example of non creative writing

Examples of Creative Nonfiction: What It Is & How to Write It

When most people think of creative writing, they picture fiction books – but there are plenty of examples of creative nonfiction. In fact, creative nonfiction is one of the most interesting genres to read and write. So what is creative nonfiction exactly? 

More and more people are discovering the joy of getting immersed in content based on true life that has all the quality and craft of a well-written novel. If you are interested in writing creative nonfiction, it’s important to understand different examples of creative nonfiction as a genre. 

If you’ve ever gotten lost in memoirs so descriptive that you felt you’d walked in the shoes of those people, those are perfect examples of creative nonfiction – and you understand exactly why this genre is so popular.

But is creative nonfiction a viable form of writing to pursue? What is creative nonfiction best used to convey? And what are some popular creative nonfiction examples?

Today we will discuss all about this genre, including plenty of examples of creative nonfiction books – so you’ll know exactly how to write it. 

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What is Creative Nonfiction?

Creative nonfiction is defined as true events written about with the techniques and style traditionally found in creative writing . We can understand what creative nonfiction is by contrasting it with plain-old nonfiction. 

Think about news or a history textbook, for example. These nonfiction pieces tend to be written in very matter-of-fact, declarative language. While informative, this type of nonfiction often lacks the flair and pleasure that keep people hooked on fictional novels.

Imagine there are two retellings of a true crime story – one in a newspaper and the other in the script for a podcast. Which is more likely to grip you? The dry, factual language, or the evocative, emotionally impactful creative writing?

Podcasts are often great examples of creative nonfiction – but of course, creative nonfiction can be used in books too. In fact, there are many types of creative nonfiction writing. Let’s take a look!

Types of creative nonfiction

Creative nonfiction comes in many different forms and flavors. Just as there are myriad types of creative writing, there are almost as many types of creative nonfiction.

Some of the most popular types include:

Literary nonfiction

Literary nonfiction refers to any form of factual writing that employs the literary elements that are more commonly found in fiction. If you’re writing about a true event (but using elements such as metaphor and theme) you might well be writing literary nonfiction.

Writing a life story doesn’t have to be a dry, chronological depiction of your years on Earth. You can use memoirs to creatively tell about events or ongoing themes in your life.

If you’re unsure of what kind of creative nonfiction to write, why not consider a creative memoir? After all, no one else can tell your life story like you. 

Nature writing

The beauty of the natural world is an ongoing source of creative inspiration for many people, from photographers to documentary makers. But it’s also a great focus for a creative nonfiction writer. Evoking the majesty and wonder of our environment is an endless source of material for creative nonfiction. 

Travel writing

If you’ve ever read a great travel article or book, you’ll almost feel as if you’ve been on the journey yourself. There’s something special about travel writing that conveys not only the literal journey, but the personal journey that takes place.

Writers with a passion for exploring the world should consider travel writing as their form of creative nonfiction. 

For types of writing that leave a lasting impact on the world, look no further than speeches. From a preacher’s sermon, to ‘I have a dream’, speeches move hearts and minds like almost nothing else. The difference between an effective speech and one that falls on deaf ears is little more than the creative skill with which it is written. 

Biographies

Noteworthy figures from history and contemporary times alike are great sources for creative nonfiction. Think about the difference between reading about someone’s life on Wikipedia and reading about it in a critically-acclaimed biography.

Which is the better way of honoring that person’s legacy and achievements? Which is more fun to read? If there’s someone whose life story is one you’d love to tell, creative nonfiction might be the best way to do it. 

So now that you have an idea of what creative nonfiction is, and some different ways you can write it, let’s take a look at some popular examples of creative nonfiction books and speeches.

Examples of Creative Nonfiction

Here are our favorite examples of creative nonfiction:

1. In Cold Blood by Truman Capote

No list of examples of creative nonfiction would be complete without In Cold Blood . This landmark work of literary nonfiction by Truman Capote helped to establish the literary nonfiction genre in its modern form, and paved the way for the contemporary true crime boom.  

2. A Moveable Feast by Ernest Hemingway

Ernest Hemingway’s A Moveable Feast is undeniably one of the best creative memoirs ever written. It beautifully reflects on Hemingway’s time in Paris – and whisks you away into the cobblestone streets.  

3. World of Wonders by Aimee Nezhukumatathil

If you’re looking for examples of creative nonfiction nature writing, no one does it quite like Aimee Nezhukumatathil. World of Wonders  is a beautiful series of essays that poetically depicts the varied natural landscapes she enjoyed over the years. 

4. A Walk in the Woods by Bill Bryson

Bill Bryson is one of the most beloved travel writers of our time. And A Walk in the Woods is perhaps Bryson in his peak form. This much-loved travel book uses creativity to explore the Appalachian Trail and convey Bryson’s opinions on America in his humorous trademark style.

5. The Gettysburg Address by Abraham Lincoln

 While most of our examples of creative nonfiction are books, we would be remiss not to include at least one speech. The Gettysburg Address is one of the most impactful speeches in American history, and an inspiring example for creative nonfiction writers.

6. I Know Why the Caged Bird Sings by Maya Angelou

Few have a way with words like Maya Angelou. Her triumphant book, I Know Why the Caged Bird Sings , shows the power of literature to transcend one’s circumstances at any time. It is one of the best examples of creative nonfiction that truly sucks you in.

7. Hiroshima by John Hershey

Hiroshima is a powerful retelling of the events during (and following) the infamous atomic bomb. This journalistic masterpiece is told through the memories of survivors – and will stay with you long after you’ve finished the final page.

8. Eat, Pray, Love by Elizabeth Gilbert

If you haven’t read the book, you’ve probably seen the film. Eat, Pray, Love by Elizabeth Gilbert is one of the most popular travel memoirs in history. This romp of creative nonfiction teaches us how to truly unmake and rebuild ourselves through the lens of travel.

9. Me Talk Pretty One Day by David Sedaris

Never has language learning brought tears of laughter like Me Talk Pretty One Day . David Sedaris comically divulges his (often failed) attempts to learn French with a decidedly sadistic teacher, and all the other mishaps he encounters in his fated move from New York to Paris.

10. The Glass Castle by Jeannette Walls

Many of us had complicated childhoods, but few of us experienced the hardships of Jeannette Walls. In The Glass Castle , she gives us a transparent look at the betrayals and torments of her youth and how she overcame them with grace – weaving her trauma until it reads like a whimsical fairytale.

Now that you’ve seen plenty of creative nonfiction examples, it’s time to learn how to write your own creative nonfiction masterpiece.

Tips for Writing Creative Nonfiction

Writing creative nonfiction has a lot in common with other types of writing. (You won’t be reinventing the wheel here.) The better you are at writing in general, the easier you’ll find your creative nonfiction project. But there are some nuances to be aware of.

Writing a successful creative nonfiction piece requires you to:

Choose a form

Before you commit to a creative nonfiction project, get clear on exactly what it is you want to write. That way, you can get familiar with the conventions of the style of writing and draw inspiration from some of its classics.

Try and find a balance between a type of creative nonfiction you find personally appealing and one you have the skill set to be effective at. 

Gather the facts

Like all forms of nonfiction, your creative project will require a great deal of research and preparation. If you’re writing about an event, try and gather as many sources of information as possible – so you can imbue your writing with a rich level of detail.

If it’s a piece about your life, jot down personal recollections and gather photos from your past. 

Plan your writing

Unlike a fictional novel, which tends to follow a fairly well-established structure, works of creative nonfiction have a less clear shape. To avoid the risk of meandering or getting weighed down by less significant sections, structure your project ahead of writing it.

You can either apply the classic fiction structures to a nonfictional event or take inspiration from the pacing of other examples of creative nonfiction you admire. 

You may also want to come up with a working title to inspire your writing. Using a free book title generator is a quick and easy way to do this and move on to the actual writing of your book.

Draft in your intended style

Unless you have a track record of writing creative nonfiction, the first time doing so can feel a little uncomfortable. You might second-guess your writing more than you usually would due to the novelty of applying creative techniques to real events. Because of this, it’s essential to get your first draft down as quickly as possible.

Rewrite and refine

After you finish your first draft, only then should you read back through it and critique your work. Perhaps you haven’t used enough source material. Or maybe you’ve overdone a certain creative technique. Whatever you happen to notice, take as long as you need to refine and rework it until your writing feels just right.

Ready to Wow the World With Your Story?

You know have the knowledge and inspiring examples of creative nonfiction you need to write a successful work in this genre. Whether you choose to write a riveting travel book, a tear-jerking memoir, or a biography that makes readers laugh out loud, creative nonfiction will give you the power to convey true events like never before.  

Who knows? Maybe your book will be on the next list of top creative nonfiction examples!

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

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

What Creative Nonfiction Is

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

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

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

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

Different Forms of Creative Nonfiction

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

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

Personal Essay

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

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

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

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

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

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

Lyric Essay

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

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

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

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

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

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

Literary Journalism

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

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

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

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

How to Write Creative Nonfiction: Common Elements and Techniques

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

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

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

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

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

Observation

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

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

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

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

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

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

The following example from “The Crush” demonstrates braiding:

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

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

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

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

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

The narrator offers insight when she remarks:

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

How to Write Creative Nonfiction: the 5 R’s

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

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

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

How to Write Creative Nonfiction: Give it a Try!

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

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

Sean Glatch

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

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

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

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

So impressive

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

excellent guidelines inspiring me to write CNF thank you

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The 5 Rs of Creative Nonfiction

What's the Story #06

“The Essayist at Work” is our first special issue. The cover is different, and although it is our habit to center each issue around a general theme, the essays and profiles in “The Essayist at Work” are narrower in scope. In the future, we intend to publish special issues on a variety of topics, but this one is especially important, not only because it is our first, but also because it helps to launch the first Mid-Atlantic Creative Nonfiction Summer Writers’ Conference with the Goucher College Center for Graduate and Continuing Studies in Baltimore, Md., a supportive and enthusiastic summer partner. Many writers featured in “The Essayist at Work” will also be participating at the conference – an event we hope to continue to co-sponsor with Goucher for years to come.

The writers in this issue represent the incredible range of the newly emerging genre of creative nonfiction, from the struggle and success stories of Darcy Frey (“The Last Shot”) and William Least Heat-Moon (“Blue Highways”) to the master of the profession, John McPhee. From the roots of traditional journalism to poetry and fiction, Pulitzer Prize-winner Alice Steinbach, poet Diane Ackerman and novelists Phillip Lopate and Paul West, have helped expand the boundaries of form and tradition. Jane Bernstein, Steven Harvey, Mary Paumier Jones, Wendy Lesser and Natalia Rachel Singer ponder the spirit of the essay (and e-mail!), while I continue to reflect on and define the creative nonfiction form.

From the beginning, it has been our mission to probe the depths and intricacies of nonfiction by publishing the best prose by new and established writers. Creative Nonfiction provides a forum for writers, editors and readers interested in pushing the envelope of creativity and discussing and defining the parameters of accuracy, validity and truth. My essay below, “The 5 Rs of Creative Nonfiction,” is dedicated to that mission. It will appear in “More than the Truth: Teaching Nonfiction Writing Through Journalism,” which will be published in the fall of 1996 by Heineman.

It is 3 a.m., and I am standing on a stool in the operating room at the University of Pittsburgh Medical Center, in scrubs, mask, cap and paper booties, peering over the hunched shoulders of four surgeons and a scrub nurse as a dying woman’s heart and lungs are being removed from her chest. This is a scene I have observed frequently since starting my work on a book about the world of organ transplantation, but it never fails to amaze and startle me: to look down into a gaping hole in a human being’s chest, which has been cracked open and emptied of all of its contents, watching the monitor and listening to the rhythmic sighing sounds of the ventilator, knowing that this woman is on the fragile cusp of life and death and that I am observing what might well be the final moments of her life.

Now the telephone rings; a nurse answers, listens for a moment and then hangs up. “On the roof,” she announces, meaning that the helicopter has set down on the hospital helipad and that a healthy set of organs, a heart and two lungs, en bloc, will soon be available to implant into this woman, whose immediate fate will be decided within the next few hours.

With a brisk nod, the lead surgeon, Bartley Griffith, a young man who pioneered heart-lung transplantation and who at this point has lost more patients with the procedure than he had saved, looks up, glances around and finally rests his eyes on me: “Lee,” he says, “would you do me a great favor?”

I was surprised. Over the past three years I had observed Bart Griffith in the operating room a number of times, and although a great deal of conversation takes place between doctors and nurses during the long and intense surgical ordeal, he had only infrequently addressed me in such a direct and spontaneous manner.

Our personal distance is a by-product of my own technique as an immersion journalist – my “fly-on-the wall” or “living room sofa” concept of “immersion”: Writers should be regular and silent observers, so much so that they are virtually unnoticed. Like walking through your living room dozens of times, but only paying attention to the sofa when suddenly you realize that it is missing. Researching a book about transplantation, “Many Sleepless Nights” (W.W. Norton), I had been accorded great access to the O.R., the transplant wards, ethics debates and the most intimate conversations between patients, family members and medical staff. I had jetted through the night on organ donor runs. I had witnessed great drama – at a personal distance.

But on that important early morning, Bartley Griffith took note of my presence and requested that I perform a service for him. He explained that this was going to be a crucial time in the heart-lung procedure, which had been going on for about five hours, but that he felt obligated to make contact with this woman’s husband who had traveled here from Kansas City, Mo. “I can’t take the time to talk to the man myself, but I am wondering if you would brief him as to what has happened so far. Tell him that the organs have arrived, but that even if all goes well, the procedure will take at least another five hours and maybe longer.” Griffith didn’t need to mention that the most challenging aspect of the surgery – the implantation – was upcoming; the danger to the woman was at a heightened state.

A few minutes later, on my way to the ICU waiting area where I would find Dave Fulk, the woman’s husband, I stopped in the surgeon’s lounge for a quick cup of coffee and a moment to think about how I might approach this man, undoubtedly nervous – perhaps even hysterical – waiting for news of his wife. I also felt kind of relieved, truthfully, to be out of the O.R,, where the atmosphere is so intense.

Although I had been totally caught-up in the drama of organ transplantation during my research, I had recently been losing my passion and curiosity; I was slipping into a life and death overload in which all of the sad stories from people all across the world seemed to be congealing into the same muddled dream. From experience, I recognized this feeling – a clear signal that it was time to abandon the research phase of this book and sit down and start to write. Yet, as a writer, I was confronting a serious and frightening problem: Overwhelmed with facts and statistics, tragic and triumphant stories, I felt confused. I knew, basically, what I wanted to say about what I learned, but I didn’t know how to structure my message or where to begin.

And so, instead of walking away from this research experience and sitting down and starting to write my book, I continued to return to the scene of my transplant adventures waiting for lightning to strike . . . inspiration for when the very special way to start my book would make itself known. In retrospect, I believe that Bart Griffith’s rare request triggered that magic moment of clarity I had long been awaiting.

Defining the Discussion

Before I tell you what happened, however, let me explain what kind of work I do as an immersion journalist/creative nonfiction writer, and explain what I am doing, from a writer’s point-of-view, in this essay.

But first some definitions: “Immersion journalists” immerse or involve themselves in the lives of the people about whom they are writing in ways that will provide readers with a rare and special intimacy.

The other phrase to define, a much broader term, creative nonfiction, is a concept that offers great flexibility and freedom, while adhering to the basic tenets of nonfiction writing and/or reporting. In creative nonfiction, writers can be poetic and journalistic simultaneously. Creative nonfiction writers are encouraged to utilize fictional (literary) techniques in their prose – from scene to dialogue to description to point-of-view – and be cinematic at the same time. Creative nonfiction writers write about themselves and/or capture real people and real life in ways that can and have changed the world. What is most important and enjoyable about creative nonfiction is that it not only allows, but encourages the writer to become a part of the story or essay being written. The personal involvement creates a special magic that alleviates the suffering and anxiety of the writing experience; it provides many outlets for satisfaction and self-discovery, flexibility and freedom.

When I refer to creative nonfiction, I include memoir (autobiography), and documentary drama, a term more often used in relation to film, as in “Hoop Dreams,” which captures the lives of two inner-city high school basketball players over a six-year period. Much of what is generically referred to as “literary journalism” or in the past, “new journalism,” can be classified as creative nonfiction. Although it is the current vogue in the world of writing today, the combination of creative nonfiction as a form of writing and immersion as a method of research has a long history. George Orwell’s famous essay, “Shooting an Elephant” combines personal experience and high quality literary writing techniques. The Daniel DeFoe classic, “Robinson Crusoe,” is based upon a true story of a physician who was marooned on a desert island. Ernest Hemingway’s paean to bullfighting, “Death in the Afternoon,” comes under the creative nonfiction umbrella, as does Tom Wolfe’s, “The Right Stuff,” which was made into an award-winning film. Other well-known creative nonfiction writers, who may utilize immersion techniques include John McPhee (“Coming Into the Country”), Tracy Kidder (“House”), Diane Ackerman (“A Natural History of the Senses”) and Pulitzer Prize winner Annie Dillard (“Pilgrim at Tinker Creek”), to name only a few of the many authors who have contributed to this burgeoning genre.

Currently, many of our best magazines – The New Yorker, Harper’s, Vanity Fair, Esquire – publish more creative nonfiction than fiction and poetry combined. Universities offer Master of Fine Arts degrees in creative nonfiction. Newspapers are publishing an increasing amount of creative nonfiction, not only as features, but in the news and op-ed pages, as well.

Reading, ‘Riting, ‘Rithmitic – the 3Rs – was the way in which basic public school education was once described. The “5 Rs” is an easy way to remember the basic tenets of creative nonfiction/immersion journalism.

The first “R” has already been explained and discussed: the “immersion” or “real life” aspect of the writing experience. As a writing teacher, I design assignments that have a real-life aspect: I force my students out into their communities for an hour, a day, or even a week so that they see and understand that the foundation of good writing emerges from personal experience. Some writers (and students) may utilize their own personal experience rather than immersing themselves in the experiences of others. In a recent introductory class I taught, one young man working his way through school as a sales person wrote about selling shoes, while another student, who served as a volunteer in a hospice, captured a dramatic moment of death, grief and family relief. I’ve sent my students to police stations, bagel shops, golf courses; together, my classes have gone on excursions and participated in public service projects – all in an attempt to experience or re-create from personal experience real life.

In contrast to the term “reportage,” the word “essay” usually connotes a more personal message from writer to reader. “An essay is when I write what I think about something,” students will often say to me. Which is true, to a certain extent – and also the source of the meaning of the second “R” for “reflection.” A writer’s feelings and responses about a subject are permitted and encouraged, as long as what they think is written to embrace the reader in a variety of ways. As editor of Creative Nonfiction, I receive approximately 150 unsolicited essays, book excerpts and profiles a month for possible publication. Of the many reasons the vast majority of these submissions are rejected, two are most prevalent, the first being an overwhelming egocentrism; in other words, writers write too much about themselves without seeking a universal focus or umbrella so that readers are properly and firmly engaged. Essays that are so personal that they omit the reader are essays that will never see the light of print. The overall objective of the personal essayist is to make the reader tune in – not out.

The second reason Creative Nonfiction and most other journals and magazines reject essays is a lack of attention to the mission of the genre, which is to gather and present information, to teach readers about a person, place, idea or situation combining the creativity of the artistic experience with the essential third “R” in the formula: “Research.”

Even the most personal essay is usually full of substantive detail about a subject that affects or concerns a writer and the people about whom he or she is writing. Read the books and essays of the most renowned nonfiction writers in this century and you will read about a writer engaged in a quest for information and discovery. From George Orwell to Ernest Hemingway to John McPhee, books and essays written by these writers are invariably about a subject other than themselves, although the narrator will be intimately included in the story. Personal experience and spontaneous intellectual discourse – an airing and exploration of ideas – are equally vital. In her first book, “Pilgrim at Tinker Creek,” which won the Pulitzer Prize, and in her other books and essays, Annie Dillard repeatedly overwhelms her readers with factual information, minutely detailed descriptions of insects, botany and biology, history, anthropology, blended with her own feelings about life.

One of my favorite Dillard essays, “Schedules,” focuses upon the importance of writers working on a regular schedule rather than writing only intermittently. In “Schedules,” she discusses, among many other subjects, Hasidism, chess, baseball, warblers, pine trees, june bugs, writers’ studios and potted plants – not to mention her own schedule and writing habits and that of Wallace Stevens and Jack London.

What I am saying is that the genre of creative nonfiction, although anchored in factual information, is open to anyone with a curious mind and a sense of self. The research phase actually launches and anchors the creative effort. Whether it is a book or essay I am planning, I always begin my quest in the library – for three reasons. First, I need to familiarize myself with the subject. If it is something about which I do not know, I want to make myself knowledgeable enough to ask intelligent questions. If I can’t display at least a minimal understanding of the subject about which I am writing, I will lose the confidence and the support of the people who must provide access to the experience.

Secondly, I will want to assess my competition. What other essays, books and articles have been written about this subject? Who are the experts, the pioneers, the most controversial figures? I want to find a new angle – not write a story similar to one that has already been written. And finally, how can I reflect and evaluate a person, subject or place unless I know all of the contrasting points-of-view? Reflection may permit a certain amount of speculation, but only when based upon a solid foundation of knowledge.

So far in this essay I have named a number of well-respected creative nonfiction writers and discussed their work, which means I have satisfied the fourth “R” in our “5R” formula: “Reading.” Not only must writers read the research material unearthed in the library, but they also must read the work of the masters of their profession. I have heard some very fine writers claim that they don’t read too much anymore – or that they don’t read for long periods, especially during the time they are laboring on a lengthy writing project. But almost all writers have read the best writers in their field and are able to converse in great detail about the stylistic approach and intellectual content. An artist who has never studied Picasso, Van Gogh, Michelangelo, even Warhol, is an artist who will quite possibly never succeed.

So far we have mostly discussed the nonfiction or journalistic aspects of the immersion journalism/creative nonfiction genre. The 5th “R” the “riting” part is the most artistic and romantic aspect of the total experience. After all of the preparatory (nonfiction) work is complete, writers will often “create” in two phases. Usually, there is an inspirational explosion, a time when writers allow instinct and feeling to guide their fingers as they create paragraphs, pages, and even entire chapters of books or complete essays. This is what art of any form is all about – the passion of the moment and the magic of the muse. I am not saying that this always happens; it doesn’t. Writing is a difficult labor, in which a regular schedule, a daily grind of struggle, is inevitable. But this first part of the experience for most writers is rather loose and spontaneous and therefore more “creative” and fun. The second part of the writing experience – the “craft” part, which comes into play after your basic essay is written – is equally important – and a hundred times more difficult.

Writing in Scenes

Vignettes, episodes, slices of reality are the building blocks of creative nonfiction – the primary distinguishing factor between traditional reportage/journalism and “literary” and/or creative nonfiction and between good, evocative writing and ordinary prose. The uninspired writer will tell the reader about a subject, place or personality, but the creative nonfiction writer will show that subject, place or personality in action. Before we discuss the actual content or construction of a scene, let me suggest that you perform what I like to call the “yellow test.”

Take a yellow “Hi-Liter” or Magic Marker and leaf through your favorite magazines – Vanity Fair, Esquire, The New Yorker or Creative Nonfiction. Or return to favorite chapters in previously mentioned books by Dillard, Ackerman, etc. Yellow-in the scenes, just the scenes, large and small. Then return to the beginning and review your handiwork. Chances are, anywhere from 50 to 80 percent of each essay, short story, novel selected will be yellow. Plays are obviously constructed with scenes, as are films. Most poems are very scenic.

Jeanne Marie Laskas, the talented columnist for the Washington Post Magazine, once told me: “I only have one rule from start to finish. I write in scenes. It doesn’t matter to me in which order the scenes are written; I write whichever scene inspires me at any given time, and I worry about the plot or frame or narrative later. The scene – a scene – any scene – is always first.”

The Elements of a Scene

First and foremost, a scene contains action. Something happens. I jump on my motorcycle and go helter-skelter around the country; suddenly, in the middle of July in Yellowstone National Park I am confronted with 20 inches of snow. Action needn’t be wild, sexy and death-defying, however. There’s also action in the classroom. A student asks a question, which requires an answer, which necessitates a dialogue, which is a marvelously effective tool to trigger or record action. Dialogue represents people saying things to one another, expressing themselves. It is a valuable scenic building block. Discovering dialogue is one of the reasons to immerse ourselves at a police station, bagel shop or at a zoo. To discover what people have to say spontaneously – and not in response to a reporter’s prepared questions.

Another vehicle or technique of the creative nonfiction experience may be described as “intimate and specific detail.” Through use of intimate detail, we can hear and see how the people about whom we are writing say what is on their minds; we may note the inflections in their voices, their elaborate hand movements and any other eccentricities. “Intimate” is a key distinction in the use of detail when crafting good scenes. Intimate means recording and noting detail that the reader might not know or even imagine without your particular inside insight. Sometimes intimate detail can be so specific and special that it becomes unforgettable in the reader’s mind. A very famous “intimate” detail appears in a classic creative nonfiction profile, “Frank Sinatra Has a Cold,” written by Gay Talese in 1962 and published in Esquire Magazine.

In this profile, Talese leads readers on a whirlwind cross country tour, revealing Sinatra and his entourage interacting with one another and with the rest of the world and demonstrating how the Sinatra world and the world inhabited by everyone else will often collide. These scenes are action-oriented; they contain dialogue and evocative description with great specificity and intimacy such as the gray-haired lady spotted in the shadows of the Sinatra entourage – the guardian of Sinatra’s collection of toupees. This tiny detail – Sinatra’s wig lady – loomed so large in my mind when I first read the essay that even now, 35 years later, anytime I see Sinatra on TV or spot his photo in a magazine, I find myself unconsciously searching the background for the gray-haired lady with the hatbox.

The Narrative – or Frame

The frame represents a way of ordering or controlling a writer’s narrative so that the elements of his book, article or essay are presented in an interesting and orderly fashion with an interlaced integrity from beginning to end.

Some frames are very complicated, as in the movie, “Pulp Fiction”; Quentin Tarantino skillfully tangles and manipulates time. But the most basic frame is a simple beginning-to-end chronology. “Hoop Dreams,” for example, the dramatic documentary (which is also classic creative nonfiction) begins with two African-American teen-age basketball stars living in a ghetto and sharing a dream of stardom in the NBA and dramatically tracks both of their careers over the next six years.

As demonstrated in “Pulp Fiction,” writers don’t always frame in a strictly chronological sequence. My book, “One Children’s Place,” begins in the operating room at a children’s hospital. It introduces a surgeon, whose name is Marc Rowe, his severely handicapped patient, Danielle, and her mother, Debbie, who has dedicated her every waking moment to Danielle. Two years of her life have been spent inside the walls of this building with parents and children from all across the world whose lives are too endangered to leave the confines of the hospital. As Danielle’s surgery goes forward, the reader tours the hospital in a very intimate way, observing in the emergency room, participating in helicopter rescue missions as part of the emergency trauma team, attending ethics meetings, well-baby clinics, child abuse examinations – every conceivable activity at a typical high-acuity children’s hospital so that readers will learn from the inside out how such an institution and the people it services and supports function on an hour-by-hour basis. We even learn about Marc Rowe’s guilty conscience about how he has slighted his own wife and children over the years so that he can care for other families.

The book ends when Danielle is released from the hospital. It took two years to research and write this book, returning day and night to the hospital in order to understand the hospital and the people who made it special, but the story in which it is framed begins and ends in a few months.

Back to the Beginning – That Rare and Wonderful Moment of Clarity

Now let’s think about this essay as a piece of creative nonfiction writing, especially in relation to the concept of framing. It begins with a scene. We are in an operating room at the University of Pittsburgh, the world’s largest organ transplant center, in the middle of a rare and delicate surgery that will decide a dying woman’s fate. Her heart and both lungs have been emptied out of her chest and she is maintained on a heart-bypass system. The telephone alerts the surgical team that a fresh and potentially lifesaving set of organs has arrived at the hospital via helicopter. Suddenly the lead surgeon looks up and asks an observer (me) to make contact with the woman’s husband. I agree, leave the operating room and then stop for a coffee in the surgeon’s lounge.

Then, instead of moving the story forward, fulfilling my promise to Dr. Griffith and resolving my own writing dilemma, I change directions, move backwards (flashback) in time and sequence and begin to discuss this genre – immersion journalism/creative nonfiction. I provide a mountain of information – definitions, descriptions, examples, explanations. Basically, I am attempting to satisfy the nonfiction part of my responsibility to my readers and my editors while hoping that the suspense created in the first few pages will provide an added inducement for readers to remain focused and interested in this Introduction from the beginning to the end where, (the reader assumes) the two stories introduced in the first few pages will be completed.

In fact, my meeting with Dave Fulk in the ICU waiting room that dark morning was exactly the experience I had been waiting for, leading to that precious and magic moment of clarity for which I was searching and hoping. When I arrived, Mr. Fulk was talking with an elderly man and woman from Sacramento, Calif., who happened to be the parents of a 21-year-old U.S. Army private named Rebecca Treat who, I soon discovered, was the recipient of the liver from the same donor who gave Dave’s wife (Winkle Fulk) a heart and lungs. Rebecca Treat, “life-flighted” to Pittsburgh from California, had been in a coma for 10 days by the time she arrived in Pittsburgh; the transplanted liver was her only hope of ever emerging from that coma and seeing the light of day.

Over the next half-hour of conversation, I learned that Winkle Fulk had been slowly dying for four years, had been bedbound for three of those years, as Dave and their children watched her life dwindle away, as fluid filled her lungs and began to destroy her heart. Rebecca’s fate had been much more sudden; having contracted hepatitis in the army, she crashed almost immediately. To make matters worse, Rebecca and her new husband had separated. As I sat in the darkened waiting area with Dave Fulk and Rebecca’s parents, I suddenly realized what it was I was looking for, what my frame or narrative element could be. I wanted to tell about the organ transplant experience – and what organ transplantation can mean from a universal perspective – medically, scientifically, personally for patients, families and surgeons. Rebecca’s parents and the Fulk family, once strangers, would now be permanently and intimately connected by still another stranger – the donor – the person whose tragic death provided hope and perhaps salvation to two dying people. In fact, my last quest in the research phase of the transplant book experience was to discover the identity of this mysterious donor and literally connect the principal characters. In so doing, the frame or narrative drive of the story emerged.

“Many Sleepless Nights” begins when 15-year-old Richie Becker, a healthy and handsome teen-ager from Charlotte, N.C., discovers that his father is going to sell the sports car that he had hoped would one day be his. In a spontaneous and thoughtless gesture of defiance, Richie, who had never been behind the wheel, secretly takes his father’s sports car on a joy ride. Three blocks from his home, he wraps the car around a tree and is subsequently declared brain dead at the local hospital. Devastated by the experience, but hoping for some positive outcome to such a senseless tragedy, Richie’s father, Dick, donates his son’s organs for transplantation.

Then the story flashes back a half century, detailing surgeons’ first attempts at transplantation and all of the experimentation and controversy leading up to the development and acceptance of transplant techniques. I introduce Winkle Fulk and Pvt. Rebecca Treat. Richie Becker’s liver is transplanted into Rebecca, while his heart and lungs are sewn into Mrs. Fulk by Dr. Bartley Griffith. The last scene of the book 370 pages later is dramatic and telling and finishes the frame three years later when Winkle Fulk travels to Charlotte, N.C., a reunion I arranged to allow the folks to personally thank Richie’s father for his son’s gift of life.

At the end of the evening, just as we were about to say goodbye and return to the motel, Dick Becker stood up in the center of the living room of his house, paused, and then walked slowly and hesitantly over toward Winkle Fulk, who had once stood alone at the precipice of death. He eased himself down on his knees, took Winkle Fulk by the shoulder and simultaneously drew her closer, as he leaned forward and placed his ear gently but firmly between her breasts and then at her back.

Everyone in that room was suddenly and silently breathless, watching as Dick Becker listened for the last time to the absolutely astounding miracle of organ transplantation: the heart and the lungs of his dead son Richie, beating faithfully and unceasingly inside this stranger’s warm and loving chest.

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Submitted by writers on Reedsy Prompts to our weekly writing contest . The creative nonfiction stories on this page deliver exactly what it says on the tin: true stories told in weird and wonderful ways.

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“ you ” by elizabeth hoban.

🏆 Winner of Contest #260

We were death partners before we were friends. The day we met some 30 years ago, I was so pregnant with my first child, I resembled an over-stuffed sausage about to burst its casing. I’d forsaken style weeks earlier when my shoes no longer fit. I couldn’t even reach around my massive torso to shave my legs; limbs sporting enough hair to scrape clean a barbecue grill.  You, on the other hand, had just wrapped-up an open-house and strode across my threshold for the first time, like a seasoned runway model. I’ll never forget your chic...

“ Careful—You’ll Slip, Fall, and Die on Those Slippery Slopes ” by Liv Chocolate

🏆 Winner of Contest #182

cw: references to sexual assault, kidnapping, and murderThe first time I crossed a street by myself—as in, without one or both of my parents present—I was seventeen. My parents warned me that the outside world was dangerous, and that, if something were to happen to me, I wouldn't know what to do. According to my parents, kidnappers, murderers, and kidnapper-murderers lurked on every corner of our small, suburban town where, statistically, my chances of becoming the victim of a violent crim...

“ Letting go ” by Rebecca Miles

🏆 Winner of Contest #166

I dedicate this story to my partner and to everyone who has carried or is carrying the burden of grief.Sitting by the bed, holding my hand, you think my mind is fighting against the decision of my body to quit life’s game. My eyes are closed, but I sense your will through the fingers laced tightly around my own. Tenderness is a force and you stake my claim to life through the insistent pressure of your hand. How it has grown over these long years from its immaculate small perfection to this manifestati...

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“ the heart of the matter ” by karen hope.

⭐️ Shortlisted for Contest #261

She adjusts herself in the stiff chair, trying to get comfortable. It seems each time she shifts, it’s not long before she needs to squirm around again, looking for that sweet spot. But then she reminds herself she’s in a hospital, watching her husband sleep soundly after his surgery. It’s not about her comfort. It’s about his. A baseball game is playing on the TV, the volume so low she can only hear a steady buzzing from the small bedside speaker. Her fingers ache to gingerly grab the remote from beside her husband and turn on her favorite ...

“ Psst...(Jill killed Jack) ” by Tommy Goround

⭐️ Shortlisted for Contest #256

“I very much need some socks pretty please with sugar on top.” This was the text that I sent to my estranged ex-wife. The one who wanted to drag me out to the wilderness under the guise of talking about financing our first childs’ entrance into college. I knew that she was old fashioned and wanted to push me from a hill. Just like Fellini. So my last request was not very sinister. I mean, even death row inmates should get some free laundry or a meal. Maybe even a prayer? I looked into the pantry of my rental and decided there ...

“ Never counted on wishes (breaks a man to see what he misses) ” by Fletcher Fox

⭐️ Shortlisted for Contest #253

“I wish we could stay here forever.” Of course, everyone says that their first year of university. The excitement, the freedom of being away from home, the longing for an impermanent state to be permanent - that wish is genuine, yet rarely was it quite as potent as it was for you. You didn’t know at the time just how fleeting here would be - weeks later, you would again return to your childhood bedroom, a pandemic having closed down your new barely existent friendships, never again to be as easy to maintain as they had at that dinner table w...

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“ the wedding girls ” by molly shortle.

Submitted to Contest #264

“Is that the wedding girl?” little 6-year-old Anna asked, looking at the photo of my Mum’s wedding. My Aunt Monie and I laughed at her granddaughter’s use of the word girl, even though I suppose Mum was younger than I was then - in her early thirties.  It was just that the 1950’s hairdos were so severe with hair pulled up sharply into a bun or a roll, that everybody seemed older than their age then and very un-girl like.Aunty Monie and I had just been looking through a whole pile of photographs from the 1950’s of her wedding to my ...

“ Celestine meets Luciano ” by Tirashia Lastrapes

Clarence Roosevelt and Clementine Fitzgerald had jumped the broom. Clementine gave birth 2 years before. Named her Clare Ann Roosevelt. Clarence was happier than kids in a water balloon fight on a sizzling hot day.  In a little town called Mancini, they picked the one and only church big enough to fit a thousand people inside. Light gray and royal blue were the colors for the wedding. Clementine's hair pin curled which complimented her soft and playful features. She was a slender framed woman. Short and sweet. She wore light gray o...

“ Unexpected ” by Joshua Kim

Unexpected June’s mouth gaped at the revelation. Today was the day of her dear friend’s wedding, and she didn’t think much of it, rather than the fact that her dear friend, who had gone through much suffering in her relatively short life was now getting married… It was enough to move her to tears. But the reason that her mouth was gaping was because of the person right in front of her.  Someone that she thought she had seen the last of during her turbulent, suffering years in high school was back in her life, albeit it would have been f...

“ I Didn't, I Don't, I Do ” by Linda Peterson

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“ The Weekend at the Wheels Inn ” by Lily Finch

It was the third time we had gone away together, but the difference was that his entire extended family would be there with us this time. I hesitated when I heard that since we weren't exactly at that stage in our relationship yet, in my estimation. Michael picked me up on Thursday night. We both took Friday off since all of his aunts and uncles told him they were doing that. When we arrived at the Inn, I immediately noticed our rooms were all in a row on the same floor. That should've been my first red flag. The room doors were all open, an...

“ I'm Yours ” by Julie Vincent

Next morning, as we drove down Hunter Street Newcastle, I gasped in horror at seeing bridal boutiques down both sides of the street. What is this place? I heard a very clear, ‘Before you leave this place you’ll be married.’ This freaked me out. Was it God? The idea of marriage terrified me. And there was more, ‘You’ll have so many friends, you won’t want to leave.’ Uh? I don’t know anybody. I’m alone. I’m a mess. How could it be?Not knowing what else to do, the couple left me at a refuge. I was shown around. When we got to the part of the sp...

“ The Big Bad Wolf ” by Marie-Chantal Wang Iriart

Submitted to Contest #263

The Big Bad Wolf The whole world thinks I’m a villain. In fact, in every child’s story, there’s never a happy ending for me. Humans think we're the villains? Please. They clearly haven't met my Aunt Lupina at family gatherings. Parents warn their children to stay away from me. They tell kids to take the three little pigs as role models and take me as trash. The fear of wolves in Europe was so intense that there were actual trials where people were accused of being werewolves. This historical paranoia could be an interesting element to explor...

“ The Accord of Storms ” by Ava Black

My feet hurt, I smelled like a deep fryer, and the coffee burns on my forearm stung. I sat in the driver’s seat of my sky-blue 1990 Honda Accord, staring at the little mountain restaurant I’d never return to. I slammed the car door, and I screamed.The restaurant I worked at had just laid me off. It was 2010, and Canada was still struggling to recover from the Great Recession. I was broke, and though I’d been accepted into university, my mother made it clear she would kick me out at the end of the summer—whether or not I had saved enough for ...

“ Plus-One Perspective ” by George [email protected]

Plus-One Perspective I am here to offer you my plus one perspective.  Even though I was five years old at this plus one event, I was unaccompanied.  Let’s face it, plus one means very little to a five-year-old even if he’s running loose at his father’s wedding.   Early in November 1961, my father George, Sr. married Carole Bent.  It was my dad’s second marriage and Carole’s first.  In a romantic getaway honeymoon, dad would take his new bride to South Bend, Indiana to see the Syracuse University Orangemen take ...

“ A Broken System: My Struggle with CRPS ” by Lilly Mae

I've been forced to confront the harsh reality of a system that prioritizes power and greed over people's lives. I've been marginalized, ignored, and dismissed. But I refuse to be silenced. I demand accountability, justice, and compassion. I urge those in power to walk in my shoes, to understand my struggles, and to act with humanity. I will not be defeated; I will rise above the corruption and continue to fight for my rights and the rights of others. Together, we can create a better world, a world that values empathy, kindness, and justice....

“ The path you set ablaze ” by M.D. Adler

TW: Mentions of physical violence. Some stories shouldn't be told by me, especially stories such as this one. Regrettably, you will find this story bruised by my thoughts, my bias, my voice, all things of mine that shouldn't belong here. I bruised it while trying to hold on tight, as it twisted, turned, and writhed in my hands, trying to escape. “I don't belong to you.” It shrieked. I felt guilty digging my nails deeper into these stories, knowing none of these memories were mine to exhibit. Yet, all of them are true. There's a reason why yo...

“ What For! ” by Colin Munene

As I stared at the lifeless body of my daughter Lily lying before me, my mind was racing with a maelstrom of emotions - grief, rage, and an overwhelming need for answers. Needing to be absolutely certain, I raised my trembling hands and pointed two fingers at a woman across the street, quietly whispering "bang."The woman crumpled to the ground, and in that moment, I knew my life had taken an irreversible turn. I was no longer the mild-mannered professor people knew me as - I had become something else, something darker. The death of my belove...

“ Superhero ” by Lily Finch

It was April 24, 2024, when my mother arrived at her doctor's office and heard that her mortal enemy and most significant fear was back, and she was going to have to face it all again.The shock carried her home, and she drove her car on automatic pilot. She exited the porch, entered the house, and collapsed onto the couch.She called my older sister, whom she lived with during the week.She said, "I have some bad news. I have lung cancer.""You have what? What do you mean?" My sister said that numbness took over her extremities.The two ladies s...

“ This Wasn't It ” by Carly Dodgen

Hot Florida sun burns a small spot on Billie’s back, but behind she could hear a storm approaching. Her backpack leaves sweat stains on her black Against Me! shirt, worn thin from the teenager’s reckless love of it. She is walking the mile or so from school back home. It is a poor neighborhood, but not because of a lack of money. The people here had just stopped. Houses half-painted, cars half-fixed. So many lives seemed halted abruptly here. She hoped that hers was not among them. Their yards were a mottled combination of overgrown grass an...

“ The Ghost and the Half-Blood ” by Meagan McQuigge-Derkacz

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The Best Creative Nonfiction Short Stories

Made for those bookworms who love the compelling freedom of fiction but are looking for a little bit of the real world in their reading, creative nonfiction is the radiant lovechild of elegant poetry and rigorous reportage. Writers of this genre aim to present the truth — factually accurate prose about real life and real people — in a brilliant and creative way. Its faithful readers find themselves as enthralled by fact as they are by fantasy.

As a literary form, nonfiction can be a little hard to pin down. At its crux, creative nonfiction applies literary techniques drawn from poetry and fiction to content that would be at home in a textbook — making for an entertaining read that you might just learn something from! Among creative nonfiction short stories, you could find an insightful memoir, a dramatic monologue, hot, witty journalism, or a tight, personal essay.

Looking for new creative nonfiction stories? 

Look no further! Every week, hundreds of writers submit stories to Reedsy’s short story contest. On this page, you’ll find all of those that are categorized as creative nonfiction stories. This means that the featured writers were triggered by one of our prompts to look to their own experiences and reveal a true-life story — but, crucially, they decided to tell it in a brilliant and creative way. 

If you want to find the cream of the crop — perhaps the next Joan Didion or Jia Tolentino — then look to the top of the page: that’s where we’ve gathered all the winning and shortlisted entries. And don’t forget, if you’ve got a story to tell (fact or fiction), you too can enter our weekly contest and be in with a chance of nabbing the $250 prize plus a shot at publication in Prompted , our new literary magazine . Now wouldn’t that be a story?

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

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

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

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

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

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

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

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Want to perfect your process for writing creative non-fiction, or elevate your writing style? Maybe you’re making the move from fiction to non-fiction.

This comprehensive guide using interviews from The Writing Life podcast offers advice and guidance from writers and editors, often describing the obstacles they faced and how they traversed them in their own projects.

This page covers creative non-fiction inspiration, research, structure, narrative, point of view and much more.

1. Know thyself: are you a non-fiction writer?

Not everyone is suited to the type of writing they might want to do. It’s important to understand not only what interests us, but what we have an aptitude for. It can be valuable to find where these two meet.

Author and journalist Sonia Faleiro describes her own journey of self-discovery and self-actualisation: ‘After I wrote my debut novel, The Girl , I looked at it and realised, ‘wow, I’m not a novelist – what were you thinking?!’. I am so glad I realised that. Imagine attempting to put out more books and not knowing that that was not what I was meant to do.

‘I didn’t grow up with much non-fiction, so it wasn’t something I had imagined doing. Only later did I learn more about it.’

‘I didn’t want to follow the American cookie-cutter format of narrative non-fiction. It’s very gripping, but it’s quite formulaic. I wanted to take the basic tenets of narrative non-fiction and make it mine and adapt it to the kind of storytelling I was keen on.

‘When I lived in Mumbai, I started writing about communities that live on the edge of society. The trans community, the Hijra and the community of bar dancers. I’m a middle-class Indian, I’m not very interesting but I was interested in these others groups, so I write about these people in my non-fiction books.’

Listen to our J. Michael Straczynski on Becoming A Writer, Staying A Writer podcast.

2. Be brave

Creative non-fiction journal Hinterland co-editor Yin F. Lim says: ‘When we write from our memories and our life stories, there’s a temptation to gloss over things and leave out the difficult parts. But to write a memoir or a personal essay well, we need to interrogate the truth as we remember it, and write with honesty and candour to achieve an authentic voice that allows readers to connect with our writing.’

Filmmaker Josef Steiff says: ‘I see so many people edit themselves before they even get the story out. Get the story on paper/screen first. Raw, complicated, contradictory. Then in the rewriting, continue to be brave. Not reckless, but brave.  I often find that when I read the piece after it’s finished, I feel vulnerable. I’ve even blushed sometimes when reading something aloud to others. For me, this is my evidence that I’ve cut as close to the truth as I can.’

Ed Parnell explains his own trepidation about tackling potentially upsetting subject matter in his autobiographical work, Ghostland .

‘It was difficult. I was writing about my parents who died when I was 17 and 18.’

‘It was difficult,’ says Ed. ‘I was writing about my parents who died when I was 17 and 18. I don’t tend to think about when they were in hospital and things. You don’t really want to go revisit those memories and feelings, but I felt I should do for this project.

‘I was like a story in an M.R. James story who’s digging into the past: you know they shouldn’t but they’re compelled to. That was tough. Because it’s upsetting, you think, ‘what’s to be gained from doing it?’ I’m pleased I did. It probably did me good to think about it. I don’t believe in that vacuous concept of ‘closure’. You can’t get closure. Sure, there was some catharsis, but it was also upsetting. I’d be writing this stuff thinking, ‘I’m not sure I should have written that’. On reflection, I think it was right to do.

‘I also thought, ‘If I don’t write about this, then no one will’. It felt like a sacred duty to try and bring my parents some kind of presence on a page – like I’m the last guardian of their memory. I wanted it to be about nicer memories, but I couldn’t avoid the more troubling elements of the story.’

Listen to Ed discuss Ghostland here.

3. Research and organise

Creative non-fiction is also referred to as narrative non-fiction. Finding, directing and building that narrative is essential. But it can be a challenge. Stories have a habit of growing arms and legs – often driven by our interest in the subject which can result in tangents, interlinking stories and goose chases.

Ed Parnell says there was ‘lots of reading’ for his book, Ghostland . But reading was only a part of his research.

‘When you’re researching a novel, there’s lots of reading. You want to know your setting, the characters and your period. If you’re writing about a public figure – especially someone who produced works of art, music, theatre, film etc. – you will need to review the cultural criticism. There were psycho-geographic elements in the book so I also did a lot of traveling around.’

‘I also had to visit places of which I had no memory that I’d been to when I was very small.

‘The good thing with research is that, because the chapters are chronological, I ended up researching it chronologically as well. I could break it down: this is the Welsh chapter, I will go to Wales and then come back and write about it. Even if the writing was a couple of months later.

‘I had a head start because I had done lots of the reading and watching movies. It wasn’t a faked interest. But reading them for pleasure is very different to reading them to try and say something interesting about them.’

Liverpool-born writer Peter Goulding says: ‘Go and interview people and let them talk.  It is not a conversation, more of what they say and think should be on the tape than your own questions or opinions.  I’ve just recorded an interview with a tree surgeon: he spent five minutes describing a smell.  I couldn’t have written anything like it from my own mind, not without experiencing it myself.  The next trick is welding those bits of interview into what you want to write. They need to fit and they need to have a strong join. Then you need to polish out the weld, so the reader can’t see the join. Craft and graft.’

Sonia Faleiro is a journalist and author of creative non-fiction. She explained her process for distilling the vast amounts of information she gathered for her 2021 book, The Good Girls: An Ordinary Killing , in The Writing Life podcast . The book explores the death of two girls in rural India.

‘It was a big case in India. It was all over the news so I had lots of information; I could locate myself and figure out who I needed to speak to.

• Family tree

‘The first thing I did, was to make a family tree’ says Sonia. ‘There were two girls from two families, but they lived in a joint family setting of 18 people.

‘Then I made lists of names, any name that I came across: police, court, family, investigator, neighbour.

‘Then I got in touch with as many reporters as I could, those who had reported on the story as it happened – TV, papers – those who had gone to the village within a day or so of the children being found. I reached out to them for contacts and I also asked them what they thought. ‘What is your sense of the village and the story and the people? A journalist’s intuition may not be something that they put into their reporting but is nonetheless valuable. I remember two journalists saying to me, ‘yeah, something’s up, I don’t know what… but if you find out, let me know’.

‘Then you start drawing your own charts and making your own notes. Things get lost in translation; a mistake that gets made in an early report ends up being repeated, so you correct the information you have.

‘Then I went to the village and spoke to people. I recorded every conversation – hours of it.’

Andrew Kenrick says: ‘While you might not plan to extensively pepper your writing with footnotes or references, all the same, keep a track of where you’ve found your information. This might be just to offer a credit or to supply a bibliography, but it can also prove essential if you find yourself needing to return to the same subject in the future – and you’ll be surprised at how easy it is to forget where you’ve read something further down the line! There’s all manner of reference managers out there – I use Zotero but there are loads available freely.’

• Primary research

‘In the village, I also took notes. The recording only captures so much so I would write notes: background sounds and wildlife; what does it look and smell like? What are they wearing? What do bare feet look like?’

• Secondary research

‘I also got information from online archives, for example, what the village used to be like.

‘Not too long ago, during the monsoons, the village would flood, so people would have to use boats to get from their homes to the fields. That gives you a sense of where people have come up from. The last generation needed to use boats because of how poorly the drainage worked. Now things have changed, they have bicycles and motorbikes and, vital to the story, is that they use modern devices like mobile phones and social messaging.

‘While focusing on the present, you need to delve into the past to figure out what led to the current events.’

‘I took assistance when I needed it. Early on, I worked with a fact checker and worked with lawyers and translators. Although I speak fluent Hindi, many people in the village speak Braj Bhasha [regional dialect] – I can understand it but not well enough to translate it perfectly.’

More on research

• Podcast: Research for writing with Megan Bradbury
• Podcast: Kate Mosse on the Women’s Prize, Discoveries and research
• Podcast: Writing creative non-fiction with Sonia Faleiro
• Podcast: Research, editing & planning novels with Stuart Turton
• Podcast: Researching True Crime with Stephanie Scott
• Blog: Researching a novel: moving beyond what you know

4. Write to know

Different writers have different approaches – some plan and write meticulously, turning in a perfect first draft; others write and revise until the story and the words come together.

Writing creative non-fiction, as opposed to fiction, may impact this – real events being fixed, even if the book’s narrative can change.

‘The secret to getting something written is to write.’

Sonia Faleiro says writing helped her discover the narrative.

‘I had between the 3,000 pages of documents and hundreds of hours of interviews. I felt like I was looking for a needle in a haystack. And I was buried under the haystack. I just needed to remind myself, ‘it’s fine, it’s ok to feel like this, just continue to work on this and one day, it won’t be like this. I will have figured it out’. That’s the secret. The secret to getting something written is to write. Even those people who think that if left to their own devices they would just research until the end of time, they wouldn’t. Finally they will get it.’

As Ed Parnell says: ‘It still comes down to sitting in a room, staring at a screen and typing.’

5. Take notes

Justin Kern says: ‘Simply: you must write a journal. Every day. Even if it’s two sentences about the bathroom, or breakfast, or a slight at work. And you must write what is real, to you, as long, silly, rote and deeply as you can. This ritualistic dedication to churning over your internal world in a journal will give you agency over the ultimate story of your own world, as well as those outside of it that you hope to tell.’

Listen to our Lucy van Smit’s A Writer’s Journal Workbook podcast. Lucy is an award-winning author, a screenwriter, and an artist.

Hinterland co-editor Yin F. Lim says: ‘Whether on paper or screen, get into the habit of recording your moments, thoughts and emotions. Journalling provides valuable raw material for writing from your life, but re-reading what you’ve recorded also helps bring you back to that moment in the past. It enables you to remember details and write with an immediacy that’s not as easy to replicate from our often unreliable memories.’

6. Get inspired

  Whether you’re writing fiction or non-fiction, inspiration can come from anywhere. However, for the latter, it is very often driven by the very pursuit of the interest. Writer and NCW tutor Ed Parnell explains the genesis of his creative non-fiction work, Ghostland: In Search Of A Haunted Country .

‘I was putting off writing a second novel. I had some ideas, one of which was to have the Victorian ghost story writer, M.R. James as a bit part.

‘I was looking into that and I visited the place where James grew up – a spooky little village called Great Livermere outside Bury St Edmunds. I took lots of pictures and when I got home, I wrote a blog about it.

‘An editor at Harper Collins saw it two months later and emailed me, asking whether I’d ever thought about writing a non-fiction book on the subject. I went down to see him and found that we had a shared love of trashy old 60s and 70s horror films. He invited me to put a proposal together. I had to think, ‘Would I like to write about this?’ And at that point, I thought, ‘yes, I do’.

More on inspiration

• Blog: Writing exercise inspired by Our Place

7. Search for the truth

It is said that if the police ask three people what happened at the scene of an accident, they will get three versions of events. How can we ensure that we get to the truth of our story?

Sonia Faleiro’s investigation into the death of two girls in India resulted in various ever-changing stories. Here she describes how the combination of social rules, mores and pressure made her hunt for the truth even harder.

‘A search ensued with torches, but in total silence, because the families didn’t want to create fear in the village because it would raise questions about why the girls had been out to begin with.

‘There are dozens of people running round in the fields, so by the time I arrive to capture the story, there are dozens of versions of the story to untangle.

‘A lot of people continued to change their story over the years for various reasons and I’m quite sure that if I went to the village tomorrow, I would find someone who would change their story again. It could continue forever. In a village like that, you’re not just answerable to yourself, not even your family, you are answerable to the community. So you have to be careful, not just about how they behave, but what they say about the behaviour of others because it can have deadly consequences for them.

‘Figuring out who was telling the truth and who wasn’t, became the most important thing. Persistence is the key. I kept returning back to the village and would report around people. If someone is telling you something that is clearly not true, you can keep asking them the same question over and over but it will only bring you grief. It won’t endear you to them. Alternatively, you can talk to somebody else: fathers, mothers, uncles, cousins, friends.

‘That is how I was able to build the narrative, by crosschecking information. It’s important not to take people at their word right away. Not only must they earn your trust, but you must earn theirs. It works both ways.’

‘It’s not my job to tell the story that they want me to tell. I’m not even telling the story that I want to tell. I’m telling the story that is.

8. Who’s story is it?

The point of narrative or creative non-fiction is that it’s not just a reference book. The facts hang from someone’s story, seen through their eyes. As such, knowing lots about the subject, person or time isn’t enough, you need to bring this to life through one or more people’s stories.

Author, Ed Parnell had been invited by Harper Collins to pitch an idea they’d discussed – to write a non-fiction book about ghost story writer M.R. James.

‘The more I redrafted it, the more I edged towards, seeing things from Fodor’s point of view.’

‘I had decided that I would like to write a book about him. So I thought, if I did want to write it, how would I do it?

‘I was conscious that I’m not an academic who specialises in this field. there must be lots of people who are more qualified than me to write this.

‘I knew quite a lot about it and was quite interested in the subject, but I wanted to bring something of myself to it. I thought about my own family history and the more I thought about it, the more I thought of other writers I’d like to explore, how their lives tied in to places I’d been to on holiday as a kid, and how that tied into my own family story. So the story is told through me as I explore and rediscover my childhood memories, those ghost story writers I was reading, and their relationship to the places I’d been.’

Kate Summerscale , the award-winning author of  The Suspicions of Mr Whicher ,  describes how the point of view developed during the writing of The Haunting of Alma Fielding: A True Ghost Story .

‘I had done three years of pure research. I’d worked out how to tell the story: the structure of the story and put it together while continuing to go back and forth with the research.

‘The shape of the book and the storytelling was hard to work out.

‘The more I redrafted it, the more I edged towards, seeing things from Fodor’s point of view. In a way, Fodor wanted to explore everything I wanted to explore. Although my perspective is different because I’m in a different point in history, he could still allow me access to everything I needed. I realised that it worked better than putting Alma’s experience at the centre or being detached from both of the main characters altogether. Although it’s not exclusively from his point of view, the grounding in seeing things as he would have seen them, helped me ground myself in that historical moment – and the reader can get their bearings from him.

‘That decision about perspective and point of view was what made it all start to work as a story.’

More on characters

• Podcast: Exploring themes through characters
• Podcast: Creating characters with Okechukwu Nzelu
• Podcast: How Sarah Perry develops characters
• Course: Writing Science Fiction: Characters and points of view

9. Don’t forget to read!

Hinterland editor Freya Dean says: ‘I find I can’t read non-fiction during a period of intensive memoir writing. It’s not that I’m afraid I’ll subconsciously copy from other writers, but just that my thought stream gets disrupted and I can’t keep the flow of my own work. Instead, I read fiction (just re-read Jennifer Egan’s brilliant A Visit From the Goon Squad ), YA fiction (my kids have got me into Philip Reeve), poetry (currently Lieke Marsman), and those big ‘coffee table’ art and fashion books, when I can afford them.’

10. Go off track

Josef Steiff says: ‘Tangents can be your friend.  Sometimes when I’m writing, my mind will start drifting.  I’ve found that it can be productive to follow these tangents to determine if they are actually associations or resonances that deepen and need to be interwoven into the main story.’

11. Build a roadmap

Ed Parnell explains: ‘With non-fiction, you have to create this big pitch document for the publisher. I had created a 50-page, chapter-by-chapter document, so I had thought about the structure and had a roadmap.

‘You have to write that stuff to know it needs to be removed.’

‘When I came to write it, some of those chapters fell by the wayside and new things came in: new books and films I wanted to include, new parts of my own travels within the book. Having a roadmap was good, even if I meandered from it.

‘My first draft was 140k words. I cut it down to 100k. You have to write that stuff to know it needs to be removed.’

12. Structure: One size doesn’t fit all

‘Writing non-fiction was a new process for me,’ explains Ed Parnell, ‘so I researched other non-fiction books. I physically analysed them: how long the chapters were. Is a 40-page chapter too long?

‘You look for patterns but there are none because everyone does it differently. You’re learning as you go. I suspect that every book a writer writes, you feel like you’re starting over again.’

13. Raid the novelist’s toolkit

Andrew Kenrick says: ‘One of the things that often defines the best creative non-fiction that we receive at Hinterland is that it applies the tools of a novel writer to real situations and settings: flashbacks, starting in media res, dialogue, rich descriptions of character and plenty of texture in the writing – colours, sounds and smells.’

14. Facts vs fiction

‘I always keep the narrative in the foreground. It’s almost the reverse of normal where the important events take place in the foreground and the trivia is at the edges. It’s inverting that.

‘So the story is an apparently silly story about a poltergeist and a woman in Croydon in the 1930s and an eccentric ghost hunter. Instead, it becomes a thing I take very seriously – it’s driving the story forward.

‘Almost off-stage, national and international events are taking place – Hitler is invading Austria.

‘But events aren’t just to give context and colour. As I write, I’m trying to work out how they connect to the story I’m telling and why I’ve picked these particular fragments to drop in. They have to earn their place, as shadows to my story, even though they are these huge and momentous world events that changed things for millions of people. I need to make them pay off as motifs in the particular story I’m telling and I hope that that in turn will give some extra resonance to the story. I work how these things fit together as I go along, I don’t know in advance.’

15. Develop an Editor’s eye

Hinterland editor Freya Dean says: ‘Try to have a ‘fallow’ period between writing projects where you read intensively and think hard about what you’re reading. The keystone of most non-fiction creative writing courses is exactly this: reading great writers to understand why their writing shines, which then helps you to develop a critical, editorial lens that you can apply to your own work.  As far as non-fiction titans go, Joan Didion’s essays, and those by Gay Talese (see especially Frank Sinatra Has A Cold & Other Essays)  are a great place to start. Take one short passage and really dissect it, right down to the last full stop.’

16.  Share your work

Freya says: ‘Take every opportunity to have your non-fiction critically (and constructively) workshopped.  Even more than a way to gain feedback, structured discussion is invaluable for the perspective it brings when you’re working with material drawn from your own life.  It helps build that sense of ‘remove’, of feeling that what you have written exists as something in its own right, distinct from yourself and your inner world. This in turn helps you to better craft and evaluate the work as you are writing.’

17. Shelve it!

Freya says: ‘So many successful writers I know consider this an essential part of the writing process. Whether they’ve reached a point where they’re stuck with a manuscript, or are reasonably happy that they’ve nailed it, they print a hard copy and put it away in a drawer, and then they don’t look at it for several weeks. This is helpful for all writing, no matter your subject, but is especially key when you’re writing anything that draws heavily on your own experience. When you take the text out again and read it with fresh eyes, you’ll instantly see the flaws in the writing, whether great or (hopefully) small.’

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Writers' Center

Eastern Washington University

Creative Writing

Creative nonfiction.

• Helpful Links
• Figurative Language

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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• Last Updated: Jul 23, 2024 11:43 AM
• URL: https://research.ewu.edu/writers_c_fiction

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49 Introduction to Creative Non-Fiction

Dr. Karen Palmer

Introduction to Creative Nonfiction

Creative nonfiction has existed for as long as poetry, fiction, and drama have, but only in the last forty years or so has the term become common as a label for creative, factual prose. The length is not  a factor in characterizing this genre: Such prose can take the form of an essay or a book. For this chapter’s discussion, we will focus on the essay , since not only will this shorter version of the form allow us to examine multiple examples for a better understanding of the genre, but also, you may have written creative nonfiction essays yourself. Looking carefully at the strategies exhibited by some successful essay writers will give us new ideas for achieving goals in our own writing.

Currently, creative non-fiction is the most popular literary genre. While generations past defined literature as poetry, drama, and fiction, creative nonfiction has increasingly gained popularity and recognition in the literary world.

Creative nonfiction stories depict real-life events, places, people, and experiences, but do so in a way that is immersive, so readers feel emotionally invested in the writing in a way they probably are not as invested in, say, a textbook or a more formal autobiography. While “nonfiction” (without the creative designation) tells true stories as well, there is less emphasis upon and space for creativity. If regular nonfiction were a person, it might say “just the facts, ma’am.” Creative nonfiction, on the other hand, might ask “and what color were her eyes as the moonlight reflected off the ocean into them, and what childhood memories did that moment dredge up?”

The best creative nonfiction tells a true story in an artistic — or literary — way. This means that the story has certain elements, such as descriptive imagery, setting, plot, conflict, characters, metaphors, and other literary devices. Usually, a work of creative nonfiction is narrated in first-person, though sometimes it can be written in third-person. It can be lyric and personal or representing important moments in history. They also might be more objective and scholarly, like many pieces of investigative journalism.

Key Takeaways

Creative Nonfiction Characteristics

• True stories
• Prose (usually, though sometimes poetry)
• Uses literary devices/is more creative and artistically-oriented than “regular” nonfiction
• Often told in first person
• The narrator is often the author or a persona of the author, but not always

When reading a work of creative nonfiction, it is important to remember the story is true. This means the author does not have as much artistic freedom as a fiction writer or poet might, because they cannot invent events which did not happen. It is worthwhile, then, to pay attention to the literary devices and other artistic choices the narrator makes. Readers should consider: what choices were made here about what to include and what to omit? Are there repeating images or themes? How might the historical context influence this work?

First, let’s do what we can to more clearly define the creative nonfiction essay. What is the difference between this kind of essay and an academic essay? Although written in prose form ( prose is writing not visually broken into distinct lines as poetry is), the creative nonfiction essay often strives for a poetic effect , employing a kind of compressed, distilled language so that most words carry more meaning than their simple denotation (or literal meaning). Generally, this kind of essay is not heavy with researched information or formal argument; its priority, instead, is to generate a powerful emotional and aesthetic effect ( aesthetic referring to artistic and/or beautiful qualities).

In this video, Evan Puschak discusses the evolution of the essay with the advent of technology and gives some really interesting insight into the importance of essays.

How YouTube Changed The Essay | Evan Puschak | TEDxLafayetteCollege

Four Types of Essay

A narrative essay recounts a sequence of related events.  Narrative essays are usually autobiographical. Events are chosen because they suggest or illustrate some universal truth or insight about life. In other words, the author has discovered in his/her own experiences evidence for generalizations about themselves or society.

Argumentative/Persuasive:

An argumentative essay strives to persuade readers. It usually deals with controversial ideas, creating arguments and gathering evidence to support a particular point of view. The author anticipates and answers opposing arguments in order to persuade the reader to adopt the author’s perspective.

In this video, the instructor gives an overview of the narrative and argumentative essays from the writer’s perspective. Looking at the essay from the author’s perspective can provide an interesting insight into reading an essay.

Descriptive:

A descriptive essay depicts sensory observations in words. They evoke reader’s imagination and address complex issues by appealing to the senses instead of the intellect. While a narrative essay will certainly employ description, the primary difference between the two is that a descriptive essay focuses only on appealing to the senses, whereas a narrative essay uses description to tell a story.

Expository:

An expository essay attempt to explain a topic, making it clear to readers. In an expository essay, the author organizes and provides information. Examples of this type of essay include the definition essay and the process analysis (how-to).

In this videos, the instructor gives an overview of the descriptive and expository essays from the writer’s perspective. Looking at the essay from the author’s perspective can provide an interesting insight into reading an essay.

Choosing a Topic & Reading the Essay: Steps 1 & 2

Your first step in writing a paper about an essay is to choose an essay and read it carefully. Essays confront readers directly with an idea, a problem, an illuminating experience, an important definition, or some flaw/virtue in the social system. Usually short, an essay embodies the writer’s personal viewpoint and speaks with the voice of a real person about the real word. Essays might also explore & clarify ideas by arguing for or against a position.

When reading an essay, ask yourself, “what is the central argument or idea?” Does the essay attack or justify something, or remind readers of something about their inner lives?

In this video, I do a close reading of the essay “ The Grapes of Mrs. Wrath .” As in any type of literature, you want to read first for enjoyment and understanding. Then, go back and do a close reading with a pen in hand, jotting down notes and looking for the ways in which the author gets his/her point across to the reader.

Virginia Woolf’s 1942 “The Death of the Moth” is an illuminating example of an argumentative essay. While the essay does not present a stated argument and proceed to offer evidence in the same way conventional academic argument would, it does strive to persuade . Consider this piece carefully and see if you can detect the theme that Woolf is developing.

“The Death of the Moth”

Here are some important items to consider when reading an essay.

1. The Thesis:

What is the point of the piece of writing? This should be your central concern. Once you know what the author’s main idea is, you can look at what techniques the author uses to get that point across successfully.

The title of Woolf’s essay, “The Death of the Moth,” offers us, from the start, the knowledge of the work’s theme of death. What impression does the essay, as a whole, convey? The writer acknowledges that watching even such a small creature as the moth struggle against death, she sympathizes with the moth and not with the “power of such magnitude” that carries on outside the window—that of time and inevitable change, for this power is ultimately her own “enemy” as well. In her last line, “O yes, he seemed to say, death is stronger than I am,” what lesson has she internalized regarding herself , a human being who at first observed the autumn day with no immediate sense of her own mortality?

2. Structure & detail:

• opening lines capture attention
• endings offer forceful assertions that focus the matter preceding them
• body converts abstract ideas into concrete details

While this piece is not a poem, what aspects of it are poetic ? Consider the imagery employed to suggest the season of death, for all of nature. The writer describes her experience sitting at her desk next to the window, observing the signs of autumn: the plow “scoring the field” where the crop (or “share”) has already been harvested. Although the scene begins in morning—characterized by energetic exertions of nature, including the rooks, rising and settling into the trees again and again with a great deal of noise, “as though to be thrown into the air and settle slowly down upon the tree tops were a tremendously exciting experience”—the day shifts, as the essay progresses, to afternoon, the birds having left the trees of this field for some other place. Like the moth, the day and the year are waning. The energy that each began with is now diminishing, as is the case for all living things.

The writer is impressed with the moth’s valiant struggle against its impending death because she is also aware of its inevitable doom: “[T] here was something marvellous as well as pathetic about him.” As is common in poetry, Woolf’s diction not only suggests her attitude toward the subject, but also exhibits a lyrical quality that enhances the work’s  effect: She introduces words whose meanings are associated with youth and energy, as well as sounding strong with the “vigorous” consonants of “g,” “c,” “z,” and “t”—words such as “vigour,” “clamour,” and “zest.” Yet, the author counters this positive tone with other words that suggest, both in meaning and in their softer sounds, the vulnerability of living things: “thin,” “frail,” “diminutive,” and “futile.” In a third category of diction, with words of compliment—”extraordinary” and “uncomplainingly”—

Woolf acknowledges the moth’s admirable fight. In addition to indicating the moth’s heroism, the very length of these words seems to model the moth’s attempts to drag out its last moments of life.

3. Style and Tone

• Style: writing skills that contribute to the effect of any piece of literature
• Tone: attitude conveyed by the language a writer chooses

Woolf’s choice of tone for an essay on this topic is, perhaps, what distinguishes it from the many other literary works on the subject. The attitude is not one of tragedy, horror, or indignation, as we might expect. Rather, through imagery and diction, Woolf generates a tone of wistfulness . By carefully crafting the reader’s experience of the moth’s death, through the author’s own first person point of view, she reminds us of our own human struggle against death, which is both heroic and inevitable.

Step 2: Personal Response

For Further Reading

Believe it or not, people actually add essays to their reading lists! Here are a few folks talking about their favorite essay collections. 🙂

https://youtu.be/ta68Bj7n0o4

Attributions

• Content created by Dr. Karen Palmer. Licensed under CC BY NC SA .
• Content adapted from “Creative Nonfiction, the 4th Genre” from Writing and Literature , licensed under CC BY SA .
• Content adapted from “ What is Creative Non-Fiction ” licensed CC BY NC .

The Worry Free Writer Copyright © 2020 by Dr. Karen Palmer is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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10 Great Creative Nonfiction Books

• April 2, 2015
• Staff Writer
• Reviews: Books, Movies, Short Stories

Tineke Bryson, Staff Writer

Last week Tineke addressed writing about our own life experiences, sharing 8 ways to do creative nonfiction well . But if you found yourself wondering what exactly creative nonfiction (CNF) is, and what sorts of books represent the genre, you are not unusual.

A film of panic clouds the eyes of the Half Price Books employee looking at me from across the trade-in counter.

“Memoirs, for example,” I offer.

“Do you mean biographies?”

“Sure,” I say. That’s not it at all , but I hope the biographies might be somewhere close to the CNF section—if it exists. When I eventually locate the small block of shelves allotted to CNF, I find them labeled as “Essays,” “Memoirs,” and “Letters.” Letters…charmingly old-fashioned. These are not letters as we think of them; they are not written to a person, but you could say they are written to humanity .

I get why CNF is not widely understood. But I am sad that so many people are never disabused of the grade-school notion that nonfiction is just history textbooks, science fact books, newspapers, and encyclopedias .

I want to challenge that idea.

Yet when I tell people that CNF is nonfiction that uses all the tools of fiction—extended metaphor, symbolism, plot structure, etc.—I always feel frustration . Because I know how easy it is to ask, “But don’t scholarly articles use metaphors?” or “Isn’t there a plot in a biography?”

Yes. And, yes.

Creative nonfiction as a genre label is easy to define but difficult to restrict . The definition in Wikipedia, for example, sounds simple enough:

Creative nonfiction (also known as literary nonfiction or narrative nonfiction) is a genre of writing that 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. 

Yet when I try to put myself in the shoes of a journalist, I think I would take issue with defining journalism as rooted in fact but not written “in service to” craft . Great journalism can be creative, and is definitely a craft.

And then I wonder if it could be said that personal blog posts are all CNF. That doesn’t go down easily either. Blog posts are not technical writing or journalism, but so few blog posts are crafted . (Or is it just me?)

What I want to do is scream, “Just read some examples and you will see what I mean!”

So this post is a virtual scream. Not because I am angry; just because I would love to see more writers and readers give CNF a go, and I think reading classic examples is more helpful than a definition.

What follows is a list of 10 books I consider compelling examples of the power and range of CNF . I have only included books I have read, so it should go without saying—yet must be said—that this is not a list of the ten best CNF books. They are also not in a particular order.

I defy anyone to read An American Childhood and not catch curiosity fever. Her powers of observation of the natural world are wonderful . She is esteemed both as a memoirist and as a riveting nature writer.

Henri Nouwen, evangelicalism’s favorite Catholic (yes, I know about Tolkien), kept a journal during a six-month stay at a Trappist monastery in Western New York. The result is this quiet, but grounding spiritual travel log —Nouwen is physically restricted, but slowly journeying to a wide and open peace in his inner life.

It’s a strong example of editing and re-sequencing a private journal to present to others . It’s also interesting because it manages to avoid being a devotional book while exploring devotion .

A celebration of childhood, Dandelion Wine is delightful while also sometimes somber, and is a provocative read for writers trying to work out what the balance should be between fact and storytelling in their own nonfiction work.

I enjoy comparing and contrasting this book to Dillard’s.

This book is a meditation on the power of landscape and climate to shape culture and the soul , and is also a tribute to place . It is by turns poetic and informative—a great example of writing about place without primarily writing about the self. The non-chronological structure of the book is also interesting.

Apart from saving me a lot of time, studying it in three contexts underlined for me how complex a work of CNF can be— a frank, crafted account of the self can be read on many levels  and stand among the classics of literature.

I am so glad I got past the cover and gave this book a chance. Stunning prose. Heartfelt and moving wrestle with God. Just switch out the jacket!

To read a shorter specimen of his, I recommend The word-hoard: Robert Macfarlane on rewilding our language of landscape , ( The Guardian ).

I find it more relatable than Lewis’s CNF, perhaps because Vanauken’s writing voice is not quite so gruff and he is less private.

This book tells of his beginnings as a pilot, meditates on legendary pilot adventures, and also documents in whimsical but vivid terms his stint as a commercial pilot in the Sahara, including his survival of a crash landing in the desert. I find it especially compelling for its strange blend of colonial ethnocentrism and warm sympathy for individual Africans.

He began writing entries at age 20. The book is interspersed with haiku-style poems, and covers many topics. The guiding idea of Markings is his search for meaning in everything he encountered and experienced.

What are some CNF books you like? I would love to read your recommendations in the comments!

Tineke Bryson works for One Year Adventure Novel as a kind of jane-of-all-trades, but her favorites trade of the lot is editing. Previous to OYAN, she graduated from Houghton College with an Honors in Writing and then worked as an editor for a large para-church organization.

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Mr. S. Reviews “The Space Merchants” by Pohl and Kornbluth

Mr. s. reviews “have spacesuit – will travel” by robert heinlein.

Mr. S. Reviews “My Friend the Enemy” by J. B. Cheaney

Kind of by accident, I stumbled into the travel writing section of the used bookstore several months ago and picked up /Notes from a Small Island/ by Bill Bryson, which I haven’t finished partly due to some crude language. But that got me interested in travel writing. I haven’t made much of it, being in college and all, but lots of these books look interesting.

Would you also consider nonfiction history books with conversational or narrative styles CNF? Your examples seem to be specifically rooted in one person’s experiences on some level. Books I’m thinking of in the history side are things like:

/Bomb: the Race to Build–and Steal–the World’s Most Dangerous Weapon/ by Steve Sheinkin – extremely based in fact but written in a very compelling way with a good plot shaped from historical events.

/The Killer Angels/ by Michael Shaara or even Jeff Shaara’s many books. These tend towards more historical fiction, I think. They follow historical fact but give dialogue and even thoughts to historical characters.

I just started reading a book called /Eleanor of Aquitaine and the Four Kings/ by Amy Kelly, which is giving historical fact but also painting a vivid picture of the times.

I re-read your definition part and I’m beginning to think that no, you wouldn’t include books like these. They seem a bit caught in-between genres, which is interesting. Being passionate about history and all, I’d love to see more of them. 🙂

I have the disadvantage of not being familiar with any of the books you mention, although I know some of Bill Bryson’s stuff is in the CNF category. There are many nonfiction books so well crafted, and that use elements of storytelling to great effect, that it is difficult to place them. If we see them on a continuum, we can manage; but if we try to put them in different boxes, we run into trouble. From your descriptions, I think the *The Killer Angels* sounds like it could be CNF…maybe. The others sound more like really well-written historical books. Historians are awesome because the field demands that they write history in a compelling way in addition to being accurate—something we can’t say of all fields of study. For example, Simon Schama’s history of Britain is very well-written. But not CNF.

What do you think of The Waterfront by Danny R. Martineau Jr.; I believe it is an example of a CNF novel.

I haven’t read it, but based on the author info on Amazon, it does sound like CNF. It’s just unusual that it is marketed as a novel. Lots of CNF reads like a novel, but it isn’t usual to call it that. Interesting!

Great post Tineke! I agree with R.G. that Bill Bryson is a good example of a creative non-fiction author. A Walk in the Woods is a solid instance that meets the definition. Also, the work of A.J. Jacobs is creative non-fiction — first-person acts of experimentation. If you are interested, I am the author of a new creative non-fiction book. The Things I Learned in College tells the amusing and true story of a year that I spent exploring the eight Ivy League schools. The book will be released next month, but I would be delighted to share an advance copy with you.

Thank you! Both for the recommendations and your very kind offer. Congrats! I would be honored to receive a free advance copy, but I do want to clarify that we don’t typically offer reviews on this blog. So I would happily look at it, and perhaps review it on Amazon or Goodreads, etc., but I would not be able to offer something like that on this blog here. If you would still like to send it, use the press address: Clear Water Press, ATTN: Tineke Bryson, PO Box 62, Olathe, KS 66051. All the best!

Hi, Tineke. I hope you received the copy of The Things I Learned in College. Amazon and Goodreads are ready for your review if you choose to post one. Thank you for your consideration!

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100 Major Works of Modern Creative Nonfiction

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

Essays , memoirs , autobiographies , biographies , travel writing , history, cultural studies, nature writing —all of these fit under the broad heading of creative nonfiction , and all are represented in this list of 100 major works of creative nonfiction published by British and American writers over the past 90 years or so. They're arranged alphabetically by author last name.

Recommended Creative Nonfiction

• Edward Abbey, "Desert Solitaire: A Season in the Wilderness" (1968)
• James Agee, "Let Us Now Praise Famous Men" (1941)
• Martin Amis, "Experience" (1995)
• Maya Angelou , "I Know Why the Caged Bird Sings" (1970)
• Russell Baker, "Growing Up" (1982)
• James Baldwin , "Notes of a Native Son" (1963)
• Julian Barnes, "Nothing to Be Frightened Of" (2008)
• Alan Bennett, "Untold Stories" (2005)
• Wendell Berry, "Recollected Essays" (1981)
• Bill Bryson, "Notes From a Small Island" (1995)
• Anthony Burgess, "Little Wilson and Big God: Being the First Part of the Confessions of Anthony Burgess" (1987)
• Joseph Campbell, "The Hero With a Thousand Faces" (1949)
• Truman Capote , "In Cold Blood" (1965)
• Rachel Carson, "Silent Spring" (1962)
• Pat Conroy, "The Water Is Wide" (1972)
• Harry Crews, "A Childhood: The Biography of a Place" (1978)
• Joan Didion, "We Tell Ourselves Stories in Order to Live: Collected Nonfiction" (2006)
• Joan Didion, "The Year of Magical Thinking" (2005)
• Annie Dillard, "An American Childhood" (1987)
• Annie Dillard, "Pilgrim at Tinker Creek" (1974)
• Barbara Ehrenreich, "Nickel and Dimed: On (Not) Getting By in America" (2001)
• Gretel Ehrlich, "The Solace of Open Spaces" (1986)
• Loren Eiseley, "The Immense Journey: An Imaginative Naturalist Explores the Mysteries of Man and Nature" (1957)
• Ralph Ellison, "Shadow and Act" (1964)
• Nora Ephron, "Crazy Salad: Some Things About Women" (1975)
• Joseph Epstein, "Snobbery: The American Version" (2002)
• Richard P. Feynman, "The Feynman Lectures on Physics" (1964)
• Shelby Foote, "The Civil War: A Narrative" (1974)
• Ian Frazier, "Great Plains" (1989)
• Paul Fussell, "The Great War and Modern Memory" (1975)
• Stephen Jay Gould, "Ever Since Darwin: Reflections in Natural History" (1977)
• Robert Graves, "Good-Bye to All That" (1929)
• Alex Haley, "The Autobiography of Malcolm X" (1965)
• Pete Hamill, "A Drinking Life: A Memoir" (1994)
• Ernest Hemingway , "A Moveable Feast" (1964)
• Michael Herr, "Dispatches" (1977)
• John Hersey, "Hiroshima" (1946)
• Laura Hillenbrand, "Unbroken: A World War II Story of Survival, Resilience, and Redemption" (2010)
• Edward Hoagland, "The Edward Hoagland Reader" (1979)
• Eric Hoffer, "The True Believer: Thoughts on the Nature of Mass Movements" (1951)
• Richard Hofstadter, "Anti-Intellectualism in American Life" (1963)
• Jeanne Wakatsuki Houston and James D. Houston, "Farewell to Manzanar" (1973)
• Langston Hughes , "The Big Sea" (1940)
• Zora Neale Hurston , "Dust Tracks on a Road" (1942)
• Aldous Huxley, "Collected Essays" (1958)
• Clive James, "Reliable Essays: The Best of Clive James" (2001)
• Alfred Kazin, "A Walker in the City" (1951)
• Tracy Kidder, "House" (1985)
• Maxine Hong Kingston, "The Woman Warrior: Memoirs of a Childhood Among Ghosts" (1989)
• Thomas Kuhn, "The Structure of Scientific Revolutions" (1962)
• William Least Heat-Moon, "Blue Highways: A Journey Into America" (1982)
• Bernard Levin, "Enthusiasms" (1983)
• Barry Lopez, "Arctic Dreams: Imagination and Desire in a Northern Landscape" (1986)
• David McCullough, "Truman" (1992)
• Dwight Macdonald, "Against The American Grain: Essays on the Effects of Mass Culture" (1962)
• John McPhee, "Coming Into the Country" (1977)
• Rosemary Mahoney, "Whoredom in Kimmage: The Private Lives of Irish Women" (1993)
• Norman Mailer, "The Armies of the Night" (1968)
• Peter Matthiessen, "The Snow Leopard" (1979)
• H.L. Mencken, "A Mencken Chrestomathy: His Own Selection of His Choicest Writing" (1949)
• Joseph Mitchell, "Up in the Old Hotel and Other Stories" (1992)
• Jessica Mitford, "The American Way of Death" (1963)
• N. Scott Momaday, "Names" (1977)
• Lewis Mumford, "The City in History: Its Origins, Its Transformations, and Its Prospects" (1961)
• Vladimir Nabokov, "Speak, Memory: An Autobiography Revisited" (1967)
• P.J. O'Rourke, "Parliament of Whores" (1991)
• Susan Orlean, "My Kind of Place: Travel Stories from a Woman Who's Been Everywhere" (2004)
• George Orwell , "Down and Out in Paris and London" (1933)
• George Orwell, "Essays" (2002)
• Cynthia Ozick, "Metaphor and Memory" (1989)
• Robert Pirsig, "Zen and the Art of Motorcycle Maintenance" (1975)
• Richard Rodriguez, "Hunger of Memory" (1982)
• Lillian Ross, "Picture" (1952)
• David Sedaris, "Me Talk Pretty One Day" (2000)
• Richard Selzer, "Taking the World in for Repairs" (1986)
• Zadie Smith, "Changing My Mind: Occasional Essays" (2009)
• Susan Sontag, "Against Interpretation and Other Essays" (1966)
• John Steinbeck, "Travels with Charley" (1962)
• Studs Terkel, "Hard Times: An Oral History of the Great Depression" (1970)
• Lewis Thomas, "The Lives of a Cell" (1974)
• E.P. Thompson, "The Making of the English Working Class" (1963; rev. 1968)
• Hunter S. Thompson, "Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream" (1971)
• James Thurber, "My Life and Hard Times" (1933)
• Lionel Trilling, "The Liberal Imagination: Essays on Literature and Society" (1950)
• Barbara Tuchman, "The Guns of August" (1962)
• John Updike, "Self-Consciousness" (1989)
• Gore Vidal, "United States: Essays 1952–1992" (1993)
• Sarah Vowell, "The Wordy Shipmates" (2008)
• Alice Walker , "In Search of Our Mothers' Gardens: Womanist Prose" (1983)
• David Foster Wallace, "A Supposedly Fun Thing I'll Never Do Again: Essays and Arguments" (1997)
• James D. Watson, "The Double Helix" (1968)
• Eudora Welty, "One Writer's Beginnings" (1984)
• E.B. White , "Essays of E.B. White" (1977)
• E.B. White, "One Man's Meat" (1944)
• Isabel Wilkerson, "The Warmth of Other Suns: The Epic Story of America's Great Migration" (2010)
• Tom Wolfe, "The Electric Kool-Aid Acid Test" (1968)
• Tom Wolfe, "The Right Stuff" (1979)
• Tobias Wolff, "This Boy's Life: A Memoir" (1989)
• Virginia Woolf , "A Room of One's Own" (1929)
• Richard Wright, "Black Boy" (1945)
• Stream of Consciousness Writing
• Creative Nonfiction
• Examples of Images in Poetry, Fiction, and Nonfiction
• Writers on Reading
• An Introduction to Literary Nonfiction
• Defining Nonfiction Writing
• What Is Literary Journalism?
• List (Grammar and Sentence Styles)
• A Look at the Roles Characters Play in Literature
• Point of View in Grammar and Composition
• Tips on Great Writing: Setting the Scene
• Using Flashback in Writing
• Genres in Literature
• Premise Definition and Examples in Arguments
• Definition and Examples of Formal Essays

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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Are you a college student looking to improve your writing skills? Look no further! This article includes 100+ writing prompts on technology, art, science, sports, personal growth, history, leadership, and more! 

With this, we’ve also included a special section of fun writing prompts for students. So let’s explore these amazing writing prompts!  

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1. Social issues and challenges 

1) Write an essay about the importance of gender equality and the steps to achieve gender equality. 

2) Craft an article about the rise of AI tools and how they are changing society. 

3) Write about democracy’s challenges due to disinformation and suggest solutions. 

4) Analyze the root causes of homelessness in urban areas and suggest innovative approaches to address this issue.

5) Describe how the rising prices of commodities (inflation) have led to an increase in the gap between the rich and the poor. Suggest what actions the government must implement. 

6) Elaborate on the impact of using mobile and computer technologies on mental health. 

7) Explain the importance of education in bringing social change. 

8) Describe the impact of climate change in your city and suggest solutions. 

9) Explore the role of art and culture in transforming society for the better. 

10) Discuss the economic, social, and cultural impact of immigration in the USA. 

2. Personal growth and self-reflection

11) Describe a difficult decision that you made and its positive impact. 

12) Reflect on how you worked towards achieving success and how you planned for it. 

13) Elaborate on how the experience of hearing a speech from a well-known celebrity changed your life. 

14) Describe an experience when you stepped outside of your comfort zone and took a risk.

15) Write about a skill or talent that you have developed and how it helped you in your personal life. 

16) Reflect on a time when you had to work as a part of a team and what you learned. 

17) Describe a time when you had to face your fear and the strategies you took to conquer your fear. 

18) Write about a time when you forgave someone for making a mistake and how it made you feel better. 

19) Elaborate on an incident that made you change a bad habit for the better. 

20) Reflect on an incident where there was a misunderstanding due to the lack of proper communication. What steps did you take to ensure proper communication? 

3. Technology and innovation

21) Discuss the role of technology in helping the world face the challenge of climate change. 

22) Explain the impact of robotics on fields such as healthcare, education, and customer service.

23) Analyze the impact of facial recognition technology on the world. 

24) Explore the potential of virtual and augmented reality technologies in education and entertainment. 

25) Explore the potential of wearable technology (like smart watches) to improve health. 

26) Examine the impact of 3D printing on manufacturing, supply chains, and enhancing production.

27) Describe the potential of blockchain technology in supply chain management, voting systems, or healthcare.

28) Explore the role of technology in improving communication.

29) Examine the potential of voice assistants like Alexa and Siri and AI writing assistants. 

30) Analyze the potential of mobile health apps in enhancing health and promoting easy access to medicines. 

Now let’s see some of the best creative writing prompts for students! 

4. Arts, culture, and creativity

31) Write a short story about a mad artist who brings change through his paintings. 

32) Compose a series of haiku poems inspired by seasons like summer, winter, autumn, and spring. 

33) Create a dialogue between two street artists discussing the importance of public art in society.

34) Write a flash fiction story about a meteor that falls in a village and its impact on the villagers. 

35) Pen a descriptive essay about a cultural food festival and the stories and traditions behind each dish.

36) Develop a short story about a time traveler who visits the 18th century and interacts with famous musicians and artists.

37) Craft a short story about a photographer who finds a photograph of a mysterious treasure, resulting in an exciting adventure.

38) Describe the art form of street theater and suggest strategies to promote it. 

39) Write about a detective team of English , Chinese, Australian, and Japanese officers that solve a case despite their cultural differences. 

40) Create a dialogue between two art critics discussing the merits and controversies of a controversial painting. 

Check out the environment-related writing prompts for students given below!

5. Environment 

41) Examine the consequences of deforestation and propose strategies for protecting forests worldwide.

42) Discuss the impact of plastic pollution and suggest innovative solutions for reducing plastic waste.

43) Analyze the role of eco-tourism in preserving the environment. 

44) Discuss the impact of meat consumption on the environment and explore the benefits of plant-based diets.

45) Explore the potential of electric vehicles in reducing carbon emissions.

46) Elaborate on strategies to conserve water and what steps should be taken at a global level to save water. 

47) Discuss the impact of electronic waste on the environment and propose strategies for waste management.

48) Explain the importance of recycling and propose ways to encourage more people to recycle. 

49) Discuss how renewable energy sources like solar and wind energy can help to conserve the environment. 

50) Describe various strategies to reduce soil erosion and suggest sustainable farming practices. 

Browse to explore science-related creative writing prompts for students! 

6. Science 

51) Explain the importance of genetic and DNA research in treating and preventing diseases. 

52) Discuss how scientific research has helped to enhance space research. 

53) Explore the benefits of collaboration between scientists belonging to different fields for developing innovative solutions. 

54) Describe how scientific technologies have revolutionized the transport industry. 

55) Explain various strategies related to how scientific innovation can be encouraged in schools and colleges. 

56) Pen a blog about how scientific discoveries have helped in waste management. 

57) Write an article about how chemistry research has led to better safety guidelines in industries. 

58) Discuss the potential of nanotechnology in electronics.

59) Analyze the importance of simulation and mention various simulation technologies to encourage experimentation. 

60) Explain the importance of various advanced technologies, including encryption technologies in ensuring cybersecurity. 

For sports lovers, the next section explores sports-themed good writing prompts for college students! 

61) Describe the efforts of the Olympics 2024 to promote sports like skateboarding and climbing. 

62) Give your opinion about how sports like judo and taekwondo help to encourage fitness. 

63) Explore the development of kite flying as a sport and its huge potential. 

64) Write about Simone Biles’ amazing return to gymnastics and why it is inspiring. 

65) Discuss how sports help to develop teamwork and leadership skills in students. 

66) Write about your favorite sport and suggest strategies to promote it. 

67) Pen an article about an unforgettable story about sportsmanship and fair play that you’ll always remember. 

68) Analyze the importance and role of sports journalism in shaping people’s opinions. Suggest ways to promote sports journalism. 

69) Explore the challenges, pros, and cons of hosting sports events on a global scale. Suggest strategies to face the challenges better. 

70) Describe the impact of technology on college sports, including wearable devices, social media, and video analysis. 

Want to write about travel and adventure? Get ready to explore creative writing prompts for college students inspired by these themes! 

8. Travel and adventure

71) Write about the growing popularity of solo travel and workations and how they can be encouraged. 

72) Describe a life-changing travel experience in detail. 

73) Explore the development of adventure tourism and list the top 5 spots famous for adventure tourism. 

74) Craft an article about your favorite World Heritage site that you’ve visited/would like to visit in the future. 

75) Give 20 tips about how to travel with a tight financial budget with limited resources to explore new destinations. 

76) Analyze the negative impact of over-tourism in famous tourist destinations. Suggest strategies to reduce negative consequences. 

77) Describe the importance of local customs and traditions while traveling to a new country. 

78) Write an essay on the importance of historical tourism and suggest how it can be encouraged. 

79) Explore how travel and tourism foster understanding between people belonging to different cultures. 

80) Write about how you faced serious obstacles and challenges while traveling. 

9. History 

81) Analyze the role of Nelson Mandela in the struggle against apartheid in South Africa and his lasting impact. 

82) Discuss the role of Mao Zedong in the Chinese Communist Revolution and the transformation of modern China.

83) Explore the life and achievements of Leonardo da Vinci and his contributions to art, science, and engineering.

84) Write about a historical figure that inspires you the most and why. 

85) Examine the impact of World War 1 and World War 2 on society. 

86) Explain the achievements of Albert Einstein and his contributions to physics.

87) Examine the causes and consequences of the Cold War between Russia and the USA in detail. 

88) Discuss the impact of the Civil Rights Movement in the United States. Explore the role of leaders like Martin Luther King Jr. and Rosa Parks.

89) Explore the significance of the Silk Route in facilitating cultural exchange and trade between East and West.

90) Explore the life and legacy of Mahatma Gandhi, his philosophy of non-violence, and its impact. 

Now let’s see some writing prompts for college students about education and learning. 

10. Education and learning

91) Describe the importance of online courses and apps in learning. 

92) Write about your experience in learning a new language and how it helped you. 

93) Reflect on your most difficult exam and what you learned from the experience.  

94) Write a short article about a teacher who positively impacted your education. 

95) Analyze all the pros and cons of using technology for learning. 

96) Describe the benefits of studying multiple subjects in college.

97) Elaborate on the importance of time management and describe any 5 time management strategies that helped you learn. 

98) Discuss the role of extra-curricular activities like arts, crafts, and sports in personality development. 

99) Reflect on an experience where failure while learning encouraged you to perform better. 

100) Elaborate on strategies and learning methods through which colleges can encourage creativity through education. 

101) Explain how learning in groups and through practical projects can help gain knowledge. 

11. Leadership and collaboration

102) Describe various strategies for developing leadership skills through education. 

103) Write about a leader who inspired you the most. 

104) Explain the types and impact of leadership style on team performance. 

105) Analyze the impact of stress and burnout on leadership and collaboration. Suggest strategies for enhancing health and resilience within teams.

106) Examine the role of creativity and innovation in leadership and collaboration. Discuss strategies through which leaders can encourage creativity among team members. 

107) Describe strategies using which leaders can bridge generation gaps and encourage diverse perspectives in teams. 

108) Explain the importance of storytelling in leadership. Describe how stories can be used to inspire team members. 

109) Analyze the impact of cross-cultural differences on leadership. Mention strategies using which leaders can ensure clear communication in culturally diverse teams. 

110) Examine the role of networking and relationship-building in leadership and collaboration. Suggest strategies for building professional networks. 

111) Discuss the importance of accountability and ownership in leadership and collaboration. Recommend 10 strategies for fostering a sense of responsibility and commitment within teams.

Browse through the next section for fun writing prompts for students! 

12. Fun writing prompts 

112) Describe a day when a magical genie agrees to grant 5 wishes. What would you ask for? 

113) Imagine you could visit any fictional world in a book/movie of your choice. Which fictional world would you choose and what would you do?  

114) Pen a story, imagining yourself as a superhero. What superpowers would you choose and what would you do? 

115) Imagine and describe your day as a famous inventor. What would you invent and why? 

116) If you could have dinner with five famous personalities, who would they be and why? 

117) Write a story about a magical dream that surprisingly came true. 

118) Pen a story about a road trip that takes an unexpected turn, leading to a shocking decision. 

119) Write a letter to your best friend, expressing gratitude and remembering all the wonderful memories spent together. 

120) If you could trade places with someone and live someone else’s life for a day, who would it be and why? 

121) Pen a story where whatever you say starts happening in reality. What happens next? 

Now let’s see some interesting writing prompts for ESL students! 

13. Good writing prompts for ESL students 

122) Write about your favorite food and why you enjoy it so much. 

123) Describe a memorable celebration you were part of and what made it special. 

124) Pen an article about a circus you visited and what you experienced. 

125) Explain about your dream house in detail. 

126) Write about your favorite book/TV Show/movie and explain why you liked it. 

127) Describe your experience playing a memorable video game and why it is special for you. 

128) Pen some words about the festival you love the most and why. 

129) Write in detail about your trip to an amusement park and its unique features. 

130) Describe a music festival you went to and why it was unforgettable for you. 

131) Pen your experience about a time you helped someone and how it made you feel. 

Now that you know the best creative writing prompts for students, you can use them. Once you complete writing, the next step will be to edit the text. As experts in editing and proofreading services , we’d love to help you perfect your text! 

Here are some other useful resources for you: 

• Academic Writing in 2024: 5 Key Dos & Don’ts + Examples
• 50 Amazing ESL Resources for Students (Free & Paid)

Frequently Asked Questions

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KS2 Descriptive Writing - Thunderstorm! PDF

Subject: English

Age range: 7-11

Resource type: Worksheet/Activity

Last updated

24 August 2024

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Great descriptive/creative writing example paragraph - describing a thunderstorm.

Can be used to introduce a descriptive writing activity for pupils.

Also included are notes re: which features to include to make writing more expressive.

Key features include: examples of creative language choices/vocabulary in order to create mood/atmosphere/setting.

Illustrates expaned noun phrases/adverbials/varied sentence structures.

Suitable for KS2.

Further descriptive paragraphs can be found at following:

Erupting Volcano: https://www.tes.com/teaching-resource/resource-12960494 (word doc)

https://www.tes.com/teaching-resource/resource-12984370 (powerpoint)

Abandoned House in Forest:

https://www.tes.com/teaching-resource/resource-12960501 (word doc) https://www.tes.com/teaching-resource/resource-12978017 (powerpoint)

Dragon hunting: KS2 Descriptive Writing Paragraph Model – Dragon! https://www.tes.com/teaching-resource/resource-12959414

Same dragon paragraph as a Powerpoint: https://www.tes.com/teaching-resource/resource-12959437

Also, a resource with ideas of how to make descriptive/creative writing more exciting using figurative language: https://www.tes.com/teaching-resource/resource-12986538

Tes paid licence How can I reuse this?

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