literary nonfiction essay

Creative Nonfiction: What It Is and How to Write It

Sean Glatch  |  March 31, 2024  |  8 Comments

What is creative nonfiction? Despite its slightly enigmatic name, no literary genre has grown quite as quickly as creative nonfiction in recent decades. Literary nonfiction is now well-established as a powerful means of storytelling, and bookstores now reserve large amounts of space for nonfiction, when it often used to occupy a single bookshelf.

Like any literary genre, creative nonfiction has a long history; also like other genres, defining contemporary CNF for the modern writer can be nuanced. If you’re interested in writing true-to-life stories but you’re not sure where to begin, let’s start by dissecting the creative nonfiction genre and what it means to write a modern literary essay.

What Creative Nonfiction Is

Creative nonfiction employs the creative writing techniques of literature, such as poetry and fiction, to retell a true story.

How do we define creative nonfiction? What makes it “creative,” as opposed to just “factual writing”? These are great questions to ask when entering the genre, and they require answers which could become literary essays themselves.

In short, creative nonfiction (CNF) is a form of storytelling that employs the creative writing techniques of literature, such as poetry and fiction, to retell a true story. Creative nonfiction writers don’t just share pithy anecdotes, they use craft and technique to situate the reader into their own personal lives. Fictional elements, such as character development and narrative arcs, are employed to create a cohesive story, but so are poetic elements like conceit and juxtaposition.

The CNF genre is wildly experimental, and contemporary nonfiction writers are pushing the bounds of literature by finding new ways to tell their stories. While a CNF writer might retell a personal narrative, they might also focus their gaze on history, politics, or they might use creative writing elements to write an expository essay. There are very few limits to what creative nonfiction can be, which is what makes defining the genre so difficult—but writing it so exciting.

Different Forms of Creative Nonfiction

From the autobiographies of Mark Twain and Benvenuto Cellini, to the more experimental styles of modern writers like Karl Ove Knausgård, creative nonfiction has a long history and takes a wide variety of forms. Common iterations of the creative nonfiction genre include the following:

Also known as biography or autobiography, the memoir form is probably the most recognizable form of creative nonfiction. Memoirs are collections of memories, either surrounding a single narrative thread or multiple interrelated ideas. The memoir is usually published as a book or extended piece of fiction, and many memoirs take years to write and perfect. Memoirs often take on a similar writing style as the personal essay does, though it must be personable and interesting enough to encourage the reader through the entire book.

Personal Essay

Personal essays are stories about personal experiences told using literary techniques.

When someone hears the word “essay,” they instinctively think about those five paragraph book essays everyone wrote in high school. In creative nonfiction, the personal essay is much more vibrant and dynamic. Personal essays are stories about personal experiences, and while some personal essays can be standalone stories about a single event, many essays braid true stories with extended metaphors and other narratives.

Personal essays are often intimate, emotionally charged spaces. Consider the opening two paragraphs from Beth Ann Fennelly’s personal essay “ I Survived the Blizzard of ’79. ”

We didn’t question. Or complain. It wouldn’t have occurred to us, and it wouldn’t have helped. I was eight. Julie was ten.

We didn’t know yet that this blizzard would earn itself a moniker that would be silk-screened on T-shirts. We would own such a shirt, which extended its tenure in our house as a rag for polishing silver.

The word “essay” comes from the French “essayer,” which means “to try” or “attempt.” The personal essay is more than just an autobiographical narrative—it’s an attempt to tell your own history with literary techniques.

Lyric Essay

The lyric essay contains similar subject matter as the personal essay, but is much more experimental in form.

The lyric essay contains similar subject matter as the personal essay, with one key distinction: lyric essays are much more experimental in form. Poetry and creative nonfiction merge in the lyric essay, challenging the conventional prose format of paragraphs and linear sentences.

The lyric essay stands out for its unique writing style and sentence structure. Consider these lines from “ Life Code ” by J. A. Knight:

The dream goes like this: blue room of water. God light from above. Child’s fist, foot, curve, face, the arc of an eye, the symmetry of circles… and then an opening of this body—which surprised her—a movement so clean and assured and then the push towards the light like a frog or a fish.

What we get is language driven by emotion, choosing an internal logic rather than a universally accepted one.

Lyric essays are amazing spaces to break barriers in language. For example, the lyricist might write a few paragraphs about their story, then examine a key emotion in the form of a villanelle or a ghazal . They might decide to write their entire essay in a string of couplets or a series of sonnets, then interrupt those stanzas with moments of insight or analysis. In the lyric essay, language dictates form. The successful lyricist lets the words arrange themselves in whatever format best tells the story, allowing for experimental new forms of storytelling.

Literary Journalism

Much more ambiguously defined is the idea of literary journalism. The idea is simple: report on real life events using literary conventions and styles. But how do you do this effectively, in a way that the audience pays attention and takes the story seriously?

You can best find examples of literary journalism in more “prestigious” news journals, such as The New Yorker , The Atlantic , Salon , and occasionally The New York Times . Think pieces about real world events, as well as expository journalism, might use braiding and extended metaphors to make readers feel more connected to the story. Other forms of nonfiction, such as the academic essay or more technical writing, might also fall under literary journalism, provided those pieces still use the elements of creative nonfiction.

Consider this recently published article from The Atlantic : The Uncanny Tale of Shimmel Zohar by Lawrence Weschler. It employs a style that’s breezy yet personable—including its opening line.

So I first heard about Shimmel Zohar from Gravity Goldberg—yeah, I know, but she insists it’s her real name (explaining that her father was a physicist)—who is the director of public programs and visitor experience at the Contemporary Jewish Museum, in San Francisco.

How to Write Creative Nonfiction: Common Elements and Techniques

What separates a general news update from a well-written piece of literary journalism? What’s the difference between essay writing in high school and the personal essay? When nonfiction writers put out creative work, they are most successful when they utilize the following elements.

Just like fiction, nonfiction relies on effective narration. Telling the story with an effective plot, writing from a certain point of view, and using the narrative to flesh out the story’s big idea are all key craft elements. How you structure your story can have a huge impact on how the reader perceives the work, as well as the insights you draw from the story itself.

Consider the first lines of the story “ To the Miami University Payroll Lady ” by Frenci Nguyen:

You might not remember me, but I’m the dark-haired, Texas-born, Asian-American graduate student who visited the Payroll Office the other day to complete direct deposit and tax forms.

Because the story is written in second person, with the reader experiencing the story as the payroll lady, the story’s narration feels much more personal and important, forcing the reader to evaluate their own personal biases and beliefs.

Observation

Telling the story involves more than just simple plot elements, it also involves situating the reader in the key details. Setting the scene requires attention to all five senses, and interpersonal dialogue is much more effective when the narrator observes changes in vocal pitch, certain facial expressions, and movements in body language. Essentially, let the reader experience the tiny details – we access each other best through minutiae.

The story “ In Transit ” by Erica Plouffe Lazure is a perfect example of storytelling through observation. Every detail of this flash piece is carefully noted to tell a story without direct action, using observations about group behavior to find hope in a crisis. We get observation when the narrator notes the following:

Here at the St. Thomas airport in mid-March, we feel the urgency of the transition, the awareness of how we position our bodies, where we place our luggage, how we consider for the first time the numbers of people whose belongings are placed on the same steel table, the same conveyor belt, the same glowing radioactive scan, whose IDs are touched by the same gloved hand[.]

What’s especially powerful about this story is that it is written in a single sentence, allowing the reader to be just as overwhelmed by observation and context as the narrator is.

We’ve used this word a lot, but what is braiding? Braiding is a technique most often used in creative nonfiction where the writer intertwines multiple narratives, or “threads.” Not all essays use braiding, but the longer a story is, the more it benefits the writer to intertwine their story with an extended metaphor or another idea to draw insight from.

“ The Crush ” by Zsofia McMullin demonstrates braiding wonderfully. Some paragraphs are written in first person, while others are written in second person.

The following example from “The Crush” demonstrates braiding:

Your hair is still wet when you slip into the booth across from me and throw your wallet and glasses and phone on the table, and I marvel at how everything about you is streamlined, compact, organized. I am always overflowing — flesh and wants and a purse stuffed with snacks and toy soldiers and tissues.

The author threads these narratives together by having both people interact in a diner, yet the reader still perceives a distance between the two threads because of the separation of “I” and “you” pronouns. When these threads meet, briefly, we know they will never meet again.

Speaking of insight, creative nonfiction writers must draw novel conclusions from the stories they write. When the narrator pauses in the story to delve into their emotions, explain complex ideas, or draw strength and meaning from tough situations, they’re finding insight in the essay.

Often, creative writers experience insight as they write it, drawing conclusions they hadn’t yet considered as they tell their story, which makes creative nonfiction much more genuine and raw.

The story “ Me Llamo Theresa ” by Theresa Okokun does a fantastic job of finding insight. The story is about the history of our own names and the generations that stand before them, and as the writer explores her disconnect with her own name, she recognizes a similar disconnect in her mother, as well as the need to connect with her name because of her father.

The narrator offers insight when she remarks:

I began to experience a particular type of identity crisis that so many immigrants and children of immigrants go through — where we are called one name at school or at work, but another name at home, and in our hearts.

How to Write Creative Nonfiction: the 5 R’s

CNF pioneer Lee Gutkind developed a very system called the “5 R’s” of creative nonfiction writing. Together, the 5 R’s form a general framework for any creative writing project. They are:

• Write about r eal life: Creative nonfiction tackles real people, events, and places—things that actually happened or are happening.
• Conduct extensive r esearch: Learn as much as you can about your subject matter, to deepen and enrich your ability to relay the subject matter. (Are you writing about your tenth birthday? What were the newspaper headlines that day?)
• (W) r ite a narrative: Use storytelling elements originally from fiction, such as Freytag’s Pyramid , to structure your CNF piece’s narrative as a story with literary impact rather than just a recounting.
• Include personal r eflection: Share your unique voice and perspective on the narrative you are retelling.
• Learn by r eading: The best way to learn to write creative nonfiction well is to read it being written well. Read as much CNF as you can, and observe closely how the author’s choices impact you as a reader.

You can read more about the 5 R’s in this helpful summary article .

How to Write Creative Nonfiction: Give it a Try!

Whatever form you choose, whatever story you tell, and whatever techniques you write with, the more important aspect of creative nonfiction is this: be honest. That may seem redundant, but often, writers mistakenly create narratives that aren’t true, or they use details and symbols that didn’t exist in the story. Trust us – real life is best read when it’s honest, and readers can tell when details in the story feel fabricated or inflated. Write with honesty, and the right words will follow!

Ready to start writing your creative nonfiction piece? If you need extra guidance or want to write alongside our community, take a look at the upcoming nonfiction classes at Writers.com. Now, go and write the next bestselling memoir!

Sean Glatch

Thank you so much for including these samples from Hippocampus Magazine essays/contributors; it was so wonderful to see these pieces reflected on from the craft perspective! – Donna from Hippocampus

Absolutely, Donna! I’m a longtime fan of Hippocampus and am always astounded by the writing you publish. We’re always happy to showcase stunning work 🙂

I like how it is written about him”…When he’s not writing, which is often, he thinks he should be writing.”

[…] Source: https://www.masterclass.com/articles/a-complete-guide-to-writing-creative-nonfiction#5-creative-nonfiction-writing-promptshttps://writers.com/what-is-creative-nonfiction […]

So impressive

Thank you. I’ve been researching a number of figures from the 1800’s and have come across a large number of ‘biographies’ of figures. These include quoted conversations which I knew to be figments of the author and yet some works are lauded as ‘histories’.

excellent guidelines inspiring me to write CNF thank you

[…] writing a “Spring” scene today. I’ve mentioned before that my memoir is a work of creative non-fiction. Since much of the story takes place 2-5 decades ago, I don’t remember a lot of the […]

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An Introduction to Literary Nonfiction

Want to read more literary nonfiction? These are some popular sub-genres of literary nonfiction, with reading recommendations for each.

Senjuti Patra

Senjuti was born and raised in Bankura, a small town in India. A reluctant economist, fierce feminist and history enthusiast, she spends most of her time reading. Her interaction with other people is largely limited to running away from them or launching into passionate monologues about her last perfect read or her latest fictional crush.

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Literary nonfiction, also called creative nonfiction, is an umbrella term that includes all writing that is based in reality and has been written with specific attention to the craft of writing, using literary techniques to talk about subjects that are not made up. Potentially any kind of nonfiction can be literary nonfiction, except, perhaps, technical and academic writing whose subjects and purpose demand precision and unambiguity. As Creative Nonfiction puts it, literary or creative nonfiction is simply true stories, well told.

Fiction and nonfiction have always shared techniques and approaches. Many novelists do extensive research to recreate a place or a time in the pages of their novels, and this enables them to create intricately detailed scenes, which help draw the reader in. Even speculative fiction narratives that operate in their own worlds conceived by the writers’ imagination often draw from the real world, and from the works of writers before them. Similarly, a mere recitation of dry facts do not make for compelling or convincing reading, and all influential works of nonfiction are characterized by a mastery of the craft and excellence in style. It is, then, a little unfair to define literary nonfiction as nonfiction that borrows elements of style and narration from fiction — since writers of nonfiction have skillfully wielded these tools in their work in all of literary history.

Literary Nonfiction: the Question of Ethics and the Line Between Fact and Fiction

Even though literary or creative nonfiction has been around for a long time, the relatively recent nomenclature and its establishment as a broad genre receiving wider readership has people questioning the propriety of using creativity in the presentation of facts. Can a text that creates or manipulates facts pass off as creative nonfiction?

In a 1987 article, Eric Heyne, following a distinction between fictional and factual narratives originally proposed by by John Searle, breaks down the determination of the factual nature of a text into two parts. The first is factual status — whether the writer intends their work to be perceived as factual. The second is factual adequacy — how true the facts that the writer proposes are. In other words, the intention of the author is what determines whether or not a text will be read as nonfiction. On the other hand, for a text, literary or not, to be factually adequate, or good nonfiction, its factual correctness has to pass the scrutiny of its readers.

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The scope for creativity in nonfiction is vast in style, structure, and narrative, but writers of good creative nonfiction cannot create facts or use their craft to deceive readers or manipulate the truth. The contract between the writer and the reader should be explicit — the narrative should allow the reader to distinguish between creative maneuvers by the author and objective truths. Literary nonfiction often involves more in-depth research, for the literary narrative has to be detailed to be compelling, and at the same time factually correct.

Types of Literary Nonfiction

Almost any subject under the sun can be approached with a creative, refreshing take and with the right arsenal of literary tools by the right person. Understandably, literary nonfiction comes in many forms. It can be personal, like memoirs, autobiography, or personal essays. It can be topical, like history, science writing, and nature writing. Here are some popular sub-genres of literary nonfiction, with reading recommendations for each.

Lyrical Memoir

The lyrical memoir is probably the flag bearer of the genre at the moment, with its seamless blending of personal stories with larger themes that resonate with readers, as well as poetic, engrossing narratives. Unlike autobiography, in which the author talks about their whole life, memoirs have a specific focus. Following are two examples, and you can find more here .

I Know Why The Caged Bird Sings by Maya Angelou

Maya Angelou’s beautiful coming-of-age memoir is a classic of the sub-genre. This beautiful book about a young girl overcoming trauma inflicted on her by an oppressive racist society does not shy away from discussing intimate personal details, and does so with stunningly poetic prose.

H is for Hawk by Helen Macdonald

There are three threads in this book — the author’s grief at the sudden death of her father, her experience training a goshawk she adopted shortly after her father’s death, and the writer T.H. White, who shared the author’s interest in falconry. These threads are artfully woven together in a moving memoir that is also great nature writing.

Personal Essays

In personal essays, a writer might explore a variety of subjects through a subjective, personal stand point. The are often anchored by a personal event that impacted the writer’s life or world view in a major way. Personal essay collections are a great point of entry into the genre, with their shorter format and specific narrative threads that hold the reader’s interest. Here are a couple to get you started.

Notes of a Native S on by James Baldwin

A classic of American literature, Notes of a Native Son is a collection of ten essays that established James Baldwin as a leading literary voice. The essays cover a variety of topics, ranging from literary criticism, life in Harlem to lives of black people outside America, informed by Baldwin’s experiences as an African American at the dawn of the Civil Rights Movement.

Slouching Towards Bethlehem by Joan Didion

This collection of essays is a classic of the genre, and a portrait of America, especially California, in the 1960s. Joan Didion is one of the most prominent authors of literary nonfiction, and two of her more recent works, The Year of Magical Thinking and Blue Nights , are powerful explorations of grief.

Want more? Here is a list of 50 must-read contemporary essay collections .

Science Writing

Creative, literary treatment of scientific subjects make them accessible to lay-readers, and there are many authors today who write on a wide variety of scientific topics in engaging prose. My personal favorite are science history books, which not only break down complex scientific concepts, but also provide an account of the path through which humans arrived at this knowledge, a journey which is often as nail-biting as thrillers.

The Gene: An Intimate History by Siddhartha Mukherjee

This is a superbly written book about the science and the history of genetics. Told with enormous empathy and backed by thorough research and expertise, the story of the discovery of the code that governs our lives is one of the most interesting stories I have ever read. Mukherjee’s Pulitzer prize winning history of cancer, The Emperor of all Maladies , is equally brilliant.

Silent Spring by Rachel Carson

Silent Spring is credited with having launched the modern environmental movement. Centered around the adverse effects of the indiscriminate use of pesticides, this book was a timely warning against human arrogance about the ability to exploit the natural world. The far-reaching and long-lasting impact of Silent Spring is a testimony to the power of Carson’s writing.

You can find more recommendations here .

Narrative Journalism

Narrative journalism is reportage that uses techniques of storytelling to construct a gripping, but factual narrative. Through the use of literary techniques, narrative journalism often manages to have greater sway over the opinions of readers, and authors of this genre have sometimes successfully drawn public attention to injustices and catalyzed change.

Ten Days in a Mad-House by Nellie Bly

In 1887, Nellie Bly went undercover in one of New York City’s asylums to report first hand on the lives of its inhabitants. The horrors she bore witness to are the subject of this book, which is a precursor of both the stunt memoir and narrative journalism genres. Bly’s reportage shocked the public and eventually led to increased budget allocations for the asylum.

Hiroshima by John Hersey

John Hersey’s Hiroshima is one of the earliest examples of narrative journalism that helped usher in the age of New Journalism, as it was called then. Hersey interviewed six survivors of the nuclear attack, and these accounts opened the eyes of the American public to the enormous scale of the devastation that had been wreaked by the bombing and made them question the morality of nuclear warfare.

Here are some more examples of narrative journalism.

Narrative History

History is overflowing with important and exciting true stories waiting to be told. Any well written historical narrative can potentially read like a novel. Another genre that is a personal favorite, it is replete with gems that blend extensive research with skillful prose.

Figuring by Maria Popova

This book is written by Maria Popova, whose blog, Brain Pickings , is a great source for your daily dose of literary nonfiction. It is an ode to the never ending human search for meaning, through a narrative that blends together the lives of several artists, writers, scientists and visionaries, including Johannes Kepler, Maria Mitchell, Margaret Fuller, Emily Dickinson, and Rachel Carson, among others.

The Black Count by Tom Reiss

The Black Count is the true story of the man who inspired classics like The Count of Monte Cristo and The Three Musketeers . General Alex Dumas, father of Alexander Dumas, was the son of a formerly enslaved person who rose through the ranks of the French Army. This true story of his life is an engaging tale of adventure in a multi-racial society.

Quotidian Nonfiction

I stumbled across this beautiful term in an essay in Creative Nonfiction , and it neatly fits two of the best nonfiction books I read recently. In the essay, Patrick Madden, author of Quotidiana , a collection of essays inspired by the commonplace, talks about the pleasures of slowing down to meditate on the ordinary components of everyday life. Another relatively recent and well known example of this category is Ross Gay’s uplifting Book of Delights . Indeed, there is something refreshingly calming to read about the quotidian, and the languorous, reflective tone of such books can accommodate exquisitely elegant prose.

The Sound of a Wild Snail Eating by Elisabeth Tova Bailey

When Elisabeth Tova Bailey was struck by a mysterious illness that confined her to the bed, she found company in a common woodland snail that was left in a pot of violets in her sick room by her friend. This book is a beautiful tale of resilience told through the mundane occurrences in the lives of the snail and its human observer.

How I Became A Tree by Sumana Roy

In this gorgeous book, Sumana Roy muses about the lives of trees, and what it would mean to live like one. She talks about tiny details from the natural world at length, putting into perspective our own cluttered existence within it.

The books and sub-genres discussed in this article are a very small fraction of what literary nonfiction has to offer, but I hope it will serve as a good introduction — especially if you are primarily a reader of fiction who is trying to get into nonfiction. Once you are through with this list, we have more books that you can read here and here .

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Creative Nonfiction: An Overview

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The Creative Nonfiction (CNF) genre can be rather elusive. It is focused on story, meaning it has a narrative plot with an inciting moment, rising action, climax and denoument, just like fiction. However, nonfiction only works if the story is based in truth, an accurate retelling of the author’s life experiences. The pieces can vary greatly in length, just as fiction can; anything from a book-length autobiography to a 500-word food blog post can fall within the genre.

Additionally, the genre borrows some aspects, in terms of voice, from poetry; poets generally look for truth and write about the realities they see. While there are many exceptions to this, such as the persona poem, the nonfiction genre depends on the writer’s ability to render their voice in a realistic fashion, just as poetry so often does. Writer Richard Terrill, in comparing the two forms, writes that the voice in creative nonfiction aims “to engage the empathy” of the reader; that, much like a poet, the writer uses “personal candor” to draw the reader in.

Creative Nonfiction encompasses many different forms of prose. As an emerging form, CNF is closely entwined with fiction. Many fiction writers make the cross-over to nonfiction occasionally, if only to write essays on the craft of fiction. This can be done fairly easily, since the ability to write good prose—beautiful description, realistic characters, musical sentences—is required in both genres.

So what, then, makes the literary nonfiction genre unique?

The first key element of nonfiction—perhaps the most crucial thing— is that the genre relies on the author’s ability to retell events that actually happened. The talented CNF writer will certainly use imagination and craft to relay what has happened and tell a story, but the story must be true. You may have heard the idiom that “truth is stranger than fiction;” this is an essential part of the genre. Events—coincidences, love stories, stories of loss—that may be expected or feel clichéd in fiction can be respected when they occur in real life .

A writer of Creative Nonfiction should always be on the lookout for material that can yield an essay; the world at-large is their subject matter. Additionally, because Creative Nonfiction is focused on reality, it relies on research to render events as accurately as possible. While it’s certainly true that fiction writers also research their subjects (especially in the case of historical fiction), CNF writers must be scrupulous in their attention to detail. Their work is somewhat akin to that of a journalist, and in fact, some journalism can fall under the umbrella of CNF as well. Writer Christopher Cokinos claims, “done correctly, lived well, delivered elegantly, such research uncovers not only facts of the world, but reveals and shapes the world of the writer” (93). In addition to traditional research methods, such as interviewing subjects or conducting database searches, he relays Kate Bernheimer’s claim that “A lifetime of reading is research:” any lived experience, even one that is read, can become material for the writer.

The other key element, the thing present in all successful nonfiction, is reflection. A person could have lived the most interesting life and had experiences completely unique to them, but without context—without reflection on how this life of experiences affected the writer—the reader is left with the feeling that the writer hasn’t learned anything, that the writer hasn’t grown. We need to see how the writer has grown because a large part of nonfiction’s appeal is the lessons it offers us, the models for ways of living: that the writer can survive a difficult or strange experience and learn from it. Sean Ironman writes that while “[r]eflection, or the second ‘I,’ is taught in every nonfiction course” (43), writers often find it incredibly hard to actually include reflection in their work. He expresses his frustration that “Students are stuck on the idea—an idea that’s not entirely wrong—that readers need to think” (43), that reflecting in their work would over-explain the ideas to the reader. Not so. Instead, reflection offers “the crucial scene of the writer writing the memoir” (44), of the present-day writer who is looking back on and retelling the past. In a moment of reflection, the author steps out of the story to show a different kind of scene, in which they are sitting at their computer or with their notebook in some quiet place, looking at where they are now, versus where they were then; thinking critically about what they’ve learned. This should ideally happen in small moments, maybe single sentences, interspersed throughout the piece. Without reflection, you have a collection of scenes open for interpretation—though they might add up to nothing.

Submissions

General Overview

Unlike many magazines, Creative Nonfiction draws heavily from unsolicited submissions. Our editors believe that providing a platform for emerging writers and helping them find readers is an essential role of literary magazines, and it’s been our privilege to work with many fine writers early in their careers. A typical issue of CNF contains at least one essay by a previously unpublished writer.

We’re open to all types of creative nonfiction, from immersion reportage to lyric essay to memoir and personal essays. Our editors tend to gravitate toward submissions structured around narratives, but we’re always happy to be surprised by work that breaks outside this general mold. Above all, we’re interested in writing that blends style with substance and reaches beyond the personal to tell us something new about the world. 

Creative Nonfiction accepts submissions online through Submittable. Please read specific calls for submissions carefully. 

When you submit online, you will receive a confirmation email from Submittable. We try to respond to all submissions as quickly as possible, but because the submissions are more often than not at the upper end of the word limit and because we really do read everything carefully, the process often takes a long time. Unfortunately, this is especially true for work we like. If you have not heard from us since the initial confirmation email, please assume your manuscript is still under consideration. 

What is Creative Nonfiction?

Dive in with CNF Founder and Editor, Lee Gutkind

Current Issue

78 / Experiments in Voice

Uncoventional narrators & shifting perspectives

What is voice? How do you find yours? How can you change it, rearrange it, play with it? And then, how can you use it to make change in the world? This issue is a celebration of writerly playfulness, exploration, and risk-taking, featuring breathless, epistolary, speculative, second-person, and snarky essays.

Current submission calls

Accepted All Year

We’re looking for writing about writing—smart and insightful ideas related to the art, craft, history, or philosophy of creative nonfiction.

Recently closed Submission Calls

Closed / June 27, 2022

True stories by (or about) nurses

For a special expanded anniversary edition of I Wasn’t Strong Like This When I Started Out: True Stories of Becoming a Nurse , Creative Nonfiction/In Fact Books is seeking essays by and about nurses.We’re

Closed / August 1, 2022

Sunday Short Reads

Creative Nonfiction is currently seeking original short nonfiction for the Sunday Short Read email, which reaches 8,000+ readers weekly. Accepted work is also featured and archived online. We’re open to submissions on any subject, in any style.

Closed / May 15, 2022

We are actively reading the submissions received and will update submitters on the status of their work as soon as we can.

Closed / February 22, 2021

New Nonfiction by Older Writers

Closed / January 11, 2021

Experiments in Nonfiction

Pitch us a craft piece.

As of May 2022, we’ve retired this portal; see new guidelines, above.

A Note About Fact-checking

Essays accepted for publication in Creative Nonfiction undergo a fairly rigorous fact-checking process. To the extent your essay draws on research and/or reportage (and ideally, it should, to some degree), CNF editors will ask you to send documentation of your sources and to help with the fact-checking process. We do not require that citations be submitted with essays, but you may find it helpful to keep a file of your essay that includes footnotes and/or a bibliography.

A Note About Reading Fees

Here at Creative Nonfiction, we are always reading, searching for excellent new work to showcase in our various publications. At any given time, we usually have several submission portals open (see above calls for submissions), many of which require writers to pay a reading fee to submit their work.

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Written by S. Kalekar January 16th, 2023

30 Magazines Accepting Creative Nonfiction and Essays

These literary magazines and other outlets publish a variety of nonfiction/essays. A few are looking for themed submissions. Some of them pay writers. Most, but not all, of them are open for submissions now. They’re in no particular order.

TOLKA Journal Their website says, “Tolka is a biannual literary journal of non-fiction: publishing essays, reportage, travel writing, auto-fiction, individual stories and the writing that flows in between. We are a journal for writers to express themselves beyond the limits of fixed genres, forms or subjects. … We encourage writers to test the creative boundaries of non-fiction.” They publish work by Irish and international writers, of 2,000-4,000 words. Pay is €500. The deadline is 22 January 2023. Details here .

Vast Chasm They publish “bold work that explores the expansive human experience, including flash and short fiction, creative nonfiction, poetry, and other nonconforming work.” Pay is $50 for prose up to 5,000 words. They read submissions on an ongoing basis. Details here .

Porkbelly Press They read for their chapbook series in January – these can be creative nonfiction such as lyric essays & flash, poetry or prose poems, collections of flash or micro fiction, graphic narratives, sequential artwork, or combinations of the above (tightly linked by theme, image, voice, etc.). Please submit 12 – 26 pages for chapbooks. They are queer friendly and feminist. “Our catalog favors lit & poetry leaning heavily toward fabulism, folklore, & magic—often confessional or intimate poems or personal lyric essay. All work should be tightly linked.” For nonfiction chapbooks, “We particularly enjoy multiple short essays, but will consider a one-essay chap if the essay is just that good. We lean toward braided forms (narratives with 3 or more threads tied together), and also consider things like character sketches, travel narratives, and collections of vignettes.” See guidelines and Submittable pages for further details. Pay is author copies. The deadline for chapbook submissions is 31 January 2023. Also see their reading periods for works in other genres. Details here and here .

The Christian Science Monitor: The Home Forum This news organization accepts pitches from freelancers and writers, and submissions for The Home Forum , where they want “upbeat personal essays of from 600 to 800 words. … For time-sensitive material (seasonal, news-related, holiday- or event-themed), you must submit at least SIX WEEKS in advance.” Also, “These are first-person, nonfiction explorations of how you responded to a place, a person, a situation, an event, or happenings in everyday life. Tell a story with a point; share a funny true tale. Describe a self-discovery. The humor should be gentle. We accept essays on a wide variety of subjects and encourage timely, newsy topics. However, we don’t deal with the topics of death, aging, medicine, or disease. We do not publish work that presents people in helpless or hopeless states.” They pay $250 for these essays. Details here .

The Every Animal Project This is an anthology about courageous animals, and they also will publish work on their website. “Stories must be true (non-fiction). They must relate to non-human animals (of any species) and can be about your personal experiences/growth because of an animal, an issue threatening animals today, or other aspects of the human/non-human animal relationship. For the upcoming anthology, please weave the theme of courage/bravery into your story. We are particularly interested in spotlighting species less familiar to people, like insects, marine animals, and reptiles.” One writer will get an award of $300, another will be awarded $200, and other writers whose work is chosen for the print anthology get $50; writers whose work features online get $20. The deadline is 31 March 2023. Details here .

The Lumiere Review Their website says, “We are intrigued by the inextinguishable sparks of truth and connection, the effervescent meddling of narrative, and the luminous creations that expand on perceptions of genre, language, and form.” They have a call for BIPOC creatives on the Justice theme (deadline – 15 February 2023). For general submissions, they publish creative nonfiction (up to 3,000 words), fiction, and poetry. They publish quarterly, pay $10, and read submissions on an ongoing basis. Details here .

The Four Faced Liar This is a new print journal; they published their first issue in January 2023. They publish creative nonfiction (up to 4,000 words), fiction, poetry, and art. Pay is €200 for short creative nonfiction and fiction, €100 for a poem or piece of flash, and €100 for art. Watch for their next submission period on Twitter . Details here .

Gray’s Sporting Journal This is a magazine about hunting and fishing, and they publish articles on those topics. They also have a feature called Yarns, which is campfire tales – fact or fiction, of 750-1,500 words. They also publish some poetry. Pay is an average of $600 for Yarns, and poems pay $100. Features for the magazine pay more. Details here .

Narrative This magazine publishes work in various genres – nonfiction (including written, audio, and video), fiction, poetry, and drama. They charge a submission fee through the year but during the first two weeks of April, they offer fee-free submissions made specifically in the Open Reading category. They pay $100-500. Details here .

MudRoom Magazine Their website says, “our mission is to provide every writer, emerging and established, the opportunity to both see their work published, and engage with a larger literary community.” They publish essays, essays in translation, fiction, and poetry. Send prose of up to 6,000 words. Pay is $15, and the deadline is 25 January 2023 for their Winter issue. Details here .

The Fieldstone Review This is the literary journal of the University of Saskatchewan. They accept submissions of creative nonfiction (up to 2,500 words), literature & book reviews (of Canadian literature), fiction and poetry, for its 2023 issue. They are reading submissions on the Reversals theme. “Turning points. Twists. Changing fortunes and shifting gears. We want your clever, surprising and dizzying reversals––be it through character, plot or formal elements!” One contributor will get awarded CAD100. The deadline is 1 March 2023. Details here .

The Meadowlark Review This journal is associated with the University of Wyoming. “Based in Laramie, Wyoming, we’re inspired by the American West, but we love work that pushes against the traditional Western narrative, as well as new perspectives, unexpected twists, and pieces that have absolutely nothing to do with the West. We are especially interested in hybrid works and works that break the mold and push the boundaries of today’s literature.” They publish nonfiction, fiction, and poetry. Send work of 10-5,000 words. The deadline is 31 January 2023. Details here .

The Forge Literary Magazine They accept creative nonfiction (up to 3,000 words, but can accept up to 5,000) and fiction. They open on the 1 st of most months for fee-free submissions, and close when the cap is reached. They pay $75. Details here .

fron//tera This is a bilingual print magazine, in Spanish and English. They publish nonfiction (up to 5,000 words), fiction, poetry, art, and submissions can be in Spanish or English; they’ll also publish a couple of short dual-language English and Spanish pieces side by side (see guidelines). They pay $25-50. They’re reading work on the Phantoms theme till 1 February 2023. Details here .

The Healing Muse This is the annual journal of literary and visual art published by SUNY Upstate Medical University’s Center for Bioethics & Humanities. They publish narratives, memoirs, fiction, poetry, and art, particularly but not exclusively focusing on themes of medicine, illness, disability and healing. They accept prose up to 2,500 words. The deadline is 15 April 2023. They also have a poetry prize for medical students and physicians , of $250. Details here .

The Lascaux Review They publish creative nonfiction, fiction, and poetry of literary quality, as well as essays on the craft and business of writing. “Creative nonfiction may include memoirs, chronicles, personal essays, humorous perspectives, literary journalism—anything the author has witnessed, experienced, learned, or discovered. Creative nonfiction should be written in a nonacademic style. For the Bistro (our blog), we’re looking for posts about writing, literature, agents, publishing, hangover recipes—anything to do with the craft and business of writing. Topics must be relevant to our audience, which consists of sophisticated journeyman writers and poets.” Submissions are open year-round. Details here .

The Paris Review They will reopen for prose submissions in March 2023. Currently, they are accepting poetry submissions; the Submittable cap is reached but they will read postal submissions, postmarked till 31 January 2023. They pay. Details here .

Nashville Review This magazine is associated with Vanderbilt University. They publish creative nonfiction (across the spectrum, including memoir excerpts, essays, imaginative meditations, of up to 8,000 words), fiction (including flash and novel excerpts), poetry, translations, and art. They accept submissions of art and comics year-round, and other genres are accepted in January, May, and September. Submissions may close earlier than scheduled if the cap is reached. Pay is $25 for poetry, and $100 for prose. The deadline is 31 January 2023, or until filled. Details here .

Porridge They publish a variety of genres, and are open for online and print issues occasionally. They are always open for their Comfort Food section – “The COMFORT FOODS series publishes creative responses to the relationship between food and culture, identity and cuisine, from people in diaspora or those from various marginalised identities. From eating away exile to 2,000 word philosophical treatises on biryani, we’re here for it. … We’ll accept creative non-fiction, food writing, poetry, and artwork on this theme.” Details here .

Electric Lit They are always open for detailed essay pitches. “Electric Literature’s essays examine books and culture through a personal and critical lens. … Pitches should describe the subject matter of the essay (which must be about books, writing, or narrative media like movies, games, and TV) and give a sense of the argument you plan to make or the story you plan to tell. We welcome thoughtful considerations of new releases, overlooked classics, childhood favorites—anything that can illuminate or be illuminated by the human experience.” They will open for other genres in February ( Recommended Reading – longer fiction, pays $300, open 1-12 February; and The Commuter – poetry, flash, graphic, and experimental narratives, pays $100, open 13-19 February 2023). Details here . Sojournal This is a travel journal, and their tagline is ‘One Image One Story’. “At present we only publish non-fiction travel stories that tell us about the black and white image you have supplied. We have a bias toward clear, concise, understandable work that communicates, surprises or disturbs – writing that bears witness to the world we live in.” Send work of up to 800 words. Details here .

Chicken Soup for the Soul They publish uplifting, true stories and poems. They regularly post themes they are accepting submissions on (currently, these are: Angels ; How stepping outside my comfort zone changed me ; Miracles ; and The power of positive thinking ). They pay $250 for work up to 1,200 words, as well as 10 contributor copies. Details here (also see tabs on the page – Possible book topics, Submissions FAQ, and Submit your story).

Unfortunately, Literary Magazine For nonfiction, “We’re interested in memoir/personal essays, feature articles, and any mix thereof. Shameless navel-gazing is fine by us.” Also, “Send us your work that’s too quirky, too dark, too queer, not the right kind of queer, too female-driven, too literary, not literary enough. Too much, too little, we want to see it all. Our only requirement is that you get your piece rejected elsewhere at least once before submitting to us.” They also publish fiction, art, and poetry. They read submissions in January, April, July, and October. See this Twitter thread to see the kind of work they’d like to see more of. Details here and here .

Miracle Monocle This magazine is associated with the University of Louisville. “For creative nonfiction, please submit one piece of 500-10,000 words. We’re looking for essays with aspects of personal narrative, reporting, and the lyric; we’re also interested in flash. Please do not send excerpts of longer works unless the piece can stand alone.” They also publish fiction, hybrid, poetry, art, and have an award for young Black writers , which pays $200 – for this award, writers must be 25 years old or younger and identify as Black. The deadline is 31 January 2023, or until a submission cap is reached. Details here .

Round Table Literary Journal Their website says, this is “an award-winning, historic print literary journal now in our fifty-sixth year of existence. We publish literary fiction, nonfiction, poetry, and art once a year.” They are associated with Hopkinsville Community College. The deadline is 15 February 2023. Payment is contributor copies. Details here and here .

The Sunlight Press They publish personal essays (750-1,000 words), artists on craft series (up to 1,000 words), fiction, poetry, reviews, and photos. They pay $15-40. Details here .

Terrain.org This is a magazine that focuses on place, climate, and justice. They publish nonfiction (up to 5,000 words), fiction, poetry, and pay a minimum of $50. Submissions by marginalized creators are considered for an annual prize of $500. The deadline is 30 April 2023. Details here .

Motherwell This is a parenting magazine, and they take personal essays on parenting, as well as work on other themes and genres. For personal essays, “We are looking for evocative first-person narratives that have a unique focus, or take a novel angle, on a slice of the parenting experience. We are open to a range of styles and tones: the only requirement is that the essay works on its own terms—be it lyrical, humorous, research-oriented, etc—and conveys something fundamental about its writer. Up to 1,200 words.“ Some of the work they publish is paid, and some is unpaid (see guidelines). Details here . Masque & Spectacle They publish nonfiction essays, literary analysis pieces, and personal essay/memoirs of up to 7,500 words. They also accept fiction, poetry, drama, reviews, art, audio, and video submissions. The deadline is 31 January 2023. Details here .

The Sun This venerable magazine charges for online submissions via Submittable, but not for submissions by post, of essays, fiction, and poetry. Online submission of photos is not charged. Payment for regular essays starts at $300. And online submissions for themed short nonfiction pieces for the Readers Write section are fee-free – their upcoming themes are Idols , due 1 February, and Privacy , due 1 March 2023; payment for Readers Write is magazine subscription. Details here and here .

Bio:  S. Kalekar is the pseudonym of a regular contributor to this magazine. She can be reached  here .

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A Complete Guide to Writing Creative Nonfiction

Written by MasterClass

Last updated: Sep 29, 2021 • 5 min read

Creative nonfiction uses various literary techniques to tell true stories. Writing creative nonfiction requires special attention to perspective and accuracy.

“Our present-tense human experience is like a living tree growing by a river. The current in the river is the passing of time. Our individual pasts are like the same tree fallen in the river, drowned now, and disintegrating with surprising speed. We resist time’s flow with our memories and language, with our stories ”   

~ David James Duncan

Jul 10, 2024

Featuring the writing of Sean Enfield, Robert W. Fieseler, Melody Glenn, Hannibal Hamlin, Jenna Hammerich, Timothy J. Hillegonds, Sarah Minor, Ali Saperstein.

River Teeth is a biannual journal combining the best of creative nonfiction, including narrative reportage, essays, and memoir, with critical essays that explore the impact of nonfiction narrative on the lives of its writers, subjects, and readers.

Beautiful Things

River Teeth ‘s weekly online magazine, Beautiful Things, features micro-essays (of 250 words or fewer) that look closely to find beauty and meaning in the everyday.

River Teeth is on

River Teeth Revisited

Here at River Teeth, we love essays. We love reading essays, choosing essays, and writing essays. We love essays that feel urgent, essays we can’t put down, and essays that don’t turn away when the truth gets difficult or slippery.

We also like to think about how the best essays work— and that’s why we have created the online feature: River Teeth Revisited .

Share your essays with River Teeth

River Teeth accepts submissions of creative nonfiction through Submittable from September 1 to December 1 and January 1 to April 1.

The Book Prize

River Teeth ‘s editors conduct a yearly national contest for a book-length manuscript of literary nonfiction in English. All manuscripts are screened by the co-editors of River Teeth.  The contest winner receives $1,000 and publication by The University of New Mexico Press.

Mother Prayer

By Sanobar Sabah Passionate red and sensuous saffron were my mother’s favorite colors. Inspired by the Bollywood queen of yesteryear, Rekha, my mother’s wardrobe was laden with glamorous chiffon sarees and handmade embroidered blouses from all over India...

 Sep 16, 2024 |  2 min read

A Child’s Work

By Carol Moody She’s elbow-deep inside the dryer, searching for that old Halloween costume—as though everything depends on wearing a frayed polyester police officer jacket. Her parents have separated for good, and the three-year-old little brother wants to play “hopspital”—announcing himself as “Dr. Butter"...

 Sep 9, 2024 |  2 min read

By Paulette Studley My mother thinks people are breaking into her house. Leprechauns. She tells me they’ve stolen her eyeglasses and supermarket receipts. At eighty years old, she sits beside me as I dole out antipsychotics to her pillbox and remind her that it’s not true...

 Sep 2, 2024 |  2 min read

Latest News …

Brooke Champagne Joins the River Teeth Team

Hello from the confluence of River Teeth here at Ball State University in Muncie, Indiana, on the kind of gorgeous fall day that makes a person want to leash up the dog and head out into the fields and woods–but not so fast because submissions opened on September 1st and we’ve got a lot of reading to do. Happily, we love to read. 

 Sep 11, 2024  8 min read

Beth Nguyen Announced As River Teeth’s 2024 Literary Nonfiction Book Prize Judge

by Ethan Rice "We are thrilled to announce the final judge for the 2024 River Teeth Literary Nonfiction Book Prize. Beth Nguyen is an author and professor at University of Wisconsin-Madison, where she directs the MFA Program in Creative Writing..."

 May 2, 2024  2 min read

Meet River Teeth’s Spring 2024 Interns

Hello! We are excited to shine light on some of the creative minds and passionate spirits that have been working with us this past spring semester: our interns! From painting the beautiful rocks you might’ve seen at AWP to writing captions for Instagram posts to moving book reviews from our old website to our new website - our interns have been with us through it all and we couldn’t have done it without them. Each intern brings a unique blend of enthusiasm, curiosity, and dedication to our team. They had so much fun interviewing each other for this article, so we hope you enjoy getting a glimpse of them as much as we have loved working with them.

 Apr 26, 2024  12 min read

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Guides • Perfecting your Craft

Last updated on Feb 20, 2023

Creative Nonfiction: How to Spin Facts into Narrative Gold

About the author.

Reedsy's editorial team is a diverse group of industry experts devoted to helping authors write and publish beautiful books.

About Savannah Cordova

Savannah is a senior editor with Reedsy and a published writer whose work has appeared on Slate, Kirkus, and BookTrib. Her short fiction has appeared in the Owl Canyon Press anthology, "No Bars and a Dead Battery". 

About Rebecca van Laer

Rebecca van Laer is a writer, editor, and the author of two books, including the novella How to Adjust to the Dark. Her work has been featured in literary magazines such as AGNI, Breadcrumbs, and TriQuarterly.

Creative nonfiction is a genre of creative writing that approaches factual information in a literary way. This type of writing applies techniques drawn from literary fiction and poetry to material that might be at home in a magazine or textbook, combining the craftsmanship of a novel with the rigor of journalism. 

Here are some popular examples of creative nonfiction:

• The Collected Schizophrenias by Esmé Weijun Wang
• Intimations by Zadie Smith
• Me Talk Pretty One Day by David Sedaris
• The Immortal Life of Henrietta Lacks by Rebecca Skloot
• Translating Myself and Others by Jhumpa Lahiri
• The Madwoman in the Attic by Sandra M. Gilbert and Susan Gubar
• I Know Why The Caged Bird Sings by Maya Angelou
• Trick Mirror by Jia Tolentino

Creative nonfiction is not limited to novel-length writing, of course. Popular radio shows and podcasts like WBEZ’s This American Life or Sarah Koenig’s Serial also explore audio essays and documentary with a narrative approach, while personal essays like Nora Ephron’s A Few Words About Breasts and Mariama Lockington’s What A Black Woman Wishes Her Adoptive White Parents Knew also present fact with fiction-esque flair.

Writing short personal essays can be a great entry point to writing creative nonfiction. Think about a topic you would like to explore, perhaps borrowing from your own life, or a universal experience. Journal freely for five to ten minutes about the subject, and see what direction your creativity takes you in. These kinds of exercises will help you begin to approach reality in a more free flowing, literary way — a muscle you can use to build up to longer pieces of creative nonfiction.

If you think you’d like to bring your writerly prowess to nonfiction, here are our top tips for creating compelling creative nonfiction that’s as readable as a novel, but as illuminating as a scholarly article.

Write a memoir focused on a singular experience

Humans love reading about other people’s lives — like first-person memoirs, which allow you to get inside another person’s mind and learn from their wisdom. Unlike autobiographies, memoirs can focus on a single experience or theme instead of chronicling the writers’ life from birth onward.

For that reason, memoirs tend to focus on one core theme and—at least the best ones—present a clear narrative arc, like you would expect from a novel. This can be achieved by selecting a singular story from your life; a formative experience, or period of time, which is self-contained and can be marked by a beginning, a middle, and an end. 

When writing a memoir, you may also choose to share your experience in parallel with further research on this theme. By performing secondary research, you’re able to bring added weight to your anecdotal evidence, and demonstrate the ways your own experience is reflective (or perhaps unique from) the wider whole.

Example: The Year of Magical Thinking by Joan Didion

Joan Didion’s The Year of Magical Thinking , for example, interweaves the author’s experience of widowhood with sociological research on grief. Chronicling the year after her husband’s unexpected death, and the simultaneous health struggles of their daughter, The Year of Magical Thinking is a poignant personal story, layered with universal insight into what it means to lose someone you love. The result is the definitive exploration of bereavement — and a stellar example of creative nonfiction done well.

📚 Looking for more reading recommendations? Check out our list of the best memoirs of the last century .

Tip: What you cut out is just as important as what you keep

When writing a memoir that is focused around a singular theme, it’s important to be selective in what to include, and what to leave out. While broader details of your life may be helpful to provide context, remember to resist the impulse to include too much non-pertinent backstory. By only including what is most relevant, you are able to provide a more focused reader experience, and won’t leave readers guessing what the significance of certain non-essential anecdotes will be.

💡 For more memoir-planning tips, head over to our post on outlining memoirs .

Of course, writing a memoir isn’t the only form of creative nonfiction that lets you tap into your personal life — especially if there’s something more explicit you want to say about the world at large… which brings us onto our next section.

Pen a personal essay that has something bigger to say

Personal essays condense the first-person focus and intimacy of a memoir into a tighter package — tunneling down into a specific aspect of a theme or narrative strand within the author’s personal experience.

Often involving some element of journalistic research, personal essays can provide examples or relevant information that comes from outside the writer’s own experience. This can take the form of other people’s voices quoted in the essay, or facts and stats. By combining lived experiences with external material, personal essay writers can reach toward a bigger message, telling readers something about human behavior or society instead of just letting them know the writer better.

Example: The Empathy Exams by Leslie Jamison

Leslie Jamison's widely acclaimed collection The Empathy Exams  tackles big questions (Why is pain so often performed? Can empathy be “bad”?) by grounding them in the personal. While Jamison draws from her own experiences, both as a medical actor who was paid to imitate pain, and as a sufferer of her own ailments, she also reaches broader points about the world we live in within each of her essays.

Whether she’s talking about the justice system or reality TV, Jamison writes with both vulnerability and poise, using her lived experience as a jumping-off point for exploring the nature of empathy itself.

Tip: Try to show change in how you feel about something

Including external perspectives, as we’ve just discussed above, will help shape your essay, making it meaningful to other people and giving your narrative an arc. 

Ultimately, you may be writing about yourself, but readers can read what they want into it. In a personal narrative, they’re looking for interesting insights or realizations they can apply to their own understanding of their lives or the world — so don’t lose sight of that. As the subject of the essay, you are not so much the topic as the vehicle for furthering a conversation.

Often, there are three clear stages in an essay:

• Initial state 
• Encounter with something external
• New, changed state, and conclusions

By bringing readers through this journey with you, you can guide them to new outlooks and demonstrate how your story is still relevant to them.

Had enough of writing about your own life? Let’s look at a form of creative nonfiction that allows you to get outside of yourself.

Tell a factual story as though it were a novel

The form of creative nonfiction that is perhaps closest to conventional nonfiction is literary journalism. Here, the stories are all fact, but they are presented with a creative flourish. While the stories being told might comfortably inhabit a newspaper or history book, they are presented with a sense of literary significance, and writers can make use of literary techniques and character-driven storytelling.

Unlike news reporters, literary journalists can make room for their own perspectives: immersing themselves in the very action they recount. Think of them as both characters and narrators — but every word they write is true. 

If you think literary journalism is up your street, think about the kinds of stories that capture your imagination the most, and what those stories have in common. Are they, at their core, character studies? Parables? An invitation to a new subculture you have never before experienced? Whatever piques your interest, immerse yourself.

Example: The Botany of Desire by Michael Pollan

If you’re looking for an example of literary journalism that tells a great story, look no further than Michael Pollan’s The Botany of Desire: A Plant’s-Eye View of the World , which sits at the intersection of food writing and popular science. Though it purports to offer a “plant’s-eye view of the world,” it’s as much about human desires as it is about the natural world.

Through the history of four different plants and human’s efforts to cultivate them, Pollan uses first-hand research as well as archival facts to explore how we attempt to domesticate nature for our own pleasure, and how these efforts can even have devastating consequences. Pollan is himself a character in the story, and makes what could be a remarkably dry topic accessible and engaging in the process.

Tip: Don’t pretend that you’re perfectly objective

You may have more room for your own perspective within literary journalism, but with this power comes great responsibility. Your responsibilities toward the reader remain the same as that of a journalist: you must, whenever possible, acknowledge your own biases or conflicts of interest, as well as any limitations on your research. 

Thankfully, the fact that literary journalism often involves a certain amount of immersion in the narrative — that is, the writer acknowledges their involvement in the process — you can touch on any potential biases explicitly, and make it clear that the story you’re telling, while true to what you experienced, is grounded in your own personal perspective.

Approach a famous name with a unique approach 

Biographies are the chronicle of a human life, from birth to the present or, sometimes, their demise. Often, fact is stranger than fiction, and there is no shortage of fascinating figures from history to discover. As such, a biographical approach to creative nonfiction will leave you spoilt for choice in terms of subject matter.

Because they’re not written by the subjects themselves (as memoirs are), biographical nonfiction requires careful research. If you plan to write one, do everything in your power to verify historical facts, and interview the subject’s family, friends, and acquaintances when possible. Despite the necessity for candor, you’re still welcome to approach biography in a literary way — a great creative biography is both truthful and beautifully written.

Example: American Prometheus  by Kai Bird and Martin J. Sherwin

Alongside the need for you to present the truth is a duty to interpret that evidence with imagination, and present it in the form of a story. Demonstrating a novelist’s skill for plot and characterization, Kai Bird and Martin J. Sherwin’s American Prometheus is a great example of creative nonfiction that develops a character right in front of the readers’ eyes .

American Prometheus follows J. Robert Oppenheimer from his bashful childhood to his role as the father of the atomic bomb, all the way to his later attempts to reckon with his violent legacy.

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The biography tells a story that would fit comfortably in the pages of a tragic novel, but is grounded in historical research. Clocking in at a hefty 721 pages, American Prometheus distills an enormous volume of archival material, including letters, FBI files, and interviews into a remarkably readable volume. 

📚 For more examples of world-widening, eye-opening biographies, check out our list of the 30 best biographies of all time.

Tip: The good stuff lies in the mundane details

Biographers are expected to undertake academic-grade research before they put pen to paper. You will, of course, read any existing biographies on the person you’re writing about, and visit any archives containing relevant material. If you’re lucky, there’ll be people you can interview who knew your subject personally — but even if there aren’t, what’s going to make your biography stand out is paying attention to details, even if they seem mundane at first.

Of course, no one cares which brand of slippers a former US President wore — gossip is not what we’re talking about. But if you discover that they took a long, silent walk every single morning, that’s a granular detail you could include to give your readers a sense of the weight they carried every day. These smaller details add up to a realistic portrait of a living, breathing human being.

But creative nonfiction isn’t just writing about yourself or other people. Writing about art is also an art, as we’ll see below.

Put your favorite writers through the wringer with literary criticism

Literary criticism is often associated with dull, jargon-laden college dissertations — but it can be a wonderfully rewarding form that blurs the lines between academia and literature itself. When tackled by a deft writer, a literary critique can be just as engrossing as the books it analyzes.

Many of the sharpest literary critics are also poets, poetry editors , novelists, or short story writers, with first-hand awareness of literary techniques and the ability to express their insights with elegance and flair. Though literary criticism sounds highly theoretical, it can be profoundly intimate: you’re invited to share in someone’s experience as a reader or writer — just about the most private experience there is.

Example: The Madwoman in the Attic by Sandra M. Gilbert and Susan Gubar

Take The Madwoman in the Attic by Sandra M. Gilbert and Susan Gubar, a seminal work approaching Victorian literature from a feminist perspective. Written as a conversation between two friends and academics, this brilliant book reads like an intellectual brainstorming session in a casual dining venue. Highly original, accessible, and not suffering from the morose gravitas academia is often associated with, this text is a fantastic example of creative nonfiction.

Tip: Remember to make your critiques creative

Literary criticism may be a serious undertaking, but unless you’re trying to pitch an academic journal, you’ll need to be mindful of academic jargon and convoluted sentence structure. Don’t forget that the point of popular literary criticism is to make ideas accessible to readers who aren’t necessarily academics, introducing them to new ways of looking at anything they read. 

If you’re not feeling confident, a professional nonfiction editor could help you confirm you’ve hit the right stylistic balance .

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Is creative nonfiction looking a little bit clearer now? You can try your hand at the genre , or head to the next post in this guide and discover online classes where you can hone your skills at creative writing.

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The Best Reviewed Nonfiction of 2021

Featuring george saunders, joan didion, michelle zauner, tom stoppard, tove ditlevsen, and more.

Well, friends, another grim and grueling plague year is drawing to a close, and that can mean only one thing: it’s time to put on our Book Marks stats hats and tabulate the best reviewed books of the past twelve months.

Yes, using reviews drawn from more than 150 publications, over the next two weeks we’ll be revealing the most critically-acclaimed books of 2021, in the categories of (deep breath): Memoir and Biography ; Sci-Fi, Fantasy, and Horror ; Short Story Collections ; Essay Collections ; Poetry ; Mystery and Crime ; Graphic Literature; Literature in Translation; General Fiction ; and General Nonfiction.

Today’s installment: Nonfiction .

Brought to you by Book Marks , Lit Hub’s “Rotten Tomatoes for books.”

1. Crying in H Mart by Michelle Zauner (Knopf)

24 Rave • 6 Positive

“… powerfully maps a complicated mother-daughter relationship cut much too short … Zauner’s food descriptions transport us to the table alongside her … a rare acknowledgement of the ravages of cancer in a culture obsessed with seeing it as an enemy that can be battled with hope and strength …Zauner carries the same clear-eyed frankness to writing about her mother’s death five months after her diagnosis … It is rare to read about a slow death in such detail, an odd gift in that it forces us to sit with mortality rather than turn away from it.”

–Kristen Martin ( NPR )

2. The Copenhagen Trilogy by Tove Ditlevsen, trans. by Tiina Nullally and Michael Favala Goldman (FSG)

23 Rave • 4 Positive Read an excerpt from The Copenhagen Trilogy here

“… beautiful and fearless … Ditlevsen’s memoirs…form a particular kind of masterpiece, one that helps fill a particular kind of void. The trilogy arrives like something found deep in an ancestor’s bureau drawer, a secret stashed away amid the socks and sachets and photos of dead lovers. The surprise isn’t just its ink-damp immediacy and vitality—the chapters have the quality of just-written diary entries, fluidly translated by Tiina Nunnally and Michael Favala Goldman—but that it exists at all. It’s a bit like discovering that Lila and Lenú, the fictional heroines of Elena Ferrante’s Neapolitan quartet, were real … A half-century later, all of it—her extraordinary clarity and imperfect femininity, her unstinting account of the struggle to reconcile art and life—still lands. The construct of memoir (and its stylish young cousin, autofiction) involves the organizing filter of retrospection, lending the impression that life is a continuous narrative reel of action and consequence, of meanings to be universalized … Ditlevsen’s voice, diffident and funny, dead-on about her own mistakes, is a welcome addition to that canon of women who showed us their secret faces so that we might wear our own.”

–Megan O’Grady ( The New York Times Book Review )

3. Tom Stoppard: A Life by Hermione Lee (Knopf)

13 Rave • 19 Positive • 3 Mixed Read an excerpt from Tom Stoppard: A Life here

“Lee…builds an ever richer, circular understanding of his abiding themes and concerns, of his personal and artistic life, and of his many other passionate engagements … Lee’s biography is unusual in that it was commissioned, and published while its subject is still alive. Lee is a highly acclaimed biographer whose rigor and integrity make her decision to write under such conditions surprising … Lee is frank and thoughtful about the challenges of writing about a living subject. She is aware, as the reader will be, that her interview subjects do not want to speak ill of a friend and colleague who is still among them. In addition to the almost unrelievedly positive portrayal of Stoppard, the seven-hundred-fifty-plus pages of this volume might have been somewhat condensed, were its subject no longer living, thereby rendering the biography easier to wield and to read. In spite of these quibbles, this is an extraordinary record of a vital and evolving artistic life, replete with textured illuminations of the plays and their performances, and shaped by the arc of Stoppard’s exhilarating engagement with the world around him, and of his eventual awakening to his own past.”

–Claire Messud ( Harper’s )

4. A Swim in a Pond in the Rain: In Which Four Russians Give a Master Class on Writing, Reading, and Life by George Saunders (Random House)

20 Rave • 9 Positive • 3 Mixed • 2 Pan Listen to an interview with George Saunders here

“This book is a delight, and it’s about delight too. How necessary, at our particular moment … I love the warmth with which he writes about this teaching … This kind of reading (one of the best kinds, I’m convinced) tracks the author’s intentions—and missed intentions, and intuitions, and instinctive recoil from what’s banal or obvious—so closely and intimately, at every step, through every sentence … All this makes Saunders’s book very different from just another ‘how to’ creative writing manual, or just another critical essay. In enjoyably throwaway fashion, he assembles along his way a few rules for writing … reading…with this rich, close attention will mulch down into any would-be writer’s experience, and repay them by fertilising their own work eventually … One of the pleasures of this book is feeling his own thinking move backwards and forwards, between the writer dissecting practice and the reader entering in through the spell of the words, to dwell inside the story.”

–Tessa Hadley ( The Guardian )

5. Real Estate by Deborah Levy (Bloomsbury)

18 Rave • 9 Positive Read an excerpt from Real Estate here

“[A] wonderful new book … Levy, whose prose is at once declarative and concrete and touched with an almost oracular pithiness, has a gift for imbuing ordinary observations with the magic of metaphor … The new volume, which follows the death of one version of the self, describes the uncertain birth of another … She herself is not always a purely likable, or reliable, narrator of her own experience, and her book is the richer for it.”

–Alexandra Schwartz ( The New Yorker )

6. Mike Nichols: A Life by Mark Harris (Penguin)

18 Rave • 8 Positive • 2 Mixed

“Mark Harris’s portrait of director Mike Nichols is a pleasure to read and a model biography: appreciative yet critical, unfailingly intelligent and elegantly written. Granted, Harris has a hyper-articulate, self-analytical subject who left a trail of press coverage behind him, but Nichols used his dazzling conversational gifts to obfuscate and beguile as much as to confide … Harris, a savvy journalist and the author of two excellent cultural histories, makes judicious use of abundant sources in Mike Nichols: A Life to craft a shrewd, in-depth reckoning of the elusive man behind the polished facade … Harris gently covers those declining years with respect for the achievements that preceded them. His marvelous book makes palpable in artful detail the extraordinary scope and brilliance of those achievements.”

–Wendy Smith ( The Washington Post )

7. These Precious Days by Ann Patchett (Harper)

21 Rave • 3 Positive • 1 Mixed Read Ann Patchett on creating the work space you need, here

“… excellent … Patchett has a talent for friendship and celebrates many of those friends here. She writes with pure love for her mother, and with humor and some good-natured exasperation at Karl, who is such a great character he warrants a book of his own. Patchett’s account of his feigned offer to buy a woman’s newly adopted baby when she expresses unwarranted doubts is priceless … The days that Patchett refers to are precious indeed, but her writing is anything but. She describes deftly, with a line or a look, and I considered the absence of paragraphs freighted with adjectives to be a mercy. I don’t care about the hue of the sky or the shade of the couch. That’s not writing; it’s decorating. Or hiding. Patchett’s heart, smarts and 40 years of craft create an economy that delivers her perfectly understated stories emotionally whole. Her writing style is most gloriously her own.”

–Alex Witchel ( The New York Times Book Review )

8. Let Me Tell You What I Mean by Joan Didion (Knopf)

14 Rave • 12 Positive • 6 Mixed Read an excerpt from Let Me Tell You What I Mean here

“In five decades’ worth of essays, reportage and criticism, Didion has documented the charade implicit in how things are, in a first-person, observational style that is not sacrosanct but common-sensical. Seeing as a way of extrapolating hypocrisy, disingenuousness and doubt, she’ll notice the hydrangeas are plastic and mention it once, in passing, sorting the scene. Her gaze, like a sentry on the page, permanently trained on what is being disguised … The essays in Let Me Tell You What I Mean are at once funny and touching, roving and no-nonsense. They are about humiliation and about notions of rightness … Didion’s pen is like a periscope onto the creative mind—and, as this collection demonstrates, it always has been. These essays offer a direct line to what’s in the offing.”

–Durga Chew-Bose ( The New York Times Book Review )

9. Orwell’s Roses by Rebecca Solnit (Viking)

12 Rave • 13 Positive • 1 Mixed Read an excerpt from Orwell’s Roses here

“… on its simplest level, a tribute by one fine essayist of the political left to another of an earlier generation. But as with any of Solnit’s books, such a description would be reductive: the great pleasure of reading her is spending time with her mind, its digressions and juxtapositions, its unexpected connections. Only a few contemporary writers have the ability to start almost anywhere and lead the reader on paths that, while apparently meandering, compel unfailingly and feel, by the end, cosmically connected … Somehow, Solnit’s references to Ross Gay, Michael Pollan, Ursula K. Le Guin, and Peter Coyote (to name but a few) feel perfectly at home in the narrative; just as later chapters about an eighteenth-century portrait by Sir Joshua Reynolds and a visit to the heart of the Colombian rose-growing industry seem inevitable and indispensable … The book provides a captivating account of Orwell as gardener, lover, parent, and endlessly curious thinker … And, movingly, she takes the time to find the traces of Orwell the gardener and lover of beauty in his political novels, and in his insistence on the value and pleasure of things .”

10. A Ghost in the Throat by Doireann Ní Ghríofa (Biblioasis)

17 Rave • 4 Positive Read an excerpt from A Ghost in the Throat here

“… ardent, shape-shifting … The book is all undergrowth, exuberant, tangled passage. It recalls Nathalie Léger’s brilliant and original Suite for Barbara Loden : a biography of the actress and director that becomes a tally of the obstacles in writing such a book, and an admission of the near-impossibility of biography itself … The story that uncoils is stranger, more difficult to tell, than those valiant accounts of rescuing a ‘forgotten’ woman writer from history’s erasures or of the challenges faced by the woman artist … What is this ecstasy of self-abnegation, what are its costs? She documents this tendency without shame or fear but with curiosity, even amusement. She will retrain her hungers. ‘I could donate my days to finding hers,’ she tells herself, embarking on Ni Chonaill’s story. ‘I could do that, and I will.’ Or so she says. The real woman Ni Ghriofa summons forth is herself.”

–Parul Sehgal ( The New York Times )

Our System:

RAVE = 5 points • POSITIVE = 3 points • MIXED = 1 point • PAN = -5 points

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An Introduction to Literary Nonfiction

Using Literary Techniques Usually Found in Fiction on Real-Life Events

• An Introduction to Punctuation
• Ph.D., Rhetoric and English, University of Georgia
• M.A., Modern English and American Literature, University of Leicester
• B.A., English, State University of New York

Like literary journalism , literary nonfiction is a type of prose that employs the literary techniques usually associated with fiction or poetry to report on persons, places, and events in the real world without altering facts.

The genre of literary nonfiction, also known as creative nonfiction, is broad enough to include travel writing, nature writing, science writing, sports writing, biography, autobiography, memoir, interviews, and familiar and personal essays. Literary nonfiction is alive and well, but it is not without its critics.

Here are several examples of literary nonfiction from noted authors:

• "The Cries of London," by Joseph Addison
• "Death of a Soldier," by Louisa May Alcott
• "A Glorious Resurrection," by Frederick Douglass
• "The San Francisco Earthquake," by Jack London
• "The Watercress Girl," by Henry Mayhew

Observations

• "The word literary masks all kinds of ideological concerns, all kinds of values, and is finally more a way of looking at a text , a way of reading...than an inherent property of a text." (Chris Anderson, "Introduction: Literary Nonfiction and Composition" in "Literary Nonfiction: Theory, Criticism, Pedagogy")
• Fictional Devices in Literary Nonfiction "One of the profound changes to have affected serious writing in recent years has been the spread of fiction and poetry techniques into literary nonfiction: the 'show, don’t tell' requirement, the emphasis on concrete sensory detail and avoidance of abstraction, the use of recurrent imagery as symbolic motif, the taste for the present tense, even the employment of unreliable narrators. There has always been some crossover between the genres. I am no genre purist, and welcome the cross-pollination, and have dialogue scenes in my own personal essays (as did Addison and Steele). But it is one thing to accept using dialogue scenes or lyrical imagery in a personal narrative, and quite another to insist that every part of that narrative be rendered in scenes or concrete sensory descriptions . A previous workshop teacher had told one of my students, 'Creative non-fiction is the application of fictional devices to memory.' With such narrow formulae, indifferent to nonfiction's full range of options, is it any wonder that students have started to shy away from making analytical distinctions or writing reflective commentary?" (Phillip Lopate, "To Show and to Tell: The Craft of Literary Nonfiction")
• Practical Nonfiction vs. Literary Nonfiction "Practical nonfiction is designed to communicate information in circumstances where the quality of the writing is not considered as important as the content. Practical nonfiction appears mainly in popular magazines, newspaper Sunday supplements, feature articles, and in self-help and how-to books... "Literary nonfiction puts emphasis on the precise and skilled use of words and tone , and the assumption that the reader is as intelligent as the writer. While information is included, insight about that information, presented with some originality, may predominate. Sometimes the subject of literary nonfiction may not at the onset be of great interest to the reader, but the character of the writing may lure the reader into that subject. "Literary nonfiction appears in books, in some general magazines such as The New Yorker , Harper's, the Atlantic , Commentary , the New York Review of Books , in many so-called little or small-circulation magazines, in a few newspapers regularly and in some other newspapers from time to time, occasionally in a Sunday supplement, and in book review media." (Sol Stein, Stein on Writing: A Master Editor of Some of the Most Successful Writers of Our Century Shares His Craft Techniques and Strategies)
• Literary Nonfiction in the English Department "It might be the case that composition studies...needs the category of 'literary nonfiction' to assert its place in the hierarchy of discourse comprising the modern English department. As English departments became increasingly centered on the interpretation of texts, it became increasingly important for compositionists to identify texts of their own." (Douglas Hesse, "The Recent Rise of Literary Nonfiction: A Cautionary Assay" in "Composition Theory for the Postmodern Classroom") "Whether critics are arguing about contemporary American nonfiction for historical or theoretical purposes, one of the primary (overt and usually stated) aims is to persuade other critics to take literary nonfiction seriously—to grant it the status of poetry, drama, and fiction." (Mark Christopher Allister, "Refiguring the Map of Sorrow: Nature Writing and Autobiography")
• Creative Nonfiction
• Interior Monologues
• What is Nature Writing?
• What Is Literary Journalism?
• Using Flashback in Writing
• What Is Colloquial Style or Language?
• Defining Nonfiction Writing
• literary present (verbs)
• What Are the Different Types and Characteristics of Essays?
• Definition and Examples of Humorous Essays
• Definition and Examples of Formal Essays
• Foreshadowing in Narratives
• Tips on Great Writing: Setting the Scene
• A Guide to All Types of Narration, With Examples

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What Distinguishes Literary Nonfiction From Traditional Nonfiction

by Holly Riddle

As a writer, you’ve probably come across the terms “fiction” and “nonfiction” before—but each one can be deceptively complicated. You may think that nonfiction writing is noting but dull facts, when in fact it can be a great way to get creative!

If you’re interested in writing nonfiction, one of the first places to start is with understanding these broader, overarching literary styles of nonfiction and traditional nonfiction. We’ve got all the answers about the differences between these two nonfiction categories, so you can decide where your preferred writing style fits in.

What’s the difference between traditional nonfiction and literary nonfiction?

Traditional nonfiction and literary nonfiction both convey information to the reader about things that are true; however, literary nonfiction uses true events to tell a story, while traditional nonfiction simply communicates facts. Literary nonfiction feels like a short story or novel, except that everything in it really happened; traditional nonfiction covers things like textbooks, instruction manuals, or cookbooks.

Sometimes, these two nonfiction genres can overlap (and even overlap with fiction genres!). We’ll look at both of them in more detail below.

What is traditional nonfiction?

Traditional nonfiction is clear, straightforward information about a particular topic. This type of writing is designed to help someone learn or to clarify complex ideas. Academic essays, travel guidebooks, school textbooks, and news reports are all examples of traditional nonfiction writing.

You can find a lot of these books in the education section. If you know a child who loves science books about trains or dinosaurs, chances are those books are traditional nonfiction as well. These types of books aren’t as popular with readers as literary nonfiction or even fiction, as most adult readers do want to sit down and enjoy a story—whether factual or not—rather than read a series of dry facts. That’s why the best traditional nonfiction writing incorporates creative aspects, too!

Journalism, travel guides, cookbooks, and self-help books would also be considered traditional-style nonfiction, though this can vary depending on the journalist’s individual writing style. These days, many of these books have creative aspects of history and memoir too.

What is literary nonfiction?

Literary nonfiction, also called creative nonfiction, is a genre of writing that gives a storytelling narrative to real events. These stories might be about the author’s life, about historical figures, or about moments that impacted society in some way. Literary nonfiction authors use literary devices and characterization to create an engaging true story for the reader.

Literary nonfiction is a bit more prominent and there’s a lot more wiggle room in terms of what can or cannot be considered literary and creative nonfiction. The important part is that literary nonfiction uses literary devices that you might commonly find in fiction, to tell a story or relay information. Sometimes, literary nonfiction goes by other names, such as creative nonfiction, narrative nonfiction, or personal narrative nonfiction.

Just like with traditional nonfiction, literary nonfiction is entirely based on facts and the truth—but literary nonfiction often incorporates stories, opinions, personal observations, and other elements to weave a narrative.

You might find that a literary nonfiction book contains more atmospheric descriptions. The author might choose not reveal key details until later in the text, in order to build suspense and keep you reading. They might follow more of a novel-esque format in terms of pacing and plotting, with an inciting incident (or an event that spurs those involved to action, kicking off the subsequent main events of the book), journey for the characters, and satisfying conclusion.

In short, literary nonfiction blends elements of great fiction writing with the truth to create an enjoyable reading experience.

Different types of creative nonfiction

As mentioned, there are many forms of literary or creative nonfiction. Here are just a few that nonfiction writers might employ.

Historical narratives

While traditional nonfiction books might feel more like a textbook, literary nonfiction history narratives relay a historical account based on the author’s research. History is popular in both fiction and nonfiction, so you can see a spectrum of work that ranges in how much is true and how much is fiction.

Rather than just presenting you with the facts, a history narrative might introduce you to a range of real individuals, along with their thoughts, feelings, and motivations, much like a novelist might paint a picture of their characters in their novels. A history narrative might follow a famous event, but through a creative lens that allows you to feel as if you were really there in the moment. In some cases, the author might interject their own opinions into the history narrative, but, otherwise, all the content is presented as they perceive it to be true, based on their in-depth research and interviews—unlike historical fiction.

Biographies will sometimes fall into this history narrative category, as can some true crime books.

Memoirs and autobiographies

Memoirs are a popular personal narrative nonfiction genre for many new writers. After all, it requires no extra research, because you already know everything you need to write! It’s all about your life story. You simply need to present your personal narratives in an engaging way and you have a well-written memoir.

Of course, creating that engaging memoir is easier said than done, and that’s where your literary devices come into play.

Just like you would set a scene, create drama, and show a character’s internal growth in a novel, to write a memoir you would similarly want to present your life in such a way that allows the reader to feel as if they’re truly in your shoes. Sometimes a memoir will be written as one long book, or sometimes they’ll be broken into smaller essays.

With memoirs, though, it’s very important not to embellish, as much as you might be tempted to throw in a few fake stories to make your life seem more exciting than it actually is. When readers read narrative nonfiction, they expect the book to be totally based on real events or a personal experience.

Personal essays

Personal essays are like the short stories of the literary nonfiction world. These essays can be written on a range of topics, exposing the reader to an issue that’s important to the writer, incorporating interviews and observations, or simply relating actual events or personal experiences from a person’s life. Essays are a great way to introduce audiences to your life in tiny snapshots.

These three examples just scratch the surface of all that narrative nonfiction writing can be and cover. Other types of work that can fall into this category range from travelogues to diaries, epistolary works (aka works made up of letters) to even some science writing (like expository literature).

The main point? If it’s nonfiction—meaning all the truth and nothing but the truth—and it’s presented in a literary way, using literary styles and plot elements, then it’s very likely literary nonfiction.

Literary nonfiction books

If you’d like to get a further handle on the elements of literary nonfiction, why not start by reading a few literary nonfiction books? Based on real events and personal experiences, these are all riveting reads.

Famous literary nonfiction works you gift explore include…

The Diary of a Young Girl by Anne Frank

This autobiography written by Anne Frank detailing her own life’s events is likely one of the world’s most famous examples of narrative nonfiction. The short diary follows Anne Frank’s life in hiding during World War II. It features Anne as the protagonist, along with a full cast of characters, such as her family members. Just like in a work of fiction, there’s a plot and conflict (her family going into hiding and needing to remain thus) and an antagonist (the Nazis), but the story is entirely true.

I Know Why the Caged Bird Sings by Maya Angelou

This great example by Maya Angelou is likewise drawn from the author’s life (or a part of their life), but it takes quite a different form. Angelou’s I Know Why the Caged Bird Sings is a memoir, so it follows more of a traditional narrative structure than The Diary of a Young Girl .

Where as Anne Frank’s diary is just that—a diary and written in daily installments, much like any journal— I Know Why the Caged Bird Sings is more of a literary narrative with lots of vivid imagery, characters, and scenes. This is to be expected, given that Angelou is a famous author, while Frank never wrote her diary in anticipation of being published, but both are still great examples of literary nonfiction.

Do note that while I Know Why the Caged Bird Sings is a memoir, it still has a certain poetic and lyrical narrative element thanks to Angelou’s carefully crafted writing style. This helps set the memoir apart from an autobiography or biography, which is a little more factual in style, with less emphasis on the author’s voice.

In Cold Blood by Truman Capote

Truman Capote’s In Cold Blood is far different from either of the two books above, as it’s consider a “nonfiction novel.”

But this seems a bit odd, right? How can you have a book that’s both nonfiction and a novel?

Well, a nonfiction novel is a form of literary nonfiction that blends fictional details with real historical events and people. In Cold Blood is an example of a true crime novel which follows a very real case, but Capote has added in fictional elements like conversations that no one could really know about unless they were there.

This genre isn’t terribly popular, even if In Cold Blood is, and it’s one that should be used with great care. As always with nonfiction, it’s important to not accidentally present a fictional element to your reader as true. If you’re going to take liberties, you should be up front about it and label your writing accordingly.

Wild: From Lost to Found on the Pacific Crest Trail by Cheryl Strayed

A more recent example, Wild: From Lost to Found on the Pacific Crest Trail by Cheryl Strayed is a memoir that follows a woman’s trip hiking the Pacific Crest Trail and her self-discovery during that trip. The book was wildly popular when first published and, even if you didn’t read it, you may have seen the movie starring Reese Witherspoon.

The Year of Magical Thinking by Joan Didion

But while Wild is a memoir that focuses on a singular event that occurred within the writer’s life, Joan Didion’s The Year of Magical Thinking is likewise a memoir, but it, instead, focuses on a singular period of time. In this case, it focuses on the year following the passing of her husband. The award-winning book isn’t just a recounting of Didion’s day-to-day life; instead, she takes a more journalistic approach to her life’s events, incorporating research in an essay-like manner.

The Devil in the White City by Erik Larson

Erik Larson is easily one of the most well known historical writers published today. One of his earlier written works, The Devil in the White City, is an example of a historical nonfiction and uses a novelistic writing style to tell the story of a serial killer at the 1893 World Columbian Exposition in Chicago. Unlike Truman Capote’s In Cold Blood , The Devil in the White City relies nearly solely on facts and research to recount the events.

Eat, Pray, Love by Elizabeth Gilbert

Another popular memoir that’s been adapted for the big screen, Eat, Pray, Love by Elizabeth Gilbert is often compared to Wild . The two definitely fit into similar categories. Both are about women experiencing self-discovery through travel, albeit through two very different experiences.

What makes good literary nonfiction writing?

Just like there are a few necessary story elements in all good novels, there are very similar elements that make for good, readable literary nonfiction writing.

Even though you’re not making up the plot from scratch like you would when writing fiction, you still need a plot for your nonfiction writing. While this can seem a little difficult at first, it’s truly not. Every event has a plot.

In the literary nonfiction novel and memoir Eat, Pray, Love by Elizabeth Gilbert, Gilbert’s book starts at home when her adventures are kicked off by an inciting incident that she can’t ignore: She gets divorced. This spurs her on to her next action, which is jetting off to Italy.

A series of events follow, all of which lead to a satisfying ending of the book in which Gilbert is happier and more in tune with herself than she was at the start. This wraps up her character arc, or character development, nicely.

See? Even though it’s a true story, there’s still an engaging plot.

Characters—both real and fictional—are important in any narrative. Just like you would in a piece of fiction, for narrative or creative nonfiction you’ll need to make those characters seem as real to the reader as they are to you.

Don’t just write about that time your mom burnt the holiday ham and tell us she has brown hair and red lipstick. Tell us about the way your mom laughs or how she makes you feel when she walks into the room (good or bad!). Tell us that she has a stain on her apron from five years ago that she hates, or that she always whistles when she’s stressed.

Show us who your characters are using rich language. Convince your reader that each person is real.

And, of course, just like you need to make those characters real for your readers, you need to make the setting real enough for your readers to explore, too. Back to the previous example of Mom with her holiday ham, make the kitchen vivid. Is it cramped or spacious? Dirty or clean? What does it smell like? What’s on the fridge? Use some figurative language!

All of the above can go a long way to making your creative nonfiction just as magical and engaging as any fictional story.

Getting started writing your own literary nonfiction

Ready to start writing your own literary nonfiction? Here are a few tips to help you get off on the right foot.

To write literary nonfiction, read literary nonfiction

As all nonfiction writers will tell you, if you want to write a certain genre or style of book, you need to avidly read that genre or style of book. If you want to write short stories, you need to read short stories. If you want to write poetry, you need to read poetry. The same is true for literary nonfiction.

Luckily, there are so many different types of creative nonfiction out there, and so many different topics on which literary nonfiction has been written, that you’re sure to find something you love. Try one of our above suggestions to start or head to your local library or bookstore and browse the stacks. Whether you want to read about travel experiences, famous historical events or people, or a chilling true crime biography, you can find it.

Find your story

Just like the heart of any fiction work is a truly good story, so is the heart of any creative nonfiction. You may already have a subject in mind that you want to write about—maybe an event from your life or a favorite time or event from history—but do you have a story ?

Who is your main character and what is their main goal? What’s the challenge getting in the way of them achieving that goal? What do they need to learn about themselves and how do they need to grow in order to overcome those challenges? Or, do you have a main character who tries and tires to overcome those challenges, and then fails gloriously?

When you’ve pinpointed the above, you’ve found your story.

Determine what you need to know and then do your research

If you’re writing anything other than your own life story, you’ll likely need to gather outside intel. What do you need to know, in order to tell your story effectively?

If you’re writing about a major historical event, for example, and you want to tell the story of a minority community whose impact was overlooked by the history books, you might need to learn a bit more about the group of people you want to present, their culture, their unique histories, and the broader world events that were occurring around the event you want to mainly focus on.

You can often do this research by reading (and reading some more), but consider also going to museums and historical sites, interviewing experts, and interviewing those who were either directly impacted by the event you’re covering, or whose relatives were directly impacted.

Of course, any time you get into interviewing, journalistic standards and ethics apply. Interviewing must be done with sensitivity and, while you want to get personal with your sources, you also want to respect others’ viewpoints and remain sensitive to their potential traumas.

Start writing

Just like writing a fiction novel can be a months-long or years-long process, so is writing a piece of narrative nonfiction. Be prepared to research even more as you go along, but also to revise, revise, and revise again. Enlist your trusted beta readers, fellow narrative nonfiction writers, and critique partners to help you identify where your story can grow with each version. If you can, find a reader who already knows about the topic you’re writing on, whether that be an expert in a time period, industry, or place.

Not interested in writing a full creative nonfiction manuscript? No worries. Many other formats work well for creative nonfiction. Try a short essay, article, or some epistolary writing (aka, a piece of writing conveyed only through letters). Don’t be afraid to play around with style.

Remember: Creative nonfiction can be interpreted a range of different ways, and a true story can be told using countless story-telling methods. So long as you’re sticking to the truth, you’ll be on the right path.

When you finally have a completed manuscript, story, essay, it’s time to share it—and the true story that deserves to be heard—with the world.

Know the differences and make your literary nonfiction stand apart from traditional nonfiction

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English CSJM. Who Do You Think You Are: A Creative Nonfiction Workshop

Instructor: Saeed Jones Thursday, 12:00-2:45 pm | Location: TBD Enrollment: Limited to 12 students People don’t just happen. In this workshop-based class, students will explore the capacity of memoir and cultural criticism to illuminate their understanding of memory, connection, and self-making. This course is as invested in the craft of writing as it is in interrogating how storytelling functions within systems of power. Students will be asked to consider what the work is doing to us, and what we are using our own work to do to others. Classes will alternate between workshop discussions, in-class writing exercises and close readings of nonfiction by Lucille Clifton, Eula Biss, Carmen Maria Machado, Toni Morrison, Vivian Gornick, Hanif Abdurraqib, and Kiese Laymon among others.   Supplemental Application Information:  If you are interested in joining the course, please complete this application by August 12, 2024. A maximum of 12 students will be selected to join the course. The application requires a 2-3 page writing sample and a 250 work maximum reflection on why this course appeals to you. We will follow up with everyone who applies for the course by email once decisions are made. This course is also offered through the Harvard Medical School as MMH 709.

English CWNM. Nonfiction Writing for Magazines

Instructor: Maggie Doherty TBD | Location: TBD Enrollment: Limited to 12 students

This course will focus on the genres of nonfiction writing commonly published in magazines: the feature, the profile, the personal essay, and longform arts criticism. We will read and discuss examples of such pieces from magazines large (Harper’s, The New Yorker) and small (n+1, The Drift); our examples will be drawn from the last several years. We will discuss both the process of writing such pieces—research, reporting, drafting, editing—and the techniques required to write informative, engaging, elegant nonfiction. In addition to short writing exercises performed in class and outside of class, each student will write one long piece in the genre of their choosing over the course of the semester, workshopping the piece twice, at different stages of completion. Although some attention will be paid to pitching and placing work in magazines, the focus of the course will be on the writing process itself.

English CNYA. Creative Nonfiction Workshop: Young Adult Writing

Instructor:  Melissa Cundieff Thursday, 3:00-5:45pm | Location: TBD Enrollment: Limited to 12 students Course Site

In this workshop-based class, students will consider themes that intersect with the Young Adult genre: gender and sexuality, romantic and platonic relationships and love/heartbreak, family, divorce and parental relationships, disability, neurodivergence, drug use, the evolution/fracturing of childhood innocence, environmentalism, among others. Students will write true stories about their lived lives with these themes as well as intended audience (ages 12-18) specifically in mind. For visual artists, illustrating one’s work/essays is something that I invite but of course do not require. We will read work by Sarah Prager, Robin Ha, ND Stevenson, Laurie Hals Anderson, Dashka Slater,  and Jason Reynolds. Apply via Submittable  (deadline: 11:59pm EDT on Thursday, August 22) Supplemental Application Information:  Applications for this class should include a 2-3 page (double-spaced if prose, single-spaced if poetry) creating writing sample of any genre (nonfiction, fiction, poetry), or combination of genres. Additionally, I ask that students submit a 250-word reflection on their particular relationship with creative writing and why this course appeals to them. This class is open to students of all writing levels and experience.

English CMMU. Creative Nonfiction Workshop: Using Music

Instructor: Melissa Cundieff Tuesday, 12:00-2:45pm | Location: TBD Enrollment: Limited to 12 students Course Site

In this workshop-based class, students will think deeply about how music is often at the center of their experiences, may it be as a song, an album, an artist, their own relationship with an instrument, etc. This class will entail writing true stories about one's life in which the personal and music orbit and/or entangle each other. This will include some journalism and criticism, but above all it will ask you to describe how and why music matters to your lived life. We will read work by Hayao Miyazaki, Jia Tolentino, Kaveh Akbar, Oliver Sacks, Susan Sontag, Adrian Matejka, among many others, (as well as invite and talk with guest speaker(s)). This class is open to all levels. Apply via Submittable  (deadline: 11:59pm EDT on Thursday, August 22) Supplemental Application Information:  Applications for this class should include a 2-3 page (double-spaced if prose, single-spaced if poetry) creating writing sample of any genre (nonfiction, fiction, poetry), or combination of genres. Additionally, I ask that students submit a 250-word reflection on their particular relationship with creative writing and why this course appeals to them. This class is open to students of all writing levels and experience.

English CIHR. Reading and Writing the Personal Essay: Workshop

Instructor:  Michael Pollan Monday, 3:00-5:45 pm | Location: TBD Enrollment: Limited to 12 students Course Site

There are few literary forms quite as flexible as the personal essay. The word comes from the French verb essai, “to attempt,” hinting at the provisional or experimental mood of the genre. The conceit of the personal essay is that it captures the individual’s act of thinking on the fly, typically in response to a prompt or occasion. The form offers the rare freedom to combine any number of narrative tools, including memoir, reportage, history, political argument, anecdote, and reflection. In this writing workshop, we will read essays beginning with Montaigne, who more or less invented the form, and then on to a varied selection of his descendants, including George Orwell, E.B. White, James Baldwin, Susan Sontag, Joan Didion, David Foster Wallace and Rebecca Solnit. We will draft and revise essays of our own in a variety of lengths and types including one longer work of ambition. A central aim of the course will be to help you develop a voice on the page and learn how to deploy the first person—not merely for the purpose of self-expression but as a tool for telling a story, conducting an inquiry or pressing an argument.

Apply via Submittable  (deadline: 11:59pm EDT on Thursday, August 22)

Supplemental Application Information:  To apply, submit a brief sample of your writing in the first person along with a letter detailing your writing experience and reasons for wanting to take this course.

English CNFJ. Narrative Journalism

Instructor:  Darcy Frey Fall 2024: Thursday, 3:00-5:45 pm | Location: TBD Enrollment: Limited to 12 students. Course Site Spring 2025: TBD

In this hands-on writing workshop, we will study the art of narrative journalism in many different forms: Profile writing, investigative reportage, magazine features. How can a work of journalism be fashioned to tell a captivating story? How can the writer of nonfiction narratives employ the scene-by-scene construction usually found in fiction? How can facts become the building blocks of literature? Students will work on several short assignments to practice the nuts-and-bolts of reporting, then write a longer magazine feature to be workshopped in class and revised at the end of the term. We will take instruction and inspiration from the published work of literary journalists such as Joan Didion, John McPhee, Adrian Nicole LeBlanc, and John Jeremiah Sullivan. This is a workshop-style class intended for undergraduate and graduate students at all levels of experience. No previous experience in English Department courses is required.

Apply via Submittable  (deadline: 11:59pm ET on Thursday, August 22)

Supplemental Application Information:   Please write a substantive letter of introduction describing who you are as writer at the moment and where you hope to take your writing; what experience you may have had with journalism or narrative nonfiction; what excites you about narrative journalism in particular; and what you consider to be your strengths and weaknesses as a writer. Additionally, please submit 3-5 pages of journalism or narrative nonfiction or, if you have not yet written much nonfiction, an equal number of pages of narrative fiction.

English CMFG. Past Selves and Future Ghosts

Instructor:  Melissa Cundieff Spring 2024: Please login to the course catalog at my.harvard.edu for meetings times & location Enrollment: Limited to 12 students Course Site Spring 2025: TBD As memoirist and author Melissa Febos puts it: “The narrator is never you, and the sooner we can start thinking of ourselves on the page that way, the better for our work. That character on the page is just this shaving off of the person that was within a very particular context, intermingled with bits of perspective from all the time since — it’s a very specific little cocktail of pieces of the self and memory and art … it’s a very weird thing. And then it’s frozen in the pages.” With each essay and work of nonfiction we produce in this workshop-based class, the character we portray, the narrator we locate, is never stagnant, instead we are developing a persona, wrought from the experience of our vast selves and our vast experiences. To that end, in this course, you will use the tools and stylistic elements of creative nonfiction, namely fragmentation, narrative, scene, point of view, speculation, and research to remix and retell all aspects of your experience and selfhood in a multiplicity of ways. I will ask that you focus on a particular time period or connected events, and through the course of the semester, you will reimagine and reify these events using different modes and techniques as modeled in the published and various works we read. We will also read, in their entireties, Melissa Febos's  Body Work: The Radical Work of Personal Narrative,  as well as Hanif Abdurraqib’s  They   Can’t Kill Us Until They Kill Us , which will aid our discussions and help us to better understand the difference between persona(s) and the many versions of self that inhabit us. Supplemental Application Information:  Applications for this class should include a 2-3 page (double-spaced if prose, single-spaced if poetry) creating writing sample of any genre (nonfiction, fiction, poetry), or combination of genres. Additionally, I ask that students submit a 250-word reflection on their particular relationship with creative writing and why this course appeals to them. This class is open to students of all writing levels and experience.

English CMDR. Creative Nonfiction: Departure and Return: "Home" as Doorway to Difference and Identity

Instructor: Melissa Cundieff Please login to the course catalog at my.harvard.edu for meetings times & location Enrollment: Limited to 12 students Course Site

In this workshop-based class, students will be asked to investigate something that directly or indirectly connects everyone: what it means to leave a place, or one's home, or one's land, and to return to it, willingly or unwillingly. This idea is inherently open-ended because physical spaces are, of course, not our only means of departure and/or return-- but also our politics, our genders, our relationships with power, and our very bodies. Revolution, too, surrounds us, on both larger and private scales, as does looking back on what once was, what caused that initial departure. Students will approach "home" as both a literal place and a figurative mindscape. We will read essays by Barbara Ehrenreich, Ocean Vuong, Natasha Sajé, Elena Passarello, Hanif Abdurraqib, Alice Wong, and Eric L. Muller, among others. Supplemental Application Information:  Applications for this class should include a 2-3 page (double-spaced if prose, single-spaced if poetry) creating writing sample of any genre (nonfiction, fiction, poetry), or combination of genres. Additionally, I ask that students submit a 250-word reflection on their particular relationship with creative writing and why this course appeals to them. This class is open to students of all writing levels and experience. Apply via Submittable  (deadline: 11:59pm ET on Saturday, November 4)

English CGOT. The Other

Instructor:  Rachel Kaadzi Ghansah Thursday, 12:00-2:45 pm | Location: TBD Enrollment: Limited to 12 students Course Site

In this class, we will consider how literary non-fiction articulates or imagines difference, disdain, conflict, and dislike. We will also discuss the more technical and stylistic elements present in strong non-fiction, like reflection, observation, retrospection, scene-setting, description, complexity, and strong characterization. As we read and write, we will put these theoretical concerns into practice and play by writing two or three profiles about people you do not like, a place you don’t care for, an idea you oppose, or an object whose value eludes you. Your writing might be about someone who haunts you without your permission or whatever else gets under your skin, but ideally, your subject makes you uncomfortable, troubles you, and confounds you. We will interrogate how writers earn their opinion. And while it might be strange to think of literature as often having political aims, it would be ignorant to imagine that it does not. Non-fiction forces us to extend our understanding of point of view not just to be how the story unfolds itself technically–immersive reporting, transparent eyeball, third person limited, or third person omniscient--but also to identify who is telling this story and why. Some examples of the writing that we will read are Guy Debord,  Lucille Clifton, C.L.R. James, Pascale Casanova, W.G. Sebald, Jayne Cortez, AbouMaliq Simone, Greg Tate, Annie Ernaux, Edward Said, Mark Twain, Jacqueline Rose, Toni Morrison, Julia Kristeva, and Ryszard Kapuscinski. Supplemental Application Information:   Please submit a brief letter explaining why you're interested to take this class. Apply via Submittable  (deadline: 11:59pm ET on Saturday, November 4)

English CMCC. Covid, Grief, and Afterimage

Instructor: Melissa Cundieff Wednesday, 3:00-5:45 pm | Location: Barker 269 Enrollment: Limited to 12 students Course Site In this workshop-based course we will write about our personal lived experiences with loss and grief born from the Covid-19 pandemic, as well as how grief and grieving became a collective experience that is ongoing and persistent, like an afterimage or haunting. As part of our examination, we will consider intersections with other global, historical experiences and depictions of loss, including the murder of George Floyd and the AIDS epidemic. Readings will include essays by Leslie Jamison, Arundhati Roy, Susan Sontag, Eve Tuck and C. Ree, Matt Levin, and Alice Wong, among others. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26) Supplemental Application Information:  Applications for this class should include a 3-5 page (double-spaced if prose, single-spaced if poetry) creating writing sample of any genre (nonfiction, fiction, poetry), or combination of genres. Additionally, I ask that students submit a 250 word reflection on their particular relationship with creative writing and why this course appeals to them. This class is open to students of all writing levels and experience.

Instructor: Melissa Cundieff Wednesday, 12:00-2:45 pm | Location: Barker 316 Enrollment: Limited to 12 students Course Site As memoirist and author Melissa Febos puts it: “The narrator is never you, and the sooner we can start thinking of ourselves on the page that way, the better for our work. That character on the page is just this shaving off of the person that was within a very particular context, intermingled with bits of perspective from all the time since — it’s a very specific little cocktail of pieces of the self and memory and art … it’s a very weird thing. And then it’s frozen in the pages.” With each essay and work of nonfiction we produce in this workshop-based class, the character we portray, the narrator we locate, is never stagnant, instead we are developing a persona, wrought from the experience of our vast selves and our vast experiences. To that end, in this course, you will use the tools and stylistic elements of creative nonfiction, namely fragmentation, narrative, scene, point of view, speculation, and research to remix and retell all aspects of your experience and selfhood in a multiplicity of ways. I will ask that you focus on a particular time period or connected events, and through the course of the semester, you will reimagine and reify these events using different modes and techniques as modeled in the published and various works we read. We will also read, in their entireties, Melissa Febos's  Body Work: The Radical Work of Personal Narrative,  as well as Hanif Abdurraqib’s  They   Can’t Kill Us Until They Kill Us , which will aid our discussions and help us to better understand the difference between persona(s) and the many versions of self that inhabit us. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26) Supplemental Application Information:  Applications for this class should include a 3-5 page (double-spaced if prose, single-spaced if poetry) creating writing sample of any genre (nonfiction, fiction, poetry), or combination of genres. Additionally, I ask that students submit a 250 word reflection on their particular relationship with creative writing and why this course appeals to them. This class is open to students of all writing levels and experience.

English CRGS. The Surrounds: Writing Interiority and Outsiderness

Instructor:  Rachel Kaadzi Ghansah Thursday, 12:00-2:45 pm | Location: Lamont 401 Enrollment: Limited to 12 students Course Site

The essayist, the writer of non-fiction, has historically been an oracle of opinions that most often go unsaid. They do not traditionally reinforce a sense of insular collectivity, instead they often steer us towards a radical understanding of the moment that they write from. The best essayists unearth and organize messages from those most at the margins: the ignored, the exiled, the criminal, and the destitute. So, by writing about these people, the essayist is fated, most nobly or just as ignobly, to write about the ills and aftermaths of their nation’s worse actions. It is an obligation and also a very heavy burden.

In this class we will examine how the essay and many essayists have functioned as geographers of spaces that have long been forgotten. And we read a series of non-fiction pieces that trouble the question of interiority, belonging, the other, and outsiderness. And we will attempt to do a brief but comprehensive review of the essay as it functions as a barometer of the author’s times. This will be accomplished by reading the work of such writers as: Herodotus, William Hazlitt, Doris Lessing, Audre Lorde, Gay Talese, Binyavanga Wainaina, Jennifer Clement, V.S. Naipaul, Sei Shonagon, George Orwell, Ha Jin, Margo Jefferson, Simone White, and Joan Didion. This reading and discussion will inform our own writing practice as we write essays.

Everyone who is interested in this class should feel free to apply.

Supplemental Application Information:   Please submit a brief letter explaining why you're interested to take this class. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26)

English CNFD. Creative Nonfiction

Instructor: Maggie Doherty Tuesday, 12:00-2:45 pm | Location: Sever 205 Enrollment: Limited to 12 students Course Site This course is an overview of the creative nonfiction genre and the many different types of writing that are included within it: memoir, criticism, nature writing, travel writing, and more. Our readings will be both historical and contemporary: writers will include Virginia Woolf, James Baldwin, Joan Didion, Audre Lorde, Hilton Als, and Carmen Maria Machado. During the first half of the semester, we will read two pieces closely; we will use our class discussions to analyze how these writers use pacing, character, voice, tone, and structure to tell their stories. Students will complete short, informal writing assignments during this part of the semester, based on the genre of work we’re discussing that week. During the second half of the semester, each student will draft and workshop a longer piece of creative nonfiction in the genre(s) of their choosing, which they will revise by the end of the semester. Students will be expected to provide detailed feedback on the work of their peers. This course is open to writers at all levels; no previous experience in creative writing is required. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26) Supplemental Application Information:  Please write a letter of introduction (1-2 pages) giving a sense of who you are, your writing experience, and your current goals for your writing. You may also include writers or nonfiction works that you admire, as well as any themes or genres you'd like to experiment with in the course. Please also include a 3-5-page writing sample, ideally of some kind of creative writing (nonfiction is preferred, but fiction would also be acceptable). If you don't have a creative sample, you may submit a sample of your academic writing.

English CACD. The Art of Criticism

Instructor: Maggie Doherty Wednesday, 12:00-2:45pm | Location: TBD Enrollment: Limited to 12 students Course Site

This course will consider critical writing about art–literary, visual, cinematic, musical, etc.—as an art in its own right. We will read and discuss criticism from a wide variety of publications, paying attention to the ways outlets and audience shape critical work. The majority of our readings will be from the last few years and will include pieces by Joan Acocella, Andrea Long Chu, Jason Farago, and Carina del Valle Schorske. Students will write several short writing assignments (500-1000 words), including a straight review, during the first half of the semester and share them with peers. During the second half of the semester, each student will write and workshop a longer piece of criticism about a work of art or an artist of their choosing. Students will be expected to read and provide detailed feedback on the work of their peers. Students will revise their longer pieces based on workshop feedback and submit them for the final assignment of the class. Apply via Submittable  (deadline: 11:59pm EDT on Thursday, August 22) Supplemental Application Information:  Please write a letter of introduction (1-2 pages) giving a sense of who you are, your writing experience, and your current goals for your writing. Please also describe your relationship to the art forms and/or genres you're interested in engaging in the course. You may also list any writers or publications whose criticism you enjoy reading. Please also include a 3-5-page writing sample of any kind of prose writing. This could be an academic paper or it could be creative fiction or nonfiction.