This document is a syllabus for an introductory creative nonfiction writing course. It outlines the course objectives, which include learning techniques used in creative nonfiction like character and scene development. It details the assignments, which include daily journals, short exercises on objects/places/people, short essays combining subjects, and a long workshop essay. Students will provide feedback on peers' work. The grade scale and policies are also outlined, including attendance, late work, plagiarism, and technology policies. The tentative course schedule lists the planned topics, readings, and due dates for each class.

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ENGL 293: BEGINNING NONFICTION WRITING
SPRING 2019 SYLLABUS
MWF 12:30-1:20 pm | TLC 139
INSTRUCTOR: Caitlin Hill
EMAIL: cjhill@uidaho.edu
OFFICE: Brink 102
OFFICE HOURS: MW 1:30 – 3 pm and by appointment
COURSE INTRODUCTION AND LEARNING OUTCOMES
It’s easy to feel a bit miffed when it comes to the term “creative nonfiction.” Essentially, the recognized
definitions of the two words contradict each other; how can we possibly merge imagination with fact?
When it comes to understanding the genre, often we do so by first determining what it’s not. It’s not
constructed out of lines and it doesn’t rhyme, it isn’t based on make believe or fantasy. But what we
come to learn through this negation process is that creative nonfiction does implement many of the same
elements used to write poetry and fiction—which is exactly where the creative comes in.
Creative nonfiction is never bland old, straight cut factual writing. Creative nonfiction has a knack for
taking conventions from other genres and using them in recording, exploring, and hypothesizing the
truth, including scene creation, character development, and lyricism among a number of others. Perhaps
some alternative definitions of creative nonfiction: it is the truth, crafted. It is the truth, told at a slant. It
is the stories we tell ourselves.
English 293 is an introductory course designed to familiarize you with the craft of creative nonfiction.
This course is as much a reading-intensive course as it is a creative writing course, in which you will
learn the skills to become a more rigorous and perceptive reader and use the texts we read as a
springboard for your own writing.
By the end of the course, you should be well practiced at doing the following:
• Detecting the elements of craft commonly used in nonfiction including, but not limited to,
character, setting, research, voice, and scene development
• Differentiating between a variety of subgenres within creative nonfiction and critically reading
each according to the conventions of its subgenre
• Applying specific nonfiction techniques from assigned readings to your own writing
• Revising your work in an attempt to truly “re-see” the focus and theme of your writing
• Accurately proofreading your own work in order to produce writing that maintains the
conventions of published English
• Giving constructive feedback to peers
Additionally, we will work as a class to identify learning outcomes that you would like to achieve as
individuals and a collective.
MATERIAL REQUIRMENTS
• Sondra Perl & Mimi Schwartz, Writing True: The Craft and Art of Creative Nonfiction, Second Edition.
Cengage Learning. ISBN: 0618370757
• Bredna Miller & Suzanne Paola, Tell it Slant: Writing and Shaping Creative Nonfiction, McGraw-Hill.
ISBN: 0071781773 (Provided FOR FREE as a PDF link on our BbLearn site)

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• Supplemental essay/memoir readings provided in BBlearn
• A writer’s journal or notebook dedicated entirely to this course to be handed in periodically
COURSEWORK REQUIREMENTS
Over the course of the semester, you will be writing a series of short exercises and essays. During the
final third of the class, you will draft a full-length essay which we will workshop. You will use feedback
from the workshop process to revise and polish this essay as the final requirement for this course.
Short Exercises (300 points total):
Daily Journals (50 points)
Roughly 250-word responses to in-class writing prompts given daily. These will be graded at
midterm and the final week of class.
Exercise #1: On an Object (25 points)
250-500 word assignment. The prompt will be provided in class.
Exercise #2: On a Place (25 points)
250-500 word assignment. The prompt will be provided in class.
Exercise #3: On a Person (25 points)
250-500 word assignment. The prompt will be provided in class.
Exercise #4: On an Activity, Idea, or Event (25 points)
250-500 word assignment. The prompt will be provided in class.
Short Essay #1: Combine Two (50 points)
A three-page essay in which you combine two of the subjects of the previous exercises.
Short Essay #2: Combine the Other Two (50 points)
A three-page essay in which you combine the remaining two subjects of the previous exercises.
Short Essay #3: Craft Analysis (50 points)
A three-page essay in which you analyze a craft element or technique used in a piece of
published, literary, creative nonfiction writing. This essay is a requirement for the fulfillment of
ENGL 293 and failure to turn it in will result in a final grade of F.
Long Workshop Essay (400 points total):
Long Workshop Essay Rough Draft (100 points)
A ten to twelve-page fully developed essay. You should be pondering this essay through the
entirety of this course and discussing potential topics, themes, and focuses with me during office
hours.
Long Workshop Essay Conference and Revision/Analysis Cover Letter (100 points)
After your essay is workshopped, you will be expected to conference with me to discuss revision
plans and strategies based on your feedback. From this conversation and others, write a one to
two-page cover letter for the final draft of your essay that discusses the process of your writing
and revision that focuses heavily on the scope of craft.

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Long Workshop Essay Final Draft (100 points)
A ten to twelve-page fully developed and polished essay that reflects a keen awareness of and care
for the revision process. This essay is a requirement for the fulfillment of ENGL 293 and failure
to turn it in will result in a final grade of F.
Workshop Critique Letters (100 points)
For each piece workshopped, type a one-page, single-spaced letter to the writer that responds
with positive feedback and questions/suggestions for revisions for the final draft. While informal
in tone, these letters should draw upon your understanding of craft readings and analysis and
exhibit your increased understand of genre elements as well as your readerly observations. Bring
two hardcopies of the letter to class for each workshop—one for the writer and one to be
submitted to me.
Participation (100 points total):
Regular Course Attendance and Participation (80 points)
You will receive a holistic participation grade at midterm and finals week based on your
engagement, preparedness, attendance, contributions, and adherence to our classroom
commitments over the course of the semester. This includes collaborative discussion of ideas and
observations, engagement, and productive workshop contribution.
Attending Two UI English Department Events (20 points)
To earn 20 of the course’s collective 100 participation points, you must attend two events
sponsored by the UI English Department. This includes readings both on campus and downtown
as well as craft talks given by visiting writers. I will post a schedule of these events on BbLearn so
you can plan when you will complete this assignment. To earn these points, you must hand in to
me during the next class period a hardcopy, typed, one-page response of each event you attend
detailing what took place and what your take-aways are.
Unless discussed with me beforehand, students are required to attend Maggie Nelson’s
reading when she visits UI as a Distinguished Visiting Writer in April (this can count toward this
attendance requirement). Details TBA.
GRADE SCALE
The above assignments add up to a total 800 possible points. Your grade is calculated according to the
following scale. A running total will be viewable on the course’s BbLearn site as assignments are graded.
A: 720-800
B: 640-719
C: 560-639
D: 480-559
F: 0-479
COURSE POLICIES
Late Work Policy
The due dates for all readings and drafts are posted on course schedule attached to this syllabus, as well
as this course’s BbLearn site. I will not accept late work past three days beyond the due date (typically
the Monday following) and any late work is subjected to a 10% deduction per day late. Please be aware

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that course materials and deadlines posted on the syllabus schedule are subject to change. You should
check the BbLearn site and your University of Idaho email account at least once a day to stay properly
updated, in addition to paying keen attention in class.
Attendance Policy
Attendance in English 293 is mandatory. After the allowed three unexcused absences have been
reached, additional absences will begin to be reflected in your grade in the form of a ten-point deduction
on your participation grade per day absent. An excused absence is an official note specifying the days
and reasons you were required to miss class. Excused absences must be in writing from an official such as
a doctor or a university instructor or administrator (in the event of athletic events or field trips). You are
responsible for making up work you miss due to absences.
Course Etiquette Policy
Upon entering the English 293 classroom, students are entering into a contract that comes with
nonfiction writing. The writing created and shared in this class is personal by nature, and this fact has
the potential to stir up strong feelings, memories, and opinions.
Over the course of the semester, we will encounter complicated and challenging topics, including but not
limited to issues of race, class, gender, sexuality, faith, mental health, power and authority, violence, and
trauma. It will be important that we speak to each other with care, that we avoid statements that are
dismissive of others or that deny the humanity of individuals or groups. It will be our collective
responsibility to maintain the integrity and respectfulness of our discussions.
Our class will therefore be guided by the following commitments:
• Confidentiality. We want to create an atmosphere for open, honest exchange. BY
AGREEING TO PARTICIPATE IN THIS CLASS, YOU ARE AGREEING
NOT TO SHARE THE CONTENT OF YOUR PEERS’ PERSONAL WRITING
OUTSIDE OF THIS CLASSROOM. PERIOD.
• Our primary commitment is to learn from each other. We will listen to each other, not
talk at each other. We acknowledge differences amongst us in backgrounds, skills, interests, and
values.
• We will not demean, devalue, or “put down” people for their experiences, lack of
experiences, or difference in interpretation of those experiences.
• We will trust that people are always doing the best they can.
• Challenge the idea and not the person. If we wish to challenge something that has been
said, we will challenge the idea or the practice referred to, not the individual sharing this idea or
practice.
• Speak your discomfort. If something is bothering you, please share this with the group.
Often our emotional reactions to this process offer the most valuable learning opportunities.
• Recognize personal responsibility. Be aware of how much space you are taking up and
avoid taking up much more space than others. Also, be willing to speak up when others are
dominating the conversation. The more voices, the better.
Additionally, please be advised of the university’s civility clause and of your rights as a UI student:
University of Idaho Classroom Learning Civility Clause
In any environment in which people gather to learn, it is essential that all members feel as
free and safe as possible in their participation. To this end, it is expected that everyone in
this course will be treated with mutual respect and civility, with an understanding that all

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of us (students, instructors, professors, guests, and teaching assistants) will be respectful
and civil to one another in discussion, in action, in teaching, and in learning.
Should you feel our classroom interactions do not reflect an environment of civility and
respect, you are encouraged to meet with your instructor during office hours to discuss
your concern. Additional resources for expression of concern or requesting support
include the Dean of Students office and staff (208-885-6757), the UI Counseling &
Testing Center’s confidential services (208-885-6716), or the UI Office of Human Rights,
Access, & Inclusion (208-885-4285).
Sharing Policy
Sharing written work and responding with thoughtful, productive feedback is a required aspect of this
class. My expectation is that you come to class prepared to share what you have written. This does NOT
mean that I will ever force you to read everything you write in class. If a piece of writing ventures into
sensitive territory, you are welcome to pass when asked to share. When it comes to assignment
submissions, however, please remember: your instructor and your peers will be reading and/or hearing
the content of your piece, responding to elements of craft, and engaging with your work. If you have
material you wish to write about, but do not feel comfortable sharing in class, feel free to come talk to me
during office hours for more private conversation.
Mandatory Reporting
When considering writing created in/for this course that will be turned in to me and/or shared with
peers, students must be aware that as a University of Idaho employee, I am required to report
information regarding violence, harassment, and other crimes along with your name and contact
information to the Office of Civil Rights and Investigations (OCRI). If you are writing about situations
that you wish to remain private, I advise you to not bring it into class or to me. There are a number of
confidential and semi-confidential resources on campus that I strongly recommend reaching out to if you
wish to discuss private circumstances you are delving into through your writing.
Technology Policy
All cell phones must put away during class time. Unless you have been given explicit permission to use
your laptop in class, all laptops should be shut and stowed. Even if you aren’t called out in class for using
this technology, inappropriate use will be reflected in your participation points.
Email Etiquette Policy
I welcome your emails and questions. When you do contact me, however, please treat it as a professional
correspondence. Your message should have a greeting, be written in complete sentences, and signed
with your name and section number at the bottom. Generally, you can expect a timely response during
regular business hours (Monday-Friday, 8-5 PM).
Plagiarism Policy
Plagiarism—using someone else’s ideas or words as yours own without proper attribution—is a serious
matter. Also, turning in work you have previously completed for another course—either an entire paper
or significant portions of it—can also be considered an unethical use of your own work and can be
considered a form of plagiarism worthy of reporting as an instance of academic dishonesty.
If evidence of plagiarism is found in student work in English 293, the instructor is empowered by
Regulation 0-2 of the general catalog to assign a grade of F for the course, a penalty that may be
imposed in particularly serious cases. In most cases of plagiarism, the instructor will also make a

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complaint to the Dean of Students Office, which is responsible for enforcing the regulations in the
Student Code of Conduct. So in addition to the academic penalty of receiving an F in the course, you
may also be subject to other disciplinary penalties, which can include suspension of expulsion.
ACCOMODATIONS
Reasonable accommodations are available for students who have documented temporary or permanent
disabilities. All accommodations must be approved through the Center for Disability Access and
Resources located in the Bruce M. Pitman Center, Suite 127 in order to notify your instructor(s) as soon
as possible regarding accommodation(s) needed for the course.
Phone: 208-885‐6307 | Email: cdar@uidaho.edu | Website: uidaho.edu/cdar

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SPRING 2019 ENGL 293 TENTATIVE COURSE SCHEDULE:
The typical class week will conduct itself as thus: Mondays will comprise of a lecture on the week’s topic, Wednesdays will
be time for class discussion on said topic, and Fridays will be time to go over and turn in student writing in response to the
week’s assignment. This setup is subject to bend to accommodate long weekends and other such knicks in the schedule.
Readings are assigned each day, regardless of in-class activity. Please note that the reading(s) designated with an asterisk (*)
is what I most expect students to be prepared to discuss on its correlating day. Please also read assignments that do not
have an asterisk, but more so at your own leisure. Which readings are designated with an asterisk are subject to change as
class goes along and our focuses shift.
MONDAY WEDNESDAY FRIDAY
Week 1
Jan. 7-11
WINTER BREAK
NO CLASS
INTRO TO CNFà
Introduction to the course
schedule, syllabus, policies,
and one another
Reading Due:
Miller & Paola Tell it Slant
“Introduction”*
(Un)defining Creative
Nonfiction & the art of
observation
Reading Due:
WT: “Why Creative
Nonfiction?”* & “The Power of
the Notebook”
Didion “On Keeping a
Notebook”
Gutkind “The Five ‘R’s of
Creative Nonfiction”*
Week 2
Jan. 14-18
INTRO TO CNFà
The ethics of writing what
really happened
Reading Due:
WT: “The Ethics of Creative
Nonfiction”*
TIS: Ch. 8*
Clark “The Line Between Fact
and Fiction”
Sullivan “Feet in Smoke”
The various forms, shapes,
and breeds
Reading Due:
WT: “Taking Shape”*
TIS: Ch. 9-11
Moore “Son of Mr. Green Jeans”*
Nelson “Bluets”*
Writing CNF: Where to
start
Reading Due:
WT: “Ten Ways to Draft”*
“Finding Voice” (including 20
ways…) & Stafford “The Writer
as Professional Eavesdropper”
Bascom “Picturing the Personal
Essay”*
TIS: Ch. 12-13
Week 3
Jan. 21-25
Wed, Jan 23rdh:
Last day to drop
the course without
a grade of W.
NO CLASS:
MARTIN LUTHER
KING JR. DAY
OBJECTà
Reading Due:
WT: McClanahan “Book Marks”*
Selzer “The Knife”
Olsen “The Love of Maps”
Biss “Time and Distance
Overcome”*
Writing Due:
Exercise #1: On an Object
Reading Due:
Shonagan The Pillow Book
Chesterton “A Piece of Chalk”

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Week 4
Jan. 28-Feb. 1
PLACEà
Reading Due:
TIS: Ch. 3*
WT: White “Once More to the
Lake”
Biss “No-Man’s-Land”
Readings Due:
WT: Iyer “Chapels,”* Huang
“Southern Hospitality,” & Legler
“Moments of Being”*
Writing Due:
Exercise #2: On a Place
Reading Due:
WT: Chaves “Independence
Day”
Kinkaid “A Small Place”
Week 5
Feb. 4-8
PERSONà
Reading Due:
TIS: Ch.2*
WT: Sanders “Under the
Influence”
Baldwin “Notes of a Native Son”
Reading Due:
Monticello “Playing the Odds”*
Sullivan “Michael”*
Mann “Thomas”
Writing Due:
Exercise #3: On a Person
Reading Due:
Marquart “Hochzeit”
Week 6
Feb. 11-15
Early Warning
Grades Due on
Tues. Feb. 12
ACTIVITY, IDEA,
EVENTà
Readings Due:
TIS: Ch. 5-7*
WT: Levy “Mastering the Art of
French Cooking”
Sedaris “Journey Into Night”
Wallace “9/11, as Seen From the
Midwest”*
Readings Due:
WT: Doyle “Being Brians,”* Tayebi
“Warring Memories,”* & Walker
“Before Grief”
Hugues “Salvation”
Writing Due:
Exercise #4: On an Activity, Idea,
or Event
Reading Due:
WT: Clendinen “The Good Short
Life” & Simic “Dinner at Uncle
Boris’s”
Week 7
Feb. 18-22 NO CLASS:
PRESIDENTS’ DAY
TWO THINGSà
Readings Due:
Gornick “The Situation and the
Story”*
Callahan “Chimera”*
Johnson “The Math of Marriage”
Beard “The Fourth State of Matter”
Strayed “Heroin/e”
Wallace “Consider the Lobster”
Writing Due:
Short Essay #1: Combine Two
Reading Due:
Deming “Science and Poetry”
JAZZ FEST USING OUR
ROOM TODAY:
ALTERNATIVE ACTIVITY
TBD

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Week 8
Feb. 25-March
1
THE OTHER TWO
THINGSà
Midterm Journal
Submission
Readings Due:
Moore “The Personal (Not
Private) Essay”*
WT: Martin “Never Thirteen”
Didion “Goodbye to All That”
Readings Due:
Wallace “Tennis, Trigonometry,
Tornadoes”
Hoffert “The Culinary Lessons of a
Person Without Needs”*
Writing Due:
Short Essay #2: Combine the
Other Two
Reading Due:
Jamison “The Empathy Exams”
Week 9
March 4-8
CRAFT ANALYSISà
Making sense of what we do
Readings Due:
WT: Knopp “‘Pherhapsing’…”*
Moore “A Closer Look:
‘Leisure’”*
Readings Due:
Biss “It Is What It Is”*
Writing Due:
Short Essay #3: Craft Analysis
Reading Due:
Lopate excerpts from The Art of the
Personal Essay introduction
Week 10
March 11-15
Midterm Grades
Due on Monday
March 11
ß
SPRING RECESS
NO CLASS
à
Week 11
March 18-22 RESEARCHà
Meet in the library this week
Reading Due:
WT: “The Role of Research,”*
“Exploring New Media,” &
Moore “Write What You Wish
You Knew”
Orlean “Meet the Shaggs”
Reading Due:
WT: Selzer “Four Appointments
with the Discus Thrower” & Kidder
“from Among Schoolchildren”
May “Confessions of a Memoir
Thief”*
CAITLIN’S
THESIS DEFENSE
NO CLASS
Week 12
March 25-29
Friday, March
29th: Last day to
drop the course
with a grade of
W.
Writing Due:
Long Essay: First Draft
Reading Due:
TIS: Ch. 14*
WT: “Workshopping a Draft”*
AWP CONFERENCE
IN PORTLAND
NO CLASS
à
Week 13
April 1-5 WS 1, 2 OFF-DAY WS 3, 4

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Week 14
April 8-12 WS 5, 6 WS 7, 8 WS 9, 10
Week 15
April 15-19 WS 11, 12 OFF-DAY WS 13, 14
Week 16
April 22-26 ß Revision Conferences
No Class
à
Week 17
April 29-May 3 REVISIONà
Reading Due:
WT: “The Craft of Revision”* &
Miller “A Lecture on Revision”
Moore “On Becoming an
Excellent Rewriter”*
Final Journal Submission
Reading Due:
Noble “Before We’re Writers, We’re
Readers”*
Last Class
Writing Due:
Long Essay: Final Draft
Week 18
May 6-10 ß Finals Week
No Class
à