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| Prologue: Concerning Writing-Exercises and Ways to Approach Them | |
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| Writing Prompts and Activities | |
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| Riding the Blue LineReading | |
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| Getting Started | |
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| Of Reading | |
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| Fitting Yourself into the Conversation of Writing You Love | |
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| Reading Yourself | |
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| And How About Your Reading Habits? | |
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| Your Own Canon | |
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| Reading Your Times: When You Came to Be | |
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| Reading Home: Organizing and Developing Memories | |
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| Correspondences: Imitation and Inspiration | |
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| Collecting Epigraphs for a Textual Mosaic | |
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| Writing Provocations: Responding to Other Writing | |
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| Eight Steps for Inhabiting and Transforming a Poem | |
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| Travels With the Essay | |
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| Reading and Writing Out of Other Art | |
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| History as a Collaboration of Fact and Imagination | |
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| Shadows, Doubles, and Others | |
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| Can You Name That Epiphany? The Narrow Road to Mixing Genres | |
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| Reading Form as a Product of Perspective | |
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| Reading and Writing in the Workshop | |
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| Responding to, Evaluating, and Grading Alternative Style | |
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| Riding the Green LineInvention | |
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| Getting Started | |
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| Dislodge the Icon of "The Writer" | |
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| Narrative Anxiety Cure-All (Not Sold In Stores) | |
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| Coming to Our Overlooked Senses | |
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| Taste: Writing About Food and Family | |
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| Sounds and Smells | |
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| Places and Things | |
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| The Familiar Place as Frontier: Seeing the Rare in the Ordinary | |
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| Beginning with Nostalgia: Lost Childhood Places | |
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| Places, Memories, Desires | |
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| The Text(ure) of Public Places | |
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| Writing About or With Objects | |
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| Writing from Expertise, Not Just From Experience | |
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| Language and Form | |
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| The Power of Names | |
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| Writing From Your Name: An Introductory Poem (an Acrostic) | |
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| First Words of Stories: This Sentence, These Words | |
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| The Perfect Grammar of Form: Finding Your Own Ideal Form | |
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| Nonsense and Sound Poems: Demystifying Formal Verse | |
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| Burrowing: Writing That Springs from Language Itself | |
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| There's Something About a Sonnet: Easing Into a 10 X 14 Poem | |
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| Piecemeal Fictions | |
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| Comparison vs. Contiguity: Using Metaphor and Metonymy | |
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| Working With Metaphor | |
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| Premises, Assumptions, Hypothetical Situations | |
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| Y and X-land: Dropping Characters into Places They Don't Belong | |
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| Under What Circumstances Would Someone...? | |
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| Against the Grain: Ignoring Conventional Wisdom | |
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| Against the Grain, Part Two | |
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| The Nonexistent Relative: Viewing "The Facts as Malleable | |
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| Ambiguity Is Certainly Useful | |
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| Drama = Conflict = Power | |
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| Story Spinning: 51 Prompts for Story Ideas | |
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| Memory | |
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| Listing and Memory | |
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| The Most Important Spectator in Your Writing Life-You | |
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| How New Writing Grows Out of Old | |
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| Riding the Orange LineDevelopment and Improvisation | |
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| Time | |
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| Playing With Time: Some Basic Moves | |
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| Telling Time 1: Order | |
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| Telling Time 2: Frequency | |
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| Telling Time 3: Duration | |
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| Telling Time: Down and Dirty | |
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| Developing Characters, Points of View, and Other Elements | |
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| Character Witness: 20 Questions | |
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| Building Character | |
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| Pardon Me, Your Nemesis Is Showing | |
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| Turning the Lens: Framing Narrative Perspective | |
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| Narrative "Voice and Listeners Within Stories | |
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| Using Delay as an Organizing Principle | |
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| Writing What Cannot Be Filmed | |
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| A Certain Conventional Element | |
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| Deconstructing and<$$$> | |