Creative Nonfiction

Module 1: What is
Creative Nonfiction?
What is Creative Nonfiction?
The term “creative nonfiction” tends to puzzle
many writers and readers. If nonfiction is supposed
to be about the facts, how is there room to get
“creative” with it?
Creative nonfiction combines 100% factual
information with literary elements to tell real
stories that resonate with readers and provide
insight to actual events.
This is what your favorite memoirists, travel
writers, and journalists do every day, and you can,
too. Even if you don’t intend on publishing your
work, learning to be an effective storyteller can
enrich both your writing and communication skills.
Creative Nonfiction
Creative nonfiction is a genre of writing that uses
elements of creative writing to present a factual,
true story. Literary techniques that are usually
reserved for writing fiction can be used in creative
nonfiction, such as dialogue, scene-setting, and
narrative arcs.
However, a work can only be considered creative
nonfiction if the author can attest that 100% of the
content is true and factual. (In other words, even if
just a few details from one scene are imagined, the
story could not be considered creative nonfiction.)
When Did Creative Nonfiction Start?

According to a Poets & Writers article published in

2009, Lee Gutkind is often credited with coining the
term “creative nonfiction” as early as 1973, when he
also taught a course at the University of Pittsburgh
with those same words in its title.
However, Gutkind himself has admitted that this
wasn’t really the case, and that he had heard the term
before, but couldn’t remember where or from who.
Indeed, there is earlier written evidence of the term,
as it appeared in a 1969 review by David Madden of
Frank Conroy’s Stop-Time.
Madden mentioned in the review, “In Making It,
Norman Podhoretz, youthful editor
of Commentary, who declares that creative
nonfiction is pre-empting the functions of fiction,
offers his own life as evidence.”
In that same review, Madden called for a
“redefinition” of nonfiction writing in the wake of
Truman Capote, Norman Mailer, and Jean Stafford,
all writers whose style reflects the characteristics of
what we defined earlier as “creative nonfiction.”
The label “creative nonfiction” can be applied
to a number of nonfiction genres, including:
1. Memoir
a literary form in which the author relates and reflects on experiences
from their own life. Memoirs and autobiographies share many
similarities, as both are types of self-written biographies. But while
an autobiography provides a comprehensive account of someone’s
life, a memoir is a series of formative or notable memories or events
that impacted the author in some way. Memoirs also focus on the
author’s thoughts and feelings about those events, what they learned,
and how they integrated the experiences into their life.
The term memoir comes from the early 15th century Anglo-French
word memorie, meaning “written record” or “something written to
be kept in mind.”
The Elements of Memoirs
An Emotional Journey
The memoirist goes through some type of emotional evolution over the
course of their story, which helps readers identify with the author’s struggle.
Cheryl Strayed’s Wild is about Strayed grieving the end of her marriage and
the death of her mother, reflected in her challenging backpacking trip along
the Pacific Crest Trail.
Obstacles
Obstacles are the things standing in the way of the author getting what they
want or need. Overcoming obstacles builds tension within a story and keeps
the reader turning the page. Prozac Nation by Elizabeth Wurtzel charts her
struggle to conquer depression as a young woman in 1990s America. The
obstacle of mental illness is further complicated by other, more mundane
obstacles in Wurtzel’s life, like going to college, working her first professional
job, and maintaining interpersonal relationships. Ultimately, Wurtzel
doesn’t so much defeat her depression as she does manage it through
medication and other supports.
Point of View
Memoirs are always told in first person point of view,
using I/me/my language. This makes the story personal and the
experiences subjective. In fact, objectivity is difficult to achieve in
memoirs since the narrative is filtered through the author/subject’s 
perspective. Author Steve Almond once said, “Memoirs are radically
subjective versions of objective events.”

Theme
A memoir is tied together by a common topic, premise, or lesson. This
theme is not the author’s life as a whole; if it is, then the book is an
autobiography. A memoirist doesn’t set out to capture all the critical
moments of a life—only those that have special significance. For instance,
Anne Lamott’s Bird by Bird is a book of writing instructions connected by
the larger theme of lessons Lamott has learned about life and faith.
Truth
Perhaps the most defining characteristic of any memoir or autobiography, truth
is essential to telling a relatable story. Even in cases where an author had an
epic, larger-than-life, or downright strange experience, the emotional truth of
the described events must resonate with readers to some extent. Readers trust
that a memoirist will tell the truth, and if the memoirist violates that trust, it
can be scandalous at best and career-destroying at worst.
Voice
Every memoirist writes their book in their own unique voice. Voice is the style
in which a writer writes: the way they convey their thoughts, their word choices
and patterns, and their storytelling approach. A reader finishes a memoir with a
distinct idea of the author’s voice in their head. For example, Carrie
Fisher’s Shockaholic chronicles the actor’s affection for electroconvulsive
therapy, which she feels saved her life multiple times over. Fisher blends her
wisecracking sense of humor with a serious dedication to raising mental health
awareness and helping others, resulting in a voice uniquely her own.
Example: The Diary of Anne Frank
July 8th 1942: “At three o’clock (Hello had left but was supposed to come
back later), the doorbell rang. I didn’t hear it, since I was out on the
balcony, lazily reading in the sun. A little while later Margot appeared in
the kitchen doorway looking very agitated. “Father has received a call-up
notice from the SS,” she whispered. “Mother has gone to see Mr. van Daan”
(Mr. van Daan is Father’s business partner and a good friend.) I was
stunned. A call-up: everyone knows what that means. Visions of
concentration camps and lonely cells raced through my head. How could
we let Father go to such a fate? “Of course he’s not going,” declared Margot
as we waited for Mother in the living room. “Mother’s gone to Mr. van
Daan to ask whether we can move to our hiding place tomorrow. The van
Daans are going with us. There will be seven of us altogether.” Silence. We
couldn’t speak. The thought of Father off visiting someone in the Jewish
Hospital and completely unaware of what was happening, the long wait for
Mother, the heat, the suspense – all this reduced us to silence.”
2. Biography
form of literature, commonly considered
nonfictional, the subject of which is the life of an
individual. One of the oldest forms of literary
expression, it seeks to re-create in words the life of
a human being—as understood from the historical
or personal perspective of the author—by drawing
upon all available evidence, including that retained
in memory as well as written, oral, and pictorial
material.
Elements of Biography
Basic information in a biography
The basic information of the person is one that tells the most
significant data of his life. The following elements are primarily
included:
- Date and place of birth : When and where the person was
born.
- Family information : What were the members of your family,
had a partner, children or any other relative that is worth
mentioning.
- Personal achievements : Any achievements worth
mentioning.
- Main events of life : Experiences that have taken place during
childhood, adolescence, adulthood and old age.
- Effect or impact on society : Any gesture that has
any impact on your social environment.
- Historical significance : Facts about the role the
person played in the story.
This information is necessary in every biography and
should be presented in a coherent and well-written
manner so that it can captivate the attention of the
public.
These data are enough to make a short biography of the
person, however, you can delve deeper into the life of
the person in case you want to write a longer biography
Deep information
Hobbies, Interests and Activities
Any hobby or activity that the person did, and data that
contribute to make this information more interesting.
At this point, it is important to detail whether these hobbies,
interests or activities relate to other aspects of life.
In some cases, the biography of the person can focus on these
aspects to be developed. This is the case of athletes or
outstanding characters in some type of outdoor activity.
Even hobbies and interests can result in some kind of
professional career that makes the person deserving of
recognition.
Anecdotes
Some interesting stories about the person, their relationship with other
individuals, why they became important.
In general, it includes all kinds of information that helps to define why the person
became famous or why it is publicly recognized.
Anecdotes can also include stories about the obstacles he had to overcome, the
risks he had to take, and the adverse situations people had to face in order to
reach their goals.

Career
Data related to the professional development of the person. In some cases, the
career is closely related to the hobbies, activities and interests of the person.
It includes all information related to the contributions made by the person at a
professional level and within their field of work.
Some biographies are written focusing on the person's professional career, as this
was what made her famous in the first place.
Fame
Any type of information related to the reasons why the person became famous,
such as the moment of life in which he achieved fame or the people who
contributed in the process of becoming famous (Network, 2017).
Late life or old age
Any detail about the person's experiences when his life was nearing completion.
In this sense, one can speak of late contributions, social relations during old age,
the ways in which he spent his free time, the type of work he performed, and the
honors, awards, recognitions or distinctions he could receive During these last
years of life.
Death
Moment and place in which the person died. Any relevant data related to the
cause of death and the circumstances in which it occurred may be supplied.
In this section of a biography you can highlight any detail that may indicate that
the circumstances in which the person died were unusual.
Photos and portraits
Any photograph of the person, artistic portraits and representations of the person can
also be included within the biography.
Interesting data
A biography can include different types of interesting facts about the person that help to
give body to the writing.
For example, information about childhood, personal tastes or preferences, adjectives that
describe their behavior or personality, life changing points, transition phases and people
who influenced the person.
Interesting data may include ideas of the person who can explain their reaction to
unexpected situations.
You can also leave Open questions Or unresolved about the life of the person, taking into
account that there are aspects of the person's life that can be classified as mysterious
Interesting facts that allow you to delve into a person's life are usually taken from
primary and secondary sources, such as letters or emails, newspapers, newspapers,
biographies of people close to you, reference books and stories told by family members,
acquaintances, and friends .
 Example:
The Life of Mathematical Genius and Nobel Laureate John Nash
John Forbes Nash, Jr. -- mathematicalby Sylvia Nasarinventor of a theory of
genius, rational
behavior, visionary of the thinking machine -- had been sitting with his visitor,
also a mathematician, for nearly half an hour. It was late on a weekday afternoon
in the spring of 1959, and, though it was only May, uncomfortably warm. Nash
was slumped in an armchair in one corner of the hospital lounge, carelessly
dressed in a nylon shirt that hung limply over his unbelted trousers. His
powerful frame was slack as a rag doll's, his finely molded features
expressionless. He had been staring dully at a spot immediately in front of the
left foot of Harvard professor George Mackey, hardly moving except to brush his
long dark hair away from his forehead in a fitful, repetitive motion. His visitor
sat upright, oppressed by the silence, acutely conscious that the doors to the
room were locked. Mackey finally could contain himself no longer. His voice was
slightly querulous, but he strained to be gentle. "How could you," began Mackey,
"how could you, a mathematician, a man devoted to reason and logical
proof...how could you believe that extraterrestrials are sending you messages?
How could you believe that you are being recruited by aliens from outer space to
save the world? How could you...?"
3. Autobiography
An autobiography is a self-written life story. It is
different from a biography, which is the life story of
a person written by someone else. Some people
may have their life story written by another person
because they don’t believe they can write well, but
they are still considered an author because they are
providing the information.
Characters are well developed in detail and are true-to-life.  They are revealed
by what people in a story do, think, and say; what other say about them; and
how others interact with them. 
Characterization is the author’s development of characters. It is the way in
which a writer reveals a character’s personality.  The writer may do this by telling
us what the character says, thinks, or feels; by telling us what other characters
think or feel about the character; or by telling us directly what the character is
like.

Setting is described vividly.

Details are interesting.  Writers of autobiographies use objective and subjective

details and anecdotes to tell their life stories.
A.   Objective details can be proved.
B.  Subjective details are based on personal feelings and opinions and cannot be
proved.
Anecdotes are short, often humorous, stories that enliven writing and illustrate a
point.
 
Chronological order is the order in which real-life events occur and the order in
which most writers of autobiographies tell their stories.  Often events are arranged
from childhood to adulthood.
 
Point of View is the perspective from which an autobiography is written.  Since
autobiographies are written by their subjects, they are told from the first-person point
of view and use the pronouns I, me, and mine.  Readers experience events through the
writer's eye-- knowing only what they think and feel about any given experience.
·       An autobiography is told from the writer’s perspective, or point of view.  The first-
person point of view reflects only the writer’s thoughts, feelings, opinions, and biases.
·       The third-person point of view can be used to reflect the opinions, feelings,
thoughts, and biases of multiple characters.
·       Third-person limited point of view is limited to the experience and consciousness
of single character.
·       Third-person omniscient point of view is told by an all-knowing narrator who
understands and can reveal the thoughts and feeling of all characters.
Author's Purpose is the author's reason for writing.  Authors of
autobiographies often want to make sense of events in their lives and to
communicate an important personal statement about life.  They may also
want to give credit to people who influence them.  Controversial
individuals often write autobiographies to explain or justify their actions.
 
 Humor – Autobiographies often use short, humorous anecdotes (stories)
to enliven the story and illustrate a point. Some humor is verbal (jokes or
play on words), some physical (slapstick humor), and some require
readers to use their imagination. There are some standard criterions for
creating humor:
One criterion is to use material that is outrageous.
Another is to focus on the unexpected.  Some authors take advantage of
the fact that their readers enjoy situations in which the authors make fun
of things that the readers themselves find annoying, such as homework.
Irony is an _expression of the opposite of what is expected or the opposite of
what is meant. Example: “Shut up and listen to me,” he roared. … (pg. 84, last
paragraph in the 1st column).  This   particular kind of irony is humorous
because it casts light on a person’s foibles (minor flaws; weaknesses) in a
gently teasing way. There are three types of Irony:
Verbal Irony:  is when someone says the opposite of what they mean.
Situation Irony:  is when what happens is very different from what is expected.
Dramatic Irony:  is when the reader knows something that one or more
characters don’t know.                   
Descriptive details create a picture with words that appeal to one or more of
the five senses – sight, sound, touch, taste, or smell.
Sight: the writer gives a clear picture of what he looks like and how he moved.
Touch: the simile comparing Alec to the sunrise suggests tremendous
emotional warmth.
Sound: there is a sound of respect in his voice.
 Prefix is a word part added at the beginning of a word.  It
changes the meaning of the word to which it is
added.  Example: unwound and impatient.  “Un” and “im” are
both prefixes meaning “not.”  Unwound means “to reverse the
process of winding up” and impatient means “not
patient.”  Other prefixes that mean “not” are in-, non-, and
mis-.
          
Drawing Conclusion – Strategic readers draw conclusions
when they take small pieces of information about the
characters or events and use them to make a broad statement.
Example:
 My2004,
In August Life inJulia
France
Child and I sat in her small, lush garden in Montecito,
by Julia Child, Alex
California, Prud'Homme
talking about her life. She was thin and a bit stooped, but more
vigorous than she'd been in weeks. We were in the midst of writing this book
together. When I asked her what she remembered about Paris in the 1950s,
she recalled that she had learned to cook everything from snails to wild boar
at the Cordon Bleu; that marketing in France had taught her the value of "les
human relations"; she lamented that in her day the American housewife had
to juggle cooking the soup and boiling the diapers—adding, "if she mixed
the two together, imagine what a lovely combination that would make!"

The idea for My Life in France had been gestating since 1969, when her
husband, Paul, sifted through hundreds of letters that he and Julia had
written his twin brother, Charles Child (my grandfather), from France in
1948–1954. Paul suggested creating a book from the letters about their
favorite, formative years together. But for one reason or another, the book
never got written. Paul died in 1994, aged ninety-two.
4. Literary Journalism
Literary journalism is a form of nonfiction that
combines factual reporting with narrative
 techniques and stylistic strategies traditionally
associated with fiction. This form of writing can
also be called narrative journalism or new
journalism. The term literary journalism is
sometimes used interchangeably with 
creative nonfiction; more often, however, it is
regarded as one type of creative nonfiction.
Elements of Literary Journalism
Dramatic scenes - Scene by scene construction.
Rather than rely on second-hand accounts and
background information, Wolfe considers it
necessary for the journalist to witness events first
hand, and to recreate them for the reader. 
Specificity of Concrete Detail – which is essential
to establishing scenes.
Dialogue– Voice of the narrator . By recording
dialogue as fully as possible, the journalist is not
only reporting words, but defining and establishing
character, as well as involving the reader.
The third person. Instead of simply reporting the
facts, the journalist has to give the reader a real feeling
of the events and people involved. One technique for
achieving this is to treat the protagonists like characters
in a novel. What is their motivation? What are they
thinking? Gestures / facial expressions
Details of environment = Status Details. Just as
important as the characters and the events, are the
surroundings, specifically what people surround
themselves with. Wolfe describes these items as the
tools for a "social autopsy", so we can see people as they
see themselves
Subjective Arrangement of Reported Information to
Effect (see Capote's masterful arrangement of
scenes) Quote related to this: “The artist sees not so
much what is there as what he can make of it.” 
– Charles Horton Cooley
The Exploration of Inner Experience = Quote related
to this: 
“The facts for the writer of a human interest story lie in th
e inner experience.”
 
Literary journalism is "Expressive" – Quote: “
A story is said to be expressive when it outlives the mome
nt when it is news. This means expressive of the familiar f
acts of human nature.”
Careful and Precise Word Selection to literary effect.
Example: DEE DEE WANTED HER DAUGHTER TO BE SICK, GYPSY WANTED
HER
 MOM
The TO BE MURDERED BY
endless health crisesMICHELLE DEAN
had taken FOR BUZZFEED
a toll. Gypsy was
friendly, talkative even, but her voice was high and
childlike. Dee Dee would often remind people that her
daughter had brain damage. She had to be
homeschooled, because she’d never be able to keep up
with other kids. Gypsy had the mind of a child of 7, Dee
Dee said. It was important to remember that in dealing
with her. She loved princess outfits and dressing up. She
wore wigs and hats to cover her small head. A curly,
blonde Cinderella number seems to have been her
favorite. She’s wearing it in so many photographs of
herself with her mother. She was always with her mother.
5. Travel Writing
Travel writing is a form of creative nonfiction in
which the narrator's encounters with foreign places
serve as the dominant subject. Also called travel
literature.
Elements of Travel Writing
Lead—snappy opening to attract reader interest
Where—the place, grounding the reader in geography
When—the season, grounding the reader in time, climate
Who—introduce the writer, to identify with the reader
Why—reason for the trip, the motive, draws the reader
into the story
How—the process of travel unfolding, framework and
story line
What—the story details, quotes from people in the place,
anecdotes and facts
End—wraps up the article, perhaps linking ending to lead
Example: By the Railway Side
by Alice Meynell
My train drew near to the Via Reggio platform on a day between two of the
harvests of a hot September; the sea was burning blue, and there were a
sombreness and a gravity in the very excesses of the sun as his fires
brooded deeply over the serried, hardy, shabby, seaside ilex-woods. I had
come out of Tuscany and was on my way to the Genovesato: the steep
country with its profiles, bay by bay, of successive mountains grey with
olive-trees, between the flashes of the Mediterranean and the sky; the
country through the which there sounds the twanging Genoese language,
a thin Italian mingled with a little Arabic, more Portuguese, and much
French. I was regretful at leaving the elastic Tuscan speech, canorous in its
vowels set in emphatic L's and m's and the vigorous soft spring of the
double consonants. But as the train arrived its noises were drowned by a
voice declaiming in the tongue I was not to hear again for months--good
Italian. The voice was so loud that one looked for the audience: Whose
ears was it seeking to reach by the violence done to every syllable, and
whose feelings would it touch by its insincerity?
6. Nature writing
 Nature writing is a form of creative nonfiction in
which the natural environment (or a narrator's
encounter with the natural environment) serves as
the dominant subject.
Elements of Nature Writing
Always keep a notebook handy.
The first thing you want to do is ensure that you always have a notebook and
pen handy to jot down your ideas and observations, no matter where you are.
Pocket notebooks easily fit into backpacks, handbags, and yes, even most
pockets!
Don’t assume that you can just write everything down when you get home.
Many subtle details and nuances can be lost, even just hours later, if you
don’t record them there in the moment.
Observe.
When you’re spending time in nature, don’t worry about brainstorming the
most poetic way to describe the falling leaves; you can always refine your
writing later.
For now, just focus on recording your own feelings and observations. Let your
thoughts flow freely onto the paper, without pausing to self-edit or worry
about proper spelling and punctuation.
 Focus on sensory details.
As with nearly all types of writing, nature writing is always
better when you focus on showing, not telling. This means
using sensory details to describe your surroundings and
experiences.
However, be careful to avoid cliches. Find your own ways to
describe the nature around you, rather than recycling the same
tired similes and metaphors that have been written a million
times.
Make connections.
Yes, nature writing means a lot of writing about nature, but
that doesn’t mean your topics of discussion are limited to the
sound of the wind and birds chirping.
Example: Braiding Sweetgrass by Robin Wall Kimmerer
“I come here to listen, to nestle in the curve of the
roots in a soft hollow of pine needles, to lean my
bones against the column of white pine, to turn off the
voice in my head until I can hear the voices outside it:
the shhh of wind in needles, water trickling over rock,
nuthatch tapping, chipmunks digging, beechnut
falling, mosquito in my ear, and something more—
something that is not me, for which we have no
language, the wordless being of others in which we are
never alone. After the drumbeat of my mother’s
heart, this was my first language.
7. Personal essay
 A personal essay is a short work of
autobiographical nonfiction characterized by a
sense of intimacy and a conversational manner.
Also called a personal statement. 
Central Theme
This is the main point or idea behind the narrative. The narrative
may be about a unique event, but the theme is a universal truth to
which anyone can relate that informs the narrative.
Epiphany
An epiphany is a moment of sudden realization or awareness of
the truth. An “aha!” moment in the essay. A personal narrative
may contain multiple epiphanies in varying degrees.
Suspense
Try to write in a way that keeps your reader wanting to know what
will happen next. If your readers already know how everything is
going to turn out in the first paragraph, why should they
continue?
Climax
As with fiction, a personal narrative works towards a climactic event, a
turning point, or moment of action to which the narrative builds. This is
the highest point of tension in an essay. Sometimes the climax can also
result in a moment of epiphany.
Self Honesty
Effective personal essays will reveal moments of vulnerability or weakness.
Honesty is key, even if that honesty is revealing or a little hard to admit.
Remember you’re in charge of how much you reveal, and you should not
violate another person’s privacy by revealing sensitive information about
him or her.
Description
Create the sensory images and emotions of your experience so that your
reader knows what you saw, felt, and thought. Staying rooted in concrete
detail is the best way to accomplish this.
Character Development
The people in your narrative, especially yourself, need to
come alive and seem like real and interesting people.
Using dialogue or mentioning a quirky character trait goes
a long way in creating a three dimensional character. Not
every person who shows up in your narrative will require
characterization.
Chronological Organization
he organization is chronological, with events occurring in
a particular sequence. Sometimes writers play with time
by starting at the end and then backtracking, but some
form of time is usually the organizational principle.
Example: Exchange Program

The twisting roads, ornate mosaics, and fragrant scent of

freshly ground spices had been so foreign at first. Now in
my fifth week of the SNYI-L summer exchange program in
Morocco, I felt more comfortable in the city. With a bag full
of pastries from the market, I navigated to a bus stop, paid
the fare, and began the trip back to my host family’s house.
It was hard to believe that only a few years earlier my mom
was worried about letting me travel around my home city
on my own, let alone a place that I had only lived in for a
few weeks. While I had been on a journey towards self-
sufficiency and independence for a few years now, it was
Morocco that pushed me to become the confident, self-
reflective person that I am today.
8. Interview
An interview is essentially a structured
conversation where one participant asks questions,
and the other provides answers. In common
parlance, the word "interview" refers to a one-on-
one conversation between an interviewer and an
interviewee. 
Elements of Interview

Interviewer
Due to the wide variety of areas in which the interview can be put
into practice, the interviewer will not necessarily have to have
outstanding interpersonal skills, but preferably sufficient knowledge
in the subject to be addressed.
However, in the case of interviews in the journalistic field, although
the person who performs the interview can be framed in a common
theme, not always have sufficient knowledge about the subject that
is the responsibility of the interviewee, which is why his journalistic
skills Will be of great importance for the success of the interview.
For example, the Spanish journalist and interviewer Joaquin Soler
Serrano , Who, among others, directed and presented the
program Thoroughly , Interviewed personalities of letters, culture
and science.
Interviewee
The person interviewed is, of course, the person who will respond to the questions
asked by the interviewer. In addition, on many occasions, who will directly or
indirectly establish the subject of the interview, according to the context of the
interview.
That is, in a context of journalistic interview, the work or area that is the
responsibility of the person interviewed, will usually dictate the course of the
interview, because the questions will surround topics related to that area.
For example, in an interview with the president of a nation, the questions are most
likely to be related to that country's policy or to international politics. Similarly, if
you interview a footballer, football will be a crucial topic in the interview.
However, the interviewer may also dictate the course of the interview in the
interest of this interviewer. Being able to be more interested in the personal life of
the person interviewed, who generally can decide whether or not to answer the
questions.
 Message
The message refers to the information obtained through the interview,
through various filters, such as the interviewer's intention, the
interviewee's responses and their willingness to reveal certain
information.
Thus, the information obtained in an interview can be true or not,
besides there are nuances in the veracity of this one, being able to be
manipulated to some extent by the interviewer or the interviewee.
That is, the interviewer can lead to a certain message through the
questions he asks, and the person interviewed may or may not provide
real information.
For example, a medium of communication, such as the press or a news
channel, may be biased towards a certain political position or ideology, so
that they can provide information that although not necessarily false,
could be manipulated in favor of their interests, Personal or collective.
Context
It has been mentioned the great variety of situations in which the interview can
be used as a resource to obtain or filter relevant information according to the
area of ​interest, which will not be reduced only to journalism.
The interview offers the advantage of obtaining information given by a person,
without going through intermediaries and being distorted by them, and
although it has been mentioned that information is not always completely real,
it will be easier to judge the truth of the information through documentation
the interview.
For this reason the interview can comprehend any situation in which a series of
questions and answers can be useful. For example, the use of the interview to
judge the innocence or not of a person suspected of having committed a crime.
Although the interview can also be performed to know the opinions, qualities or
abilities of a person, without a pre-established purpose or filter, as could occur
in the process of admission to a university or educational center.
Medium
The interview will need the use of language to be carried out, due to its
character of communicative process. But this does not mean that direct
interaction of two or more people is required to be performed, and various
means may be employed for the execution of the latter.
The growing progress in media And telecommunications have increasingly
extended the barriers and limits of the interview, being less and less necessary
to share the same physical space between interviewer and interviewer.
This is especially noticeable with the advancement in video-calling
technologies, where, with an internet connection and suitable audio and video
devices, a quality interview can be conducted between individuals at any
distance.
Likewise, the interaction in an interview will not necessarily be direct, and the
interviewer may have a series of already established questions, which the
respondent will answer later, and be documented, either in audio, video or text,
to be used by According to its objective.
Elements of Creative
Nonfiction
The main elements of creative nonfiction
are setting, descriptive imagery, figurative
language, plot, and character. The overarching
element or requirement that distinguishes creative
nonfiction from any other genre of writing is that
while other literary genres can spring from the
imagination, creative nonfiction is, by
definition, true. 
Setting
Each story has a setting. The setting is the place
where the story takes place. Usually, an effective
story establishes its setting early in the story:
otherwise readers will have a difficult time
visualizing the action of the story.
“showing rather than telling”.
Telling VS. Showing
Telling Showing
I went to the lake. It was My breath escaped in ragged
bursts, my
cool. quadriceps burning as I crested
the summit. The lake stretched
before me, aquamarine,
glistening in the hot August
afternoon sun. Ponderosa pines
lined its shores, dropping
their spicy-scented needles into
the clear water. Despite the heat,
the Montana mountain air tasted
crisp.
Which of the above lakes would you want to visit?
Which one paints a more immersive picture,
making you feel like you are there?
When writing a story, our initial instinct is usually
to make a list of chronological moments: first I did
this, then I did this, then I did that, it was neat-o.
That might be factual, but it does not engage the
reader or invite them into your world. It bores the
reader. Ever been stuck listening to someone tell a
story that seems like it will never end?
It probably was someone telling you a story rather
than using the five senses to immerse you. In
the example, the writer
uses visual (sight), auditory (sound), olfactory (s
mell), tactile (touch), or gustatory (taste) imagery
to help the reader picture the setting in their mind.
By the final draft, the entire story should be
compelling and richly detailed. While it's fine to
have an outline or first draft that recounts the
events of the story, the final draft should include
dialogue, immersive description, plot twists, and
metaphors to capture your reader's attention as you
write.
Descriptive Imagery
Descriptive Imagery
You have probably encountered descriptive
imagery before. Basically, it is the way the writer
paints the scene, or image, in the mind of the
reader. It usually involves descriptions of one or
more of the five senses: sight, sound, smell, touch,
or taste. For example, how would you describe a
lemon to a person who has never seen one before?
Activity: Describe a Lemon
Imagine you are describing a lemon to someone
who has never seen one before. How would you
describe it using all five senses?
Sight
Sound
Smell
Touch
Taste
By painting a picture in the reader's mind, it
immerses them in the story so that they feel they
are actually there.
Figurative Language

As a counterpart to descriptive imagery, figurative

language is using language in a surprising way to
describe a literary moment. Figurative language
can take the form of metaphor, such as saying "the
lemon tree was heavy with innumerable miniature
suns." Since the lemons are not actually suns, this is
figurative. Figurative language can also take the
form of simile: "aunt Becky's attitude was as sour
as a lemon." By comparing an abstract concept
(attitude) to an object (lemon), it imparts a
feeling/meaning in a more interesting way.
Plot

Plot is one of the basic elements of every story: put

simply, plot refers to the actual events that take
place within the bounds of your narrative. Using
our rhetorical situation vocabulary, we can identify
“plot” as the primary subject of a descriptive
personal narrative. Three related elements to
consider are scope, sequence, and pacing.
1.1 Scope
The term scope refers to the boundaries of plot. Where
and when does the story begin and end? What is its
focus? What background information and details does
the story require? I often think about narrative scope as
the edges of a photograph: a photo, whether of a vast
landscape or a microscopic organism, has boundaries.
Those boundaries inform the viewer’s perception.
The way we determine scope varies based on rhetorical
situation, but I can say generally that many developing
writers struggle with a scope that is too broad: writers
often find it challenging to zero in on the events that
drive a story and prune out extraneous information.
Consider, as an example, how you might respond if your friend asked
what you did last weekend. If you began with, “I woke up on Saturday
morning, rolled over, checked my phone, fell back asleep, woke up,
pulled my feet out from under the covers, put my feet on the floor,
stood up, stretched…” then your friend might have stopped listening
by the time you get to the really good stuff. Your scope is too broad, so
you’re including details that distract or bore your reader. Instead,
focus on the most exciting or meaningful moment(s) of your day: "I
woke up face-down to the crunch of shattered glass underneath me.
When I wobbled to my feet I realized I was in a large, marble room
with large windows overlooking the flashing neon lights of the Las
Vegas strip. I had no idea how I got there!" Readers can expect this
story will focus on how the storyteller arrived in Las Vegas, and it is
much more interesting than including every single detail of the day.
1.2 Sequence
The sequence of your plot—the order of the events
—will determine your reader’s experience. There
are an infinite number of ways you might structure
your story, and the shape of your story is worth
deep consideration. Although the traditional forms
for a narrative sequence are not your only options,
let’s take a look at a few tried-and-true shapes your
plot might take.
Freytag's Pyramid: Chronological
Freytag's Pyramid: Chronological
A. Exposition: Here, you’re setting the scene,
introducing characters, and preparing the reader for
the journey.

B. Rising action: In this part, things start to happen.

You (or your characters) encounter conflict, set out on
a journey, meet people, etc.

C. Climax: This is the peak of the action, the main

showdown, the central event toward which your story
has been building.
D. Falling action: Now things start to wind down.
You (or your characters) come away from the
climactic experience changed—at the very least,
you are wiser for having had that experience.

E. Resolution: Also known as dénouement, this is

where all the loose ends get tied up. The central
conflict has been resolved, and everything is back
to normal, but perhaps a bit different.
1.3 In Medias Res
While Freytag's Pyramid tends to follow a linear or
chronological structure, a story that begins in medias
res begins in the middle of the action. In fact, the Latin
translation for this term most literally means "in the
middle of things." This is a more exciting way to start a
story in that it grabs the readers' attention quickly.
There I was floating in the middle of the ocean, the
sharks with laser beams attached to their heads circling
hungrily, the red lights bouncing off of the floating disco
ball upon which I clung to for dear life, when I thought
back to the events which led to this horrifying situation...
The best In Medias Res beginnings make the reader go "WHAT THE HECK IS GOING ON
HERE?" and want to continue reading. They will usually follow the following inversion of
Freytag's Pyramid:
C. Climax: This is the peak of the action, the main showdown, the central event of the story
where the conflict comes to a head.

A. Exposition: Here, you’re setting the scene, introducing characters, and preparing the
reader for the journey.
B. Rising action: In this part, things start to happen. You (or your characters) encounter
conflict, set out on a journey, meet people, etc.

C. Climax: the story briefly returns to the moment where it started, though usually not in a
way which is redundant (not the exact same writing or details)
D. Falling action: Now things start to wind down. You (or your characters) come away from
the climactic experience changed—at the very least, you are wiser for having had that
experience.
E. Resolution: Also known as dénouement, this is where all the loose ends get tied up. The
central conflict has been resolved, and everything is back to normal, but perhaps a bit
different.
1.4 Nonlinear Narrative
A nonlinear narrative may be told in a series of
flashbacks or vignettes. It might jump back and
forth in time. Stories about trauma are often told in
this fashion. If using this plot form, be sure to make
clear to readers how/why the jumps in time are
occurring. A writer might clarify jumps in time by
adding time-stamps or dates or by using symbolic
images to connect different vignettes.
1.5 Pacing
While scope determines the boundaries of plot, and
sequencing determines where the plot goes, pacing
determines how quickly readers move through the
story. In short, it is the amount of time you dedicate to
describing each event in the story.
It include pacing with sequence because a change to one
often influences the other. Put simply, pacing refers to
the speed and fluidity with which a reader moves
through your story. You can play with pacing by moving
more quickly through events, or even by experimenting
with sentence and paragraph length. Consider how the
“flow” of the following examples differ:
The train screeched to a halt. A flock of pigeons
took flight as the conductor announced, “We’ll be
stuck here for a few minutes.”
Lost in my thoughts, I shuddered as the train
ground to a full stop in the middle of an
intersection. I was surprised, jarred by the
unannounced and abrupt jerking of the car. I
sought clues for our stop outside the window. All I
saw were pigeons as startled and clueless as I.
Characters
A major requirement of any story is the use of
characters. Characters bring life to the story. Keep
in mind that while human characters are most
frequently featured in stories, sometimes there are
non-human characters in a story such as animals or
even the environment itself. Consider, for example,
the ways in which the desert itself might be
considered a character in "Bajadas" by Francisco
Cantú.
1.1 Characterization
Whether a story is fiction or nonfiction, writers
should spend some time thinking about
characterization: the development of characters
through actions, descriptions, and dialogue. Your
audience will be more engaged with and
sympathetic toward your narrative if they can
vividly imagine the characters as real people.
Like setting description, characterization relies on
specificity. Consider the following contrast in
character descriptions:
My mom is great. She is an average-sized brunette
with brown eyes. She is very loving and supportive,
and I know I can rely on her. She taught me
everything I know.
In addition to some of my father’s idiosyncrasies,
however, he is also one of the most kind-hearted
and loving people in my life. One of his signature
actions is the ‘cry-smile,’ in which he
simultaneously cries and smiles any time he
experiences a strong positive emotion (which is
almost daily).
How does the “cry-smile” detail enhance the
characterization of the speaker’s parent?
To break it down to process, characterization can be accomplished in
two ways:
Directly, through specific description of the character—What kind
of clothes do they wear? What do they look, smell, sound like?—or,
Indirectly, through the behaviors, speech, and thoughts of the
character—What kind of language, dialect, or register do they use?
What is the tone, inflection, and timbre of their voice? How does
their manner of speaking reflect their attitude toward the listener?
How do their actions reflect their traits? What’s on their mind that
they won’t share with the world?
Thinking through these questions will help you get a better
understanding of each character (often including yourself!). You do
not need to include all the details, but they should inform your
description, dialogue, and narration.
A. Round characters
are very detailed, requiring attentive description of their traits and behaviors.
Your most important characters should be round: the added detail will help your reader better
visualize, understand, and care about them.
B. Flat characters
are minimally detailed, only briefly sketched or named.
Less important characters should take up less space and will therefore have less detailed
characterization.
C. Static characters
remain the same throughout the narrative.
Even though all of us are always changing, some people will behave and appear the same
throughout the course of your story. Static characters can serve as a reference point for
dynamic characters to show the latter’s growth.
D. Dynamic characters
noticeably change within the narrative, typically as a result of the events.
Most likely, you will be a dynamic character in your personal narrative because such stories are
centered around an impactful experience, relationship, or place. Dynamic characters learn
and grow over time, either gradually or with an epiphany.
Point of View
The position from which your story is told will help shape your
reader’s experience, the language your narrator and characters
use, and even the plot itself. You might recognize this from Dear
White People Volume 1 or Arrested Development Season 4, both
Netflix TV series. Typically, each episode in these seasons
explores similar plot events, but from a different character’s
perspective. Because of their unique vantage points, characters
can tell different stories about the same realities.
This is, of course, true for our lives more generally. In addition
to our differences in knowledge and experiences, we also
interpret and understand events differently. In our writing,
narrative position is informed by point-of-view and the
emotional valences I refer to here as tone and mood.
Although point-of-view will influence tone and mood,
we can also consider what feelings we want to convey
and inspire independently as part of our narrative
position.
tone: the emotional register of the story’s language.
What emotional state does the narrator of the story (not
the author, but the speaker) seem to be in? What
emotions are you trying to imbue in your writing?
mood: the emotional register a reader experiences.
What emotions do you want your reader to experience?
Are they the same feelings you experienced at the time?
A Non-Comprehensive Breakdown of
POV
A. 1st person
Narrator uses 1st person pronouns (I/me/mine or us/we/ours)
Can include internal monologue (motives, thoughts, feelings) of
the narrator. Limited certainty of motives, thoughts, or feelings of
other characters.
I tripped on the last stair, preoccupied by what my sister had said,
and felt my stomach drop.
B. 2nd person
Narrator uses 2nd person pronouns (you/you/your)
Speaks to the reader, as if the reader is the protagonist OR uses
apostrophe to speak to an absent or unidentified person
Your breath catches as you feel the phantom step.
O, staircase, how you keep me awake at night.
C. 3rd person limited
Narrator uses 3rd person pronouns (he/him/his, she/her/hers,
they/they/theirs)
Sometimes called “close” third person. Observes and narrates but sticks
near one or two characters, in contrast with 3rd person omniscient.
He was visibly frustrated by his sister’s nonchalance and wasn’t watching
his step.
D. 3rd person omniscient
Narrator uses 3rd person pronouns (he/him/his, she/her/hers,
they/they/theirs)
Observes and narrates from an all-knowing perspective. Can include
internal monologue (motives, thoughts, feelings) of all characters.
Beneath the surface, his sister felt regretful. Why did I tell him that? she
wondered.
E. stream-of-consciousness
Narrator uses inconsistent pronouns, or no
pronouns at all
Approximates the digressive, wandering, and
ungrammatical thought processes of the narrator.
But now, a thousand empty⎯where?⎯and she, with
head shake, will be fine⎯AHH!
Dialogue
Communication between two or more characters.
For example...
"Hate to break it to you, but your story is boring."
"What? Why do you say that?" he stuttered as his
face reddened.
"Because you did not include any dialogue," she
laughed.
Good dialogue often demonstrates the traits of a
character or the relationship of characters. From
reading or listening to how people talk to one
another, we often infer the relationships they have.
We can tell if they’re having an argument or
conflict, if one is experiencing some internal
conflict or trauma, if they’re friendly acquaintances
or cold strangers, even how their emotional or
professional attributes align or create opposition.