Creative Non-Fiction

If representing and exploring the “real” by writing in the genre of creative non-fiction is your
goal, we hope these tips about what creative non-fiction is, as well as some pointers on a few
genres that are considered creative non-fiction (memoir and the personal essay) can help you.
We have also included some tips about Writing Negatively About People in Your Life as well as
links to some well-known examples of creative non-fiction to give you a sense of what is out
there.

An Introduction to Creative Non-Fiction

What “is” creative non-fiction?

Creative nonfiction merges the boundaries between literary art (fiction, poetry) and research
nonfiction (statistical, fact-filled, run of the mill journalism). It is writing composed of the real,
or of facts, that employs the same literary devices as fiction such as setting, voice/tone,
character development, etc. This makes if different (more “creative”) than standard nonfiction
writing.

Sometimes called literary journalism or the literature of fact, creative nonfiction merges the
boundaries between literary art (fiction, poetry) and research nonfiction (statistical, fact-filled,
run of the mill journalism). It is writing composed of the real, or of facts, that employs the same
literary devices as fiction, such as setting, voice/tone, character development, etc.

Creative nonfiction should (1) include accurate and well-researched information, (2) hold the
interest of the reader, and (3) potentially blur the realms of fact and fiction in a pleasing,
literary style (while remaining grounded in fact).

In the end, creative nonfiction can be as experimental as fiction—it just needs to be based in
the real.

Content of creative nonfiction:

It's important to clarify that the content of creative nonfiction does not necessarily have to
come from the life or the experience of the writer. Say, for instance, the writer is using
techniques from literary journalism to create a portrait of a person interviewed. The writer may
choose to write a portrait of the interviewee through an omniscient perspective, meaning the
writer wouldn't be in the piece at all.

On the other hand, nonfiction writers often choose to write about topics or people close to
them (including themselves). As long as the piece deals with something real, or something
based on the real, the writer is allowed to take the piece in any direction he or she wishes.
In creative nonfiction, writers attempt to observe, record, and thus shape a moment(s) from
real life. Writers thus extract meaning through factual details—they combine the fact of detail
with the literary extrapolation necessary in rendering meaning from an observed scene.

At the same time, successful creative nonfiction attempts to overlay fact with traditional
conceptions of dramatic structure. While rendering meaning from an observed scene, a piece
should suggest a beginning, middle and end that clearly conveys the conflict and the characters,
and pushes the action toward some sort of closure.

In effect, creative nonfiction attempts to project a dramatic, literary framework upon everyday
existence, rendering it enjoyable, enlightening and potentially meaningful.

While writing creative nonfiction, writers should dwell on sensory details and "show show
show."

A piece should never just tell the reader something or summarize—this is what research non-
fiction does.

Different “types” of creative non-fiction writing:

Due to the fact that creative nonfiction is an ever-evolving genre of writing, it is difficult to
define set types:

The Personal Essay:

A piece of writing, usually in the first person, that focuses on a topic through the lens of the
personal experience of the narrator. It can be narrative or non-narrative-it can tell a story in a
traditional way or improvise a new way for doing so. Ultimately, it should always be based on
true, personal experience.

The Memoir:
A memoir is a longer piece of creative nonfiction that delves deep into a writer's personal
experience. It typically uses multiple scenes/stories as a way of examining a writer's life (or an
important moment in a writer's life). It is usually, but not necessarily, narrative.

The Short Short: A short/short is a (typically) narrative work that is concise and to the point. It
uses imagery and details to relay the meaning, or the main idea of the piece. Typically it's only
one or two scenes, and is like a flash of a moment that tells a whole story.
Literary Journalism:
Literary journalism uses the techniques of journalism (such as interviews and reviews) in order
to look outside of the straight forward, objective world that journalism creates. It uses literary
practices to capture the scene/setting of the assignment or the persona of the person being
interviewed. It can often be narrative or heavily imagistic. Another important aspect of literary
journalism is that it often stretches the idea of "objective facts" in order to better reflect real life
and real people. In other words, while journalism is about being completely objective, literary
journalism says that people can't be objective because they already have their own subjective
views about the world. Therefore, by taking the "objectiveness" out of the journalistic process,
the writer is being more truthful.

The Lyric Essay:

The lyric essay is similar to the personal essay in that it also deals with a topic that affects the
reader. However, the lyric essay relies heavily on descriptions and imagery. Lyrical suggests
something poetic, musical, or flowing (in a sense). This type of piece uses a heavily descriptive,
flowing tone in order to tell a story.

 Creative Nonfiction, defines the genre simply, succinctly, and accurately as

“true stories well told.” And that, in essence, is what creative nonfiction is all
about.

In some ways, creative nonfiction is like jazz—it’s a rich mix of flavors, ideas,
and techniques, some of which are newly invented and others as old as writing
itself. Creative nonfiction can be an essay, a journal article, a research paper, a
memoir, or a poem; it can be personal or not, or it can be all of these.

The words “creative” and “nonfiction” describe the form. The word “creative”
refers to the use of literary craft, the techniques fiction writers, playwrights, and
poets employ to present nonfiction—factually accurate prose about real people
and events—in a compelling, vivid, dramatic manner. The goal is to make
nonfiction stories read like fiction so that your readers are as enthralled by fact
as they are by fantasy.

The word “creative” has been criticized in this context because some people
have maintained that being creative means that you pretend or exaggerate or
make up facts and embellish details. This is completely incorrect. It is possible
to be honest and straightforward and brilliant and creative at the same time.

"Creative” doesn’t mean inventing what didn’t happen, reporting and describing
what wasn’t there. It doesn’t mean that the writer has a license to lie. The
cardinal rule is clear—and cannot be violated. This is the pledge the writer
makes to the reader—the maxim we live by, the anchor of creative nonfiction:
“You can’t make this stuff up!” 

The Building Blocks of Creative Nonfiction 

Scenes and stories are the building blocks of creative nonfiction,
the foundation and anchoring elements of what we do. This is what
I tell people who want to write but have no experience writing. And
I tell the same thing to the graduate students in my writing classes
—and PhD students. Writing in scenes is one of the most important
lessons for you to take from this book—and to learn.

The idea of scenes as building blocks is an easy concept to

understand, but it’s not easy to put into practice. The stories or
scenes not only have to be factual and true (You can’t make them
up!), they have to make a point or communicate information, as I
have said, and they have to fit into the overall structure of the
essay or chapter or book. It is often a daunting task. But it’s
essential.

Writing in scenes represents the difference between showing and

telling. The lazy, uninspired writer will tell the reader about a
subject, place, or personality, but the creative nonfiction writer will
show that subject, place, or personality, vividly, memorably—and in
action. In scenes.

—Lee Gutkind 

SALVADOR LOPEZ “LITERATURE AND SOCIETY”

Literature & Society

About the Author
• Born in Curimao, Ilocos Norte, on May 27, 1911

• a well-known critic, columnist, and essayist.

• political adviser to General Carlos P. Romulo at the Philippine

Mission as Secretary of Foreign Affairs, and as Delegate to the
United Nations.

• He has also been President of the University of the Philippines.

Literature & Society 

Essay of Salvador P. Lopez
Salvador Lopez’ “Literature and Society” mainly deals about his
argument that literature should always be socially conscious. As
what he writes, “art was a utilitarian device” and by all means it
should “not merely to fill idle hour with pleasure excitement but
invoke the favors of the gods.” He continues to point out that the
concept of “Art for Art’s Sake” is in vain. Literature should
connect with society. 

Salvador P. Lopez
Summary of
Literature & Society
Lopez here describes the amateur writers as someone who see
writing as a way of expressing himself. Writing for a young writer
is somehow synonymous to seeing the 
beauty of nature
,
sympathizing over oppressed people and nations
. These writings write poetry or even philosophy full of abstract
thinking. 

Conclusion
If all of the writers would write about social issues, they would
eventually poison the mind of their readers insisting that “this is
life!” or “this world is hopeless!” or “war never ends!” But looking
these social issues through a very beautiful perspective it sure
helps for the betterment of the society.
A few lines from Lopez that proves this maturity. “
He is no longer a florist, scissors in hand gathering lovely
blossoms; he has become a tiller of the soil, spade in hand,
digging into the roots of things and planting seeds
.”

But as this same writer is exposed to more experiences and news

headlines, there would be a change in his choice of subject matter
and his attitudes over things surrounding him. This means the call
of the 
Maturing Stage
as there is a change in an amateur’s writer’s perception of life. He
matures. 
Creative writings are always immortal because it is universal – no
matter where a reader is, no matter what time the writing is being
imagined. Society and literature should not always be connected
for some stated reasons. However, in closure of the argument,
writing literature related to society is also possible. In fact it may
be the most effective way of putting it.
After all, writers should be the one to decide what to write. It is
his freedom that matters no matter what.