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8
CONTENTS

Preface for Instructors

Additional Resources for The Practice of Creative Writing
Teaching with LaunchPad Solo for Literature

INTRODUCTION: WHY CREATIVE WRITING? OR HOW

TO EXPLAIN TO OTHERS WHAT IT IS YOU’RE DOING IN
THIS CLASS
What Creative Writers Do
Questions Creative Writers Ask
The Four Parts of Creative Writing
Creative Writers Write
Writing for Yourself
Writing for Others
Images
Energy
Tension
Pattern
Insight
Revision
Creative Writers Read
Creative Writers Work with Other Writers
Creative Writers Share Their Work

PART ONE
BASICS
1 FINDING FOCUS
The Mind’s Eye
Write What You See
Moving Images
Subject: Focus on What?
Write What You Know

9
 Explore What Really Makes Us Who We Are
Practicing Focus
The Writing Habit
Writing Rituals
Flow
Lack of Focus
Writer’s Block
Distraction
Procrastination
Judgment
WRITING PROJECTS
READING

Jarod Roselló, The Neighbor

2 CREATIVE READING
The Nature of a Creative Reader’s Personality
Curious
Tolerant of Discomfort
Creative Reading Is Close Reading
Close Reading Your Own Work
Read from Hard Copy
Read Aloud
Close Reading Work by Peers
Close Reading Literature
Read Multiple Times
Read Aloud
Practice Copywork
Memorize
Annotate
Reading across the Genres: A Field Guide to Creative Writing
Fiction
Creative Nonfiction: Memoir and Literary Essay
Poetry and Prose Poetry
Drama: Spoken Word, Monologue, Play, and Screenplay
Comics, Graphic Works, and Experiments
Imitation: Reading to Write
Imitation: Guided Practice
Types of Imitation

10
 Scaffolding: Writing between the Lines
Scaffolding a Poem
Narrative Scaffolding
WRITING PROJECTS
READINGS

Vincent Scarpa, I Go Back to Berryman’s

Betsy Sholl, Genealogy
A. Van Jordan, af•ter•glow
Adam Scheffler, Woman and Dogs
Pamela Painter, The New Year
Sebastian Matthews, Buying Wine
Marco Ramirez, I am not Batman.
Bob Hicok, A Primer
Amy Fusselman, From The Pharmacist’s Mate

3 BUILDING BLOCKS
Parts of Narrative
Sentences
Conflicts
Scenes
Building Narratives Using Conflict-Crisis-Resolution
Pulling It All Together: Writing Scenes for Narratives
Parts of Poems
A Word on Words
Lines

Gwendolyn Brooks, We Real Cool

Turns
Stanzas
Playing with Form
WRITING PROJECTS
BUILDING BLOCKS WORKSHOP
READINGS

Kim Addonizio, First Poem for You

Jericho Brown, Hustle

11
 Terrance Hayes, Liner Notes for an Imaginary Playlist
Gregory Corso, Marriage
Dylan Thomas, Do Not Go Gentle into That Good
Night
Brenda Miller, Swerve
Raymond Carver, Cathedral

PART TWO

STRATEGIES

4 IMAGES
The Principles of Images
Images Are Active
Reading Is Image Viewing
Images Are the Opposite of Thought
Generating Images
Creating with Images
Focus on People in Action
Think from within Images
Use Specifics
Move Around in Images
One Sentence, One Action
Summary Images
Sliding
A WORD ON IDEAS
WRITING PROJECTS
IMAGES WORKSHOP
READINGS

Katie Ford, Still-Life

Jay Hopler, That Light One Finds in Baby Pictures
Natalie Diaz, My Brother at 3 a.m.
Ely Shipley, Magnolia
Dylan Landis, In My Father’s Study upon His Death
Jenifer Hixson, Where There’s Smoke
Mary Robison, Pretty Ice
Akhil Sharma, Surrounded by Sleep

12
5 ENERGY
The Principles of Energy
Subject: Focus on What’s Fascinating

Carolyn Forché, The Colonel

Guidelines for Increasing Energy

Provide Interesting Information
Avoid the General
Write about Lively, Particular Subjects You Know Intimately
Leaps: The Power of Gaps
Words
Specificity
Verbs
Manipulating Energy
Pace
Slow Down to Increase Energy
Vary Pace to Sustain Energy
Camera Work
Too Much Energy?
TROUBLESHOOTING ENERGY
WRITING PROJECTS
ENERGY WORKSHOP
READINGS

Rick Moody, Boys

Brian Arundel, The Things I’ve Lost
Brian Turner, What Every Soldier Should Know
Charlotte Glynn, Excerpt from Duct Tape Twins

6 TENSION
The Principles of Tension
Desire + Danger = Tension
Setting the Thermostat: The Four Elements of Tension
Maintaining Tension
Work with Two or Three Characters
Match Your Opponents
Stay Specific
Write from Close Up

13
Manipulating Tension
Thermostat Control: Adjusting the Temperature
Layers: Adding Dimension
Layering Images
Layering with Triangles
Layering Dialogue and Action

Façade
WRITING PROJECTS
TENSION WORKSHOP
READINGS

Rod Kessler, How to Touch a Bleeding Dog

Marisa Silver, What I Saw from Where I Stood
Jessica Shattuck, Bodies
Peter Morris, Pancakes

7 PATTERN
Pattern by Ear
Rhyme and Echoes
Consonants and Vowels
Word Order

E. E. Cummings, (Me up at does)

Rhythm
Meter
Iambic Pentameter
Free Verse
Pattern by Eye
Objects
Gestures
Pattern on the Page
LAYERING PATTERNS
WRITING PROJECTS
PATTERN WORKSHOP
READINGS

Gregory Orr, The River

14
 Randall Mann, Pantoum
Laure-Anne Bosselaar, Stillbirth
George Saunders, Sticks
Dinty W. Moore, Son of Mr. Green Jeans: An Essay
on Fatherhood, Alphabetically Arranged

8 INSIGHT
Principles of Insight
Accuracy
Gestures
Dialogue
Generosity
Cultivating Insight
Use Experience
Trust Images
Ask Questions
Go Cold
Reverse Course
Go Big
Surprise Yourself
Create Subtext
THREE TIPS
WRITING PROJECTS
INSIGHT WORKSHOP
READINGS

Jessica Greenbaum, A Poem for S.

A. E. Stallings, Another Lullaby for Insomniacs
Naomi Shihab Nye, Wedding Cake
Ernest Hemingway, Cat in the Rain
Brian Doyle, Two Hearts
Michael Cunningham, White Angel

9 REVISION
Revision Is Seeing Again
Look Closer
Conquer Common Writing Blocks
What If in Revising I Make It Worse?
I Love My Piece/I Hate My Piece. Why Revise? It Seems Overwhelming.

15
 What If I Don’t Want to Change My Writing?

Revising Effectively
1. Limit Your Time
2. Sketch, Then Write
3. Read to Get Unstuck
4. Work by Hand
5. Choose Where to Begin
6. Delete It; Don’t Fix It
7. Ask Your Writing Questions

Revision Step-by-Step
Revising Fiction
Revising Poetry
Revising Nonfiction
EDITING AND PROOFREADING
WRITING PROJECTS
REVISION WORKSHOP
READINGS

Jack Ridl, Repairing the House

Jack Ridl and “Repairing the House,” The Poem and I
Have a Little Conversation
Karissa Womack, I Remember All of You

PART THREE
GENRES
10 FORMS
Writing in the Genres
Table of Forms
Experiment
Finished Forms
A Note on Poetry
Abecedarius
Reading Abecedarii
Writing an Abecedarius

16
Anaphora
Reading Anaphora
Writing an Anaphora
Braid
Reading Braids
Writing a Braid
Graphic Narrative and Comics
Reading Comics and Graphic Narratives
Writing a Comic or Graphic Narrative
Flash
Reading Flash Fiction and Micro-Memoir
Writing Flash Fiction
Writing Micro-Memoir
Ghazal
Reading Ghazals
Writing a Ghazal
Journey
Reading Journeys
Writing a Journey
List
Reading Lists
Writing a List

Danielle Kraese, From Apologies and a Few Things

I’m Sorry About

Monologue
Reading Monologues
Writing a Monologue
Play/Screenplay
Reading Plays
Writing a Play
Pantoum
Reading Pantoums
Writing a Pantoum
Sestina
Reading Sestinas

17
 Writing a Sestina
Sonnet
Reading Sonnets

David Livewell, Fatigues

Writing a Sonnet
Villanelle
Reading Villanelles
Writing a Villanelle

PART FOUR
THE WRITING LIFE
11 REACHING READERS
Public Readings
Literary Magazines: Print and Digital
Online Resources
Research a Wide Range of Publications
Submit Your Work
Decide Where to Send Your Work
How to Send Your Work Out
Embrace Rejection
Chapbooks and Portfolios
Creating a Chapbook
Writing an Artist’s Statement
WRITING PROJECTS
12 GOING FURTHER
Smart Searching
Social Media
Facebook Groups
Twitter Accounts
Mobile Apps
General Resources
Creativity and Inspiration
Images: Seeing More Closely

18
 Self-Expression and Personal Writing
Literary News
Instruction in Specific Genres
Fiction
Flash Fiction and Micro-Memoir
Poetry
Form Poetry
Spoken Word
Nonfiction
Plays and Screenplays
Children’s Books
Graphic Narratives and Comics
Teaching Creative Writing
The Business of Writing: Agents, Freelancing, Book Proposals,
and Publishing
Appendix: Terminology for Creative Writers
Acknowledgments
Index

19
PREFACE
FOR INSTRUCTORS

For many years, I taught creative writing the way it had been taught to me.
I took my students through lessons on developing character, deepening
theme, and measuring out meter. And as I did so, I felt like a fraud (a well-
intentioned fraud) in the classroom; my own writing process bore no
resemblance to the approach I offered my students.
In my writing room, I always began—and still do—as many writers
do: with an image. Considering literary terms never entered into the
generative phase of my writing process as I concentrated on a kind of
movie in my mind’s eye; in fact, I would have been hidebound and
blocked as a new writer if I had consciously thought about metonymy or
diction. We work as writers not from literary terms but by exploring a
specific, grounded moment in time on a very physical level. Then, as now,
I delay genre decisions until I know more about what it is I have on the
page.
As writers, we devote a lot of energy to what is called “creative
concentration.” What trips us up often isn’t line breaks or thematic
considerations or genre conventions—not at first—it’s actually getting to
the writing desk and staying there. To improve as writers, we have to learn
how to create and sustain productive focus. Making art is in large part a
head game, and teaching a course that enables students to create a
meaningful writing practice requires us to study what writers actually do
with their attention and their purpose when they are creating. The course
of study begins there, with process, and then moves, step-by-step, through
the strategies writers use, regardless of genre, to develop and enhance their
efforts. Preparing well, starting smarter, and learning how to spend more
time on one’s writing, in the face of great doubt—practicing those
techniques helped me grow most as a writer, and enabled me, quite a way
down the road, to at last understand why on earth I needed to know a
pyrrhic foot from a spondee.
I used to teach my creative writing classes as though they were
literature courses with some creative writing assignments mixed in. But in
truth, writing poetry and plays and narrative was a lot more like going for
a long run, dreaming, watching a movie. After I took a life-changing class

20
with Lynda Barry, I came to understand how to teach writing as deep play,
akin to the kind of focused imaginative state of mind we sustained for
hours on end when we played as kids. In interviews with artists and
writers, we hear this same sort of “dreaming deep” method described again
and again. As I studied creativity and method, my teaching transformed.
My students—spending more time learning about the nature of
imagination, the way humans tell stories, and the psychology of
concentration—wrote more and they wrote better. As my writing life and
my teaching practice came into better alignment, I wanted to create a
textbook for students that foregrounded the creative writing process and
presented the specific ways writers read. We read differently in creative
writing courses than we do in literature courses, and I wanted my textbook
to teach sophisticated and nuanced reading skills in an approachable,
welcoming way.
The Practice of Creative Writing teaches writing students how to
seriously play. Like athletes, they warm up, they work out, they learn how
to locate their weak areas, and they practice a little every day. Wind
sprints. Scales. Exercises. And as students practice, they get better at what
they’re good at, and they develop a capacity for awareness based on a
habit of looking more closely. They build skills that help them become
fearless observers of the world and people around them, all in the service
of the reader’s experience—they learn how to take readers, with words,
through emotions and feelings that really matter. This approach to the
creative writing classroom privileges the writer’s way of knowing and
seeing and makes it possible for a wide range of students to come into the
room and discover what it is they have to say and how best to say it.
The Practice of Creative Writing has always presented three
overarching goals for students. First, a good creative writing class is
always a course in reading more closely. Students leave with more
sophisticated reading skills and exposure to a wide range of innovative
literature. Second, literature both shapes and reflects human experience,
and this book invites students and teachers into an ongoing conversation
about art, language, and meaningmaking endeavors. Third, this book is for
student writers both beginning and advanced. Making a move from
personal expression to powerful creative writing is demanding. The book
assures students: It takes time to learn to write well. It’s a weirdly
maddening mix of fun and difficulty. You can do this, and it’s worth the
trouble.

21
NEW IN THE THIRD EDITION
Based on feedback from students and instructors, this edition of The
Practice of Creative Writing contains five new features.

In-depth instruction on close reading. An entire chapter is devoted to

using literature in the creative writing classroom. Chapter Two, Creative
Reading, empowers students to read closely, to apprehend more difficult
texts with less fear and more confidence, and, above all, to read
intentionally, with an eye toward learning specific skills that they can use
in their own writing.

New focus on short forms. For instructors pressed for time or those
wanting to meet student demand for flash fiction and micro-memoir
forms, this edition has a sequence of flash/micro readings and assignments,
as well as expanded coverage of these agile, portable forms.

Expanded presentation of the genres. Part Three, Genres, now offers even
more types of genres, with coverage of forms including lists and
monologues.

Detailed discussion of the revision process. Chapter Nine, Revision, now

includes two new case studies of student writers revising their work so that
students are able to see a model revision process, step-by-step. Additional
examples and revision narratives are also available in the Instructor’s
Manual.

Instructor support in an updated Instructor’s Manual. The new

Instructor’s Manual includes lesson plans and detailed sample syllabi, as
well as specific instruction on using The Practice of Creative Writing to
teach a genre-based course. Additional resources, writing prompts,
alternative reading suggestions, and revision strategies are included as
well.

This new edition also introduces outstanding, student-favorite new

authors—Dylan Landis, Brian Doyle, Natalie Diaz, and George Saunders
—alongside classic authors such as Ernest Hemingway and Gwendolyn
Brooks. Work in translation is presented, along with suggestions for a

22
translation unit in the Instructor’s Manual. Fresh voices, such as Ely
Shipley, bring gender issues and experience to the page, while Jericho
Brown urges readers to attend to race in America in his brilliant poem
“Hustle.”
In addition to the changes to the new edition, the hallmark features of
The Practice of Creative Writing all remain in the book.

A flexible, process-based approach for writers in every genre. The

Practice of Creative Writing shows students that things they already know
how to do—observe, concentrate, practice—are the very skills they can
use to become better writers. Throughout the book, students produce
generative seed material and learn how to mine that material for images
that will live and breathe in any genre.
In Part One, students begin to look at the world as subject matter, to
see on the sensory, visual, imagistic level. Chapter One, Finding Focus,
introduces students to the work that practicing, published writers do—
attending to focus and concentration, using daily practice and rituals, and
learning to manage doubt, fear, distraction, and procrastination. All writers
have to deal with these psychological aspects of the writing process, and
The Practice of Creative Writing provides practical advice for handling
challenges to creative concentration.
In Chapter Two, Creative Reading, students study how great writers
draw readers in, hold their attention, and transport them to another world.
Student writers have to learn to shift from focusing on the self to focusing
on the reader. The reader’s experience of the text is what counts. Creative
writing isn’t “personal expression.” It’s for the reader, and it exists to
activate her feelings, her emotions. As students read published authors and
their own peers, they develop a vocabulary that lets them talk about
technique. As they become more articulate about what creative writing can
do, how it works, and why, their own writing ability improves. Throughout
the text, guided examples show students exactly how writers accomplish
their goals; students then apply this instruction to the reading selections,
paying close attention to how language works in multiple genres.
Chapter Three, Building Blocks, presents the basic vocabulary and
principles of structure that are key to good writing. The chapter shows that
poems, stories, and plays are put together with similar shapes. Conflict in a
narrative is parallel to tension in a poem; the climax in a short story
equates to the turn in a sonnet, or the “reveal” in reality television. By
following close examinations of Raymond Carver’s classically structured
“Cathedral” and clear, straightforward poems, students learn and practice

23
the building blocks of creative writing, one by one.

A focus on six strategies common to all good writing. Part Two of The
Practice of Creative Writing teaches students to focus on the essentials:
vigor, depth, freshness, language, movement, the revelation of something
interesting and important, sharp clear observations, and a good ear. The six
strategies addressed in Part Two (images, energy, tension, pattern, insight,
and revision) are the nuts and bolts of all good writing, regardless of genre.
Successful writing is always grounded in images and always has energy
and tension. It suggests patterns that lead to insights, and revision makes it
more powerful and alive. These central chapters show how the strategies
work individually and together to produce good creative writing: writing
that is rewarding to create and rewarding to read and reread. Strategies are
presented in order of difficulty so that students can build facility with them
and layer the techniques to produce more sophisticated pieces as the
course progresses. In each strategy chapter, a concept essential to good
creative writing is introduced, and specific examples of what to do and
what not to do are provided.
Then students read—a poem, a short story, part of a screenplay, a
short nonfiction piece—in order to increase awareness of how the strategy
functions, what technique a writer uses to deepen the power of the work.
For example, in Chapter Five, students learn that creating work that has
energy requires attention to time, language, leaps and gaps, and the shape
of actual experience (rather than rendering thoughts and passive
observations). In the chapter on tension, students learn how to manipulate
the elements of writing to intensify their power; in the pattern chapter,
students practice layering techniques used by professionals as they work
with more sophisticated subject matter.
For instructors wishing to teach by genre, the chapters are arranged in
an order that lends itself to moving through nonfiction/fiction and poetry
units in a smooth flow, adding drama or flash units if the course allows.
The Practice of Creative Writing presents revision as something
writers do throughout the writing process, not an activity they tack on at
the end. Revision is writing. Revision is a skill built on close reading, so
students are referred back to the early chapters on reading as writers as
they learn to assess their own work and that of their peers. The section on
student revision now includes longer works by student writers and close
examinations of students at work, taking chances, developing patience and
skill, and ending up with radically changed texts.
All along the way, in every chapter, practical prompts and checklists

24
aid students in distinguishing between revising and editing and encourage
higher levels of reader awareness.

Writing in the genres. Part Three, Genres, focuses on genre as a method

for helping writers at any stage of their process discover what they have to
say. These forms challenge students to flex creative muscles they don’t
usually use, a process that helps them imagine new possibilities in their
writing. Fiction writers learn image and concision by studying poetry.
Playwrights hone dialogue skill by reading short fiction. All writers can
learn structure by studying comics and graphic forms, and it’s fun.
Instructors might ask students to tackle longer, more formal genre-
based projects late in the course, after the six strategies have been
mastered. Or instructors may wish to organize their course around the
genres, referring to the strategies as students work their way through a
series of assignments and move toward a portfolio of complete projects.
Examples of each form presented in Chapter Ten appear throughout the
text, including journeys, graphic narratives, sonnets, and villanelles.

Imaginative writing activities. Practice activities throughout the book—

suitable for in-class writing, small groups, journaling, writing groups, or
homework assignments—help students try a wide range of approaches and
build new skills. These activities can also be a source for rough drafts for
pieces that will be developed and extended. Practices build on each other,
and the student is encouraged to work as professional writers do, returning
to practices from previous weeks, combining and layering. Students learn
to use image listing as a way to generate their own writing prompts; other
practices give direction for writing better dialogue, increasing the tension
in lines of poetry, and using the senses to create depth in nonfiction.
Longer, classroom-tested projects—suitable for workshops, portfolios, and
larger assignments—ask students to relate and link what they have learned
in previous chapters and guide them through full-length pieces. Workshop
sections in each strategy chapter provide guidance for peer response and
take students through the revision process, step-by-step. Writers’ tips and
checklists also help students revise their own work and make constructive
suggestions to peers. Thus, practices can become projects, which can
ultimately be revised to create a portfolio, a chapbook, or a live reading at
the end of the course.
In sum, the practices, projects, workshops, writers’ tips, and
checklists throughout the book provide opportunities for writing at every
stage in the process. They help students develop productive writing habits

25
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11018 Black J
G 16
June
2574 Black L 9A
27
42 Nov
11971 Black H C
F 12
85 June
1885 Blackman J
- 13
115 July
4076 Blackwood W
G 27
15 Sept
7989 Blair D
C 5
Jan
12469 Blair Jas, Cor Cav 8K 65
16
Apr
498 Blaize H Art 3H 64
12
24 July
3236 Blake W D Bat
- 22
100 June
2439 Blake Geo
I 25
6129 Blanchard E Cav 12 Aug
 F 19
100 Sept
8340 Blanchard L
K 10
95 Sept
10083 Blancolt Wm
B 30
95 June
1861 Blank J M
A 12
22 Aug
4933 Bliss Jas H Cav
I 7
100 Sept
8959 Block J P
F 16
Aug
7206 Blood L 7C
29
85 July
2777 Blyme S
G 2
Jan
12521 Boaman J Cav 1D 65
25
178 Aug
6371 Boares A 64
D 21
85 Aug
5285 Bode A
B 11
July
2989 Bodishay J 7F
7
14 Apr
474 Boermaster J
A 9
10 July
3073 Bohl H Cav
E 9
35 Aug
6018 Bolan E, S’t
F 17
14 Nov
11718 Bolby O Art
D 1
22 Sept
8267 Boles J Cav
D 9
3606 Bomsteel S A 20 July
G 19
Aug
5269 Borst J Cav 5B
10
July
4401 Bodler D 7D
31
77 Mar
51 Boughton H
A 16
43 Sept
7627 Boulton T
G 2
16 Oct
10066 Bowden P Cav
M 17
65 Aug
6744 Bowen J H
D 24
Aug
4601 Bowin J Cav 7K
3
84 Nov
11944 Bowman H
K 10
Jan
12521 Bowman I Cav 1D 65
25
147 July
3635 Bowman S 64
H 20
111 May
1275 Box G
D 22
Sept
9728 Boyce A Cav 3 I
25
June
2673 Boyce R “ 6M
30
63 Mar
10 Boyle Pat
A 5
48 Sept
8912 Boyle Pat
F 16
11974 Boyle I 16 Nov
 D 12
July
4365 Bradford D B Art 7B
31
69 Aug
5232 Bradley Jno
K 10
120 Aug
6685 Bradshaw R, Cor
E 24
140 Dec
12219 Brady J
E 4
July
3979 Bragg J C Cav 2E
26
Dec
12263 Brain Wm Art 5B
12
15 Sept
7704 Brandon O “
A 3
178 June
1800 Breny Jas
K 10
39 Aug
5134 Brewer Fred
C 9
Brewer Henry, Oct
11685 Cav 2G
S’t 31
Oct
10221 Brewer J S 6B
2
15 May
1365 Brewer S
K 25
111 Apr
519 Brewer Thos
F 13
146 Sept
9690 Bryant L A
B 24
104 Sept
8116 Bright ——
C 8
Oct
11627 Brightman E 7D
28
8415 Brill C 140 Sept
F 11
109 Aug
6953 Brink C 64
K 26
52 Sept
9787 Britansky J
E 26
52 July
2997 Brobst J
B 7
76 Sept
9148 Brock W
F 18
76 Aug
6882 Broder H
F 26
85 Nov
12002 Brogan J M
B 14
10 May
1324 Brooks W, Cor Cav
E 24
May
1221 Brott A “ 1K
19
150 Sept
9838 Broscang C
C 27
14 Sept
7517 Brought Chas Art
I 1
77 Mar
51 Broughten H
H 16
140 Oct
10668 Brown A
K 11
85 Aug
5538 Brown B M
I 13
103 July
4112 Brown C
C 27
66 Sept
9556 Brown C
K 23
11953 Brown C 39 Nov
 H 10
Nov
11928 Brown C Cav 1M
8
97 Aug
6623 Brown Chas
F 23
118 Sept
7501 Brown D
B 1
July
3659 Brown E G Art 7L
20
85 Sept
9674 Brown G H
H 24
63 Sept
7985 Brown G H
C 6
72 June
2465 Brown H
C 25
12 June
1879 Brown H Cav
- 12
39 Aug
7266 Brown H, Cor
F 30
125 June
1887 Brown J
- 13
16 Sept
7658 Brown J
- 3
Aug
6655 Brown James Cav 4E
24
170 Aug
6691 Brown James
K 24
66 Sept
7526 Brown John
- 1
Sept
7615 Brown Wm 5D
2
120 Apr
552 Brown Warren
K 14
 428 Brown Wm 42 Apr
A 8
15 Aug
7390 Broxmire Thos
E 31
125 June
1559 Brumaghin T
E 2
179 Aug
4475 Bryant D
B 1
82 Aug
7248 Bryant H
F 30
Sept
7668 Bryan Wm Cav 1 I
3
24 July
3814 Buck
H 23
Sept
9975 Buckbier J Art 7F
28
122 Oct
10585 Buckley Wm
D 10
115 Aug
5714 Buel G W
E 15
42 Apr
331 Buel S
B 2
100 Jan
12417 Buffman L, S’t 65
K 8
97 Sept
7567 Buckley E A 64
E 2
Burfield C, Jan
12509 - - 65
Citizen 22
23 Aug
5953 Bullier Wm Cav 64
B 17
85 Sept
9642 Bullock E, Cor
E 24
4137 Bundy Josh Art 7B July
 28
132 Apr
540 Bunn W H
F 14
59 Sept
9870 Bunnell W
C 27
85 Aug
6452 Burbanks J
D 22
85 Oct
10924 Burdick A
C 14
47 May
978 Burdick C
F 9
125 June
2134 Burdick Sam’l
A 18
22 Sept
7838 Burdock L Cav
L 4
Sept
10016 Burleigh L Art 6F
29
Jan
12389 Burley C 3B 65
4
13 Apr
619 Burns E J, S’t Cav 64
D 19
40 Apr
477 Burns Jno
I 9
99 May
924 Burns Jno
H 6
118 Nov
11881 Burns J
F 6
Sept
8745 Burns W Cav 3C
14
Aug
5991 Burns Daniel Art 5D
17
59 Aug
7247 Burr H
C 30
6171 Bursha Thos Art 2M Aug
19
54 July
3165 Burshen F
C 11
July
2875 Burt J Cav 2A 64
4
85 Aug
7214 Burton G E
K 29
140 Mar
217 Burton Henry
- 29
97 Aug
5847 Buserman E
E 16
20 Aug
6457 Bush E
D 22
65 May
1415 Bushnell A
D 27
132 Apr
487 Buthan J R
G 11
Bushley Wm, Oct
11366 Art 5A
Cor 23
47 May
1360 Buskirk A
A 25
13 June
2047 Buskirt O
- 15
132 Apr
721 Butler Thos
G 25
43 July
4183 Butler W
D 28
124 Feb
12651 Butoff R, S’t 65
C 13
Oct
10848 Butler Jas Cav 2D 64
13
9235 Butter P 126 Sept
 D 19
24 Aug
5805 Button Jas Art
B 16
111 July
3446 Butts A
C 17
69 Sept
9790 Byron J, Cor
A 26
120 May
1224 Burke W H
I 19
69 Aug
5196 Burk Jno
K 10
Oct
1073 Brower Jno A Art 5D
17
48 June
12190 Cademus C
A 19
66 Oct
10765 Cady Geo
G 12
77 June
2377 Cady J
E 23
14 Oct
10721 Cady J J
H 11
132 July
3062 Cane M
E 9
85 June
2136 Cale J
G 18
Sept
9040 Caldham L C Cav 8L
17
42 Nov
11807 Caldwell A
A 4
Oct
1530 Caling Ed 7H
26
120 Sept
9706 Calkins S V
D 25
 8411 Callbrook J 147 Sept
B 11
July
2848 Cameron Jno Cav 1H
4
June
1770 Camp H “ 2F
9
May
1238 Campbell D “ 8H
20
99 Aug
7236 Campbell J
I 29
104 May
946 Campbell L R
B 7
169 Sept
8793 Campbell M
K 15
Oct
11294 Campbell W 2C
22
76 Aug
7378 Campbell Wm
B 31
152 Nov
12178 Card A
C 27
109 Aug
5034 Card G
F 8
Carboines W, 39 Sept
8136
Cor C 8
115 Aug
6433 Cardon E
A 22
57 Sept
7555 Carey D
A 2
65 Oct
11512 Carey F
E 26
14 Apr
372 Carl Josh
A 5
5545 Carl L 120 Aug
 G 13
Dec
12339 Carle —— Cav 1D
26
Dec
12268 Carmac F 2D
12
85 Sept
7655 Carmer A
B 3
Oct
11640 Carney M Cav 9L
30
Carnehan Chas 24 Sept
8470
B - 11
132 Aug
5258 Carney D J
G 10
Carney Francis Sept
9879 2C
A 27
13 July
3102 Carnes P Cav
B 10
Carpenter Frank Oct
10806 7C
A 12
Sept
8854 Carpenter G 7D
15
Aug
4632 Carpenter H A Art 2A
3
July
3916 Carpenter L “ 2B
25
85 July
3977 Carpenter M B
B 26
22 Aug
6743 Carr Andrew
- 24
25 July
3859 Carr D
B 24
Apr
581 Carr F, Cor Art 3K
16
6470 Carr Geo A “ 3K Aug
22
125 Aug
5673 Carr Wm
K 14
97 Aug
6304 Carr Wm
E 20
69 July
4139 Carroll James 64
A 28
95 Oct
10293 Carroll P, Cor
E 4
132 June
2061 Carroll F
F 15
42 Nov
12015 Carroll W
D 15
100 Sept
8563 Carson J G
B 12
118 Sept
8023 Cart M A
F 6
146 June
1987 Carter A
E 15
Aug
5212 Carter Ed, Cor Art 7A
10
115 Aug
6433 Carson E
A 22
Oct
11640 Carney M Cav 9L
30
Sept
8479 Case A F “ 8A
11
Sept
8377 Case E “ 8M
10
12 Aug
6296 Case H J “
A 20
3832 Casey J 100 July
 G 23
174 Aug
5271 Casey P
A 10
52 Sept
8241 Cassells Sam’l
D 11
24 June
2643 Cassine Jno S Bat
- 29
104 May
1177 Castano J
H 16
Oct
10482 Cashel C Art 7 I
7
147 June
1785 Castle J W
H 10
Aug
6128 Castle Wm Art 1E
19
146 June
1534 Cavenaugh John
H 1
July
5971 Cæsar D Art 7B
7
16 May
1466 Centre A
A 29
Sept
9682 Chaffe R A Cav 5H
24
140 Oct
11101 Chambers J
F 18
147 Aug
6557 Chambers J
E 23
154 Aug
5860 Chamberlain C
D 16
85 Aug
4768 Champlin W
E 5
85 Aug
4726 Chapel A
D 4