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Great American Short Stories: A Guide for Writers and Readers

Plunge into several centuries of short stories in the American tradition, looking at how to write them, how to read them, and how to appreciate their powerful influence.
Great American Short Stories: A Guide for Writers and Readers is rated 4.7 out of 5 by 23.
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Rated 5 out of 5 by from Inspiring content, lively presentation The beauty of Jennifer Cognard-Black's course is the way it combines a survey of the American short story with very specific lessons for writers. I did most of the suggested reading and discovered or rediscovered some writers I really admire. I also enjoyed the exercises and got some new ideas for my own work. I thoroughly recommend this.
Date published: 2021-09-08
Rated 5 out of 5 by from Great Inside, great choices, great teacher It took me 2 weeks to run across this panoramic of American Short Stories and the experience is most rewarding both as a reader of short fiction and as a writer. I realized how important is to know what was done before by other writers to move forward with your own work. This course accomplishes that for writers and for those readers that want to understand where all is coming from. I'm planning to get the printed script for further immersion in the subject.
Date published: 2021-08-14
Rated 4 out of 5 by from Great Insights into Understanding Short Stories I got this course because as a scientist I was interested in the topic and couldn’t take many courses outside of science/math as an undergraduate. Wow! Did I learn a lot especially what exactly is a short story and the many difference types of short stories. My only problem was that there may have too many long readings and details for a science and math person like me. But it was exciting and thought provoking!
Date published: 2021-07-11
Rated 5 out of 5 by from Great American Short Stories has been great I still have 4 chapters/lectures to finish up yet but this course has been a God send. I recently took a job in writing for a local newspaper and have found this teaching has made me see writing in a total different way......I love it!!!
Date published: 2021-07-11
Rated 5 out of 5 by from Good course for beginners Enjoyed the course even though much of the material was stuff I already knew. The section on deconstruction and self-reflexive fiction was the clearest brief explanation I have ever heard on a subject about which there is much confusion.
Date published: 2021-04-20
Rated 5 out of 5 by from Excellent course! Last year I returned to school, after a twenty-five year gap, to pursue my MFA in creative writing. While I read and wrote during this gap, I felt like I needed to get up to speed on what I'd missed. This course was perfect! The professor does an excellent job presenting all modes of short fiction, everything from classic stories to microfiction and even graphic fiction. I also appreciated the inclusion of many stories written by minority and women writers, which is something I was rarely exposed to during my undergrad years in the early 1990s. The professor does a great job breaking down why a story works and the exercises at the end of most episodes are both fun and pushed me to try new modes of writing I wouldn't have ordinarily considered. So, I found this course extremely helpful and would highly recommend it to anyone looking to take a deep dive into the short story.
Date published: 2021-04-10
Rated 5 out of 5 by from Learned a Lot I am a writer of short stories and novels, and am always looking for ways to improve my game. And this course delivered ideas and techniques that did just that. In fact, I found that many of the techniques Professor Cognard-Black explained are applicable no matter how long or short a story is. I particularly liked her emphasis on characters' emotions rather than plot as the way to engage a reader’s empathy. But she also mentioned that the plot needs to move towards a character’s epiphany, so plot can't be ignored either. Finding the balance is key. She devoted one lecture to Hemingway's short stories, explaining his iceberg principle of leaving many details out in order to engage the reader's imagination. It reminded me of an article I read a few years ago about Shakespeare’s strategic opacity technique. Same idea, so looks like it has a longer pedigree than the 20th century. For short story fans, there are probably 40 or so stories analyzed in these lectures, including some by Prof C-B's own students. So there's a great reading list here. I enjoyed the course and Prof C-B's presentation style as well as "exercises" at the end of several lectures for practicing the techniques the lecture focused on. Probably as useful for those who just read short stories as well as those who write them. I learned a lot by doing them.
Date published: 2021-04-03
Rated 2 out of 5 by from Promising topic A guide for writers and readers. This is more of a guide for writers; I had hoped for more for a guide for readers looking to enjoy American short stories. Her point of view was the obligation of American short story writers to confront the ills of modernity: “…civil rights, prejudice, sexuality, drug addiction, undeserved violence, the role of religion in civic life, the quiet desperation of undervalued workers, failing prison and foster care systems….” My partner, who did want a guide for writers, felt he hadn’t heard 1) Why you are writing the story, ie, your objectives in writing (education, information, mobilization, entertainment, catharsis, etc); 2) What are the prerequisites for becoming a writer (eg, knowledge of elements of a writing style); 3) Do you need the ability to experience, observe, record aspects of the human condition; 4) Should you determine who your audience is you’re writing for. She emphasized getting into your subject’s head, suggesting manipulating the reader’s response is most important, as is the consideration to negatively observe the human condition for its frailties, weaknesses, deficiencies. And, perhaps a minor point, I think this course is better suited to listening rather than viewing; her facial expressions were a little distracting. This lecturer clearly has an extensive knowledge of and experience with writing and teaching the subject; I hope you learn more from it than we did.
Date published: 2021-03-25
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Overview

Whether you want to write short stories, simply want better insight as a reader, or even if you are looking for a new lens through which to view American history, the 24 rich and informative lectures of Great American Short Stories: A Guide for Writers and Readers will show you the ins and outs of this infinitely adaptable-and intrinsically American-literary form.

About

Jennifer Cognard-Black
Jennifer Cognard-Black

Each of us has the capacity to write meaningful essays that tap into the heartbeat of humanity.

INSTITUTION

St. Mary’s College of Maryland

Dr. Jennifer Cognard-Black is Professor of English at St. Mary's College of Maryland, a public liberal arts college. She graduated summa cum laude from Nebraska Wesleyan University with a dual degree in Music and English. She studied under Jane Smiley for her M.A. in Fiction and Essay Writing at Iowa State University and received her Ph.D. in 19th-Century British and American Literature from The Ohio State University. Among her awards for teaching and writing, she was named a Fulbright Scholar to Slovenia, where she taught the American novel and creative writing. She was the recipient of a Maryland State Arts Council individual artist award and was twice the recipient of the Faculty Student Life Award, the most prestigious teaching award at St. Mary's, selected by the students themselves. She was awarded Mellon Foundation grants on three separate occasions, and she won a gold medal in the national 2016 Independent Publisher Book Awards contest for an anthology she edited. Nebraska Wesleyan University has named her a Distinguished Alumna and an Outstanding Graduate. Professor Cognard-Black's publications are extensive and eclectic, reflecting her intellectual background as both a writer and a literary critic. She is the author of numerous books, has published her essays and short fiction in a number of journals, and she has appeared on NPR.

By This Professor

Becoming a Great Essayist
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Great American Short Stories: A Guide for Writers and Readers
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Great American Short Stories: A Guide for Writers and Readers

Trailer

“Come In Here”: How Stories Draw Us In

01: “Come In Here”: How Stories Draw Us In

Begin your exploration of American short stories with a look at one of the form’s most important features: the opening sentence. Learn the four P’s (people, place, perspective, and problem) and how they can help build a strong opening to a story. Then listen to multiple examples of first sentences and their various strengths and weaknesses.

33 min
Discovering the American Short Story

02: Discovering the American Short Story

What defines a short story? And what makes American short stories unique? Take a look at some features and definitions that help explain the form and its boundaries, while also learning how the form has changed over time. You’ll also get a partial reading list that will allow you to explore some of the greatest authors of different styles and eras.

34 min
The Storytelling Instinct in America

03: The Storytelling Instinct in America

Storytelling can help us find meaning in chaos, foster empathy, and share lessons and values across generations. Look back into the past and see how oral and print cultures came in contact with each other in the Americas, creating a hybrid form of storytelling that continues into the present day.

32 min
Storytelling and American Mythos

04: Storytelling and American Mythos

After the Revolutionary War, American authors sought to forge their own national literary traditions. Examine the emergence of the short story as a patently American genre, beginning with the “sketches” of writers like Washington Irving. Along the way, you will see how writers have shaped the American mythos—the stories that tell us who we are.

31 min
Sentimental Fiction and Social Reform

05: Sentimental Fiction and Social Reform

Can stories change the way we look at the world? In the mid-19th century, many Americans believed you could use fiction to shape public opinion and morality. Look at the tradition of sentimental fiction and the writers that mastered the tools of emotion and empathy, focusing especially on the ways women contributed to the field.

32 min
The Rise of Realism in American Fiction

06: The Rise of Realism in American Fiction

Realism dominated American short fiction from the end of the Civil War until the outbreak of World War I. See how four decades of social upheaval and the rise of print journalism motivated the rise of the “boys’ club” of realist writers, in opposition to the more feminine-influenced sentimental fiction of earlier decades.

32 min
American Modernists

07: American Modernists

The rise of modernism in the early 20th century was a self-conscious reaction to realism. Reflecting the rapid changes of the time, modernist short stories have an intentionally fragmented, staged feeling that many writers felt made the work more “literary.” Examine the work of modernist writers like William Faulkner, Gertrude Stein, and Jean Toomer.

33 min
Contemporary American Storytelling

08: Contemporary American Storytelling

Ernest Hemingway remains the single most influential short story writer of the 20th century. Disillusioned by World War I and heavily influenced by the objectivity of journalism, Hemingway changed the American short story—and possibly the American identity. Consider how this one writer revolutionized short fiction and influenced countless other authors.

32 min
Setting or Donnée in American Short Fiction

09: Setting or Donnée in American Short Fiction

Shift from the history of American short fiction to the technical aspects of the form with a look at how writers build verisimilitude into their story worlds. Professor Cognard-Black guides you through several stories with different settings—or, more specifically, données—and shows how the writers convey time and place as well as mood, atmosphere, symbolism, and more.

32 min
The Use of Detail in American Short Fiction

10: The Use of Detail in American Short Fiction

What is the difference between fact and truth, and why does this distinction matter in fiction? Discover how writers use certain details to inform readers about the inner life of the characters and look closely at why the facts in a short story are never random. Works by Toni Morrison, James Thurber, and Lee K. Abbott demonstrate different levels of detail.

34 min
Character: Who You Are in the Dark

11: Character: Who You Are in the Dark

Creating characters that feel true to life means going below the surface and revealing their inner dimensions. Using the FAT principle of fiction (Feelings, Actions, and Thoughts) and looking at three major errors in fiction writing, compare and contrast flat, stock characters with the deeper characters that stick with readers long after the story has ended.

30 min
American Dialogue and Interior Monologue

12: American Dialogue and Interior Monologue

Crafting good dialogue means listening to how real people talk, but also understanding that speech in a story is fundamentally different from the real thing. Using exercises from both real life and fiction, learn how purposeful dialogue can be crafted. Then, look at how internal monologue works and how it serves to reveal character in important ways.

31 min
Standing Apart: The Third Person

13: Standing Apart: The Third Person

See why the point of view of a story is one of the most important choices a writer can make. Different perspectives create different reactions in the reader, and the third person has three distinct variations that allow writers to determine the level of objectivity and distance a story needs to create the best effect. Consider several examples and how they work.

31 min
Standing Close: The First and Second Person

14: Standing Close: The First and Second Person

There is power and there is peril in the first- and second-person perspectives. Both create close relationships with the story and both promote immediacy and empathy. However, they also have dangers that can derail a story if not handled properly. Explore both the first- and second-person perspectives and their effect on readers.

32 min
Plot: What Characters Do Next

15: Plot: What Characters Do Next

Instead of looking at plot as a clearly defined journey from point A to point B, here you will see why plot should be dictated by characters and their choices. Understand how good short stories strike a balance between structure and (seeming) randomness to capture something that feels meaningful and true to life.

30 min
Imagery in American Short Fiction

16: Imagery in American Short Fiction

Vivid imagery is crucial to good storytelling. Professor Cognard-Black takes you through several examples to see how sensory and figurative language can help create an immersive experience. Along the way, you will get useful introductions to tools like personification, allusion, symbolism, metaphor, and other literary devices through writers like Flannery O’Connor.

31 min
Style in Traditional American Short Stories

17: Style in Traditional American Short Stories

Compare and contrast two iconoclastic American writers, William Faulkner and Ernest Hemingway, to see how style encompasses every aspect of an author’s writing, from word choice and sentence length to syntax and punctuation. You’ll also receive a list of writing handbooks that can help you explore style.

32 min
Experimental American Short Stories

18: Experimental American Short Stories

How is writing fiction like making a quilt? Turn your attention to the innovative short fiction that emerged in the turbulent years after World War II to find the answer. Look at the deconstructionist approach to short stories, focusing particularly on metafiction, and then explore the use of voice to create both intimacy and scope simultaneously.

32 min
Genre Short Fiction in America

19: Genre Short Fiction in America

Though genre fiction has a reputation for being frivolous or commercial, it has been an important part of America’s literary tradition since the 19th century. Focusing on the “big three” genres of horror, science fiction, and fantasy, you will see how genre fiction has grappled with the same issues and concerns as literary fiction, simply through different means.

34 min
Graphic Short Fiction in America

20: Graphic Short Fiction in America

Short stories in the 21st century have broken out of traditional constraints of size and form to include more experimental modes, as you will explore here with graphic short fiction. Discover how visual storytelling works in short fiction and why the images and words must work together in ways that go beyond mere illustration.

33 min
Postmodern Short Fiction in America

21: Postmodern Short Fiction in America

While the postmodern era is hard to define, the features of postmodern fiction are rooted in artifice and hyperawareness. Consider how the “meta-experience” of postmodernism is created by going against the traditional ideas of immersion and author invisibility, and investigate how different authors accomplish this tricky balancing act.

35 min
American Microfictions

22: American Microfictions

While the accepted length of a short story has always been somewhat vague, here you will see what kinds of storytelling feats can be accomplished with a drastically limited word count. Dive into microfictions written by Professor Cognard-Black and her writing students to see how even the briefest pieces can contain entire narrative worlds.

34 min
Short Story Endings

23: Short Story Endings

How can writers create endings that are both authentic to life and satisfying to readers? Reflect on endings from various short stories and see how they have changed over time. Also consider the ways writers create a sense of closure in fiction that never really happens in everyday life, yet feels authentic to human experience.

36 min
A Hundred False Starts

24: A Hundred False Starts

Even the greatest writers experience failure; the key is to fail creatively. Professor Cognard-Black closes the course with a look at the nature of publishing in today’s market, as well as how false starts and unfinished work can be a crucial part of the process of successful, fulfilling writing. As the careers of writers like F. Scott Fitzgerald and many others demonstrate, the most important skill a writer—or a reader—can have is perseverance.

34 min