters such as Hercules, the Fisher King, and Gandalf the Grey, all of whom are celebrated for their perseverance or their daring deeds in the face of adversity. This preoccupation with mythological figures necessarily extends back to the cultures which first propagated these myths in early folk tales and poems about such figures as Oðin, King Arthur, Rhiannon, Gilgamesh, and Odysseus, to name just a few. English 492, a reading-intensive course cross-listed with History 492, primarily aims to expose students to the rich tradition of mythological literature written in languages as varied as French, Gaelic, Welsh, Old Icelandic, Greek, and Sumerian; to explore the historical, social, political, religious, and literary contexts in which these works flourished (if indeed they did); and to grapple with the deceptively simple question of what makes these myths continue to resonate with modern audiences. Likely topics and themes of this course will include: Theories of myth; Mythological Beginnings: Creation myths and the fall of man; Male and Female Gods in Myth; Foundation myths; Nature Myths; The Heroic Personality; the mythological portrayal of (evil/disruptive) women in myth; and Monsters in myth.

Likely Texts:

• Dalley, Stephanie, trans. Myths from Mesopotamia: Creation, the Flood, Gilgamesh, and Others. Oxford World’s Classics, 2009
• Faulkes, Anthony, trans. Edda. Everyman, 1995
• Gregory, Lady Augusta. Cuchulain of Muirthemne: The Story of the Men of the Red Branch of Ulster. Forgotten Books, 2007
• Jones, Gwyn, Thomas Jones, and Mair Jones. The Mabinogion. Everyman Paperback Classics, 1993
• Larrington, Carolyne, trans. The Poetic Edda . Oxford World’s Classics, 2009
• Matarasso, Pauline M., trans. The Quest of the Holy Grail. Penguin Classics, 1969
• Apollodorus, Hesiod’s Theogony
• Hesiod’s Works and Days
• Ovid’s Metamorphoses, Homeric Hymns
• Virgil’s Aeneid
• Iliad, Odyssey
• Apollonius of Rhodes Argonautica
• Ovid’s Heroides
• Greek tragedies: Orestaia, Oedipus trilogy, Trojan Women, Medea, Hippoolytus, Frogs, Seneca's Thyestes, Dyskolos, Amphitryon
• Clash of the Titans, Hercules, Jason and the Argonauts, Troy (and recent miniseries), Oh Brother, Where Art Thou?

ENGL 492.ST1 Science Writing

Erica summerfield.

This course aims to teach the fundamentals of effective scientific writing and presentation. The course examines opportunities for covering science, the skills required to produce clear and understandable text about technical subjects, and important ethical and practical constraints that govern the reporting of scientific information. Students will learn to present technical and scientific issues to various audiences. Particular emphasis will be placed on conveying the significance of research, outlining the aims, and discussing the results for scientific papers and grant proposals. Students will learn to write effectively, concisely, and clearly while preparing a media post, fact sheet, and scientific manuscript or grant.

Graduate Courses

Engl 575.s01 creative nonfiction.

In this course, students will explore the expansive and exciting genre of creative nonfiction, including a variety of forms such as personal essay, braided essay, flash nonfiction, hermit crab essays, profiles, and more. Through rhetorical reading, discussion, and workshop, students will engage published works, their own writing process, and peer work as they expand their understanding of the possibilities presented in this genre and the craft elements that can be used to shape readers’ experience of a text. Students will compile a portfolio of polished work that demonstrates their engagement with course concepts and the writing process.

ENGL 592.S01: The Vietnam War in Literature and Film

Engl 704.s01 introduction to graduate studies.

Thursdays 3-5:50 p.m.

Introduction to Graduate Studies is required of all first-year graduate students. The primary purpose of this course is to introduce students to modern and contemporary literary theory and its applications. Students will write short response papers and will engage at least one theoretical approach in their own fifteen- to twenty-page scholarly research project. In addition, this course will further introduce students to the M.A. program in English at South Dakota State University and provide insight into issues related to the profession of English studies.

ENGL 792.ST1 Grant Writing

This online course will familiarize students with the language, rhetorical situation, and components of writing grant proposals. Students will explore various funding sources, learn to read an RFP, and develop an understanding of different professional contexts and the rhetorical and structural elements that suit those distinct contexts. Students will write a sample proposal throughout the course and offer feedback to their peers, who may be writing in different contexts, which will enhance their understanding of the varied applications of course content. Through their work in the course, students will gain confidence in their ability to find, apply for, and receive grant funding to support their communities and organizations.