Unit 5: Reading and Writing Creative Nonfiction

Lesson 5.2
Analysis of a Well-Organized Creative Nonfiction Text
Contents
Introduction 1

Learning Objectives 2

Let’s Begin 2

Discover 3
Reading with Purpose 4
Structure 4
Content 7
Literary Elements 12

Wrap-Up 16

Try This! 17

Practice Your Writing Skills 18

Bibliography 22
Unit 5: Reading and Writing Creative Nonfiction

Lesson 5.2

Analysis of a Well-Organized
Creative Nonfiction Text

Introduction
Have you ever tried searching for something not knowing where or how to start? Perhaps
you are looking for a restaurant on a street but you are not sure what you want to eat, or
you are searching for a new book in the library but have no idea what you want to read.
Without some guide or criteria in mind, the search is aimless and could potentially become
endless. The same is true when trying to analyze literature. There are so many aspects and
angles one can find in a text and so it is important to have some specific pointers to guide
you throughout your analysis. You will be learning about these as you read this lesson.

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Unit 5: Reading and Writing Creative Nonfiction

Learning Objectives DepEd Learning Competency

This lesson serves as an enrichment lesson for the
In this lesson, you should be able to do following DepEd competency:
the following: Analyze and interpret a well-written creative
nonfictional text based on the peer critique
● Identify the factors in analyzing
(HUMSS_CNF11/12-IIf-19).
a creative nonfiction.
● Analyze a creative nonfictional
text according to its
characteristics.

Let’s Begin

Understanding the Reading Process 25 minutes

When reading a creative nonfiction work, what questions do you usually have in mind to
understand the text’s meanings and intentions?

Instructions
1. Choose a partner, and discuss your thought processes or experiences when reading
a creative nonfiction text.
2. Recall your past lessons about the qualities, types, and elements of a creative
nonfiction text.
3. Based on your discussion, formulate five questions that you think should be asked to
carefully understand a creative nonfiction text.
4. Be ready to share with the class why you think these five questions are important.

Guide Questions

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1. What similarities do you and your partner have when it comes to the process of
reading and analyzing creative nonfiction texts?
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2. What differences do you and your partner have when it comes to the process of
reading and analyzing creative nonfiction texts?
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3. How will the questions you created help you understand different types of creative
nonfiction texts?
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Discover
A careful examination and evaluation of literature refers to literary analysis. Literary
analysis involves closely studying a text to explore its elements and interpret its meanings
by breaking it down into several components. Ultimately, literary analysis is a process with
the goal of better understanding and appreciating literary texts. Given the complexity of
creative nonfiction, it is important to be guided by several principles to analyze texts
effectively. You will be learning about these as you progress through the lesson.

How can one conduct an insightful and systematic

literary analysis of a creative nonfiction text?

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Reading with Purpose

The first step in analyzing a text is to read with a purpose in mind. This type of reading is
also referred to as close reading. It is different from other types of reading since the goal is
not just to know and retell what goes on in the text, but also to observe facts and details
about it. In doing so, one can have a more in-depth understanding of what the author is
trying to convey in the text.

Close reading may involve considering all striking details about a text or just focusing on
specific aspects that will be emphasized in the analysis. Regardless of the reader’s specific
purpose, it is helpful to annotate the text while reading—underline or highlight words or
phrases that seem significant or interesting and write down notes or questions while
reading. Annotations aid in remembering and organizing ideas about the text more easily.

Since creative nonfiction texts could be complex, it is then essential to be guided by certain
questions or criteria to achieve purposeful reading. These questions or criteria are based on
one’s knowledge of the different forms and elements of creative nonfiction texts.

Structure
In analyzing creative nonfiction text, consider how the author structured the text and how
this structure relates to the story being told. For example, one might ask how the narrative
benefits from using flashbacks or how the narrative becomes more impactful using the
parallel structure. Analyzing text structure may also include questions as to how the
structure of the text relates to the other elements, such as the characters, settings, and
themes. Note that text structure is always a conscious choice by the author so analyzing it
carefully leads to a clearer understanding of the text and the author’s intention.

Likewise, evaluating how the ideas are organized is an important part of analyzing a text.
Coherence and cohesion play a big part in successfully conveying meanings so these
qualities must be under close scrutiny during analysis. One should ask: “Did the author
effectively use transitional devices and logical connectors throughout the text?” “Do the
ideas progress smoothly?” “Are all the ideas presented relevant to the main topic?”

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Read the following essay and try to do a close reading with a focus on the text’s structure.

Of Studies
Francis Bacon

Studies serve for delight, for ornament, and for ability. Their
chief use for delight, is in privateness and retiring; for
ornament, is in discourse; and for ability, is in the judgment
and disposition of business; for expert men can execute,
and perhaps judge of particulars one by one; but the general
counsels, and the plots and marshalling of affairs, come best
from those that are learned. To spend too much time in
sloth (noun):
studies, is sloth; to use them too much for ornament, is
unwillingness to
affectation; to make judgment wholly by their rules, is the
work
humor of a scholar. They perfect nature, and are perfected
by experience; for natural abilities are like natural plants,
that need pruning by study; and studies themselves do give
forth directions too much at large, except they be bounded
in by experience. Crafty men contemn studies, simple men contemn
admire them, and wise men use them; for they teach not (verb): despise
their own use; but that is a wisdom without them and above
them, won by observation. Read not to contradict and
confute, nor to believe and take for granted, nor to find talk
and discourse, but to weigh and consider. Some books are
to be tasted, others to be swallowed, and some few to be
chewed and digested; that is, some books are to be read
only in parts; others to be read, but not curiously; and some
few to be read wholly, and with diligence and attention.
Some books also may be read by deputy, and extracts made
of them by others; but that would be only in the less
important arguments and the meaner sort of books; else
distilled books are, like common distilled waters, flashy

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things. Reading maketh a full man; conference a ready man;

and writing an exact man; and, therefore, if a man write
confer (verb):
little, he had need have a great memory; if he confer little,
to exchange ideas
he had need have a present wit; and if he read little, he had
in a particular
need have much cunning, to seem to know that he doth not.
subject
Histories make men wise; poets, witty; the mathematics,
subtile; natural philosophy, deep; moral, grave; logic and
rhetoric, able to contend: “Abeunt studia in mores;” nay,
there is no stand or impediment in the wit, but may be
wrought out by fit studies. Like as diseases of the body may
have appropriate exercises, bowling is good for the stone
and reins, shooting for the lungs and breast, gentle walking
for the stomach, riding for the head and the like; so, if a
man’s wit be wandering, let him study the mathematics; for
in demonstrations, if his wit be called away never so little, he
must begin again; if his wit be not apt to distinguish or find
difference, let him study the schoolmen, for they are “Cymini
sectores.” If he be not apt to beat over matters, and to call
up one thing to prove and illustrate another, let him study
the lawyers’ cases; so every defect of the mind may have a
special receipt.

In his essay, Francis Bacon articulates his thoughts on the use and importance of studies for
different people, given various circumstances. In analyzing the structure of the essay, one
might observe that Bacon combines several clauses together, producing rather long
sentences. Despite this, the use of parallel clauses and ample logical connectors helps in
allowing readers to easily follow the text. This type of structure also seems to add rhythm to
the essay, making it more interesting to read.

Do you agree with the analysis above? What are your own thoughts about the structure of
the essay?

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Check Your Progress

How does knowing the structure used by the author improve
understanding of the text?
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Content
Analyzing the content of creative nonfiction texts could be generally divided into three
aspects: the accuracy of the information in the text, clarity in how this information and
ideas are articulated, and the relevance of the text itself.

In analyzing the accuracy of the text, readers must take into account sources of information
cited in the text. Authors are expected to cite sources properly and to cite sources that are
reliable. Failing to provide these should already be a source of doubt for readers. If possible,
it is also recommended that readers verify the information presented in the text by
consulting other references. Sometimes, doing a background check on the author may also
help in establishing the text’s credibility.

Textual clarity is likewise important to consider in analyzing a text. While reading, take note
of how the author expresses a clear thesis and if this is consistent throughout the text. Any
source of vagueness or inconsistency should be identified as this may affect the overall
message of the text.

Finally, readers may also comment on the overall relevance of the text. The first question to
ask in relation to this is who the intended audience of the text is—who will benefit from
reading this text? How can readers relate the text to their personal lives? Once the intended
audience is identified, it becomes easier to assess the text’s reliability. Aside from the
intended audience, the relevance of a text may also be connected to the other contexts,
such as the period, place, and society in it was written.

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Read the following essay by Virginia Woolf. Practice annotation as you read the text and
analyze its content based on the guidelines discussed.

The Artist and Politics

Virginia Woolf

I have been asked by the Artist's International Association to

explain as shortly as I can why it is that the artist at present
is interested, actively and genuinely, in politics. For it seems
that there are some people to whom this interest is suspect.

That the writer is interested in politics needs no saying.

Every publisher's list, almost every book that is now issued,
brings proof of the fact. The historian to-day is writing not
about Greece and Rome in the past, but about Germany and
Spain in the present; the biographer is writing lives of Hitler
and Mussolini, not of Henry the Eighth and Charles Lamb;
the poet introduces communism and fascism into his lyrics;
the novelist turns from the private lives of his characters to
their social surroundings and their political opinions.
Obviously the writer is in such close touch with human life
that any agitation in his subject matter must change his
angle of vision. Either he focuses his sight upon the
immediate problem; or he brings his subject matter into
relation with the present; or in some cases, so paralysed is
he by the agitations of the moment that he remains silent.

But why should this agitation affect the painter and the
sculptor? it may be asked. He is not concerned with the
feelings of his model but with its form. The rose and the
apple have no political views. Why should he not spend his
time contemplating them, as he has always done, in the cold

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north light that still falls through his studio window?

To answer this question shortly is not easy, for to

understand why the artist—the plastic artist—is affected by
the state of society, we must try to define the relations of
the artist to society, and this is difficult, partly because no
such definition has ever been made. But that there is some
sort of understanding between them, most people would
agree; and in times of peace it may be said roughly to run as
adulterate
follows. The artist on his side held that since the value of his
(verb): to make
work depended upon freedom of mind, security of person,
something weaker
and immunity from practical affairs—for to mix art with
or of worse quality
politics, he held, was to adulterate it—he was absolved
by adding
from political duties; sacrificed many of the privileges that
something else to
the active citizen enjoyed; and in return created what is
it
called a work of art. Society on its side bound itself to run
the state in such a manner that it paid the artist a living
wage; asked no active help from him; and considered itself
repaid by those works of art which have always formed one precariously
of its chief claims to distinction. With many lapses and (adverb): in a way
breaches on both sides, the contract has been kept; society that is likely to fall,
has accepted the artist's work in lieu of other services, and be damaged, fail
the artist, living for the most part precariously on a
pittance, has written or painted without regard for the
political agitations of the moment. Thus it would be
pittance
impossible, when we read Keats, or look at the pictures of
(noun): very small
Titian and Velasquez, or listen to the music of Mozart or
amount of money
Bach, to say what was the political condition of the age or
the country in which these works were created. And if it
were otherwise—if the Ode to a Nightingale were inspired
by hatred of Germany; if Bacchus and Ariadne symbolised
the conquest of Abyssinia; if Figaro expounded the doctrines

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of Hitler, we should feel cheated and imposed upon, as if,

instead of bread made with flour, we were given bread
made with plaster.

But if it is true that some such contract existed between the

artist and society, in times of peace, it by no means follows
that the artist is independent of society. Materially of course
he depends upon it for his bread and butter. Art is the first
luxury to be discarded in times of stress; the artist is the first
of the workers to suffer. But intellectually also he depends
upon society. Society is not only his paymaster but his
patron. If the patron becomes too busy or too distracted to
exercise his critical faculty, the artist will work in a vacuum
and his art will suffer and perhaps perish from lack of
understanding. Again, if the patron is neither poor nor
indifferent, but dictatorial—if he will only buy pictures that
flatter his vanity or serve his politics—then again the artist is
impeded and his work becomes worthless. And even if there
are some artists who can afford to disregard the patron,
either because they have private means or have learnt in the
course of time to form their own style and to depend upon
tradition, these are for the most part only the older artists
whose work is already done. Even they, however, are by no
means immune. For though it would be easy to stress the
point absurdly, still it is a fact that the practice of art, far
from making the artist out of touch with his kind, rather
increases his sensibility. It breeds in him a feeling for the
passions and needs of mankind in the mass which the
citizen whose duty it is to work for a particular country or for
a particular party has no time and perhaps no need to
cultivate. Thus even if he be ineffective, he is by no means
apathetic. Perhaps indeed he suffers more than the active

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citizen because he has no obvious duty to discharge.

For such reasons then it is clear that the artist is affected as

powerfully as other citizens when society is in chaos,
although the disturbance affects him in different ways. His
cloistered
studio now is far from being a cloistered spot where he can
(adjective):
contemplate his model or his apple in peace. It is besieged
separated from
by voices, all disturbing, some for one reason, some for
and
another. First there is the voice which cries: "I cannot protect
communicating
you; I cannot pay you. I am so tortured and distracted that I
little with the
can no longer enjoy your works of art." Then there is the
outside world
voice which asks for help. "Come down from your ivory
tower, leave your studio," it cries, "and use your gifts as
doctor, as teacher, not as artist." Again there is the voice
which warns the artist that unless he can show good cause
why art benefits the state he will be made to help it
actively—by making aeroplanes, by firing guns. And finally
there is the voice which many artists in other countries have
already heard and had to obey—the voice which proclaims
that the artist is the servant of the politician. "You shall only
practise your art", it says, "at our bidding. Paint us pictures,
carve us statues that glorify our gospels. Celebrate fascism;
celebrate communism. Preach what we bid you preach. On
no other terms shall you exist."

With all these voices crying and conflicting in his ears, how
can the artist still remain at peace in his studio,
contemplating his model or his apple in the cold light that
comes through the studio window? He is forced to take part
in politics; he must form himself into societies like the peril (noun):
Artists' International Association. Two causes of supreme great danger
importance to him are in peril. The first is his own survival;

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Unit 5: Reading and Writing Creative Nonfiction

the other is the survival of his art.

Virginia Woolf responds to the question of why artists at present are actively and genuinely
interested in politics. Woolf explained how artists relate to their current societies and how
any social disturbances put artists’ life and art survival at grave risk—making it inevitable for
them to engage in politics. In analyzing the content of the essay, one important angle that
may be explored is the validity and accuracy of Woolf’s claims as she speaks not just for
herself but on behalf of the artists of her time. Do you think Woolf’s response to the matter
is reliable? Aside from the validity and accuracy of her essay, what other details about the
essay’s content did you find striking?

Check Your Progress

Why is it important to determine the intended audience of the
text?
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Literary Elements
Authors rely on literary elements to express their ideas in more vivid and engaging ways.
More often than not, authors make deliberate choices as to which literary elements will be
used in their writings. For these reasons, closely examining literary elements is essential to a
deeper understanding of creative nonfiction texts. Moreover, since different authors use
different techniques and styles in their writing, familiarity with as many literary elements as
possible would be greatly helpful in conducting text analysis.

For example, knowing about symbolisms and figurative language makes a reader become
more aware of implicit meanings that might be embedded in the text. Familiarity with the
different points of view, on the other hand, enriches one’s understanding of the writer’s goal
or purpose in writing. Meanwhile, identifying themes allows for a more nuanced analysis as

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the text could be situated in a wider context.

Practice analyzing literary elements by reading an excerpt from T.S. Eliot’s essay below.

In English writing we seldom speak of tradition, though we

occasionally apply its name in deploring its absence. We deploring
cannot refer to “the tradition” or to “a tradition”; at most, we (verb): feeling or
employ the adjective in saying that the poetry of So-and-so is expressing grief
“traditional” or even “too traditional.” Seldom, perhaps, does for something
the word appear except in a phrase of censure. If otherwise,
it is vaguely approbative, with the implication, as to the work
censure
approved, of some pleasing archæological reconstruction.
(noun): a
You can hardly make the word agreeable to English ears
judgment involving
without this comfortable reference to the reassuring science
condemnation
of archæology.

Certainly the word is not likely to appear in our

appreciations of living or dead writers. Every nation, every
race, has not only its own creative, but its own critical turn of
mind; and is even more oblivious of the shortcomings and
limitations of its critical habits than of those of its creative
genius. We know, or think we know, from the enormous
mass of critical writing that has appeared in the French
language the critical method or habit of the French; we only
conclude (we are such unconscious people) that the French
are “more critical” than we, and sometimes even plume plume (verb):
ourselves a little with the fact, as if the French were the less indulge (oneself) in
spontaneous. Perhaps they are; but we might remind pride
ourselves that criticism is as inevitable as breathing, and that
we should be none the worse for articulating what passes in
our minds when we read a book and feel an emotion about
it, for criticizing our own minds in their work of criticism. One

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of the facts that might come to light in this process is our

tendency to insist, when we praise a poet, upon those
aspects of his work in which he least resembles anyone else.
In these aspects or parts of his work we pretend to find what
is individual, what is the peculiar essence of the man. We
dwell with satisfaction upon the poet’s difference from his
predecessors, especially his immediate predecessors; we
endeavour to find something that can be isolated in order to
be enjoyed. Whereas if we approach a poet without his
prejudice we shall often find that not only the best, but the
most individual parts of his work may be those in which the
dead poets, his ancestors, assert their immortality most
vigorously. And I do not mean the impressionable period of
adolescence, but the period of full maturity.

Yet if the only form of tradition, of handing down, consisted

in following the ways of the immediate generation before us
in a blind or timid adherence to its successes, “tradition”
should positively be discouraged. We have seen many such
simple currents soon lost in the sand; and novelty is better
than repetition. Tradition is a matter of much wider
significance. It cannot be inherited, and if you want it you
must obtain it by great labour. It involves, in the first place,
the historical sense, which we may call nearly indispensable
to anyone who would continue to be a poet beyond his
twenty-fifth year; and the historical sense involves a
perception, not only of the pastness of the past, but of its
presence; the historical sense compels a man to write not
merely with his own generation in his bones, but with a
feeling that the whole of the literature of Europe from
Homer and within it the whole of the literature of his own
country has a simultaneous existence and composes a

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simultaneous order. This historical sense, which is a sense of

the timeless as well as of the temporal and of the timeless
and of the temporal together, is what makes a writer
traditional. And it is at the same time what makes a writer
most acutely conscious of his place in time, of his
contemporaneity.

No poet, no artist of any art, has his complete meaning

alone. His significance, his appreciation is the appreciation of
his relation to the dead poets and artists. You cannot value
him alone; you must set him, for contrast and comparison,
among the dead. I mean this as a principle of aesthetic, not
merely historical, criticism. The necessity that he shall
conform, that he shall cohere, is not one-sided; what
happens when a new work of art is created is something that
happens simultaneously to all the works of art which
preceded it. The existing monuments form an ideal order
among themselves, which is modified by the introduction of
the new (the really new) work of art among them. The
existing order is complete before the new work arrives; for
order to persist after the supervention of novelty, the whole
existing order must be, if ever so slightly, altered; and so the
relations, proportions, values of each work of art toward the
whole are readjusted; and this is conformity between the old
and the new. Whoever has approved this idea of order, of
preposterous
the form of European, of English literature, will not find it
(adjective):
preposterous that the past should be altered by the present
contrary to nature,
as much as the present is directed by the past. And the poet
reason, or
who is aware of this will be aware of great difficulties and
common sense
responsibilities.

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An excerpt from “Tradition and the Individual Talent”

T.S. Eliot

T.S. Eliot eloquently explains the inevitable intermingling of past and present, the traditional
and the contemporary, in the literary works of English writers. Analyzing the excerpt, one
might observe that Eliot used figurative language to express his ideas, as seen in phrases
such as “criticism is as inevitable as breathing” and “lost in the sand.” With such expressions,
Eliot’s thoughts become more vivid and the text becomes more engaging for readers as a
whole. What other literary elements did you find in Eliot’s work? How do these elements
enrich your understanding of the text?

With these guidelines in mind, one can achieve an insightful analysis of creative nonfiction
texts. Having learned how to analyze texts, you can now proceed to learn how to write a
critique, which you will learn in the following lessons.

Writing Tip
Consider your personal reactions to the text as you come up with an
analysis. These could serve as a good starting point in exploring the
meanings behind a text.

Wrap-Up
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● Literary analysis refers to a careful examination and evaluation of literary texts.
● The type of reading involved in literary analysis is called close reading.
● Annotating texts is a helpful process in conducting literary analysis.
● The analysis involves breaking down something into its components or examining
the structure, content, and elements to effectively analyze text.
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Try This!
A. True or False. Write true if the statement is correct and false if it is not.

______________ 1. Analyzing texts allows for a deeper understanding and appreciation

of written works.

______________ 2. Underlining and highlighting words or phrases in a text are

examples of annotation.

______________ 3. The main goal of close reading is to summarize a text.

______________ 4. Proper citations are important indicators of accurate and reliable

texts.

______________ 5. Text analysis requires reading with a purpose in mind.

______________ 6. Cohesion is not necessary for successfully conveying meanings in a

text.

______________ 7. Close reading is similar to reading for pleasure.

______________ 8. The structure of a text comes out naturally as the writer expresses
his or her ideas.

______________ 9. Being familiar with different literary elements makes it easier to

analyze creative nonfiction texts.

______________ 10. Analysis of creative nonfiction texts cannot include the reader’s
personal reactions to the text.

B. Identification. Identify whether each statement refers to the analysis of a text’s

structure, content, or elements. Write S for structure, C for content, or E for elements.

______________ 1. noticing how transitional devices are used in the text

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______________ 2. checking if the information provided in the text is factual

______________ 3. examining how ideas are organized in the text

______________ 4. decoding potential meanings of figurative language used in the text

______________ 5. assessing how the ideas in the text may apply to the readers’
personal experiences

Practice Your Writing Skills

1. Revisit the list of guide questions you and your partner created at the beginning of
this lesson. Revise it to add more guide questions based on what you have learned.
Use these questions to guide you in your next task.
2. Choose any creative nonfiction text to read and analyze. After reading, write a short
analysis of the text based on the qualities of effective creative nonfiction texts and
the guide questions you and your partner have listed down. Divide your analysis into
several paragraphs, with each paragraph focusing on one quality. Your analysis
should therefore consist of at least three paragraphs. Write it in the space provided
below.

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Unit 5: Reading and Writing Creative Nonfiction

Suggested Rubric for Grading

The rubric below is a suggested one. Your teacher may modify the rubric based on your
needs. Consult your teacher for the final rubric.

Performance Levels

1 2 3 Suggested
Criteria Score
Beginning Proficient Advanced Weight
Proficiency Proficiency

Content The answers lack The answers are Answers are

focus, contain somehow focused, focused and
irrelevant ideas, and include some purposeful, and
demonstrate shallow pertinent ideas, and demonstrate a
understanding and demonstrate thorough ×3
analysis of the chosen sufficient understanding and
text. understanding and analysis of the
analysis of the chosen text.
chosen text.

Guide The questions barely The questions The questions

reflect the qualities of sufficiently reflect evidently reflect the
Questions
effective creative the qualities of qualities of effective ×2
nonfiction text. effective creative creative nonfiction
nonfiction text. text.

Grammar and The answers contain The answers contain The answers contain
five or more errors two to four errors in one or no errors in
Mechanics
in grammar, spelling, grammar, spelling, grammar, spelling,
punctuation, and punctuation, and punctuation, and
×1
capitalization that capitalization. capitalization.
hinder the readers’
understanding of the
text.

Total Possible Score 16

Teacher’s Feedback
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Unit 5: Reading and Writing Creative Nonfiction

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Bibliography
Bacon, Francis. "Of Studies." In Bacon's Essays and Wisdom of the Ancients. 1884; Project
Gutenberg, 2018. https://www.gutenberg.org/files/56463/56463-h/56463-h.htm.

Caulfield, Jack. "How to Write a Literary Analysis Essay: A Step-by-Step Guide." Scribbr.
February 05, 2021. Accessed May 20, 2021.
https://www.scribbr.com/academic-essay/literary-analysis/.

Close Reading. Department of Education and Training Victoria. Accessed May 20, 2021.
https://www.education.vic.gov.au/school/teachers/teachingresources/discipline/engl
ish/literacy/readingviewing/Pages/teachingpracclose.aspx.

Eliot, T. S.. “Tradition and the Individual Talent.” 1920. Quotidiana. January 23, 2008.
Accessed May 20, 2021.
http://essays.quotidiana.org/eliot/tradition_and_the_individual/.

Elements of a Literary Analysis. PDF. San Antonio College Writing Center, July 2020. Accessed
May 20, 2021.
https://www.alamo.edu/siteassets/sac/about-sac/college-offices/writing-center/elem
ents-of-a-literary-analysis.pdf.

Kain, Patricia. "How to Do a Close Reading." Harvard College Writing Center. Accessed May
20, 2021. https://writingcenter.fas.harvard.edu/pages/how-do-close-reading.

Literary Analysis Guide: English Major & Minor: Goshen College. Academics. Accessed May
20, 2021. https://www.goshen.edu/academics/english/literary-analysis-guide/.

Woolf, Virginia. "The Artist and the Politics." In The Moment and Other Essays. 1974; Project
Gutenberg, 2015. http://www.gutenberg.net.au/ebooks15/1500221h.html.

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 Unit 5: Reading and Writing Creative Nonfiction

5.2. Analysis of a Well-Organized Creative Nonfiction Text

Let’s Begin
1. What similarities do you and your partner have when it comes to the process of
reading and analyzing creative nonfiction texts?
Answers may vary. Students may answer that in understanding creative nonfiction
texts, they take into account both explicit and implicit ideas in the text.
2. What differences do you and your partner have when it comes to the process of
reading and analyzing creative nonfiction texts?
Answers may vary. Students may cite varied qualities or aspects of literature which
they tend to focus on when reading texts.
3. How will the questions you created help you in understanding different types of
creative nonfiction texts?
Answers may vary. Students may say that the questions they have formulated with
their partners can help them read more purposefully and systematically.

Check Your Progress

1. How does knowing the structure used by the author improve understanding of the
text?
Answers may vary. Students may say that determining the text structure leads to
better anticipation of how the ideas in the text will unfold, thus aiding
understanding of the text.
2. Why is it important to determine the intended audience of the text?
Answers may vary. Students may answer that identifying the intended audience of
the text reveals the author’s purpose. Through this, an assessment could be made
whether or not the text achieves its intended goals.

Try This!
A. True or False. Write true if the statement is correct and false if it is not.

true 1. Analyzing texts allows for a deeper understanding and appreciation

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 Unit 5: Reading and Writing Creative Nonfiction

of written works.

true 2. Underlining and highlighting words or phrases in a text are examples

of annotation.

false 3. The main goal of close reading is to be able to summarize a text.

true 4. Proper citations are important indicators of accurate and reliable

texts.

true 5. Text analysis requires reading with a purpose in mind.

false 6. Cohesion is not necessary for successfully conveying meanings in a

text.

false 7. Close reading is similar to reading for pleasure.

false 8. The structure of a text comes out naturally as the writer expresses
his or her ideas.

true 9. Being familiar with different literary elements makes it easier to

analyze creative nonfiction texts.

false 10. Analysis of creative nonfiction texts cannot include the reader’s
personal reactions to the text.

B. Identification. Identify whether each statement refers to the analysis of a text’s

structure, content, or elements. Write S for structure, C for content, or E for
elements.

S 1. noticing how transitional devices are used in the text

C 2. checking if the information provided in the text is factual

S 3. examining how ideas are organized in the text

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 Unit 5: Reading and Writing Creative Nonfiction

E 4. decoding potential meanings of figurative language used in the

text

C 5. assessing how the ideas in the text may apply to the readers’
personal experiences

5.2. Analysis of a Well-Organized Creative Nonfiction Text 25