f no photo exists, she’ll create it; she’ll make us see this moment that spoke silently of what was to come in her life.
This sentence made me think about memory as something constructed rather than simply remembered. The idea that she will “create” the image if it doesn’t exist suggests a desire to give meaning to the past, as if shaping the memory helps make sense of what comes next in her life.
Besides, there is something unattractive, unhealthy even, about Eucalyptus desertorum. It’s more like a bush than a tree; has hardly a trunk at all: just sev- eral stems sprouting at ground level, stunted and itchy-looking.
This description makes the tree feel almost wrong or unsettling, especially compared to how trees are usually associated with strength or stability. Calling it “unattractive” and “unhealthy” seems intentional, as if the tree’s physical form mirrors something emotionally off, suggesting that nature here reflects deeper unease rather than comfort.
Ellen is thus like the trees in their lightness: not at all like the darkness of Cave.
This comparison reinforces how Ellen is aligned with openness and movement rather than control or confinement. By linking her “lightness” to the trees and contrasting it with Cave’s darkness, the text frames morality and power as spatial and emotional qualities, not just character traits.
For Ellen would be doomed on her own (we’ve got fairy tale here, not feminism). She needs a hero.
This line feels intentionally blunt, almost uncomfortable, especially with the parenthetical dismissal of feminism. It seems to call attention to how traditional fairy-tale logic depends on limiting female agency, forcing us to question whether the story is endorsing that idea or exposing it by stating it so plainly.
hese are stories stirred by the trees themselves: by their common names, their botanical names, or pecu- liarities of their bark, trunk, or leaves. Unlike grim Roy Cave (that is, king of caves, the Hades type that drags young girls underground), the stranger doesn’t stomp straight through the trees but wanders, turning up one day, disappearing the next, even straggling off mid-sentence to Ellen’s annoyance.
This description makes the trees feel like active storytellers rather than just background setting, which blurs the line between nature and narrative. The contrast between the stranger’s wandering presence and the more violent, direct figure of Roy Cave suggests a quieter, more unsettling kind of power that unfolds slowly instead of through force.
Before workshop, they should meet and discuss particular concerns, fears, desires, etc. for workshop and come up with a plan for how best to approach the story.
This idea makes sense in a traditional, in-person workshop, but it feels less realistic in an online class where coordinating meetings outside of class time can be difficult. While discussing concerns and goals beforehand is ideal, online workshops may need alternative structures, like written reflections or discussion boards, to achieve the same level of clarity and preparation.
These can be used to compare the beginning to the ending, one character to another, inside and outside story, an earlier draft to a later draft,
I like this because it treats revision as a process of comparison rather than just “fixing” what’s wrong. Using T charts or Venn diagrams makes changes more visible and intentional, especially when tracking how a character or theme shifts from an early draft to a later one instead of relying on vague impressions.
In this model, writers workshop their manuscripts online. (The instructor should monitor the work being done.)
This makes workshops feel more accessible and less pressured, since online commenting gives writers time to think instead of responding on the spot. At the same time, the reminder that the instructor should monitor the work highlights how structure is still necessary so feedback stays thoughtful and doesn’t turn superficial or rushed.
nly Questions from the Author In this model, the workshop sends the marked-up manuscripts and their feedback letters to the author before the workshop begins—at least a couple of days before, but earlier might be preferable.
I like how this model shifts some power back to the author instead of making workshops feel like everyone talking about the writer rather than with them. Having time to read feedback and come in with questions feels more intentional and could make workshops less overwhelming and more productive, especially for writers who need space to process critique.
But fiction doesn’t “merely narrate”: this is one of its great potencies. In the centuries that Western fiction has taken to arise, it’s evolved to do many things, especially in the most cannibalistic form, the novel.
This stood out to me because it pushes back against the idea of fiction as just storytelling for entertainment. Calling the novel “cannibalistic” suggests it absorbs and reworks history, philosophy, and other forms of knowledge, which makes fiction feel less passive and more like an active way of thinking and understanding the world.
ome people love chaos; others crave order. I don’t love the coldness implicit in order but know that I need it.
This sentence really captures the tension between wanting freedom and needing structure, especially in the way order is described as “cold” but still necessary. It feels honest because it admits that order isn’t comforting or warm, yet it can be stabilizing, suggesting that personal growth sometimes depends on things we don’t actually enjoy.
A diplomat father, a mother, and two little girls the same ages on either side, a boy born to each pair soon after. Both fathers were in the foreign service (mine Australian; the other, American), and over the years one family toured the eastern hemisphere, as the other toured the western; ditto southern and northern. Our summer, their winter; our day, their night. Geographical mirrors.
I like how this passage sets the two families up as almost perfect opposites, moving through mirrored spaces and seasons, because it makes their lives feel strangely parallel rather than separate. Calling them “geographical mirrors” made me think about how identity can be shaped just as much by movement and place as by family itself, even when those places are on opposite sides of the world.
There’s power in a wave, its sense of beginning, midpoint, and end; no wonder we fall into it in stories. But something that swells and tautens until climax, then col- lapses? Bit masculo-sexual, no?
This part made me think about how automatically we accept stories that build toward a climax and then fall apart, without questioning where that structure even comes from. Calling it “masculo-sexual” really stood out to me because it suggests that the way we tell stories might reflect specific gendered ideas about tension and power, rather than being the only or most natural way narratives can work.
These will be graded for comple4on.This is so that you can prac4ce these new skills without worrying about being penalized by a low grade.
I like that this is integrated into the course. Usually in my previous classes I haven't been giving the opportunity to learn and practice my skills without it being worth a big percentage of my grade.
Any student who has difficulty affording groceries or accessing sufficient food to eat every day, or who lacks a safe and stable place to live, and believes this may affect your academic progress, is urged to contact the Office of Student Affairs by emailing studentaffairs@unl.edu, calling 402-472-3755, or stopping by their office in person.
I am happy to see this was included in the syllabus! Especailly with the state the government is in with taking away food stamps etc.
I will not extend grace to you if you use generative AI, and I won’t debate it with you. If I suspect you’ve used generative AI, you will receive a zero for the assignment and I will submit it to the board for academic misconduct.
I completely agree and this is a very fair outcome. AI is dimishing and harmful to use as students pursuing a bachelors degree. Not only does it harm the evniornment and negatively impacts the work force. It also impacts student learning and defeats the purpose of going to unviersity in the first place.
Late work may be accepted with a requestfor extension which was submitted up to 48hours before the due date.To request an extension, send me an email at
I honestly appreciate this. Some courses don't allow room for late work. I am super grateful that this course has some flexiblity built into it, allowing for flexbility as well as accountability as students enrolled in this course.
IQ tests don’t take into account common sense or experience, attributes that the academically gifted sometimes lack outside of a scholarly setting.
There are multiple different ways to be intellegent. Someone can be street smart, book smart, business savy. Everyone has their own strengths and things that they excel at. Things like IQ tests and standarized testing isn't an accurate way to asses someone's intellegence. I wish they would try to figure out another way other than streneous exams.
As you read the essay a second time, probe for a deeper understanding of and appreciation for what the writer has done.
I honestly think I am a very lazy reader. I usually just read the article once and am left confused. I can definietly see how reading the article a second time allows for more appreciation of the material.
Make some marginal notes of your expectations for the essay, and write out a response to the prompt.
Taking marginal notes is super clever! I was never taught or thought of the idea myself to do that. I can see how that definetly helps further your understanding and whatt he passage is actually conveying.
Active reading will repay your efforts by helping you read more effectively and grow as a writer
I am eager to start actively reading as a STEM major, I often find myself struggling to truly understand readings and find a major takeaway. Hopefully I can interact with more of my readings to better absorb the content.