Narrative Nonfiction: From Reporting to Story

In this course, each session will consist of a theory section — close reading, craft discussion, in-class exercises — with a practice section, where the group will function as a working editorial room pitching stories, arguing over editorial angles, writing against the clock, and reading pages aloud for specific feedback. We will discuss what narrative nonfiction promises its reader that reporting alone doesn't, and how to gather material — through interview and observation — rich enough to build a scene.

The through-line is a single question, asked from five different angles: how does a writer make one true, specific thing carry the weight of something much larger? At the end of the workshop each participant will leave with a finished essay, column, or book proposal.

Week 1 (Nov. 6):

Theory: the nonfiction contract, and the interview as craft. 

Craft exercise: peer interview and building a scene from anecdote. 

Practice: story pitches and finding an angle.

Week 2 (Nov. 13):

Theory: profile anatomy, and the specific-to-global technique. 

Craft exercise: expanding one small object outward. 

Practice: confirm angle of story, in-class opening scene, first read-aloud.

Week 3 (Nov. 20):

Theory: the telling detail, and metaphor as compression. 

Craft exercise: detail harvesting from your own notes. 

Practice: rewriting and the editing process.

Week 4 (Nov. 27):

Theory: structure, pacing, and elements of style. 

Craft exercise: mapping your draft's structure on paper. 

Practice: finalize angle of the story, draft an ending, full read-aloud.

Week 5 (Dec. 4):

Theory: revision and editing, the pitch letter, the query, and the book proposal. 

Craft exercise: peer editing. 

Closing: next steps and keeping up the momentum.

Readings:

The Glass Castle, Jeannette Walls

Frank Sinatra Has a Cold, Gay Talese

On Keeping a Notebook, Joan Didion

The Orchid Thief, Susan Orlean

The Liars' Club, Mary Karr