SKIP navigation

  • UNO Home Page
    Random Image
    seasonal image
    Random Viewbook image

    Program Faculty


    Download Printable Version of Faculty Listings

    Faculty Mentors

    Fred Arroyo      Pope Brock     Charlene Donaghy     Richard Duggin    

        Kate Gale      Teri Youmans Grimm    

    Amy Hassinger     Allison Adelle Hedge Coke      

      Art Homer      Michael Kinghorn        Steve Langan     Patricia Lear    

       Michael Oatman   Jim Peterson   Elizabeth Powell     Lee Ann Roripaugh  

         Zachary Schomburg   Karen Gettert Shoemaker         

    Catherine Texier     William Trowbridge        Charles Wyatt


    Recent Faculty Mentors and Visiting Faculty Include:

    Candace Black     David Carkeet    Megan Daum   Richard Dooling

     Beth Ann Fennelly   Mark Haskell Smith    William Kloefkorn   Ted Kooser    Tom Franklin   

     Anna Monardo    John Price  Richard Robbins   Catie Rosemurgy  

    Sue William Silverman   Brent Spencer     Mary Helen Stefaniak    Nance Van Winckel



    Current teaching and visiting residency faculty, listed alphabetically:


    (Fiction/CNF) FRED ARROYO is the author of Western Avenue and Other Fictions (U of Arizona P, 2012) and the novel The Region of Lost Names (U of Arizona P,  2008), a finalist for the 2008 Premio Aztlán Literary Prize. Fred is a recipient of an Individual Artist Grant from the Indiana Arts Commission, and in 2009 he was named one of the Top Ten New Latino Authors to Watch (and Read) by As a young man he worked a range of jobs that shaped his memory and imagination, and his sense of place and migration.  Eventually he attended a local community college in Michigan, and subsequently received an MA in creative writing from Purdue University and an MFA from the Program for Writers at Warren Wilson College, as well a PhD in English from the University of Wisconsin-Milwaukee. Currently, he is working on a book of essays, Close as Pages in a Book, in which he lyrically meditates on work, reading and writing, migration and place. He is also writing a novel set primarily in the Caribbean. His short stories have appeared in literary journals such as The Platte Valley Review, Grasslands Review, Quercus Review, Pinyon, and Crab Orchard Review: A Journal of Creative Works; and essays, poems, reviews, and interviews published in a variety of journals. His essay “Working in a Region of Lost Names” appeared in The Colors of Nature: Essays on Culture, Identity and the Natural World (2nd ed., Milkweed Editions, 2011). Fred lives in Vermillion, SD, and is an Assistant Professor of English with a specialization in fiction writing at the University of South Dakota.


    "Had it not been for the mentors who respected my writing, who nurtured my beginning vision and voice, who affirmed (through conversation, experience, knowledge, and books) my background and memories, as well as my emerging passion and attention for literature, I might not be the writer I am today. I strive to honor the patience and care these mentors offered in my own mentoring and teaching. As a mentor I’ll read your work very carefully, listen closely to its shape and intent, and I’ll consider what seem your deliberate and inadvertent decisions. I’ll focus on how your writing is much more than a description of reality—rather, how you are imagining and creating a possible world. I’ll offer questions and suggestions that help you to revise, reinvent, and realize your best writing. Together, we’ll focus on the art and craft of fiction writing; we’ll read and critically engage beautiful works in order to gain influence, inspiration, and learning. To this end, you’ll hopefully begin to develop a particular, special, and aesthetically sensitive way of reading and writing. You’ll discover, in your own language, a poetics for crafting the stories you need to write. 

    "When nothing else seemed to matter in my life, I received a great mysterious pleasure from writing, I learned its power for discovering new, astonishing things, and I felt a deep longing to form—through evocative images, closely observed details, the moment-to-moment sensations of experience, and the precise weaving of words—a sensuous, compelling, and credible world. What was essential, first and still, is a hunger and love for language. I often return to writers whose words are alive on the page, who create awe and wonder on every page, and who offer insight and knowledge into the pages I’m writing. Because a love for language is not enough, I’ve had to learn how fiction dramatizes the elimination and deepening of mystery, and why the writers I admire struggle with real losses and imaginary gains. My hope is that by the end of the semester you’ll have a much better appreciation for how you can eliminate and deepen mystery in your writing, how you can make the most of your real losses and imaginary gains. You’ll have, therefore, attentive insight into the art and craft of your writing, you’ll critically recognize those writers who help you make the most of your writing, and you’ll write those peoples, regions, and dreams that matter."



    (CNF/Fiction) POPE BROCK received his BA in English from Harvard University and his MFA in Drama from New York University School of the Arts. He is author of the New York Times bestseller Charlatan: America’s Most Dangerous Huckster, the Man Who Pursued Him, and the Age of Flimflam (Crown, 2008), an account of the improbable career of John Brinkley, the most successful quack in U.S. history. (More information, including audio clips of Brinkley’s 1930s radio talks and commercials for dangerous products, at Brock is also the author of Indiana Gothic (Doubleday/Nan Talese), the story of the murder of his great-grandfather in 1908. His profiles, investigations, travel writing, and humor have appeared in GQ, Rolling Stone, Esquire, Talk, The New Yorker, London Independent, Life, People, and the London Sunday Times Magazine. He has taught creative writing workshops, both fiction and nonfiction, at Marymount College and Eastern Washington University, the Beekman School in New York City, and in the Westchester County public school system.

    “Great nonfiction writers come in all styles and colors, but what unites them is relentless curiosity. You have to love over-researching; if you don’t leave a lot on the cutting room floor, you haven’t gone deep enough. I think that to write good subjective or creative nonfiction, you have to be objective first – to park your opinions going in. Being surprised is part of the job and a lot of the fun. I think that making discoveries on old microfilm can be as valuable, and as big a kick, as seeing and doing strange new things. A good journalist also needs to learn how to interview people. It may not be as complicated as playing the violin, but it is an art, not to mention a privilege.”



    (Playwriting) CHARLENE A. DONAGHY is a National Partners of the American Theatre Playwriting Award nominee with numerous plays produced in New York City and around the United States, and plays recognized in Canada and Great Britain.  She is published in The Best American Short Plays, Estrogenius 2010, and Estrogenius 2011.  She has been a finalist for the Actors Theatre of Louisville Heideman Award, Phoenix Theatre’s New Works Festival, Houston’s Wordsmythe Theatre Company’s New Play Series, Seattle’s Double XX Festival, twice for the Kennedy Center John Cauble Short Play Award, as well as a two-time encore production winner at Estrogenius in New York City.  Her produced/published/recognized plays include Gift of an Orange, inspired by Tennessee Williams short story “Gift of an Apple,” Who You Got to Believe, Another August, The Quadroon and the Dove, Bones of Home, Everything Has a Season, Proverbs, and Sliding which was commissioned by New York’s Three Tattoos.  Charlene’s poems have been recognized by the Louisiana Literary Journal and The Writers’ Workshop of Asheville, North Carolina.  Her creative non-fiction piece, Wearing Silk, is published in “In the Eye:  A Collection of Writings.”  Charlene was an advanced participant in the Kennedy Center Playwriting Intensive.  She holds an MFA in Writing for Stage and Screen from Lesley University, Cambridge, Mass.  She is a member of the Dramatists’ Guild of America, Association of Writing Professionals, Association for Theater in Higher Education, International Association of Women Playwrights, and The Playwright’s Center.  Charlene is Director of Production of the Tennessee Williams Theater Festival.  She teaches at the University of Nebraska and, Lesley University.  Charlene is Co-Producer of the Association for Theater in Higher Education’s New Play Development Workshop.  New Orleans is her part-time home and forever muse.  Charlene is a breast cancer survivor and holds true to these words from Tennessee Williams in Camino Real: “Make Voyages! Attempt them!  There's nothing else.”

    "Every student is on a voyage and my joy as an educator is to encourage you to find your own voice, muse, self, bliss, fun, and fulfillment in your art and craft.  I’m devoted to that voyage:  opening minds, developing and fostering competency, and gaining understand where you say, with a smile, “I am a writer!” and know that you are.  I believe teaching is collaboration between student and mentor so I teach in a manner that allows students to actively contribute.  We awaken your mind together by encouraging discussion, questions, performance, and imagination coupled with superior writing and reading skills that speak to who you are as a writer.  My real-world experiences in theatre production add invaluable levels of education and writing development for my students.  As a playwright and theatre professional I write every day, cultivate my place in theatre, and I love every second – even the times when the muse tries to hide behind daily life – because, eventually, everything comes together and the voyage is as wondrous as the destination.  I want you to find fulfillment in your own art so you also “love every second”, where individuality explodes into something both rewarding to you as student and writer, and also relatable to readers and audiences.  Finally, I hope that as my student you always recognize my enthusiasm for this voyage that we attempt together:  there’s nothing else!"   



    (Program Director/Fiction) RICHARD DUGGIN was raised in New England and received his bachelor’s degree in literature and writing from the University of New Hampshire. He received his MFA degree in fiction writing from the University of Iowa Writers' Workshop, and he has taught fiction writing at the University of Nebraska at Omaha for the past forty years. He is the founder of the UNO Writer’s Workshop, a BFA degree program in creative writing, and the University of Nebraska MFA in Writing Program. Duggin’s published work includes the novel The Music Box Treaty and numerous short stories which have appeared in such periodicals as American Literary Journal, Beloit Fiction Journal, Laurel Review, Kansas Quarterly, The Sun, Playboy, and elsewhere. His work has been cited by Best American Short Stories, Pushcart Prize Anthology, and Playboy Magazine Best Fiction. He has received a National Endowment for the Arts Fellowship, two Nebraska Arts Council Individual Artist Merit Awards, and he has been awarded several artist’s residencies at Ragdale, Yaddo and the Anderson Center for Interdisciplinary Studies. He has recently finished his third novel and is currently at work on a stage play.

    "Stories live inside yourself. The craft of fiction gives a story existence outside, so others may know it too. What shapes any tale is language. Before all else, students need to love language in all its possibilities and recognize when it is used well by others. The job of the writer is to make the reader believe in the world of the story—that it lies beyond where he sits reading—and what discrepancies exist between his external realities and those of the internal world of the story become integrated in his imagination. To accomplish this in his work, a writer must pay attention to the smallest matters of craft with the same attention to the details of construction that any artisan pays toward wedding form with functionality. The rudiments of craft can be learned in a group, but to master it you are better served working one on one with a mentor: a book by a writer you admire, a friend whose judgments you trust, a teacher whose experience you absorb. I see my job as the latter. My approach to teaching fiction is to determine where each student is, then goad him to go where he wants to be. It has always been my approach with students to persist in reminding them that a story, a poem, an essay are made objects. They have their own existence outside their authors. Find the right form and the subject takes on life and substance of its own. Find the proper voice—the most advantageous point of view—and the lives of the characters are illuminated, so that even their most mystical, magical moments become real as flesh."