creative writing and creative nonfiction similarities

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

The Real Person!

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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The New Outliers: How Creative Nonfiction Became a Legitimate, Serious Genre

Lee gutkind on the birth and surprising history of a different type of narrative form.

Many of my students, and even some younger colleagues, think—assume—that creative nonfiction is just part of the literary ecosystem; it’s always been around, like fiction or poetry. In many ways, of course, they are right: the kind of writing that is now considered to be under the creative nonfiction umbrella has a long and rich history. Many, of course, look to Michel de Montaigne as the father of the modern essay, but, to my mind, the more authentic roots of creative nonfiction are in the eighteenth century: Daniel Defoe’s historical narratives, Benjamin Franklin’s autobiography, Thomas Paine’s pamphlets, and Samuel Johnson’s essays built a foundation for later writers such as Charles Dickens, Edgar Allen Poe, Ralph Waldo Emerson, and Henry David Thoreau.

That is to say, even if the line between fact and fiction was perhaps a little fuzzy in the early days, it’s not hard to find rich nonfiction narratives that predate the use of the word “nonfiction” (1867, according to the Oxford English Dictionary ) and were around long before the first recorded use of the phrase “creative nonfiction” (1943, according to research William Bradley did for Creative Nonfiction some years ago).

But in a lot of important ways, creative nonfiction is still very new, at least as a form of literature with its own identity. Unfortunately, it took a long time—longer than it should have, if you ask me—for the genre to be acknowledged in that ecosystem. And, of course, you’ll still encounter people who are unfamiliar with the term or want to make that dumb joke, “Creative nonfiction: isn’t that an oxymoron?”

Be that as it may, there’s no real doubt at this point that creative nonfiction is a serious genre, a real thing. You probably won’t find a “creative nonfiction” bookshelf at your local bookstore, and maybe it’s not on the menu at Amazon the way “fiction” is, but nonfiction narratives are everywhere. Newspapers, formerly the realm of straight journalism, with its inverted-pyramid, who-what-where-when-why requirements, have welcomed personal essays not only on their op-ed pages but in many different sections. Memoir, labeled a “craze” in the 1990s, is a mainstay of the publishing industry. Twenty or so years ago, almost no one was publishing essay collections, and even the word “essay” was the kiss of death if you wanted a trade publisher to consider your work, but now essay collections are routinely on best-seller lists. And, increasingly, even non-narrative creative nonfiction like lyric essays and hybrid forms have gained legitimacy and commercial viability.

So, you might ask, what happened? How did we get to this era of acceptance and legitimacy? The genre’s success, I believe, a gradual process over almost a half-century, emerged in many important ways from an unlikely and dominant source. I am not at all sure I would be writing this today, or that you would be reading this in an almost thirty-year-old magazine devoted exclusively to creative nonfiction, if not for the academy, and specifically departments of English.

Now, if you’ve been following my writing over the past thirty or so years, you may be surprised to hear me say this. After all, I’ve written a great deal about the power struggles that went on in the early 1970s, when I was teaching at the University of Pittsburgh and to a lesser degree at other universities and trying to expand the curriculum to include what was then called, mostly because of Tom Wolfe, “new journalism.”

I find that many of my students today aren’t very familiar with the New Journalists—Wolfe, Gay Talese, Gail Sheehy, Jimmy Breslin, Barbara Goldsmith, and Jane Kramer, among others—and it’s probably also true that some of the work from that time hasn’t aged terribly well. Sure, sometimes some of these writers went a little overboard, like Tom Wolfe, for example, interrupting his sentences with varoom-varooms and other stylistic flourishes. He was being playful and maybe a bit silly and arrogant, or it might seem so today, but he was also trying to loosen things up, to not be as predictable and sometimes downright boring as journalists then could be, and in that regard, he was quite successful.

You have to realize that the New Journalists were doing some very exciting stuff, seemingly groundbreaking. They were writing in scenes, recreating dialogue, manipulating timelines, and including themselves—their voices and ideas—in the stories they were writing. Stuff we pretty much take for granted now, but back then, with journalists especially hampered and handcuffed by rules and guidelines, so liberating.

Remember this was all happening in the late 1960s and early 1970s, when rule breaking, change, and defying the establishment were in the air everywhere, and the idea of the “new” in journalism captured the tone and spirit of the times. But I am not just talking here about journalism. Other writers, recognized for their literary achievements, were also taking chances, pushing boundaries. Truman Capote’s In Cold Blood , his “nonfiction novel,” stunned and obsessed the literary world when it was published first in the New Yorker in 1965 and then, the following year, as a book. In 1969, another novelist, Norman Mailer, was awarded both the Pulitzer Prize for general nonfiction and the National Book Award for Arts and Letters for The Armies of the Night , about the Washington, DC, peace demonstrations . Mailer was awarded a second Pulitzer in 1980 for his intense, thousand-plus-page deep-dive into murder, obsession, and punishment, The Executioner’s Song , which became a centerpiece of a national conversation about the death penalty. Mailer’s award for his self-described “true-life novel” was for fiction, but all three books, if published today, would be considered creative nonfiction.

I couldn’t see why this kind of work—which was as exciting to students as it was to me—didn’t belong in the classroom. In an English department. Not just as a one-off work, to be taught once in a while, but as part of the curriculum. Why wasn’t there a category for writing that wasn’t poetry or fiction or essay or journalism but that could bring the various literary and journalistic techniques used in all of those forms together into one unique work of art and craft? Why didn’t this amalgam of literary and journalistic richness belong . . . somewhere?

Thinking back, I didn’t really belong either. I had pushed my way into the English department first as a part-time lecturer and then as tenure-track faculty by campaigning for this new or different way of writing nonfiction. And to be honest, I think I began to succeed, to make inroads, because, for one thing, most faculty at the time did not want to teach this stuff—nonfiction—especially if it was called or related to journalism. It’s also true I was a bit of an interloper—I was a published author in what might be described as a more commercial vein (books about motorcycles, baseball, backwoods America, targeted to general audiences), a rarity in English departments. And worse, I was a lowly BA. No advanced degrees.

But in many ways, I was also fortunate; during this time, with student protests confronting the old guard on campuses, I got by as a token of change, tolerated but not yet completely accepted. I felt like a misbehaving adolescent, rough around the edges and not yet ready to grow up, learn the rules, and pay my dues. I didn’t even know how to pay my dues. There were few options. Creative-writing programs, ubiquitous today, were rare and in many ways faced resistance in English departments.

Of course, part of the resistance to creative-writing courses, generally, was just the kind of turf defending that goes on in any academic department, where resources can be unfortunately scarce. Giving a tenure slot to a novelist or a poet, after all, can mean losing a tenure slot and resources for research and travel for a literature PhD.

But I think the resistance to creative nonfiction as being part of creative writing went even deeper and had something to do with how we define literature. I remember one particularly contentious debate back in the early 1970s, after one of my students had made a presentation arguing for an entire course devoted to new journalism. (I’d been incorporating pieces into my classes, but there was no entire course devoted to the stuff.) One of the English professors slammed a pile of books—classics—down on the table; his argument, I think, was that my student should have to prove he’d read those works before he was remotely qualified to weigh in on the curriculum. Anyway, perhaps predictably, it turned into a heated debate about which particular works were classics, a debate the department chair ended by observing, “After all, gentlemen, we are interested in literature here—not writing .”

(Were there women in the room? Of course there were.)

Now, what was going on here? Why didn’t these professors think of this writing as literary? And I mean not just contemporary works like In Cold Blood but the work that came before it, too—the nonfiction written by H. L. Mencken and Mark Twain, James Baldwin and Jack London, not to forget the father of English journalism, Daniel Defoe. And what about pioneering narrative journalists like Nellie Bly and Ida Tarbell? I guess I have a few theories.

First, the lack of a unifying name—what to call it—was definitely a complicating factor. “New journalism” wasn’t great because (the argument went, in English departments, at least) journalism was a trade, not a literary pursuit. There were other names floated—“the literature of fact,” “literary nonfiction,” “belles lettres” (which is what the National Endowment for the Arts was using at that time). But using the word “literary” to describe contemporary writing, meaning that a person would have to say “I write literary nonfiction” … well, that felt sort of presumptuous, didn’t it? “Creative” sort of had the same problem; who was to say what that meant, and it also sort of implied that other kinds of writing weren’t creative, and that didn’t feel good, especially to the scholars. And to the journalists, “creative” sounded like it meant you were making stuff up. As for “belles lettres,” well . . . it just sounded pretentious.

Even more than that, I think there was something about the writing itself—and the writers—that felt threatening. Not just because of the rule breaking. So much of this new nonfiction was about real people and events and was often quite revelatory. We were really a no-holds-barred crew. Wherever there was a story we were there, boots on the ground, bringing it to life—and often revealing the darkest side of things, of war, of poverty, of inherent societal racism. And revealing our own foibles and flaws along the way. And it wasn’t just Mailer and Capote and Baldwin who were writing this stuff, but real people capturing their own lives and struggles in dramatic detail. The “new” whatever you wanted to call it was truly an awakening.

Students, undergrads mostly, at first, especially recognized and were energized by the appeal. Suddenly the doors were open to other options far more interesting than the inverted pyramid or the five-paragraph essay, and considering these new possibilities for what to write about and, more important, how to write their stories was liberating, challenging, and downright enjoyable. Student interest and subsequent demand invariably led to more courses, and more courses led to more writers and scholars who would agree to teaching what had once seemed so controversial.

I should also point out that as the dialogue and debate about nonfiction began to grow, in the 1980s and early 1990s, I was traveling widely. I got invitations from not just universities, but also book clubs and local conferences, from Wyoming to Birmingham to Boston, and met not only with students but also with many of these “real” people who wanted to write. Some were professionals—doctors, teachers, scientists—but there were also firefighters, ambulance drivers, and what we then called homemakers, all with stories to write. They, too, saw the appeal of this nonfiction form that let you tell stories and incorporate your experiences along with other information and ideas and personal opinions.

These folks cared much less than the academics did about what it was called. But—after the dust had settled to a certain extent in academia; after the English department at Pitt had agreed, first, to a course called “The New Nonfiction” and then, nearly two decades later, to a whole master’s program concentrating on creative nonfiction writing (the first in the country, I believe), which later became an MFA program; and after the NEA, in 1989 or so, also adopted the term “creative nonfiction,” a tipping point for sure—well, it mattered tremendously to those folks that it had a name, this kind of writing they wanted to do. It brought a validation to their work, to know that there was a place or a category where their work belonged. The writing itself wasn’t necessarily anything new—people had been doing it forever, if you knew where to look for it—but now people were paying attention to it, and they had something to call it.

And then, a little later, when this journal (now, this magazine) started publishing, in 1993, that added another form of legitimacy. And, in fact, work from many of those writers I met during those years on the road was published in the first few issues of Creative Nonfiction . In the early issues of the journal, we attracted all kinds of writers who were, perhaps, tired of being locked in or limited. We published journalists and essayists and poets, all of them exploring and reaching.

All of this did not happen overnight. English departments did not jump right in and embrace nonfiction; it was, as I have said, a much more gradual and often reluctant acceptance, but clearly an inevitable—and eventually gracious—one, maybe mostly for practical reasons. Creative writing programs were becoming quite profitable, especially at a time when literature and liberal arts majors were waning. Adding nonfiction brought in an entirely new breed of students, not just literary types, but those interested in science and economics or those students who were just interested in finding a job after graduation. Learning to write true stories in a compelling way could only enhance future opportunities.

It may well be that English departments resisted change for various reasons at the beginning, but they also opened the doors and provided a place—a destination—for all of us creative nonfictionists to come together, dialogue and share our work, and earn a certain legitimacy that had been denied to us at the very beginning. I had no idea at the time I started teaching that creative nonfiction would become such a mainstay, not just in the academy, but as a force and influence in literature and in publishing. That was not my intent, and I was certainly not the only “warrior” who took up the fight. But I don’t think this fight could have taken place anywhere else but in the academy, where intellectual discourse and opportunities for new ideas can so richly flourish and be recognized. I have no idea whether an outsider like me, beating the bushes for support of a genre or an idea that did not seem to exist, could survive in an English department or anywhere else in the academy today; the atmosphere, the politics, the financial pressures, the tone of the times is so very different.

Even then, it was very much a minor miracle that I, uncredentialled and tainted, as some thought, by commercialism, was accorded such an opportunity. And that all of my campaigning and annoying persistence were tolerated. It would have been easy to eliminate me. But as much of an interloper as I was, I was rarely shut down; I could always speak my mind. And even though many of my colleagues were pretty damn unhappy about the new journalism and, later, creative nonfiction, they eventually came to recognize the popularity and potential of this new genre and, I think, to respect and appreciate the dedication and excitement displayed by our nonfiction students.

As the program grew and other universities followed suit, we outliers not only began to fit in, but also began to thrive. We added depth and substance not just to writing programs, but to the entire department. And as our students published, won awards, became popular teachers in their own right, we added more than a little bit of prestige.

What happened at Pitt and later at other English departments isn’t so very different than what happened as our genre evolved. Fifty years ago, we were hardly a blip on the radar, an add-on or an afterthought, a necessary annoyance at best. Today, we are not just a part of the literary ecosystem, we are its most active and impactful contributors—leaders and change makers and motivators where we once did not belong.

__________________________________

This essay originally appeared in Issue #76 of  Creative Nonfiction under the title “ I’d Like to Thank the Academy .”

Lee Gutkind

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A Guide to Writing Creative Nonfiction

by Melissa Donovan | Mar 4, 2021 | Creative Writing | 12 comments

Try your hand at writing creative nonfiction.

Here at Writing Forward, we’re primarily interested in three types of creative writing: poetry, fiction, and creative nonfiction.

With poetry and fiction, there are techniques and best practices that we can use to inform and shape our writing, but there aren’t many rules beyond the standards of style, grammar, and good writing . We can let our imaginations run wild; everything from nonsense to outrageous fantasy is fair game for bringing our ideas to life when we’re writing fiction and poetry.

However, when writing creative nonfiction, there are some guidelines that we need to follow. These guidelines aren’t set in stone; however, if you violate them, you might find yourself in trouble with your readers as well as the critics.

What is Creative Nonfiction?

Telling True Stories (aff link).

What sets creative nonfiction apart from fiction or poetry?

For starters, creative nonfiction is factual. A memoir is not just any story; it’s a true story. A biography is the real account of someone’s life. There is no room in creative nonfiction for fabrication or manipulation of the facts.

So what makes creative nonfiction writing different from something like textbook writing or technical writing? What makes it creative?

Nonfiction writing that isn’t considered creative usually has business or academic applications. Such writing isn’t designed for entertainment or enjoyment. Its sole purpose is to convey information, usually in a dry, straightforward manner.

Creative nonfiction, on the other hand, pays credence to the craft of writing, often through literary devices and storytelling techniques, which make the prose aesthetically pleasing and bring layers of meaning to the context. It’s pleasurable to read.

According to Wikipedia:

Creative nonfiction (also known as literary or narrative nonfiction) is a genre of writing truth which uses literary styles and techniques to create factually accurate narratives. Creative nonfiction contrasts with other nonfiction, such as technical writing or journalism, which is also rooted in accurate fact, but is not primarily written in service to its craft.

Like other forms of nonfiction, creative nonfiction relies on research, facts, and credibility. While opinions may be interjected, and often the work depends on the author’s own memories (as is the case with memoirs and autobiographies), the material must be verifiable and accurately reported.

Creative Nonfiction Genres and Forms

There are many forms and genres within creative nonfiction:

• Autobiography and biography
• Personal essays
• Literary journalism
• Any topical material, such as food or travel writing, self-development, art, or history, can be creatively written with a literary angle

Let’s look more closely at a few of these nonfiction forms and genres:

Memoirs: A memoir is a long-form (book-length) written work. It is a firsthand, personal account that focuses on a specific experience or situation. One might write a memoir about serving in the military or struggling with loss. Memoirs are not life stories, but they do examine life through a particular lens. For example, a memoir about being a writer might begin in childhood, when the author first learned to write. However, the focus of the book would be on writing, so other aspects of the author’s life would be left out, for the most part.

Biographies and autobiographies: A biography is the true story of someone’s life. If an author composes their own biography, then it’s called an autobiography. These works tend to cover the entirety of a person’s life, albeit selectively.

Literary journalism: Journalism sticks with the facts while exploring the who, what, where, when, why, and how of a particular person, topic, or event. Biographies, for example, are a genre of literary journalism, which is a form of nonfiction writing. Traditional journalism is a method of information collection and organization. Literary journalism also conveys facts and information, but it honors the craft of writing by incorporating storytelling techniques and literary devices. Opinions are supposed to be absent in traditional journalism, but they are often found in literary journalism, which can be written in long or short formats.

Personal essays are a short form of creative nonfiction that can cover a wide range of styles, from writing about one’s experiences to expressing one’s personal opinions. They can address any topic imaginable. Personal essays can be found in many places, from magazines and literary journals to blogs and newspapers. They are often a short form of memoir writing.

Speeches  can cover a range of genres, from political to motivational to educational. A tributary speech honors someone whereas a roast ridicules them (in good humor). Unlike most other forms of writing, speeches are written to be performed rather than read.

Journaling: A common, accessible, and often personal form of creative nonfiction writing is journaling. A journal can also contain fiction and poetry, but most journals would be considered nonfiction. Some common types of written journals are diaries, gratitude journals, and career journals (or logs), but this is just a small sampling of journaling options.

Writing Creative Nonfiction (aff link).

Any topic or subject matter is fair game in the realm of creative nonfiction. Some nonfiction genres and topics that offer opportunities for creative nonfiction writing include food and travel writing, self-development, art and history, and health and fitness. It’s not so much the topic or subject matter that renders a written work as creative; it’s how it’s written — with due diligence to the craft of writing through application of language and literary devices.

Guidelines for Writing Creative Nonfiction

Here are six simple guidelines to follow when writing creative nonfiction:

• Get your facts straight. It doesn’t matter if you’re writing your own story or someone else’s. If readers, publishers, and the media find out you’ve taken liberties with the truth of what happened, you and your work will be scrutinized. Negative publicity might boost sales, but it will tarnish your reputation; you’ll lose credibility. If you can’t refrain from fabrication, then think about writing fiction instead of creative nonfiction.
• Issue a disclaimer. A lot of nonfiction is written from memory, and we all know that human memory is deeply flawed. It’s almost impossible to recall a conversation word for word. You might forget minor details, like the color of a dress or the make and model of a car. If you aren’t sure about the details but are determined to include them, be upfront and include a disclaimer that clarifies the creative liberties you’ve taken.
• Consider the repercussions. If you’re writing about other people (even if they are secondary figures), you might want to check with them before you publish your nonfiction. Some people are extremely private and don’t want any details of their lives published. Others might request that you leave certain things out, which they want to keep private. Otherwise, make sure you’ve weighed the repercussions of revealing other people’s lives to the world. Relationships have been both strengthened and destroyed as a result of authors publishing the details of other people’s lives.
• Be objective. You don’t need to be overly objective if you’re telling your own, personal story. However, nobody wants to read a highly biased biography. Book reviews for biographies are packed with harsh criticism for authors who didn’t fact-check or provide references and for those who leave out important information or pick and choose which details to include to make the subject look good or bad.
• Pay attention to language. You’re not writing a textbook, so make full use of language, literary devices, and storytelling techniques.
• Know your audience. Creative nonfiction sells, but you must have an interested audience. A memoir about an ordinary person’s first year of college isn’t especially interesting. Who’s going to read it? However, a memoir about someone with a learning disability navigating the first year of college is quite compelling, and there’s an identifiable audience for it. When writing creative nonfiction, a clearly defined audience is essential.

Are you looking for inspiration? Check out these creative nonfiction writing ideas.

Ten creative nonfiction writing prompts and projects.

The prompts below are excerpted from my book, 1200 Creative Writing Prompts , which contains fiction, poetry, and creative nonfiction writing prompts. Use these prompts to spark a creative nonfiction writing session.

1200 Creative Writing Prompts (aff link).

• What is your favorite season? What do you like about it? Write a descriptive essay about it.
• What do you think the world of technology will look like in ten years? Twenty? What kind of computers, phones, and other devices will we use? Will technology improve travel? Health care? What do you expect will happen and what would you like to happen?
• Have you ever fixed something that was broken? Ever solved a computer problem on your own? Write an article about how to fix something or solve some problem.
• Have you ever had a run-in with the police? What happened?
• Have you ever traveled alone? Tell your story. Where did you go? Why? What happened?
• Let’s say you write a weekly advice column. Choose the topic you’d offer advice on, and then write one week’s column.
• Think of a major worldwide problem: for example, hunger, climate change, or political corruption. Write an article outlining a solution (or steps toward a solution).
• Choose a cause that you feel is worthy and write an article persuading others to join that cause.
• Someone you barely know asks you to recommend a book. What do you recommend and why?
• Hard skills are abilities you have acquired, such as using software, analyzing numbers, and cooking. Choose a hard skill you’ve mastered and write an article about how this skill is beneficial using your own life experiences as examples.

Do You Write Creative Nonfiction?

Have you ever written creative nonfiction? How often do you read it? Can you think of any nonfiction forms and genres that aren’t included here? Do you have any guidelines to add to this list? Are there any situations in which it would be acceptable to ignore these guidelines? Got any tips to add? Do you feel that nonfiction should focus on content and not on craft? Leave a comment to share your thoughts, and keep writing.

12 Comments

Shouldn’t ALL non-fiction be creative to some extent? I am a former business journalist, and won awards for the imaginative approach I took to writing about even the driest of business topics: pensions, venture capital, tax, employment law and other potentially dusty subjects. The drier and more complicated the topic, the more creative the approach must be, otherwise no-one with anything else to do will bother to wade through it. [to be honest, taking the fictional approach to these ghastly tortuous topics was the only way I could face writing about them.] I used all the techniques that fiction writers have to play with, and used some poetic techniques, too, to make the prose more readable. What won the first award was a little serial about two businesses run and owned by a large family at war with itself. Every episode centred on one or two common and crucial business issues, wrapped up in a comedy-drama, and it won a lot of fans (happily for me) because it was so much easier to read and understand than the dry technical writing they were used to. Life’s too short for dusty writing!

I believe most journalism is creative and would therefore fall under creative nonfiction. However, there is a lot of legal, technical, medical, science, and textbook writing in which there is no room for creativity (or creativity has not made its way into these genres yet). With some forms, it makes sense. I don’t think it would be appropriate for legal briefings to use story or literary devices just to add a little flair. On the other hand, it would be a good thing if textbooks were a little more readable.

I think Abbs is right – even in academic papers, an example or story helps the reader visualize the problem or explanation more easily. I scan business books to see if there are stories or examples, if not, then I don’t pick up the book. That’s where the creativity comes in – how to create examples, what to conflate, what to emphasis as we create our fictional people to illustrate important, real points.

Thanks for the post. Very helpful. I’d never thought about writing creative nonfiction before.

You’re welcome 🙂

Hi Melissa!

Love your website. You always give a fun and frank assessment of all things pertaining to writing. It is a pleasure to read. I have even bought several of the reference and writing books you recommended. Keep up the great work.

Top 10 Reasons Why Creative Nonfiction Is A Questionable Category

10. When you look up “Creative Nonfiction” in the dictionary it reads: See Fiction

9. The first creative nonfiction example was a Schwinn Bicycle Assembly Guide that had printed in its instructions: Can easily be assembled by one person with a Phillips head screw driver, Allen keys, adjustable wrench and cable cutters in less than an hour.

8. Creative Nonfiction; Based on actual events; Suggested by a true event; Based on a true story. It’s a slippery slope.

7. The Creative Nonfiction Quarterly is only read by eleven people. Five have the same last name.

6. Creative Nonfiction settings may only include: hospitals, concentration camps, prisons and cemeteries. Exceptions may be made for asylums, rehab centers and Capitol Hill.

5. The writers who create Sterile Nonfiction or Unimaginative Nonfiction now want their category recognized.

4. Creative; Poetic License; Embellishment; Puffery. See where this is leading?

3. Creative Nonfiction is to Nonfiction as Reality TV is to Documentaries.

2. My attorney has advised that I exercise my 5th Amendment Rights or that I be allowed to give written testimony in a creative nonfiction way.

1. People believe it is a film with Will Ferrell, Emma Thompson and Queen Latifa.

Hi Steve. I’m not sure if your comment is meant to be taken tongue-in-cheek, but I found it humorous.

My publisher is releasing my Creative Nonfiction book based on my grandmother’s life this May 2019 in Waikiki. I’ll give you an update soon about sales. I was fortunate enough to get some of the original and current Hawaii 5-0 members to show up for the book signing.

Hi, when writing creative nonfiction- is it appropriate to write from someone else’s point of view when you don’t know them? I was thinking of writing about Greta Thungbrurg for creative nonfiction competition – but I can directly ask her questions so I’m unsure as to whether it’s accurate enough to be classified as creative non-fiction. Thank you!

Hi Madeleine. I’m not aware of creative nonfiction being written in first person from someone else’s point of view. The fact of the matter is that it wouldn’t be creative nonfiction because a person cannot truly show events from another person’s perspective. So I wouldn’t consider something like that nonfiction. It would usually be a biography written in third person, and that is common. You can certainly use quotes and other indicators to represent someone else’s views and experiences. I could probably be more specific if I knew what kind of work it is (memoir, biography, self-development, etc.).

Dear Melissa: I am trying to market a book in the metaphysical genre about an experience I had, receiving the voice of a Civil War spirit who tells his story (not channeling). Part is my reaction and discussion with a close friend so it is not just memoir. I referred to it as ‘literary non-fiction’ but an agent put this down by saying it is NOT literary non-fiction. Looking at your post, could I say that my book is ‘creative non-fiction’? (agents can sometimes be so nit-picky)

Hi Liz. You opened your comment by classifying the book as metaphysical but later referred to it as literary nonfiction. The premise definitely sounds like a better fit in the metaphysical category. Creative nonfiction is not a genre; it’s a broader category or description. Basically, all literature is either fiction or nonfiction (poetry would be separate from these). Describing nonfiction as creative only indicates that it’s not something like a user guide. I think you were heading in the right direction with the metaphysical classification.

The goal of marketing and labeling books with genres is to find a readership that will be interested in the work. This is an agent’s area of expertise, so assuming you’re speaking with a competent agent, I’d suggest taking their advice in this matter. It indicates that the audience perusing the literary nonfiction aisles is simply not a match for this book.

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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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What Is Creative Nonfiction?

By Lee Gutkind

I am often asked: “What is creative nonfiction?” Or, in some cases, “what the hell is creative nonfiction?”  The answer—or answers—can be complicated because creative nonfiction may mean different things to different people, a characteristic that makes this form so elusive and alluring.

On its very baseline creative nonfiction is a literary genre. Some people call it the fourth genre, along with poetry, fiction and drama. And it’s an umbrella term for the many different ways one can write what is called creative nonfiction. Memoir, for example, personal essay, biography, narrative history and long form narrative reportage may all fit under the creative nonfiction umbrella. Recently, as the genre has evolved, there have been offshoots to the genre like speculative nonfiction, auto(biographical) fiction, lyric essay, and the visual essay, to name only a few.

Writers who write creative nonfiction are very different in voice, orientation and purpose. But what they have in common is that they are, in one way or the other, writing true stories that provide information about a variety of subjects, enriched by relevant thoughtful ideas, personal insight, and intimacies about life and the world we live in.  And this scope and variety is exactly what makes creative nonfiction significant and, these days, so incredibly popular.

“Freedom” and “flexibility” are words I like to use when defining creative nonfiction, for the genre invites writers to push boundaries and open doors, offering them the opportunity to use all of the techniques of the fiction writer (or the poet)—dialogue, setting, description, inner point of view (seeing the world through the eyes of the person about whom they are writing)—in order to capture a reader’s attention and enlighten and intrigue them through nonfiction.

There are very few rules for writers of creative nonfiction. You can predict the future, speculate about the past, or imagine what could have happened or what someone might have been thinking, as long as you don’t violate the reader’s trust, and in the process your own credibility. There are, however, limits to the freedom and flexibility that make creative nonfiction so attractive and compelling—legal, ethical and moral issues that are challenging and, in many ways, impossible to clearly define. Freedom and flexibility—and daring—are governed by responsibility, not just to the people about whom we write, but to those who read and publish our work.

Nonfiction itself has had a bad rap in the literary world. For a long time, it was commonly believed that writing nonfiction was generally inferior to the writing of poetry and fiction. “Nonfiction is a pleasant way to walk,” Larry McMurtry once wrote, “but the novel puts one on horseback, and what cowboy, symbolic or real, would walk when he could ride?”

I remember reading this from McMurtry, who had written a great deal of nonfiction, in addition to his many novels and stories, and feeling more than a little annoyed and, at the same time, amused. He had to be joking, I thought. Or maybe he had just fallen off his horse. I pictured the comedian Rodney Dangerfield, who became rich and famous for the line “I get no respect,” which in many ways has been the story of creative nonfiction in a nutshell-up until present day.

The addition of the word “creative” to nonfiction was at first controversial, but it gradually reversed the belief that nonfiction was somehow second class, a cut below poetry and fiction. It liberated all writers, journalists especially, releasing them from longstanding rules and boundaries that had been so restrictive and inhibiting.  For novelists, poets and essayists, “creative” encouraged experimentation and offered new avenues of expression. Scientists, physicians, engineers (Atul Gawande, Hope Jahren, Siddhartha Mukherjee, Henry Petroski, to name just a very few) were intrigued by the notion of being creative and began to write true stories that humanized and revealed the behind-the-scenes intimacies of their professions.  

The interest in true stories motivated and opened doors for others who were not writers by trade to share their life experiences, finding meaning in the process and fulfillment in the connections they forged with readers.

This transition—an awakening to the potential and power of nonfiction that allowed and encouraged creativity—did not happen overnight and was not without resistance and often bitter infighting. Change was difficult for the literary, journalistic and academic communities, steeped in tradition and long resistant to new ideas, to accommodate. Indeed, the resistance in some corners far exceeded the scale of the change itself.  The change was hardly drastic and was not really, when one looks back over the history of nonfiction, much of a change at all. Writers had been writing nonfiction that was creative and imaginative for centuries, familiar and famous names you will recognize–Daniel Defoe, George Orwell, Charles Dickens and many others—for centuries. The change, the adjustment that it precipitated, had much more to do with the approach or attitude toward nonfiction rather than its content and, of course, the idea that creative and nonfiction were not mutually exclusive. That change in approach and attitude is ongoing. The scope of nonfiction today, most especially what we call creative nonfiction, continues to evolve, informing and inspiring readers with stories that are true, compelling, revealing and always surprising.

“What is Creative Nonfiction” has been adapted from Lee Gutkind’s new book, The Fine Art of Literary Fist-Fighting: How a Bunch of Rabble-Rousers, Outsiders and Ne’er-do-wells Created Creative Nonfiction,  to be published later this year by Yale University Press.

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Brenda Miller

Regeneration

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The Butterfly Effect

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Notes from a Difficult Case

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About Lee Gutkind

Lee Gutkind is the author and editor of more than thirty books, including  You Can’t Make This Stuff Up: The Complete Guide to Writing Creative Nonfiction–from Memoir to Literary Journalism and Everything in Between ,  Almost Human: Making Robots Think, The Best Seat in Baseball: But You Have to Stand, Forever Fat: Essays by the Godfather,  and the award-winning , Many Sleepless Nights: The World of Organ Transplantation.

Lee's Latest Book

My Last Eight Thousand Days

This revealing, candid, and vivid portrait of one man’s view of aging written by the man who played a crucial role in establishing literary, narrative nonfiction in the marketplace and in the academy, examines male aging in a way we’ve not seen before.In

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About creative nonfiction.

Creative Nonfiction (CNF) is a form of writing set apart from other nonfiction works by its focus on storytelling. Because creative nonfiction is a vast, multi-faceted genre, it can be difficult to nail down a straightforward definition of precisely what it is. Purdue's OWL ( Online Writing Lab )  identifies two major aspects of the content of  creative nonfiction : first, it relays events honestly, and second, it reflects on how those events impacted the writer. Unlike authors of works of history or biography written with the intent of informing a reader, creative nonfiction writers do not seek objectivity; rather, the events depicted in their pieces are typically meant to convey a broader message, be it about their emotional connection to the subject, a note about the workings of society, a theme in their lives, or some other meaning they identify with those events. The efforts of creative nonfiction writers to accomplish the communication of meaning are assisted by careful use of words and voice, a practice reminiscent of that of poets. Just like poets, creative nonfiction writers consider both the sound and meaning of the language they use and structure their thoughts carefully in order to evoke strong images and emotions in their readers.

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Within the world of creative writing, the term creative nonfiction encompasses texts about factual events that are not solely for scholarly purposes. Creative nonfiction may include memoir, personal essays, feature-length articles in magazines, and narratives in literary journals. This genre of writing incorporates techniques from fiction and poetry in order to create accounts that read more like story than a piece of journalism or a report. The audience for creative nonfiction is typically broader than the audiences for scholarly writing.

The term creative nonfiction is credited to Lee Gutkind, who defines this genre as “true stories well told.” However, the concept of literary nonfiction has its roots in ancient poetry, historical accounts, and religious texts. Throughout history, people have tried to keep a record of the human experience and have done so through the vehicle of story since the invention of language. For more about the origins of the term creative nonfiction, see the article What is Creative Nonfiction ?

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Finding Your Footing: Sub-genres in Creative Nonfiction

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Memoir is perhaps the “flagship” of creative nonfiction, the sub-genre most familiar to those outside of literary and academic circles. Most human beings lead interesting lives filled with struggle, conflict, drama, decisions, turning points, etc.; but not all of these stories translate into successful memoir. The success of the memoir depends on the writer’s ability to sequence events, to tell a story, and to describe characters in believable ways, among other things. Writer Carol Spindel reminds us that in the mid-2000s a scandal surrounding writer James Frey’s A Million Little Pieces erupted after he was forced to admit that large sections of his “memoir” were “fictionalized:” he’d embellished, made things up. A memoir that strays from the truth is not far removed from lying, because regardless of the writer’s intention, the story deceives the reader. Spindel writes that, unlike in novels, “The knowledge expressed in the memoir has the legitimacy acquired through first-hand experience.” Good memoir also provides reflection on the events that have happened to the writer, so it “can give readers insights into society, and even into the larger meaning of life itself” (Spindel).

The Braided Essay

The braided essay is a good tool for introducing writers—especially student writers—to the CNF genre. In a braided essay, the writer has multiple “threads” or “through-lines” of material, each on a different subject. The essay is broken into sections using medial white space, lines of white space on a page where there are no words (much like stanzas in poetry), and each time there is a section break, the writer moves from one “thread” to another. Braided essays take their name from this alternating of storylines, as well as from the threads the story contains; there are usually three, though to have four or two is also possible. Though there is not a strict formula for success, the form usually contains at least one thread that is very personal and based on memory, and at least one thread that is heavily researched. Often, the threads seem very disparate at first, but by the climax of the essay, the threads being to blend together; connections are revealed.

Topical Writing

Perhaps the genre closest to an essay or a blog post, topical writing is an author’s take on a given topic of specific interest to the reader. For example, nature writing and travel writing have been popular for centuries, while food writing is gathering steam via cooking blogs. Nature writing involves exploring the writer’s experience in a beautiful and thoroughly rendered natural setting, such as a cabin on a mountaintop. Travel Writing, as the name implies, details the writer’s experiences while traveling, whether by choice on a vacation or out of necessity due to business or serving in the military. Finally, contemporary food writing explores the writer’s connection to cooking and enjoying food of any variety. All three will occasionally step into the writer’s personal experiences via memories, but these episodes are always related to the topic driving the essay.

Whatever form a creative nonfiction piece takes, it must remain based in the author’s actual lived experiences and perceptions. Like academic writing, the piece must be accurately researched and the sources must be documented. Finally, the author must also always leave room to reflect on how their experiences have shaped them into the person they are now. It’s the reflection that makes the reader feel satisfied: it offers something to the reader that they can carry with them, a way of seeing the world.

Works Cited

Cokinos, Christopher. “Organized Curiosity: Creative Writers and the Research Life.” Writer’s Chronicle 42.7: April/May 2015. 92-104. Print.

Ironman, Sean. “Writing the Z-Axis: Reflection in the Nonfiction Workshop.” Writer’s

Chronicle 47.1: September 2014. 42-49. Print.

Spindel, Carol. "When Ambiguity Becomes Deception: The Ethics of Memoir." Writer's

Chronicle (2007): n. pag. AWP . Association of Writing Programs, 1 Dec. 2007. Web. 13

Sept. 2015.

Terrill, Richard. "Creative Nonfiction and Poetry." Writer's Chronicle (2004): n. pag. AWP .

Association of Writing Programs, Oct.-Nov. 2004. Web. 3 Oct. 2015.

5 Minute English

Fiction vs. Nonfiction: Exploring English Writing Styles

Welcome to the wonderful world of English writing, where the narrative splendor of fictional tales meets the factual precision of non-fiction works. For anyone navigating the varied landscapes of English as a Second Language (ESL), understanding these two distinct writing styles is vital. Both forms are fundamental pillars of English literature and play a significant role in developing language skills. While fiction welcomes you into the creative realms of imagination and storytelling, non-fiction roots you firmly in reality, offering insights into facts, events, and experiences.

In this article, we will delve into the defining characteristics that separate fiction from non-fiction, giving you a comprehensive understanding of each style. We’ll explore how authors use different techniques to accomplish their goals, the purposes each kind serves, and the benefits they provide to readers. Understanding these distinctions will not only improve your reading and comprehension skills but will also enrich your writing abilities, empowering you to switch seamlessly between styles as the context demands. So, grab your reading glasses and get ready for a journey into the heart of English writing!

Characteristics of Fiction Writing

Fiction writing opens the door to a universe limited only by the author’s imagination. This writing style specializes in storytelling, creating worlds and characters that, while sometimes rooted in reality, are products of creativity. One of the defining characteristics of fiction is its narrative structure, which often includes elements such as a plot, characters, conflict, and resolution. These components work together to form a cohesive story that engages readers emotionally and intellectually.

In fiction, the author’s voice and creativity shine through. They have the freedom to bend the truth, play with language, and construct narratives that captivate readers’ imaginations. Writers are encouraged to develop unique styles, often characterized by literary devices such as metaphors, similes, and symbolism, to express deeper meanings and themes. Fiction can range from novels and short stories to flash fiction and plays, each offering distinct formats and experiences. From the imaginative epics of fantasy and science fiction to the psychological explorations of literary fiction, this writing style’s diversity is its strength.

Purpose and Benefits of Fiction

Fiction serves multiple purposes, making it a versatile tool in the arsenal of both writers and readers. Its primary goal is often entertainment, providing an escape from the mundane realities of everyday life. However, fiction can also be a powerful medium for presenting themes, ideas, and questions that provoke thought and reflection. Authors can use allegories and analogies to comment on real-world issues subtly, allowing readers to draw parallels and gain insights.

For ESL learners, fiction offers numerous benefits. It is an excellent resource for expanding vocabulary, especially colloquial and idiomatic expressions. Reading fiction also enriches cultural understanding, as narratives often reflect societal norms, beliefs, and values of different cultures and eras. Moreover, engaging with fiction can enhance empathy and emotional intelligence, as readers get an inside view of characters’ thoughts and feelings. This perspective-taking fosters a deeper appreciation for diverse perspectives and experiences, enhancing language learners’ communication skills.

Characteristics of Non-Fiction Writing

Non-fiction writing is distinct from its fictional counterpart in that it is grounded in reality. This style focuses on factual accuracy and truth, reporting actual events, offering insights, or explaining ideas. Non-fiction encompasses a wide range of formats, including essays, biographies, memoirs, journalism, and academic writing. Each format shares the common thread of conveying information based on real events or empirical research.

A key feature of non-fiction is clarity, aiming to present information in a straightforward and understandable manner. Authors of non-fiction prioritize accuracy and are often tasked with backing up claims with evidence, data, and reliable sources. This style requires a precise and concise use of language to ensure the reader fully comprehends the material discussed. Non-fiction writers often adopt an expository or descriptive approach, utilizing analysis and commentary to present complex ideas clearly and logically.

Purpose and Benefits of Non-Fiction

Non-fiction writing serves as a vital resource for education and enlightenment, providing readers with knowledge and insights into the world around them. The purpose of non-fiction is to inform, instruct, or persuade, often inviting readers to consider new perspectives or to deepen their understanding of specific topics. From current events and historical accounts to scientific discoveries and political analysis, non-fiction addresses an array of subjects with unparalleled depth and breadth.

For ESL learners, non-fiction is an indispensable tool in mastering the English language. Reading non-fiction materials enhances comprehension skills, improving the ability to parse complex structures and vocabulary pertinent to specific fields of study or interest. Engaging with well-researched non-fiction texts fosters critical thinking and analytical skills, equipping learners to assess the credibility of information and arguments presented. Additionally, non-fiction can provide a wealth of real-world examples, serving as practical references for academic and professional writing.

Comparing Fiction and Non-Fiction

While fiction and non-fiction writing are distinct, they are complementary in honing an individual’s language and literary skills. Both styles employ narrative techniques and structures, albeit for different purposes and to varying extents. Fiction prioritizes narrative and character, using imagination to create compelling stories, whereas non-fiction centers around factual information, often linked by a narrative thread or analytical commentary.

In comparing these styles, it is important to recognize that both require a mastery of language to engage readers effectively. Fiction demands creativity and expression, offering the flexibility to use language esthetically, whereas non-fiction necessitates clarity and precision, often leaning on detailed explanations and logical flow. ESL learners can benefit by practicing both, developing a well-rounded skill set that encompasses the ability to entertain, inform, and inspire through language. The interplay between fictional creativity and factual accuracy ensures a comprehensive language proficiency that transcends academia and literature.

In the vast world of English writing, fiction and non-fiction stand as two esteemed pillars, each offering unique benefits and challenges to language learners. Fiction invites readers into the imaginative realms of storytelling, enhancing emotional intelligence, cultural awareness, and creative expression. Conversely, non-fiction grounds readers in reality, promoting factual knowledge, critical thinking, and precise communication skills.

Understanding the distinctions and similarities between these two writing styles prepares ESL learners to navigate various reading and writing contexts confidently. By engaging with both fictional and non-fictional texts, learners can develop a rich language repertoire, enabling them to express ideas creatively while also conveying information accurately and effectively. As you continue your exploration of the English language, let these writing styles guide you, enriching your learning journey with an artful blend of imagination and truth.

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Visiting Fellow, Centre for Cultural and Creative Research, University of Canberra, University of Canberra

Associate professor, Deakin University

Adjunct Associate Professor, University of New England

PhD Student, School of Education, Curtin University

Lecturer in Creative Writing, University of Southern Queensland

Associate Dean of Humanities and Social Sciences, University of Winchester

Dean of Research (Creative), University of South Australia

Associate Professor in Media, University of Notre Dame Australia

Distinguished Professor of Creative Practice, Faculty of Arts and Design, University of Canberra

Senior Lecturer in Creative Writing, University of Stirling

Lecturer in Professional and Creative Writing, Deakin University

Principal Lecturer in Creative Writing, Coventry University

Professor of Creative Arts, Griffith University

PhD candidate in Digital Cultures, University of Sydney

Conjoint Senior Lecturer, University of Newcastle

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Creative Writing M.A.

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Creative Writing Ph.D.

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One of the first universities in the country to offer a Ph.D. in Creative Writing, Ohio University continues as home to a thriving, widely respected graduate program with concentrations in poetry, fiction, and creative nonfiction.

Small by design, our graduate program offers a comprehensive curriculum, an award-winning faculty and the intimacy of small classes.

Placement Record

Over the past three years, seven of our nine graduating creative writing Ph.D. students have landed tenure-track jobs, post-doctorates, or prestigious visiting writer posts. Our MA graduates go on to study in the top MFA and Ph.D. programs.

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Students in the Creative Writing M.A. and Ph.D. programs enjoy:

• Graduate stipends, up to $15,000 per year, with opportunities to teach a wide range of courses, including creative writing workshops
• Generous graduate student travel funding
• Editorial fellowships on New Ohio Review , Quarter after Eight , and Brevity
• Opportunities to interact with distinguished visiting writers

M.A. candidates complete two years of study and write a thesis of creative work in their genre. Doctoral candidates complete five years of study, comprehensive exams, a major critical essay, and a creative dissertation.

Literary Journals

The department and its students publish three literary journals:

• New Ohio Review , a national literary journal
• Quarter After Eight , a prose journal edited by graduate students
• Sphere , an undergraduate journal

Annual Events

The department hosts several annual events including an ambitious Spring Literary Festival that brings five nationally distinguished writers to campus for three-days of readings, craft talks, and student discussion. Recent visitors have included Tony Hoagland, Kathryn Harrison, Barry Lopez, Francine Prose, Peter Ho Davies, Kim Addonizio, David Shields, Robert Hass, Charles Simic, Yusef Komunyakaa, and Marilynne Robinson.

Visiting writers engage with our program year-round as well, appearing in both undergraduate and graduate classes, meeting one-on-one with select students, and offering evening readings in the intimate Galbreath Chapel.

In addition to a regular Dogwood Bloom reading series for our graduate students, the creative writing program hosts an annual Writers' Harvest benefit reading for the Southeastern Ohio Food Bank?s Second Harvest, a food distribution program serving Athens, Hocking, Perry, Vinton, Jackson, Gallia, Meigs, Morgan and Washington counties.

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2025 Best Creative Writing Schools

College Factual reviewed 129 schools in the United States to determine which ones were the best for degree seekers in the field of creative writing. When you put them all together, these colleges and universities awarded 7,164 degrees in creative writing annually.

What's on this page: * Degree-Level Rankings

• Best Overall Creative Writing Schools List

Choosing a Great Creative Writing School

In order to find the schools that are the best fit for you, you may want to filter to one of the degree levels below.

Creative Writing Rankings by Degree Level

The creative writing school you choose to invest your time and money in matters. To help you make the decision that is right for you, we've developed a number of major-specific rankings , including this list of the Best Creative Writing Schools. More interested in schools in a specific area of the country? Filter this list by region or state .

To further help you make the college decision, we've developed a unique tool called College Combat that allows you to compare schools based on the factors that matter the most to you. Go ahead and give it a try, or bookmark the link so you can check it out later.

Read more about College Factual's methodology .

Best Schools for Creative Writing in the United States

The schools below may not offer all types of creative writing degrees so you may want to filter by degree level first. However, they are great for the degree levels they do offer. Only those schools that rank in the top 20% of all the schools we analyze get awarded with a place on this list.

25 Top Schools in Creative Writing

Every student who is interested in creative writing has to take a look at University of Pittsburgh - Pittsburgh Campus. Pitt is a fairly large public university located in the large city of Pittsburgh. This university ranks 6th out of 103 colleges for overall quality in the state of Pennsylvania.

There were about 119 creative writing students who graduated with this degree at Pitt in the most recent data year.

Any student pursuing a degree in creative writing has to check out Johns Hopkins University. Located in the city of Baltimore, Johns Hopkins is a private not-for-profit university with a very large student population. A Best Colleges rank of #6 out of 2,152 schools nationwide means Johns Hopkins is a great university overall.

There were roughly 80 creative writing students who graduated with this degree at Johns Hopkins in the most recent data year.

Develop your creativity and gain practical skills with a creative writing degree program –featuring 100% online classes – through a bachelor's from Southern New Hampshire University.

Related Programs

• MFA in Creative Writing - Online
• MA in English & Creative Writing
• BA English in Professional Writing
• Low-Residency MFA in Fiction and Nonfiction

Northwestern University is one of the best schools in the United States for getting a degree in creative writing. Located in the small city of Evanston, Northwestern is a private not-for-profit university with a fairly large student population. A Best Colleges rank of #5 out of 2,152 schools nationwide means Northwestern is a great university overall.

There were about 11 creative writing students who graduated with this degree at Northwestern in the most recent data year.

Columbia University in the City of New York is one of the finest schools in the country for getting a degree in creative writing. Columbia is a very large private not-for-profit university located in the large city of New York. A Best Colleges rank of #15 out of 2,152 colleges nationwide means Columbia is a great university overall.

There were about 174 creative writing students who graduated with this degree at Columbia in the most recent year we have data available.

UW Seattle is a very large public university located in the large city of Seattle. A Best Colleges rank of #44 out of 2,152 colleges nationwide means UW Seattle is a great university overall.

There were approximately 50 creative writing students who graduated with this degree at UW Seattle in the most recent year we have data available.

UT Austin is a fairly large public university located in the city of Austin. A Best Colleges rank of #46 out of 2,152 schools nationwide means UT Austin is a great university overall.

There were approximately 100 creative writing students who graduated with this degree at UT Austin in the most recent data year.

Located in the large city of Boston, Boston U is a private not-for-profit university with a very large student population. A Best Colleges rank of #23 out of 2,152 schools nationwide means Boston U is a great university overall.

There were approximately 17 creative writing students who graduated with this degree at Boston U in the most recent year we have data available.

Embrace your passion for storytelling and learn the professional writing skills you'll need to succeed with our online MFA in Creative Writing. Write your novel or short story collection while earning a certificate in the Online Teaching of Writing or Professional Writing, with no residency requirement.

Located in the suburb of Fairfax, GMU is a public university with a very large student population. This university ranks 4th out of 57 colleges for overall quality in the state of Virginia.

There were about 47 creative writing students who graduated with this degree at GMU in the most recent year we have data available.

Located in the town of Oxford, Miami University - Oxford is a public university with a large student population. This university ranks 5th out of 91 schools for overall quality in the state of Ohio.

There were approximately 46 creative writing students who graduated with this degree at Miami University - Oxford in the most recent data year.

Brown is a large private not-for-profit university located in the city of Providence. A Best Colleges rank of #26 out of 2,152 schools nationwide means Brown is a great university overall.

There were about 48 creative writing students who graduated with this degree at Brown in the most recent year we have data available.

Located in the fringe town of Bowling Green, BGSU is a public university with a large student population. This university ranks 18th out of 91 schools for overall quality in the state of Ohio.

There were roughly 26 creative writing students who graduated with this degree at BGSU in the most recent data year.

Refine your writing skills and take a step toward furthering your career with this online master's from Southern New Hampshire University.

University of Arizona is a very large public university located in the city of Tucson. This university ranks 3rd out of 26 colleges for overall quality in the state of Arizona.

There were about 73 creative writing students who graduated with this degree at University of Arizona in the most recent year we have data available.

Located in the midsize city of Ann Arbor, U-M is a public university with a very large student population. A Best Colleges rank of #22 out of 2,152 colleges nationwide means U-M is a great university overall.

There were roughly 48 creative writing students who graduated with this degree at U-M in the most recent year we have data available.

Located in the medium-sized city of Syracuse, Syracuse is a private not-for-profit university with a fairly large student population. A Best Colleges rank of #62 out of 2,152 schools nationwide means Syracuse is a great university overall.

There were approximately 12 creative writing students who graduated with this degree at Syracuse in the most recent year we have data available.

Emerson is a medium-sized private not-for-profit college located in the city of Boston. This college ranks 16th out of 63 schools for overall quality in the state of Massachusetts.

There were about 185 creative writing students who graduated with this degree at Emerson in the most recent year we have data available.

Expand your professional skillset with this specialized online degree from Southern New Hampshire University.

Located in the small city of West Lafayette, Purdue is a public university with a very large student population. A Best Colleges rank of #65 out of 2,152 schools nationwide means Purdue is a great university overall.

There were about 30 creative writing students who graduated with this degree at Purdue in the most recent data year.

Located in the city of Irvine, UC Irvine is a public university with a fairly large student population. This university ranks 12th out of 161 schools for overall quality in the state of California.

There were approximately 16 creative writing students who graduated with this degree at UC Irvine in the most recent data year.

Bucknell is a small private not-for-profit university located in the town of Lewisburg. This university ranks 11th out of 103 colleges for overall quality in the state of Pennsylvania.

There were about 25 creative writing students who graduated with this degree at Bucknell in the most recent year we have data available.

Located in the city of Los Angeles, USC is a private not-for-profit university with a very large student population. A Best Colleges rank of #13 out of 2,152 schools nationwide means USC is a great university overall.

There were about 37 creative writing students who graduated with this degree at USC in the most recent data year.

Harness your passion for storytelling with SNHU's Mountainview Low-Residency MFA in Fiction and Nonfiction. In this small, two-year creative writing program, students work one-on-one with our distinguished faculty remotely for most of the semester but convene for weeklong intensive residencies in June and January. At residencies, students critique each other's work face-to-face, meet with major authors, agents and editors and learn how to teach at the college level.

SMU is a large private not-for-profit university located in the suburb of Dallas. This university ranks 5th out of 115 colleges for overall quality in the state of Texas.

There were approximately 11 creative writing students who graduated with this degree at SMU in the most recent data year.

Located in the city of Philadelphia, St. Joe's is a private not-for-profit university with a moderately-sized student population. This university ranks 9th out of 103 schools for overall quality in the state of Pennsylvania.

There were roughly 10 creative writing students who graduated with this degree at St. Joe's in the most recent data year.

Texas State is a fairly large public university located in the small city of San Marcos. This university ranks 16th out of 115 schools for overall quality in the state of Texas.

There were approximately 20 creative writing students who graduated with this degree at Texas State in the most recent data year.

Located in the small city of Iowa City, Iowa is a public university with a very large student population. This university ranks 1st out of 37 colleges for overall quality in the state of Iowa.

There were roughly 53 creative writing students who graduated with this degree at Iowa in the most recent year we have data available.

Located in the large city of Washington, GWU is a private not-for-profit university with a very large student population. A Best Colleges rank of #25 out of 2,152 colleges nationwide means GWU is a great university overall.

There were roughly 11 creative writing students who graduated with this degree at GWU in the most recent data year.

University of Rochester is a fairly large private not-for-profit university located in the city of Rochester. This university ranks 8th out of 136 colleges for overall quality in the state of New York.

There were about 13 creative writing students who graduated with this degree at University of Rochester in the most recent data year.

Rest of the Top Best Creative Writing Schools

Honorable mentions.

These are some additional schools worth mentioning that are also great but just didn't quite make the cut to earn our top Best Creative Writing Schools award.

Creative Writing by Region

View the Best Creative Writing Schools for a specific region near you.

Other Rankings

Associate degrees in creative writing, master's degrees in creative writing, bachelor's degrees in creative writing, doctor's degrees in creative writing.

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Rankings in Majors Related to Creative Writing

One of 4 majors within the Writing Studies area of study, Creative Writing has other similar majors worth exploring.

Majors Similar to Creative Writing

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Writing Memoir & Narrative Non-Fiction

Applications, writing goal, turn your life experience or the true story that fascinates you into a compelling book, with expert teaching from an award-winning author., write a captivating narrative based on your life or a subject of particular interest., wyl always seemed to know exactly what i needed at that particular point in my writing journey. his seminars were filled with inspirational exercises that gave me new ways to think about my novel, some of which fed directly back into the narrative to open it out in exciting new directions..

Hone your non-fiction writing skills in an inspiring and supportive environment. Teaching is hosted on Zoom and our bespoke online learning platform. You’ll join a group of 15 budding writers, all working on personal memoir or narrative non-fiction, for weekly Zoom teaching and workshopping on Wednesday evenings. Over three months Wyl Menmuir, former journalist and award-winning author of novels and non-fiction, will teach on key life-writing topics, including how to map out your story, create compelling characters that are true to life, weave facts into your story, and dramatise scenes from reality to place the reader at the heart of the action. You’ll learn how to strike the right balance between writing from memories and using research to capture the truth.

This course will help you cultivate your craft whether you’re working on a personal memoir like Safiya Sinclair’s How to Say Babylon or Tara Westover’s Educated ; nature writing like Helen Macdonald’s H is for Hawk or Merlin Sheldrake’s Entangled Life; a travel narrative like Chris Broad’s Abroad in Japan or Felicity Cloake’s One More Croissant for the Road ; or a professional confessional like Adam Kay’s This is Going to Hurt .

In addition to the weekly teaching and workshopping you’ll also attend an exclusive live industry masterclass on Zoom featuring insights from a top literary agent and non-fiction author. When the course ends, you’ll be given the opportunity to share your work with literary agents from Curtis Brown and C&W.

Over  240 of our students  have gone on to become commercially published authors, including Dr Benji Waterhouse, author of the memoir  You Don’t Have to Be Mad to Work Here: A Psychiatrist’s Life  (Jonathan Cape, May 2024) .

Course runs from 19 March to 16 July 2025.

Wyl Menmuir

Wyl Menmuir is a multi-award-winning author based in Cornwall. His 2016 debut novel, The Many was longlisted for the Booker Prize and was an Observer Best Fiction of the year pick. His second novel Fox Fires was published in 2021 and his short fiction has been published by Nightjar Press, Kneehigh Theatre and National Trust Books and appeared in Best British Short Stories. Wyl's first full-length non-fiction book, The Draw of the Sea , won the Roger Deakin Award from the Society of Authors and a Holyer an Gof Award. His second non-fiction book, The Heart of The Woods , was released in 2024. A former journalist, Wyl has written for Radio 4’s Open Book , The Guardian and The Observer, and the journal Elementum .

Photo by Oliver Udy.

Read our interview with Wyl

What does this course give you?

• Live teaching sessions on Zoom: Wyl will deliver in-depth teaching sessions on Wednesday evenings (UK-time), tackling a variety of vital topics for memoir and narrative non-fiction writers, including finding your voice, developing a working structure, dramatising material and mastering dialogue (all topics detailed below).
• Writing workshops:  Across the course, you’ll get two dedicated workshops with your tutor and the group centring on extracts from your work-in-progress. Workshops will take place on Zoom, with the opportunity to continue the discussion later in the group’s private forum area of our secure, bespoke online learning platform.
• A community of writers:  Our selective applications process means that you will be writing your book in a peer group of 15 students working at a high level. Many of our former students have found their trusted readers with us – and form strong working friendships with classmates which go on long after the course is over.
• One-to-one tutorials:  You'll get two 30-minute, one-to-one tutorials with Wyl based on 3,000-word extracts from your work-in-progress. Use these tutorials to address your specific concerns about your writing.
• Literary agent masterclass:  Join a special Zoom session with C&W literary agent Sophie Lambert and her client Callum Robinson, they will talk about writing, editing and the submissions process, drawing on their experience of real-life publication journeys. There will also be an opportunity to ask questions.
• Synopsis & agent letter advice:  We’ll draw on our expertise to give you the vital ingredients needed for a great synopsis and the all-important pitch letter. Individual feedback will come from experienced members of the CBC editorial team and/or a Curtis Brown/C&W literary agent.
• End-of-course submission:  All students will be invited to submit the 3,000-word opening from their book, plus a synopsis, to be shared with the agent teams at Curtis Brown and C&W. This is not a formal submission but a chance to give the agents a taste of your work at this stage. However, when you are ready to formally submit your memoir to agents from Curtis Brown or C&W – no matter how long after your course has finished – the Curtis Brown Creative team will give you guidance and support with your submission. Full information about this free service is provided during the course.
• Alumni services:  You’ll be given access to a range of exclusive writing services, available only to the alumni of our selective courses, which you’ll be able to access after your course finishes. These services include individual mentoring, editorial reports on your completed book, submission reports on your ‘pitch package’ and coaching from experienced practitioners. Read more about the opportunities available to our alumni  here .

Course schedule & delivery

Wyl will lead weekly Zoom sessions on Wednesday evenings from 7.00pm to 8.45pm (UK time) unless otherwise stated. Please note that precise dates of masterclass sessions and details of course speakers are subject to change.

ORIENTATION AND COMMITTING: PART I

Voice part i, voice part ii, easter break, the synopsis, sensory writing, how to write emotionally difficult scenes, dialogue & scenes, agent letter workshop, course conclusion & committing: part ii, end of course submission, course fees.

The course fee of £1,800 (inc VAT) per student is payable, in full, by bank transfer. Funds must reach our bank account before the course begins. If you are unable to pay the full fee upfront, let us know and we can arrange an instalment plan.

READY TO APPLY?

Please apply with the first 3,000 words of the memoir or narrative non-fiction book you’d like to work on during the course, and a synopsis of no more than a page (both need to be in the same document, as you can only upload ONE file in the application below). Our form will also ask you to make a short statement about the type of story you’re working on (e.g., personal memoir, travel writing, nature writing, food writing, professional memoir etc.). Unfortunately, this course is not suitable for those writing medical papers, academic texts, or technical manuals.

The CBC team will select applicants based on the quality of the writing sample provided. The deadline for applications is midnight, end of day Sunday 23 February, and we will respond to applicants by Thursday 27 February 2025.

We read all application material promptly after the closing date and make our selection of students within a week. However, if you require an earlier response from us in order to be able to take part in this course, please email us with full details and we will consider and respond on a case-by-case basis.

If you encounter any problems during the application process, or have any more questions about the course, please email [email protected] for assistance .

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