Lucy Rosenthal

BA, University of Michigan. MS, Columbia University Graduate School of Journalism. MFA, Yale University School of Drama. Fiction writer, critic, editor, playwright; author of the novels The World of Rae English and The Ticket Out; editor of anthologies Great American Love Stories, World Treasury of Love Stories, and The Eloquent Short Story: Varieties of Narration; reviews and articles published in Washington Post, Chicago Tribune Book World, Ms., Saturday Review, The New York Times Book Review, and Michigan Quarterly Review; plays produced at Eugene O’Neill Memorial Theatre Center, Waterford, Connecticut. Recipient, Pulitzer Fellowship in Critical Writing; served on Book-of-the-Month Club’s Editorial Board of Judges and as the Club’s senior editorial adviser. SLC, 1988–

Course Information

Current undergraduate courses

Place in Fiction


Characters are not disembodied spirits. They need a place to live. With student stories serving as our basic text, and drawing also from a varied reading list, we will explore the multiple uses of place in fiction and how it can serve to define characters, advance story, and illuminate theme. We will consider questions such as why a story happens here rather than there—say, in Richard Yates’s suburbia, ZZ Packer’s Atlanta, Jose Donoso’s Buenos Aires or Chile, Nadine Gordimer’s South Africa, Katherine Anne Porter’s Texas, Junot Diaz’s inner city, or Denis Johnson’s highways and roads. Each region—its landscape, its history, its culture—has its own set of values and associations. Changes of scene—from country to country, even from room to room—can also reflect shifts in a character’s state of mind. What does it mean, for example, for a character to be—or feel—“out of place” or “at home”? What does it mean for a character to know—or, as is often the case, not know—his or her place? What, then, does exile mean? Or homelessness? Along with the supplementary readings, short exercises will be assigned. This course is for students who, along with writing, want to feel more at home with books—and for those who already do.


Visible and Invisible Ink: How Fiction Writing Happens


Successful fiction writing is a pleasure that requires work and an educated patience. Using as our basic text the stories that students themselves write, we will seek to show how each story, as it unfolds, provides clues—in its language, narrative tendencies, distribution of emphases, etc.—to the solution of its own creative problems. We will explore questions such as: What are the story’s intentions? How close does the writer come to realizing them? What shifts in approach might better serve both intentions and materials? What is—or should be in any given piece of work—the interplay of theme, language, and form? We will look at the links between the answers to these questions and the writer’s evolving voice. Discussion and analysis of student work will be supplemented by consideration of published short stories by writers such as Tim O’Brien, Jhumpa Lahiri, ZZ Packer, Rick Moody, Junot Diaz, Katherine Anne Porter, James Thurber, and Truman Capote. Exercises, which can serve as springboards for longer works, will be assigned weekly. Designed to provide opportunities for free writing and to increase students’ facility with technique, the exercises will be based on the readings and on values and issues emerging from students’ work.


Previous courses