Folks, we’ve reached the end of my ten-week MFA workshop in Creative Nonfiction, so this will be the last post from the trenches.What a glorious group of writers I had the privilege of sharing the table with on Tuesday afternoons. A big shout-out to each of them for the talents they brought to our workshop…

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This week, using Suzanne Farrell Smith’s article, “The Inner Identity of Immersion Memoir,” from the December 2011 issue of The Writer’s Chronicle, we spent some time talking about this form of the genre. Perhaps the most well-known recent example is Robin Hemley’s memoir, Do-Over, in which he returns to relive his high school prom, a…

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Much of our conversation yesterday sprang from a brief article by Sue William Silverman in which she discusses the importance of voice in creative nonfiction. Borrowing from William Blake, she defines the two major voices that writers use in memoirs and personal essays as The Song (or Voice) of Innocence, and The Song (or Voice)…

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We had the pleasure yesterday of a visit from Stewart O’Nan, best known for novels such as Emily, Alone, Wish You Were Here, Speed Queen, Songs for the Missing, and the recently released, The Odds, but also the author of an interesting book of nonfiction, The Circus Fire, about the horrible blaze on July 5,…

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I’m pleased to have my student, Marty Ross-Dolen, as a guest blogger this week. After Marty’s entry concerning research in creative nonfiction, I’ll add a writing exercise, but now, here’s Marty:   I would like to thank Lee for this opportunity to act as a guest contributor to his blog.  I offered to write this…

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