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| Preface | |
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| Poetry | |
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| Getting Started | |
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| Imagery | |
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| "Laying Bare the Bones: A Meditation on Imagery" | |
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| Lines and Stanzas | |
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| "Hey, Good Lookin', Haven't We Met Somewhere Before?" | |
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| Sound and the Poem | |
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| "Degas in Vegas: Some Thoughts on Sound in Poetry" | |
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| Rhyme and Meter, the Music of Poems | |
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| "Meter and Rhyme" | |
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| Voice and How We Create It in Poems | |
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| "Voice: What You Say and How Readers Hear It" | |
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| Point of View in Poems | |
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| "Point of View in Poetry" | |
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| Fixed Forms: Creating Our Poetic World | |
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| "Form in Poetry" | |
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| Putting It All Together: The Whole Poem | |
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| "Lorca's Duende, The Art of Zingers in Poetry Workshops, or How to Teach Students to Energize Their Poems" | |
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| Revision | |
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| "Moonsheen and Porchlight: Revision as Illumination" | |
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| The Poetry Workshop | |
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| Workshopping a Free Verse Poem | |
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| Workshopping a Fixed Form Poem | |
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| Poems for Further Reading | |
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| On Reading Poetry | |
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| The Eagle | |
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| Because I Could Not Stop for Death | |
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| I Think I Could Turn and Live with Animals | |
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| On Being Brought from Africa to America | |
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| She's Free | |
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| Killers | |
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| Sonnet: 14 "If thou must love me ..." | |
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| In Which She Satisfies a Fear with the Rhetoric of Tears | |
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| The Movies | |
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| A Winter Ride | |
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| The Fathers | |
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| An American Tale of Sex and Death | |
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| The Passing House | |
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| At A Wedding in Mexico City | |
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| Nureyev's Feet | |
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| Found Map of Spain | |
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| Anniversary | |
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| Waking | |
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| Unsent Message to My Brother in His Pain | |
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| Sermon of the Fallen | |
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| Those Riches | |
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| Funeral | |
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| Song of Napalm | |
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| Fish | |
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| Poem for the Young White Man Who Asked Me How I, an Intelligent Well-Read Person, Could Believe in the War Between Races | |
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| Fiction | |
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| Surrounded by Stories: Where Our Stories Come From | |
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| "The Second Story: How a Promising Single Episode Might Find Its Fullest Use in Our Fiction" | |
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| Point of View | |
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| "Touching the Elephant" | |
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| Plot | |
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| "Fairy Tales Always Come True: Plot and Imagination" | |
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| Character | |
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| "A Character's Skin" | |
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| Setting | |
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| "Take Place" | |
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| Dialogue | |
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| "On Dialogue" | |
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| Style, Tone, and Voice | |
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| "Voice in Fiction" | |
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| Credible Surprise on the Path to Resonance | |
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| "Mystery and Surprise" | |
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| Theme | |
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| Revision | |
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| Participating in the Workshop | |
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| Workshopping a Story in the First Person | |
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| Workshopping a Story in the Third Person | |
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| Stories for Further Reading | |
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| On Reading Fiction | |
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| The Ordinary Son | |
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| Shiloh | |
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| What We Talk About When We Talk About Love | |
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| Araby | |
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| Sweet Feed | |
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| Chrysanthemums | |
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| The Red Convertible | |
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| A Very Old Man with Enormous Wings | |
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| The Lesson | |
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| Yours | |
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| Glossary | |
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| Contributors' Biographies | |
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| Credits | |