1. Creative Nonfiction

2. Creative Nonfiction is…
Problem solving, selection, invention
Essay, letter, memoir, anecdote, journal entry
Giving facts vs. allowing the reader to share the experience

3. SHOW
don’t tell

4. Creative Nonfiction is…
Often short, fragmentary writing
Has a firm shape and focus – though may include engaging meditations
Uses elements of fiction – such as scene setting, character development, narration, and dialogue

5. Truth?
Writer should not violate the truth – instead shape the event into a coherent structure that the reader will want to read.
If you don’t want to write the truth or can’t remember the event to write about it - write fiction.

6. Things to think about:
Almost always take first person – You are the “I” – not a fictional character
Write about real feelings and beliefs
Be willing to risk appearing foolish, ignorant, weak, mean-spirited, etc.
Risk exposing yourself to discomfort, even rejections

7. Things to think about – cont.
All discussion of details (events, dates, locations, and other people’s attitudes) must stand up to scrutiny (e.g. in fiction you may make up a neighborhood in NYC – in creative nonfiction you may not.) Don’t guess.

8. Creative non-fiction – cont.
Make a connection between the event and the reader – think about the familiarity of the experience and how you can relate that emotion to the reader.
Include honesty, accuracy, and careful thought to selection of detail – not too much, not too little
Tone – often conversational / familiar as in a journal or a letter
Does not have to follow a chronological organizational structure

9. Show vs. Tell
Creative nonfiction allows writers to specifically – though not always –state a thesis, a point they are trying to prove. However, an effective creative nonfiction piece uses a great deal of showing – recreating the event.

10. Truth?
Honesty
Have I said this yet??

11. Ask yourself these questions..
Can I recall specific details about the action, scene, and people?
Will I be able to tell what happened from beginning to end?
As a fragment of my life story, does this event reveal anything important about me?
Will I feel comfortable writing about it or sharing it?
Will it arouse readers’ curiosity and interest?

12. What to write about…
think in terms of specific experiences you still remember well
Examples:
Any “first” - such as when you first realized you had a special skill, ambition, or problem; when you first felt needed or rejected…
Any memorable difficult situation – when you had to make a tough choice, when someone let you down…

13. What to write about…
Any occasion when things did not turn out as planned…
Any incident that challenged your basic values or beliefs…
Any event that shaped you in a particular way…
Any incident charged with strong emotions such as love, fear, anger, embarrassment, guilt, frustration, hurt, pride, happiness, joy

14. Brainstorming
Ask for help – parents, friends, family, teachers, counselors, etc.
Consider childhood, background
Consider role models
Read sample essays
Determine goals
Accomplishments
Favorites
Things that distinguish you from others
Struggles – successes and failures
Moments of epiphany
dreams

15. Introduction

16. Introduction
Most writers find that it is nearly impossible to craft an essay by beginning with the introduction. The best leads often develop during and after writers have written the remainder of the essay.

17. Introduction - continued
Spend the Most Time on your Introduction. Expect admissions officers to spend 1-2 minutes reading your essay. You must use your introduction to grab their interest from the beginning. You might even consider completely changing your introduction after writing your body paragraphs.

18. Introduction - continued
Don't Summarize in your Introduction. Ask yourself why a reader would want to read your entire essay after reading your introduction. If you summarize, the admissions officer need not read the rest of your essay.

19. Introduction - continued
Create Mystery or Intrigue in your Introduction. It is not necessary or recommended that your first sentence give away the subject matter. Raise questions in the minds of the admissions officers to force them to read on. Appeal to their emotions to make them relate to your subject matter.

20. Introduction - continued
Body Paragraphs Must Relate to Introduction. Your introduction can be original, but cannot be silly. The paragraphs that follow must relate to your introduction.

21. Introductions - examples
Startling information This information must be true and verifiable, and it doesn't need to be totally new to your readers. It could simply be a pertinent fact that explicitly illustrates the point you wish to make. If you use a piece of startling information, follow it with a sentence or two of elaboration.

22. Introductions - examples
Dialogue An appropriate dialogue does not have to identify the speakers, but the reader must understand the point you are trying to convey. Use only two or three exchanges between speakers to make your point. Follow dialogue with a sentence or two of elaboration.

23. Introductions to avoid
Worn-out expressions:
“I would like to tell you about…”
“According to the dictionary…”
Using say-nothing sentences:
“Subject A and B are alike / different in many ways.”
“World War II was a colossal war…”
“Uncontrollable forest fires devastate the landscape.”