I currently teach at the College of William & Mary; previously, I've taught at Oberlin College, Portland Community College, the Writers in the Schools Program in Portland, Stanford, and the University of Iowa. This page is still in progress, but here's a starter lineup of courses:

Intro to Creative Writing

The classic sampler platter of fiction, nonfiction, and poetry. Readings for spring 2017 include fiction from The Best American Short Stories 2016, ed. Junot Diaz, Citizen by Claudia Rankine, and poems by Cathy Park Hong, Terrance Hayes, Wallace Stevens, Evie Shockley, Tyehimba Jess, Frank O'Hara, Layli Long Soldier, and others. 

Fiction Workshop

An intermediate course in all the fundamentals: character, dialogue, point of view, linear and nonlinear structures, voice, and detail. Readings the fall 2016 students named as their favorites: "The Flower" by Louise Erdrich, "Orientation" by Daniel Orozco, "Sorry Doesn't Sweeten Her Tea" by Helen Oyeyemi, "Sportsman" and "In the Cemetery Where Al Jolson is Buried" by Amy Hempel (who came to deliver an incredible reading), "North Country" by Roxane Gay, "Begin with an Outline" by Kaui Hart Hemmings, "Sea Oak" by George Saunders, "Mothers, Lock Up Your Daughters Because They Are Terrifying" by Alice Sola Kim, "A Temporary Matter" by Jhumpa Lahiri, and "What You Pawn I Will Redeem" by Sherman Alexie.

Longform Fiction

Students each write a single sustained work of fiction of 15,000-30,000 words (though some go longer--the record so far for a completed project is 46,000.) Readings for spring 2017 include Hunger by Lan Samantha Chang, Bonsai by Alejandro Zambra, Grief is the Thing with Feathers by Max Porter, Counternarratives by John Keene, and "The Story of Your Life" by Ted Chiang. Lately this has been one of my favorite courses to teach--the novella is such an adventurous and flexible form, and turning in 1500+ words per week, no matter how rough and raw, turns out to be a transformative practice for the students. 

Creative Nonfiction

A course in narrative nonfiction, particularly the kind of longform nonfiction found in magazines. Some student favorites of fall 2016: "Trouble in Lakewood" by Joan Didion, "Frank Sinatra Has a Cold" by Gay Talese (and the annotated version!), "The Really Big One" by Kathryn Schulz (and her discussion of it on the Longform podcast), "Girl" by Alexander Chee, "Grand Thefts" by Tom Bissell, "Fog Count" by Leslie Jamison, "To Scratch, Claw, or Grope, Frantically or Clumsily" by Roxane Gay, and "Netherland" by Rachel Aviv. My fall 2016 creative nonfiction crew compiled an online magazine of their finest criticism, personal essays, and narrative journalism. Fortified by pizza, we used our designated final exam time to upload, edit, and launch the magazine. You can take a look at The Loose Brick here. We had a blast making it.

Other courses: Beyond Genre: Writing Fabulist Fiction, Advanced Nonfiction Workshop, Advanced Fiction Workshop, Technique & Form in Fiction.