m e nt s

e l e
Of O N
FI CT I
NO N
 c t i on
onfi
N o n fi c tio n ”
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r
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e
e
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o
a c t
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• “ N r e b a t e g
r a t u es t c
li te ro a d
h e b .
i s t tu re
ite ra
of l
 c t i on
onfi
N
e d in
e b as
c an b n be
ri ting , it c a
n w p h y
fi c ti o i o g ra e r
No n n d b n o ff nd it
• r y a i t ca o r, a
histo ctional, nd hum al
s t r u a r y a p h ic
in e nt ilo so
o m m r p h
c o n de
a n p
c o n s
u e sti
q
 CREATIVE NONFICTIO
N
It involves writing
about personal
experience, real people
, or events. The
writer can write about a
nything, such as a
personal experience, cu
rrent events, or
issues in the public eye. T
he writer can also
inject personal thoug
hts, feelings, or
opinions into the writing
. Often, the writer
uses the first person “I.”
The 5’Rs of Creative No
nf iction
1. Creative nonfiction h
as a “real life”
aspect. The writer
constructs a
personal essay, memoir,
and so forth,
that is based on persona
l experience.
He also writes about re
al people and
true events.
The 5’Rs of Creative No
nf iction
2. Creative nonfiction is b
ased on the
writer engaging in perso
nal “reflection”
about what he/she is
writing about.
After gathering informa
tion, the writer
needs to analyze and ass
ess what he/she
has collected.
The 5’Rs of Creative No
nf iction
3. Creative nonfiction re
quires that the
writer complete resea
rch. The writer
needs to conduct res
earch to learn
about the topic. The writ
er also needs to
complete research to dis
cover what has
been written about the to
pic.
The 5’Rs of Creative No
nfiction
4. The fourth aspect
of creative
nonfiction is reading. Re
ading while
conducting research is not
sufficient. The writer mu
st read the
work of the maste
rs of his
profession.
The 5’Rs of Creative No
nf iction
5. The final elemen
t of creative
nonfiction is writing. W
riting creative
nonfiction is both an ar
t and craft. The
art of creative nonfictio
n requires that
the writer uses his ta
lents, instincts,
creative abilities, and
imagination to
write memorable creativ
e nonfiction.
 AT I VE S:
CR E T Y POE
N
FI C T I
NO N
 so nal E ss ay
Per
a t is b a s e d
a n e s s a y t h
i t er c r a f ts g l e e v e n t,
The wr p e r ie n c e o r a s in
l e x
on persona s i g n ifi c a n t p e r s on al
h r e s u l t s i n T h e w r i te r
whic n l e a r n e d .
o r a l e s s o
meaning e r s on “ I. ”
th e f i r s t p
uses
 a m p l e s o f
Ex
on a l E ss a ys
P e r s
, b y R o ber t
y f o r Id le r s
p o l o g
• An A s on
u is S t e v e n e r M o r ley
Lo b y C h r i s t o p h
L az i n e s s , a m e s
• O n N ig h t , by J
y I s l an d a t
• Co n e
Huneker
 a m p l e s o f
Ex
on a l E ss a ys
P e r s
r e d M e , b y
to B e C o l o
I t F e e l s
• How u r s to n
le H
Zora Nea .M . F o r st er
o o d , b y E r , b y
• M y W n g a R i ve
y s o f S e ei
• Two W a
Mark Twain n d F e e l a t 2 5, b y F.
t I T h i nk a
• Wha l d
F it z g e r a
Scott
 Mem o i r
u c ts a t r u e
te r c o n s t r
The wri i m e o r p e r i o d in
y a b o u t a t a n t
st or a d s ig n if ic
o n e t h a t h
his /l if e, d a
e a n in g a n
pers o n a l m e r
h . T h e w r i t
rs a l t ru t e
unive s to r y u s in g th
s t h e
compose
e r s o n “ I. ”
first p
 a mp l e s of
Ex
Me m o i r
u ’s W a ld e n
v id T h o r e a
• H e n r y D a
e l ’s N i g h t e
• E l ie W i e s t , Pr a y , L ov
ilb e r t ’s E a
i z a b e t h G F r o m M y
• El a ’ s D r e a m s
k O b a m
• Barac
Father d ’s W il d
e ry l S t r a ye
• C h
 L i t e r a r y
u rn a l i sm e ss a y
3. j o
s a n e s s a y
r i t e r c r a f t
The w o r t op ic u s i ng
s s u e
about an i s , s u c h a s t h e
e v i c e
literary d t io n a n d
e n ts o f f ic
ele m e .
v e la n g u a g
fig ur at i
 p l e s of L i t .
Ex a m
a l i sm E ss a y
Jou r n
 p l e s of L i t .
Ex a m
a l i sm E ss a y
Jou r n
A ut o b i o gr a p hy
c o m p o s e s
The w r i te r
s t o ry , fr o m
his/ h e r l i fe
e p re s e n t ,
birth t o t h I.”
s t p e r s o n “
h e f ir
using t
 a mp l e s o f
Ex
bi o g rap h y
Auto
Y o u s a f z ai
b y M a l a l a
A m M a la l a y N e ls o n
• I F re e d o m b
g W a l k to
• Lon
Mandela b y T r e v o r N o a h
n a C r i m e i o g r a ph y
• B or se lf : A n A u t o b
n g M y
• Inventi f e n s o r- S a n ti ag o
M i r ia m D e
b y
 a mp l e s o f
Ex
bi o g rap h y
Auto
Tr a ve l Wr i t i n g
f ts a r t i cl e s
e writ e r c ra
• Th t t r a v e l
y s a b o u
or essa e v i c e s .
i t er ar y d
using l
 a m p l e s o f
Ex
v el W r i t i ng
Tra
F o od w r i t i n g
a ft s s t o r ie s
e w ri te r c r
• Th u is in e
o o d a n d c
about f e v i c e s .
i t er ar y d
using l
 a m p l e s o f
Ex
o o d W r it i n g
F
 Pro fi l e s
co n s t ru c t s
w ri te r
• The r e s s a y s o n
i e s o
biograph in g l i te ra ry
p l e u s
real peo
devices.
 a m p l e s of
Ex
Pr of i le s
M o les t er s
H o w C h il d
V ie w :
• “In Plain t h I t . ” b y M a l col m
w i
Get Away w Y o r ker
d w ell – N e
Gla