The heart of the course is the weekly workshop. Over eight live sessions, each writer will have three opportunities to submit up to 2,000 words for detailed critique, for a total of 6,000 words by the end of the course. In addition to my comments during workshop, you’ll receive line edits and critique summaries on each submission—these are extremely detailed, comprehensive edits equivalent to what I offer my developmental editing clients.

You’ll also give and receive peer critiques each week, strengthening both your work and your editorial eye. You should expect to read between 10–30 pages of peer work weekly. You will not need to submit written peer critiques, but it’s important that you at least read their work and ideally, have notes ready so that you can fully participate in our discussions.

We’ll also explore key craft elements—voice, theme, character, structure, setting, stakes—tailored to your specific writing goals. Craft lectures and discussions will be shaped by the challenges that surface in your submissions, making each session directly relevant to your creative needs.

By the end of the course, you’ll walk away with new tools for revision, a clearer understanding of how your work lands with readers, and the momentum you need to push your stories forward.

Who This course is For

This course is open to all genres, with an emphasis on craft and character-driven prose. Best suited for intermediate to advanced students, those who have some workshop or writing experience, ideally with pages ready to submit by the second week. Your engaged participation during workshop is also essential!

Learning and Writing Goals

Learning Goals

In this course, you will: 

• Gain a deeper understanding of all the elements of craft in fiction; what works in a story and what doesn’t, through analyzing your peers’ writing and more importantly, your own.
• Develop the skills and confidence to edit your own writing, recognizing your ticks as well as your strengths; letting go of what doesn’t serve the story, regardless how beautifully written.
• Learn how to receive and give critiques that are honest but encouraging, a key skill in fostering beta readers within your literary community.

Writing Goals

In this course, you will: 

• Submit newly generated writing or existing work throughout the course.
• Receive concrete, actionable feedback on your submissions from your instructor and peers to be used toward revision.
• Discover solutions to plot and character challenges, improving your writing both on the macro level (honing your voice and the story’s arc) and micro (finessing your sentences to be deft and succinct).

Zoom Schedule

Each week, we will meet on Zoom on Wednesdays from 7-9PM Eastern. 

Weekly Syllabus

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Our memories can be a well of creativity for our writing—if we know how to engage with them.

In this generative course, we’ll learn to stitch our own memories and thought associations into vibrant fiction and memoir. We’ll discover how to mine our memories, focusing not only on the experiences we’re recounting, but on what feelings and tactile associations they evoke in us now.

We’ll also examine how memories can be written chronologically, nonlinearly, and through jump cuts and bricolage. And we’ll study examples of texts where narrators reveal themselves through stories about others.

Each session will involve close reading and discussion from selected texts, and each week you’ll complete a short writing and reading assignment. Course readings will include excerpts from works by Joe Brainerd, Tobias Wolff, Elizabeth Hardwick, Rachel Cusk, Laurie Stone Delmore Schwartz, and Lucia Berlin.

You’ll learn to mine your memories and observations to create narratives that are distinct and compelling. 

Who This Course is For

This course is for fiction and creative nonfiction writers of all levels interested in exploring memory as a source of creativity in fiction and memoir. Ideal for those who want to deepen their storytelling by weaving personal experiences, emotions, and sensory details into dynamic narratives.

Learning and Writing Goals

Learning goals: 

By the end of this course, you’ll have learned different approaches of using memory and observation to write engaging prose through lists, chronological narrative, and stream-of-conscious association. You’ll also study how jump cuts, collage, and thought-in-action can make your prose more dynamic.

Writing goals: 

You will complete and receive written feedback on at least five new prose pieces that can stand alone as flash fiction/non-fiction or be developed into a larger project.

Zoom Schedule

Each session will be held on Wednesdays from 6:00-7:30pm EST. The first session on February 18th will end at 8pm Eastern, allowing a bit of extra time for discussing the class format. In between sessions, I’ll post new assignments on Wet Ink and critique your completed assignments there weekly.

Please note, the course will not meet during the week of March 4th. The last Zoom call will take place on April 1st. 

Weekly Syllabus

Prior to Week 1:

Review excerpts (6 pages) from Joe Brainerd’s I Remember; this will be posted on Wet Ink the morning of the first session. If you don’t have time to read it all, don’t worry—we’ll have the opportunity to read it as a group in our first Zoom.

Week 1: Free-form Association (Live Video and Text)

This first session is designed to loosen you up to let your associations flow. We’ll review selected sections from Joe Brainerd’s I Remember to see how even everyday events come to life when told through specific physical and emotional details evoking the five senses: sight, sound, touch, smell, and taste. You’ll learn about linear associations and also those that jump forward or backward in time, and how using varied lengths in your sentences to disrupt expected patterns keeps your reader engaged.

Assignment:

1. Using Brainerd as inspiration, write 1 page (250-300 double-spaced words) of free-form associations, starting each sentence with “I remember. . .” let your thoughts flow from subject to subject and see where they take you.
2. Also read Tobias Wolff’s short story “Bullet in the Brain” for discussion in the next session.

Week 2: Bringing the Past to Life (Live Video and Text)

In this session, we’ll discuss how to write backstory that feels energetic, analyzing “Bullet in the Brain” for its structure, the reverse chronology of its finale, and its effective use of tenses. We’ll also discuss how to create empathy for unlikeable characters through targeted observations that convey their humanity.

Assignment:

1. Writing prompt (1 page/2 options):

1. 1. Tell the story of your life by writing all the things you didn’t do. OR:
   2. Think of an event from your past where you felt wronged by someone and write about it sympathetically from their POV.

2. Also read selected pages of Elizabeth Hardwick’s Sleepless Nights and Rachel Cusk’s Outline for discussion in the next session.

Week 3: Lessons in Observation (Live Video and Text)

In this session, we’ll review the texts of Hardwick and Cusk to discuss how focusing your lens on objects, places, and other people can obliquely reveal who you are. This is a great skill to hone for writing compelling critical essays as well as fiction.

Assignment:

1. Write a 1-page anecdote about an object, a place, or another person. Describe them as vividly as possible by hitting at least three of the five senses without using the words “I feel/felt” or “I think/thought.”
2. Also read selected excerpts from Laurie Stone’s Streaming Now: Postcards from the Thing That Is Happening for discussion in the next session.

Week 4: Jump Cuts & Bricolage (Live Video) 

In this last session, we’ll discuss how Streaming Now braids memoir with fiction, political commentary, and discourses about art and entertainment, often infused with humor. We’ll study Stone’s use of jump cuts, digressions, and bricolage—how she uses them to create a potent example of thought-in-action.

Assignment:

1. Write a 1-page piece about your thoughts on a cultural or political issue (or both!)—this could be a book, show, movie, current event, legislation, or elected official—layering any personal memories or feelings it brings up for you in the moment. 
2. Also read Delmore Schwartz’s short story, “In Dreams Begin Responsibilities,” for discussion in the next session.

Week 5: Dreams and the Subconscious

Some consider the dream narrative a cliché, but I’d argue that dreams, being a form of memory as well as a universal human experience, merit real consideration. Dreams represent our subconscious, manifesting as either pleasurable or suffocating experiences. In this session, we’ll analyze how Schwartz evokes a mood of surreality and tension; the shifts (sometimes deliberate and jarring) between omniscient narrator to 1^st person, conveying a duality of time, place, and perspective between the actions and thoughts of his parents versus his own.

Assignment:

1. Write a 1-page piece incorporating a vivid and/or recurring dream you’ve had, braiding the dream with something in your actual, real life that it connects to (or reminds you of). 
2. Read Lucia Berlin’s story, “So Long,” from her collection, A Manual for Cleaning Women, for discussion in the next session.

Week 6: The Art (and Artifice) of Autofiction

Several of the authors we’ve read wrote variations of autofiction—but Lucia Berlin is a master of the form, blurring the lines between memoir and fiction, often taking direct events from her life while changing names and chronology. In this session, we’ll discuss how “So Long” touches on her close relationships with candor, humor, and pathos, moving from past to present, reminiscence and reflection.

We’ll conclude with final comments and questions. As this is our last class, I won’t give any more assignments but I’ll provide supplementary prompts and reading suggestions for you to review beyond this course.

Reference Texts:

I Remember by Joe Brainerd

“Bullet in the Brain” by Tobias Wolff

Sleepless Nights by Elizabeth Hardwick

Outline by Rachel Cusk

Streaming Now: Postcards from the Thing That Is Happening by Laurie Stone

“In Dreams Begin Responsibilities” by Delmore Schwartz

“So Long” by Lucia Berlin

Why Take a Memory Writing 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 courses lively and intimate.
• Work through your weekly lectures, course materials, and writing assignments at your own pace.
• Share and discuss your work with fellow writers in a supportive course environment.
• Award-winning instructor Chin-Sun Lee will offer you direct, personal feedback and suggestions on every assignment you submit.

Click the Enroll Now button below, enter your details on the Checkout page,
and reserve your spot in the course.

$445.00 Original price was: $445.00.$380.00Current price is: $380.00.Enroll Now

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