PRINCIPLES, ELEMENTS, TECHNIQUES, AND DEVICES OF CREATIVE NONFICTION

In order to provide a compelling personal creative nonfiction story, a writer has to render the events
truthfully as he or she writes from memory. The demand for truthful writing makes the writer naked, ready to
tell all the detours that life has taken him or her. "The writer is committed to creative nonfiction as a way of
inquiring and knowing because creative nonfiction is located in the stories of daily experience rendered with
thoughtful care for aesthetics and ethics" (Sinner, 2013).
At times, creative nonfiction is looked upon as redundant phrases since it may be viewed as fiction
(Sinner, 2013). Nonetheless, it is normal for writers to experience difficulty that feeling of being worn out as
they try to reshape and rewrite the past. "Throughout this process, we often find that we hardly know the half
of it, and even the half we think we know regularly remains uncertain. Yet this uncertainty need not be a road
block, but an opportunity- a chance to tell it new" (Hollars, 2013).
An essay contains the writer's reflection making the readers understand and decipher what is in the
author's head and where the storyline is heading. It is therefore the author's ability in the craftsmanship of
words that will transport the readers to feel "one inch further from the ledge” (Hollars, 2013).

INTRODUCTION TO CREATIVE NONFICTION

A writer like a carpenter uses the basic principles in writing to wield a perfect composition. These
writing tools help shape the storyline Brian Kiteley (2005) in the 3 A.M. Epiphany recollects that while listening
to William Gass who believes that “each sentence teaches the next sentence. This means that “each sentence
educates the next sentence, and each paragraph educate the next paragraph.” To achieve perfection is to craft
each sentence until the subsequent one comes along.

LESSON 1: USING ELEMENTS OF CREATIVE NONFICTION

a) Plot pertains to the arrangement of events is a story governed by the cause and effect relationship. It is the
design of motif of the story of how it will progress of a narration of what happens in the past. It is
thereby necessary to have a conflict or problem, otherwise without it, there is no story worth reading
(Woods, 2013).
The Freytag's pyramid conceptualized by Gustav Freytag in 1863 Used to picture what happens in the
telling of the table. It involves exposition, vising action, climax, falling action, and denouement.

Exposition is the beginning information given by the writer in the story. It provides the background
knowledge so readers may understand the story like the characters and the setting. problem of the
story.
Inciting moment takes place when the readers comprehend the problem of the story.
Dramatic question is a response from the inciting moment.
Rising Action mirrors the essential inner conflict that will wrestle to a complication and then head start
to another conflict. In short, it is the complication of the plot.
Crisis situation is the time where the readers understand how the writer's experience will enable him
or her to be successful or a failure from such ordeal.
Climax is the highest level of the storyline since it represents the turning point that marks a change of
the main character. This is where the main part of the story takes place.
Falling action is the reversal of the story that depicts the moment of final suspense.
Dénouement is the time when the falling action and the concluding scene of the narrative takes place.
Since conflicts are resolved, there is balance among the characters as the readers undergo a cathartic
effect- the release of tension and anxiety (Freytag's Pyramid, 2011).
Plot devices are ways of propelling the storyline to move forward It serves to motivate the characters,
creating urgency or resolving complicated situations. This however can be compared with moving a
story forward using a dramatic method by making it happen since the characters are capable of doing
“well-developed reasons”.
Plot Outline is a narrative of a story that can be transformed into a film. It consists of a page with longer
and detailed synopsis summarized into one or two paragraphs.

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(b.) Conflict are problems, issues, or situations that the character needs to resolve through time. Conflict is
often expressed through the actions and dialogues of the character(s).
Types of conflict
(1) One character against another conflict shows one character having a grievance against
another character.
(2) A character or group against society conflict demonstrates a character who is against
society's values, ideas, norms, culture, and values.
(3) A character against nature conflict reflects a character who is wrestling with natural
disasters or calamities.
(4) Character against himself or herself conflict illustrates the inner struggles and emotions
of the character (Woods, 2013).
(c.) Theme pertains to the idea that philosophers deeply think or it is simply the subject of the story.
(d.) Characters are portrayal of people or animals in a narrative wherein their attitudes can be manifested in
direct (explicit) or indirect (implicit) characterization.
Characters perform actions, create dialogues, and can be seen through their physical appearance. “A
character may provide background information, description, or an assessment of another character's
life or personality. However, be sure to filter out the character's bias” (Woods, 2013, p. 142)
Types of characterization
(1) Direct (Explicit) characterization informs the readers of what the character is like which can
be deciphered through the narrator, or through how the characters behave, act, or speak.
(2) Indirect (Implicit) characterization allows the readers to infer about the character's
thoughts, actions, conversations, physical appearance, idiosyncrasies, and workmanship or team
play with other characters.
The character's conversations will reflect his or her personality, determining whether the
character is educated or not, the formality and informality of the situation.
(e.) Narrative point of view describes the stand of the narrator of the storyteller. The narrator is the eye of the
story, expressing the story through first-person, second-person, third-person, and alternating
person.
(1) First-person point of view can be seen through the narrator who is the character in his or
her own story and this can be illustrated in the pronoun "I" or very seldom using the "we" when
referring to a group. Although the "I persona" is unable to see the future but can provide an
inner monologue (stream of consciousness) to the readers. Likewise, the first-person point of
view discusses the past and the present situations.
(2) Second-person point of view is a narrator that uses the “pronoun you" telling the story of
another person or the narrator himself/ herself. Some storytellers use the second-person than
the first- person to alienate themselves in the story and is most employed in persuasive writing
and advertising.
(3) Third-person point of view where every character is signified to by the storyteller as "she",
"he", "it", or "they". The narrator never uses "I" or "we" (first-person) or This type of narration
provides the author enough flexibility because the narrator is not involved in the story but merely
as an observer. Besides, this is the most common narrative mode in literature.
(4) Alternating person is used in novels when authors experiment different points of view even
if it is suggested that they establish a single point of view. In this type, it combines first and a
third person storytelling
(f.) Narrative voice illustrates how the story is told through stream- of consciousness, character voice,
unreliable narrator, epistolary voice, third-person narratives include (1) subjective, (2) objective,
(3) omniscient, (4) free indirect, and (5) alternating.
(1) Stream-of-consciousness is employed in the first-person point of view by trying to
reproduce the inner thoughts of the narrative character so it may provide an explanation or
foreshadow a situation.
(2) Character voice is employed in the first-and-third-person viewpoints wherein the storyteller
portrays how the character views humanity and the world.
(3) Unreliable voice involves the use of uncertain or doubtful narrator who provides the
reader's skepticism, a level of suspicion, or anonymity as to the validity of the information.
"Psychosis" seems to build-up" in the narrator's way of conveying the story. On the other hand,
a naïve narrator (such as a child narrator) is ignorant and immature as to what really happened
from within.
4) Epistolary voice employs fictitious letters and other credentials to put across the story's plot.
It may also engage in multiple- person narratives and result to no narrator but a writer who
compiles documents into one.
(5) Third-person voices are narratives using the third-person view.
a. Subjective voice is when the narrator conveys feelings, opinions, thoughts to one or more
characters. It is at times called, "over the shoulder" assessment where the narrator depicts the
events as per observation and writes the information of which the character knows about. The
story progresses as the viewpoint of the character is narrating it.

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 b. Objective voice tells a story in the absence of portraying the thoughts, opinions, and feelings
of the character and instead provides an objective point of view. This will provide neutral
grounds in presenting the information since it does not interpret actions or thoughts rendered by
the characters. The third-person narration is preferred.
c. Omniscient voice is the most narrative style of telling a story since the narrator is "godlike"
seeing and knowing what will happen and thus takes a subjective style. For instance, the third-
person omniscient narrator can be unreliable as it judges, provides opinions on the characters.
d. Free indirect speech is a technique of presenting the character's voice without inhibitions
using the third-person narration.
e. Alternating Voice employs third-person limited and third- person omniscient method of
presenting the character. The writer moves back and forth between the storyline.
(g.) Narrative time determines the timeline of the story whether it may have happened before, during, or after
the narration.
(h.) Angle of the story depicts the theme, concept, or point of what the story will talk about. In short, angle is
the controlling idea that provides elements of surprise to the readers. Angles can be opposite to the
ending of the essay, it can be comparisons, or opposing point of views.
(i.) Setting (Scene) is where the story happens such as the location, historical period, or social situations. The
setting can be spotted through the dialogues or physical description by the narrator. Meanwhile the
atmosphere is the emotional sensitivity or mood the reader gets from the story.
(j.) Symbols in literary writing is usually applied in poetry and each symbol signifies a meaning. When an
author introduces a particular mood or emotion, the writer uses symbolism, hinting it rather than saying
it literally. Some of the common symbols are:
black- evil or death
broken mirror-separation
dark-death, shadows
day-beginning, good, opportunities
dove peace
fire-danger, anger, passion, love, pain or death
ladder-connection between heaven and earth
light-good, power
night- end of road, peace or tranquility, death or darkness
red rose-love and romance
water-baptism, purification (Parker, 2013; Literary Devices)
Symbolism is employed by writers to make the literary piece interesting and the ability of not
giving the literal sense of the ideas or things. Likewise, an action, event, or exchange of words
in a conversation may illicit symbolic values (Literary Devices).
(k.) Dialogue is a literary style where two or more characters are involved in a conversation for a particular
subject and topic. It is through the dialogues that the main theme, ideas, or unfolding of the events can
be pictured by the readers.
Conversations therefore move the plot of the narrative and reveal the true identity and attitude of the
characters through the conflict that will arise during the verbal discourse. Because of the dialogues, the
story transforms to life and enjoyable-to read.
There are two types of dialogues:
Inner Dialogue (Stream of Consciousness) takes place when the characters speak to
themselves and in this process, their personalities and attitudes are revealed.
Outer Dialogue is the conversation between two or more characters in the story (Literary
Devices).
(1.) Others Literary Devices
(1) Hyperbole is a term for overstatement or exaggeration.
(2) Understatement is exactly the opposite of hyperbole, when the writer tries to play
down the significance, magnitude, or intensity of a situation or event.
(3) Incongruity is a circumstance when something is out of proportion or strange
situations knit together.
(4) Irony is a position when there is "a gap between what is said and what is meant"
(Woods, 2013).

LESSON 2: DEVELOPING THEMES BY COMBINING MULTIPLE ELEMENTS

Writing comes from the heart and with the various literary tools, you will be able to write a good essay.
Taiping Xu (2015) in her research, Qualitative Research on the Using of Writing Workshop Techniques in
English Writing Class, details that writing is a cognitive process allowing learners to comprehend what to write
and how to do it. "When writing, students must both originate and record their thinking. They must attend
simultaneously to process and product. Writing, on the other hand must be structured, meticulous, and
concise. It must provide a context for an audience that is not part of the environment but exists apart from the
writer. In sum, writing forces students to become more careful, more engaged participants in the learning
process."

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 The first step in writing is to know the plot, the theme or this segment in your life that is worth sharing.
Take a look at your childhood, what memorable events transformed you of who you are today? How about
your growing up years, triumphs, crossroads, identity, or finding what you really like? These are some ways to
get inspirational topics in writing. You can knit all together your experiences in 1,500 words but you have to
tightly write to hold your audience to every word you craft.
New York Writers Workshop founder, Tim Tomlinson (2017) who devotes his time paneling several
writing workshops in the Philippines narrates, "I read and emulate. That happens all the time. In the Roberto
Bolano story "Last Evenings on Earth," a father and son go on a road trip from Mexico City to Acapulco. I think,
down which road would I send a father and son. I put them in a car, see what happens. I remember. I reflect on
my life and try to make some kind of sense out of its crazy incidents. And I notice, observe, listen. When one
dives, one is watching how the world conducts itself without human intervention. I try to take that concentration,
and awe, and wonder, and fear, into everyday situations.
The writing framework comes in three parts: introduction, middle, and conclusion. In your introduction,
you give a glimpse to your readers of what you are talking about. Telling a story without a problem or conflict
can be unworthy to your readers since you are borrowing their time, tell a story that sets the difference. Stories
that narrate struggles and the bravery of overcoming hardships, are the best to write. Begin with a catchy
opening and provide a clear focused thesis statement. Using an anecdote, a dialogue, a puzzling scenario, a
thought provoking question, or a summary information may work in the beginning paragraphs.
So how will you continue to craft the remaining paragraphs without stopping and delay? "I read. And I
write. One must familiarize oneself with possibilities, and the only way to do that is to read. And one must
practice, so I write often in the way a musician might play the scales. To keep limber, to stumble upon a
variation" (Tomlinson, 2017).
Highlight only the illuminating details that will lead you to the middle part of your essay. Write free
willingly, be spontaneous, spelling and grammar checking will be done towards the end of your essay.
"By writing, we don't simply mean that all the commas are in the right place and that no modifiers are
misplaced or dangling. Rather, we mean that a student has written clearly and eloquently. While we can parse
the writing process in various ways, each with its own limitations, we believe that it's useful to see writing as a
three-step recursive process of invention, composition, and revision. In order to achieve clarity and eloquence,
a student must have a sound and coherent structure, focused and cohesive paragraphs, a solid sense of
sentence, and good grammar" (Xu, 2015).
It is the middle paragraphs that comprise the arguments of the essay It is also best to provide transition
markers to link your readers from one aspect to the next.
Adding: and, also, in addition, moreover, furthermore
Contrasting: however, nevertheless, nonetheless, on the contrary, on the other hand, by contrast
Clarifying: in other words, that is, in effect to, simplify
Sequencing: to begin with, firstly, secondly, lastly, finally
Exemplifying: for example, for instance, in particular, to illustrate
Conceding a point: although true, even though, although, despite this
Summing up: to summarize, to conclude, in conclusion, clearly then
Endorsing: clearly, in particular, importantly, naturally, obviously
Starting a logical conclusion: therefore, thus, hence, as a result, consequently, accordingly, for that
reason (Better Essays).
You can creatively write your essay the way fiction stories are written. Because it is your personal life
story, it is more powerful and convincing if you use the first-person point of view or the "I persona". You can
also employ techniques in your narration by using stream of consciousness and a character voice. It is
essential to create a good angle of your story, making it more compelling to your readers. In between, you can
use very few symbols by reflecting your emotions to the environment such as gray clouds, downpour of rain,
rather than telling it literally to your readers that you are sad. In creating dialogues, make it tight and
intensifying so that your character will be truly defined by the readers. Lastly, link the last paragraph to the first
by echoing a word or phrase you have used in the introduction.

ACTIVITY 1. Read and understand the story well. Afterwards, you are going to analyze the different
elements of the story, this time through writing a story analysis. You are going to write a short continuous
prose or essay of your analysis. You are going to be guided with a rubric which can be found below the
story.
Your output shall be written on the space provided on your ANSWER SHEET. Please be reminded that your
output will be evaluated based on the provided rubric of standards. (30 points)

Open Your Books

Liz Graf
Never, never, never give up. -Winston Churchill
From the time I could line up my dolls on the sofa and play school, I wanted to be a teacher. “Open
your books,” I would instruct my teddy bear, dolls, and sundry stuffed animals. Then I would regale them with
whatever new thing I had just learned. Every grade accomplished during my own education intensified that

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desire. From cursive to “new math,” from home economics to world literature, I knew I wanted to join the ranks
of the magical people who made the world come alive for me. I wanted to be a teacher.
The most inspirational teacher I ever had was my high school biology teacher, Coach Hogan. He was
all business on the football field but pure passion in the classroom. Biology came alive in his class (no pun
intended, though I think he’d like the joke). He opened my eyes to a world beyond the reaches of my troubled
home life. He made me believe that science was fun and intended for everyone. I decided to follow him and
become a biology teacher myself.
But how? Dreams and aspirations are one thing, money for tuition is quite another. My father was
disabled so finances were challenging. Though I graduated seventh in my class of 400 and was accepted at a
state university, I couldn’t afford to go. In fact, no one in my immediate family had ever graduated from college.
But I believed I was meant to be a teacher. My heart and my childhood dolls told me so. I had to find a way to
make it happen.
I won a partial scholarship but it wasn’t enough to cover all the tuition. Then my parents offered me my
portion of my father’s Social Security disability. I could live at home for free and use the money to attend the
local junior college. I was humbled by the depth of their sacrifice because the dollar amount was almost a third
of their income. However, I still needed more to cover books and supplies. Undeterred, I found a part-time job
and enrolled in classes, believing it wasn’t meant to be.
Before long, my life consisted of little more than school, studying and work. I decided to try and finish
my degree in three years—the sooner to have a job and paycheck. So I took large class loads, sometimes over
twenty credits per semester, and continued my studies through the summer sessions. I hid my textbooks under
the cash register at work so I could study when there weren’t any customers. Sleep deprived, I napped on my
break. All the while I pushed forward, seeing myself in the classroom, imagining my interaction with students,
and believing I could make it happen through faith and hard work.
Even dates with my boyfriend entailed trips to the library or studying at home. There was little time to
waste. During spring break, the extra hours available for work were too precious to spend in the sun, though I
lived in a coastal beach town known worldwide as a major spring break destination. When I graduated from
junior college and transferred to a four-year university, the higher tuition meant I needed more funds. So I
added a work-study regime to my schedule, cleaning test tubes and setting up labs in the science department.
Sometimes I felt like a marathon runner without a finish line. But then I would remember that every dirty test
tube I cleaned meant I was one step closer to my dream. I couldn’t wait to start making magic in my own
classroom.
Because of my student teaching requirement, my graduation month was December. I’d have a few
months to work as a substitute teacher in the local area before the schools started hiring for the next academic
year. It seemed a great opportunity to scope out the job market. I had never heard the term “RIF” before.
“County Teachers Affected by a Reduction in Force,” read the local headline. In short, there was a drop in
student population and many teachers were laid off. No new teachers would be hired until all those who lost
their jobs were placed. I couldn’t believe it. Disheartened but determined, I continued substituting, hoping a
break would come my way. I took a long-term substitute position in biology at a private school and felt like I
had found a home. When I learned they were planning to replace the biology teacher I had subbed for, I was
sure the position was meant for me. I could see the pieces falling into place. I could see myself in the halls. I
could feel the chalk in my hand. This is where my journey was leading. However, the principal had other ideas.
“You’re too young,” he told me during my interview. “This last teacher was young and had a lot of
discipline problems. We want someone older—with more experience.”
“I don’t believe age determines how well someone can conduct a class,” I responded quickly. “It’s about
technique and skill, “ I replied. And magic, I whispered to myself. “I’m sorry,” he replied. “My mind is made up.
Good luck to you.”
I cried all the way to work that night and was in the break room trying to pull myself together when a
new employee walked in. Her name was April and it was my job to train her. We introduced ourselves and got
busy learning how to take catalog orders over the phone. In the moments between customers I shared my
feelings. I told her how much I wanted to teach. I told her I was having a hard time believing I had worked so
hard for my dream only to be denied. I told her about the magic.
A few nights later a man walked into the store and April introduced him to me as her father, Reid
Hughes. We chatted about the store and how quickly April was learning her new job. He casually mentioned
that April had told him I wanted to teach. I assured him that was true and shared some of my thoughts with
him. He left after a few minutes and I thought April was lucky to have such a nice father.
The next morning my phone rang. It was the principal of the private school calling to offer me the
biology position.
“Are you kidding?” I was dumbfounded.
“No,” he assured me.
“I’m not kidding. It seems you made quite an impression on the chairman of our Board of Directors.”
“Who, h-h-how?”
I stammered. “His name is Reid Hughes, and he wants you to have this job.”
I was speechless. A few weeks later I stood in the door of my classroom, welcoming my students to
their first day of school. When they were settled, I picked up a piece of chalk, walked and wrote my name.
Let the magic begin,” I whispered to myself as I turned back to greet their expectant faces. “Open your
books,” I said with a smile.
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 Criteria Points Obtained points
Analysis of the elements 10
Evidence and examples 15
Transitions 5
Mechanics and grammar 5
Total 30

ACTIVITY 2. Based on the creative nonfiction story that you have read on your previous activity, you
are going to analyze the elements of the story through filling out the necessary boxes with your own analyses.
Remember that you are doing an analysis, so you must use your HIGHER ORDER THINKING SKILLS
(H.O.T.S). Your output shall be written on the space provided on your ANSWER SHEET.

ELEMENTS USED
(1) PLOT

(2) THEME

(3) CHARACTERS

(4) POINT OF VIEW

(5) SETTING

(6) CONFLICT

(7) LITERARY DEVICES

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 ACTIVITY 3. It seems that you have already gotten the different literary elements, that means you are
ready to work on your own, while taking in consideration your personal experience as you write your analysis
about the given literary piece. In this activity, you will create samples of narrative elements based on your
personal experience. To be able to do this, write 2-3 SENTENCES for each elements. Your answer

1. Point of view
What point of view do you think would be most effective when talking about your personal experience?
(Note: Use that point of view as you answer the questions in the succeeding writing prompts.)

2. Theme
Think about a specific truth about life that you want to discuss.

3. Characters
Who were two of the most memorable people you have met in life? Talk about them and describe how they
look like.

4. Setting
What particular place do you like best? What makes the place special? Think about the particular time of
day you would want to go to your favorite place.

5. Conflict
Recall an incident when you were in opposition with somebody/someone or yourself. How did it feel like? How
were you able to go through the struggle?

6. Plot
Think about the events that led you to your most embarrassing experience. Write about it following Freytag’s
Pyramid.

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