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So a few years ago, I started slipping my classes short writing assignments alongside the required papers. Once, I asked them, “Come up with two lines of copy to sell something you’re wearing now on eBay.” The mix of commerce and fashion stirred interest, and despite having 30 students in each class, I could give everyone serious individual attention. For another project, I asked them to describe the essence of the chalkboard in one or two sentences. One student wrote, “A chalkboard is a lot like memory: often jumbled, unorganized and sloppy. Even after it’s erased, there are traces of everything that’s been written on it.”

My ideal composition class would include assignments like “Write coherent and original comments for five YouTube videos, quickly telling us why surprised kittens or unconventional wedding dances resonate with millions,” and “Write Amazon reviews, including a bit of summary, insight and analysis, for three canonical works we read this semester (points off for gratuitous modern argot and emoticons).”

And short isn’t necessarily a shortcut. When you have only a sentence or two, there’s nowhere to hide.

Native American languages impose on their speakers a picture of reality that is totally different from ours, so their speakers would simply not be able to understand some of our most basic concepts, like the flow of time or the distinction between objects

rash-landed on hard facts and solid common sense, when it transpired that there had never actually been any evidence to support his fantastic claims

new research has revealed that when we learn our mother tongue, we do after all acquire certain habits of thought that shape our experience in significant and often surprising ways.

For a while the NEA experimented with “belles-lettres,” a misunderstood term that favors style over substance and did not capture the personal essence and foundation of the literature they were seeking. Eventually one of the NEA members in the meeting that day pointed out that a rebel in his English department was campaigning for the term “creative nonfiction.” That rebel was me.

literary craft in presenting nonfiction—that is, factually accurate prose about real people and events—in a compelling, vivid manner. To p

real demarcation points between fiction, which is or can be mostly imagination; traditional nonfiction (journalism and scholarship), which is mostly information; and creative nonfiction, which presents or treats information using the tools of the fiction writer while maintaining allegiance to fact.