writing a nonfiction essay

Creative Nonfiction: What It Is and How to Write It

Sean Glatch  |  March 31, 2024  |  6 Comments

What is creative nonfiction? Despite its slightly enigmatic name, no literary genre has grown quite as quickly as creative nonfiction in recent decades. Literary nonfiction is now well-established as a powerful means of storytelling, and bookstores now reserve large amounts of space for nonfiction, when it often used to occupy a single bookshelf.

Like any literary genre, creative nonfiction has a long history; also like other genres, defining contemporary CNF for the modern writer can be nuanced. If you’re interested in writing true-to-life stories but you’re not sure where to begin, let’s start by dissecting the creative nonfiction genre and what it means to write a modern literary essay.

What Creative Nonfiction Is

Creative nonfiction employs the creative writing techniques of literature, such as poetry and fiction, to retell a true story.

How do we define creative nonfiction? What makes it “creative,” as opposed to just “factual writing”? These are great questions to ask when entering the genre, and they require answers which could become literary essays themselves.

In short, creative nonfiction (CNF) is a form of storytelling that employs the creative writing techniques of literature, such as poetry and fiction, to retell a true story. Creative nonfiction writers don’t just share pithy anecdotes, they use craft and technique to situate the reader into their own personal lives. Fictional elements, such as character development and narrative arcs, are employed to create a cohesive story, but so are poetic elements like conceit and juxtaposition.

The CNF genre is wildly experimental, and contemporary nonfiction writers are pushing the bounds of literature by finding new ways to tell their stories. While a CNF writer might retell a personal narrative, they might also focus their gaze on history, politics, or they might use creative writing elements to write an expository essay. There are very few limits to what creative nonfiction can be, which is what makes defining the genre so difficult—but writing it so exciting.

Different Forms of Creative Nonfiction

From the autobiographies of Mark Twain and Benvenuto Cellini, to the more experimental styles of modern writers like Karl Ove Knausgård, creative nonfiction has a long history and takes a wide variety of forms. Common iterations of the creative nonfiction genre include the following:

Also known as biography or autobiography, the memoir form is probably the most recognizable form of creative nonfiction. Memoirs are collections of memories, either surrounding a single narrative thread or multiple interrelated ideas. The memoir is usually published as a book or extended piece of fiction, and many memoirs take years to write and perfect. Memoirs often take on a similar writing style as the personal essay does, though it must be personable and interesting enough to encourage the reader through the entire book.

Personal Essay

Personal essays are stories about personal experiences told using literary techniques.

When someone hears the word “essay,” they instinctively think about those five paragraph book essays everyone wrote in high school. In creative nonfiction, the personal essay is much more vibrant and dynamic. Personal essays are stories about personal experiences, and while some personal essays can be standalone stories about a single event, many essays braid true stories with extended metaphors and other narratives.

Personal essays are often intimate, emotionally charged spaces. Consider the opening two paragraphs from Beth Ann Fennelly’s personal essay “ I Survived the Blizzard of ’79. ”

We didn’t question. Or complain. It wouldn’t have occurred to us, and it wouldn’t have helped. I was eight. Julie was ten.

We didn’t know yet that this blizzard would earn itself a moniker that would be silk-screened on T-shirts. We would own such a shirt, which extended its tenure in our house as a rag for polishing silver.

The word “essay” comes from the French “essayer,” which means “to try” or “attempt.” The personal essay is more than just an autobiographical narrative—it’s an attempt to tell your own history with literary techniques.

Lyric Essay

The lyric essay contains similar subject matter as the personal essay, but is much more experimental in form.

The lyric essay contains similar subject matter as the personal essay, with one key distinction: lyric essays are much more experimental in form. Poetry and creative nonfiction merge in the lyric essay, challenging the conventional prose format of paragraphs and linear sentences.

The lyric essay stands out for its unique writing style and sentence structure. Consider these lines from “ Life Code ” by J. A. Knight:

The dream goes like this: blue room of water. God light from above. Child’s fist, foot, curve, face, the arc of an eye, the symmetry of circles… and then an opening of this body—which surprised her—a movement so clean and assured and then the push towards the light like a frog or a fish.

What we get is language driven by emotion, choosing an internal logic rather than a universally accepted one.

Lyric essays are amazing spaces to break barriers in language. For example, the lyricist might write a few paragraphs about their story, then examine a key emotion in the form of a villanelle or a ghazal . They might decide to write their entire essay in a string of couplets or a series of sonnets, then interrupt those stanzas with moments of insight or analysis. In the lyric essay, language dictates form. The successful lyricist lets the words arrange themselves in whatever format best tells the story, allowing for experimental new forms of storytelling.

Literary Journalism

Much more ambiguously defined is the idea of literary journalism. The idea is simple: report on real life events using literary conventions and styles. But how do you do this effectively, in a way that the audience pays attention and takes the story seriously?

You can best find examples of literary journalism in more “prestigious” news journals, such as The New Yorker , The Atlantic , Salon , and occasionally The New York Times . Think pieces about real world events, as well as expository journalism, might use braiding and extended metaphors to make readers feel more connected to the story. Other forms of nonfiction, such as the academic essay or more technical writing, might also fall under literary journalism, provided those pieces still use the elements of creative nonfiction.

Consider this recently published article from The Atlantic : The Uncanny Tale of Shimmel Zohar by Lawrence Weschler. It employs a style that’s breezy yet personable—including its opening line.

So I first heard about Shimmel Zohar from Gravity Goldberg—yeah, I know, but she insists it’s her real name (explaining that her father was a physicist)—who is the director of public programs and visitor experience at the Contemporary Jewish Museum, in San Francisco.

How to Write Creative Nonfiction: Common Elements and Techniques

What separates a general news update from a well-written piece of literary journalism? What’s the difference between essay writing in high school and the personal essay? When nonfiction writers put out creative work, they are most successful when they utilize the following elements.

Just like fiction, nonfiction relies on effective narration. Telling the story with an effective plot, writing from a certain point of view, and using the narrative to flesh out the story’s big idea are all key craft elements. How you structure your story can have a huge impact on how the reader perceives the work, as well as the insights you draw from the story itself.

Consider the first lines of the story “ To the Miami University Payroll Lady ” by Frenci Nguyen:

You might not remember me, but I’m the dark-haired, Texas-born, Asian-American graduate student who visited the Payroll Office the other day to complete direct deposit and tax forms.

Because the story is written in second person, with the reader experiencing the story as the payroll lady, the story’s narration feels much more personal and important, forcing the reader to evaluate their own personal biases and beliefs.

Observation

Telling the story involves more than just simple plot elements, it also involves situating the reader in the key details. Setting the scene requires attention to all five senses, and interpersonal dialogue is much more effective when the narrator observes changes in vocal pitch, certain facial expressions, and movements in body language. Essentially, let the reader experience the tiny details – we access each other best through minutiae.

The story “ In Transit ” by Erica Plouffe Lazure is a perfect example of storytelling through observation. Every detail of this flash piece is carefully noted to tell a story without direct action, using observations about group behavior to find hope in a crisis. We get observation when the narrator notes the following:

Here at the St. Thomas airport in mid-March, we feel the urgency of the transition, the awareness of how we position our bodies, where we place our luggage, how we consider for the first time the numbers of people whose belongings are placed on the same steel table, the same conveyor belt, the same glowing radioactive scan, whose IDs are touched by the same gloved hand[.]

What’s especially powerful about this story is that it is written in a single sentence, allowing the reader to be just as overwhelmed by observation and context as the narrator is.

We’ve used this word a lot, but what is braiding? Braiding is a technique most often used in creative nonfiction where the writer intertwines multiple narratives, or “threads.” Not all essays use braiding, but the longer a story is, the more it benefits the writer to intertwine their story with an extended metaphor or another idea to draw insight from.

“ The Crush ” by Zsofia McMullin demonstrates braiding wonderfully. Some paragraphs are written in first person, while others are written in second person.

The following example from “The Crush” demonstrates braiding:

Your hair is still wet when you slip into the booth across from me and throw your wallet and glasses and phone on the table, and I marvel at how everything about you is streamlined, compact, organized. I am always overflowing — flesh and wants and a purse stuffed with snacks and toy soldiers and tissues.

The author threads these narratives together by having both people interact in a diner, yet the reader still perceives a distance between the two threads because of the separation of “I” and “you” pronouns. When these threads meet, briefly, we know they will never meet again.

Speaking of insight, creative nonfiction writers must draw novel conclusions from the stories they write. When the narrator pauses in the story to delve into their emotions, explain complex ideas, or draw strength and meaning from tough situations, they’re finding insight in the essay.

Often, creative writers experience insight as they write it, drawing conclusions they hadn’t yet considered as they tell their story, which makes creative nonfiction much more genuine and raw.

The story “ Me Llamo Theresa ” by Theresa Okokun does a fantastic job of finding insight. The story is about the history of our own names and the generations that stand before them, and as the writer explores her disconnect with her own name, she recognizes a similar disconnect in her mother, as well as the need to connect with her name because of her father.

The narrator offers insight when she remarks:

I began to experience a particular type of identity crisis that so many immigrants and children of immigrants go through — where we are called one name at school or at work, but another name at home, and in our hearts.

How to Write Creative Nonfiction: the 5 R’s

CNF pioneer Lee Gutkind developed a very system called the “5 R’s” of creative nonfiction writing. Together, the 5 R’s form a general framework for any creative writing project. They are:

• Write about r eal life: Creative nonfiction tackles real people, events, and places—things that actually happened or are happening.
• Conduct extensive r esearch: Learn as much as you can about your subject matter, to deepen and enrich your ability to relay the subject matter. (Are you writing about your tenth birthday? What were the newspaper headlines that day?)
• (W) r ite a narrative: Use storytelling elements originally from fiction, such as Freytag’s Pyramid , to structure your CNF piece’s narrative as a story with literary impact rather than just a recounting.
• Include personal r eflection: Share your unique voice and perspective on the narrative you are retelling.
• Learn by r eading: The best way to learn to write creative nonfiction well is to read it being written well. Read as much CNF as you can, and observe closely how the author’s choices impact you as a reader.

You can read more about the 5 R’s in this helpful summary article .

How to Write Creative Nonfiction: Give it a Try!

Whatever form you choose, whatever story you tell, and whatever techniques you write with, the more important aspect of creative nonfiction is this: be honest. That may seem redundant, but often, writers mistakenly create narratives that aren’t true, or they use details and symbols that didn’t exist in the story. Trust us – real life is best read when it’s honest, and readers can tell when details in the story feel fabricated or inflated. Write with honesty, and the right words will follow!

Ready to start writing your creative nonfiction piece? If you need extra guidance or want to write alongside our community, take a look at the upcoming nonfiction classes at Writers.com. Now, go and write the next bestselling memoir!

Sean Glatch

Thank you so much for including these samples from Hippocampus Magazine essays/contributors; it was so wonderful to see these pieces reflected on from the craft perspective! – Donna from Hippocampus

Absolutely, Donna! I’m a longtime fan of Hippocampus and am always astounded by the writing you publish. We’re always happy to showcase stunning work 🙂

[…] Source: https://www.masterclass.com/articles/a-complete-guide-to-writing-creative-nonfiction#5-creative-nonfiction-writing-promptshttps://writers.com/what-is-creative-nonfiction […]

So impressive

Thank you. I’ve been researching a number of figures from the 1800’s and have come across a large number of ‘biographies’ of figures. These include quoted conversations which I knew to be figments of the author and yet some works are lauded as ‘histories’.

excellent guidelines inspiring me to write CNF thank you

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Creative Nonfiction: An Overview

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The Creative Nonfiction (CNF) genre can be rather elusive. It is focused on story, meaning it has a narrative plot with an inciting moment, rising action, climax and denoument, just like fiction. However, nonfiction only works if the story is based in truth, an accurate retelling of the author’s life experiences. The pieces can vary greatly in length, just as fiction can; anything from a book-length autobiography to a 500-word food blog post can fall within the genre.

Additionally, the genre borrows some aspects, in terms of voice, from poetry; poets generally look for truth and write about the realities they see. While there are many exceptions to this, such as the persona poem, the nonfiction genre depends on the writer’s ability to render their voice in a realistic fashion, just as poetry so often does. Writer Richard Terrill, in comparing the two forms, writes that the voice in creative nonfiction aims “to engage the empathy” of the reader; that, much like a poet, the writer uses “personal candor” to draw the reader in.

Creative Nonfiction encompasses many different forms of prose. As an emerging form, CNF is closely entwined with fiction. Many fiction writers make the cross-over to nonfiction occasionally, if only to write essays on the craft of fiction. This can be done fairly easily, since the ability to write good prose—beautiful description, realistic characters, musical sentences—is required in both genres.

So what, then, makes the literary nonfiction genre unique?

The first key element of nonfiction—perhaps the most crucial thing— is that the genre relies on the author’s ability to retell events that actually happened. The talented CNF writer will certainly use imagination and craft to relay what has happened and tell a story, but the story must be true. You may have heard the idiom that “truth is stranger than fiction;” this is an essential part of the genre. Events—coincidences, love stories, stories of loss—that may be expected or feel clichéd in fiction can be respected when they occur in real life .

A writer of Creative Nonfiction should always be on the lookout for material that can yield an essay; the world at-large is their subject matter. Additionally, because Creative Nonfiction is focused on reality, it relies on research to render events as accurately as possible. While it’s certainly true that fiction writers also research their subjects (especially in the case of historical fiction), CNF writers must be scrupulous in their attention to detail. Their work is somewhat akin to that of a journalist, and in fact, some journalism can fall under the umbrella of CNF as well. Writer Christopher Cokinos claims, “done correctly, lived well, delivered elegantly, such research uncovers not only facts of the world, but reveals and shapes the world of the writer” (93). In addition to traditional research methods, such as interviewing subjects or conducting database searches, he relays Kate Bernheimer’s claim that “A lifetime of reading is research:” any lived experience, even one that is read, can become material for the writer.

The other key element, the thing present in all successful nonfiction, is reflection. A person could have lived the most interesting life and had experiences completely unique to them, but without context—without reflection on how this life of experiences affected the writer—the reader is left with the feeling that the writer hasn’t learned anything, that the writer hasn’t grown. We need to see how the writer has grown because a large part of nonfiction’s appeal is the lessons it offers us, the models for ways of living: that the writer can survive a difficult or strange experience and learn from it. Sean Ironman writes that while “[r]eflection, or the second ‘I,’ is taught in every nonfiction course” (43), writers often find it incredibly hard to actually include reflection in their work. He expresses his frustration that “Students are stuck on the idea—an idea that’s not entirely wrong—that readers need to think” (43), that reflecting in their work would over-explain the ideas to the reader. Not so. Instead, reflection offers “the crucial scene of the writer writing the memoir” (44), of the present-day writer who is looking back on and retelling the past. In a moment of reflection, the author steps out of the story to show a different kind of scene, in which they are sitting at their computer or with their notebook in some quiet place, looking at where they are now, versus where they were then; thinking critically about what they’ve learned. This should ideally happen in small moments, maybe single sentences, interspersed throughout the piece. Without reflection, you have a collection of scenes open for interpretation—though they might add up to nothing.

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49 Introduction to Creative Non-Fiction

Dr. Karen Palmer

Introduction to Creative Nonfiction

Creative nonfiction has existed for as long as poetry, fiction, and drama have, but only in the last forty years or so has the term become common as a label for creative, factual prose. The length is not  a factor in characterizing this genre: Such prose can take the form of an essay or a book. For this chapter’s discussion, we will focus on the essay , since not only will this shorter version of the form allow us to examine multiple examples for a better understanding of the genre, but also, you may have written creative nonfiction essays yourself. Looking carefully at the strategies exhibited by some successful essay writers will give us new ideas for achieving goals in our own writing.

Currently, creative non-fiction is the most popular literary genre. While generations past defined literature as poetry, drama, and fiction, creative nonfiction has increasingly gained popularity and recognition in the literary world.

Creative nonfiction stories depict real-life events, places, people, and experiences, but do so in a way that is immersive, so readers feel emotionally invested in the writing in a way they probably are not as invested in, say, a textbook or a more formal autobiography. While “nonfiction” (without the creative designation) tells true stories as well, there is less emphasis upon and space for creativity. If regular nonfiction were a person, it might say “just the facts, ma’am.” Creative nonfiction, on the other hand, might ask “and what color were her eyes as the moonlight reflected off the ocean into them, and what childhood memories did that moment dredge up?”

The best creative nonfiction tells a true story in an artistic — or literary — way. This means that the story has certain elements, such as descriptive imagery, setting, plot, conflict, characters, metaphors, and other literary devices. Usually, a work of creative nonfiction is narrated in first-person, though sometimes it can be written in third-person. It can be lyric and personal or representing important moments in history. They also might be more objective and scholarly, like many pieces of investigative journalism.

Key Takeaways

Creative Nonfiction Characteristics

• True stories
• Prose (usually, though sometimes poetry)
• Uses literary devices/is more creative and artistically-oriented than “regular” nonfiction
• Often told in first person
• The narrator is often the author or a persona of the author, but not always

When reading a work of creative nonfiction, it is important to remember the story is true. This means the author does not have as much artistic freedom as a fiction writer or poet might, because they cannot invent events which did not happen. It is worthwhile, then, to pay attention to the literary devices and other artistic choices the narrator makes. Readers should consider: what choices were made here about what to include and what to omit? Are there repeating images or themes? How might the historical context influence this work?

First, let’s do what we can to more clearly define the creative nonfiction essay. What is the difference between this kind of essay and an academic essay? Although written in prose form ( prose is writing not visually broken into distinct lines as poetry is), the creative nonfiction essay often strives for a poetic effect , employing a kind of compressed, distilled language so that most words carry more meaning than their simple denotation (or literal meaning). Generally, this kind of essay is not heavy with researched information or formal argument; its priority, instead, is to generate a powerful emotional and aesthetic effect ( aesthetic referring to artistic and/or beautiful qualities).

In this video, Evan Puschak discusses the evolution of the essay with the advent of technology and gives some really interesting insight into the importance of essays.

How YouTube Changed The Essay | Evan Puschak | TEDxLafayetteCollege

Four Types of Essay

A narrative essay recounts a sequence of related events.  Narrative essays are usually autobiographical. Events are chosen because they suggest or illustrate some universal truth or insight about life. In other words, the author has discovered in his/her own experiences evidence for generalizations about themselves or society.

Argumentative/Persuasive:

An argumentative essay strives to persuade readers. It usually deals with controversial ideas, creating arguments and gathering evidence to support a particular point of view. The author anticipates and answers opposing arguments in order to persuade the reader to adopt the author’s perspective.

In this video, the instructor gives an overview of the narrative and argumentative essays from the writer’s perspective. Looking at the essay from the author’s perspective can provide an interesting insight into reading an essay.

Descriptive:

A descriptive essay depicts sensory observations in words. They evoke reader’s imagination and address complex issues by appealing to the senses instead of the intellect. While a narrative essay will certainly employ description, the primary difference between the two is that a descriptive essay focuses only on appealing to the senses, whereas a narrative essay uses description to tell a story.

Expository:

An expository essay attempt to explain a topic, making it clear to readers. In an expository essay, the author organizes and provides information. Examples of this type of essay include the definition essay and the process analysis (how-to).

In this videos, the instructor gives an overview of the descriptive and expository essays from the writer’s perspective. Looking at the essay from the author’s perspective can provide an interesting insight into reading an essay.

Choosing a Topic & Reading the Essay: Steps 1 & 2

Your first step in writing a paper about an essay is to choose an essay and read it carefully. Essays confront readers directly with an idea, a problem, an illuminating experience, an important definition, or some flaw/virtue in the social system. Usually short, an essay embodies the writer’s personal viewpoint and speaks with the voice of a real person about the real word. Essays might also explore & clarify ideas by arguing for or against a position.

When reading an essay, ask yourself, “what is the central argument or idea?” Does the essay attack or justify something, or remind readers of something about their inner lives?

In this video, I do a close reading of the essay “ The Grapes of Mrs. Wrath .” As in any type of literature, you want to read first for enjoyment and understanding. Then, go back and do a close reading with a pen in hand, jotting down notes and looking for the ways in which the author gets his/her point across to the reader.

Virginia Woolf’s 1942 “The Death of the Moth” is an illuminating example of an argumentative essay. While the essay does not present a stated argument and proceed to offer evidence in the same way conventional academic argument would, it does strive to persuade . Consider this piece carefully and see if you can detect the theme that Woolf is developing.

“The Death of the Moth”

Here are some important items to consider when reading an essay.

1. The Thesis:

What is the point of the piece of writing? This should be your central concern. Once you know what the author’s main idea is, you can look at what techniques the author uses to get that point across successfully.

The title of Woolf’s essay, “The Death of the Moth,” offers us, from the start, the knowledge of the work’s theme of death. What impression does the essay, as a whole, convey? The writer acknowledges that watching even such a small creature as the moth struggle against death, she sympathizes with the moth and not with the “power of such magnitude” that carries on outside the window—that of time and inevitable change, for this power is ultimately her own “enemy” as well. In her last line, “O yes, he seemed to say, death is stronger than I am,” what lesson has she internalized regarding herself , a human being who at first observed the autumn day with no immediate sense of her own mortality?

2. Structure & detail:

• opening lines capture attention
• endings offer forceful assertions that focus the matter preceding them
• body converts abstract ideas into concrete details

While this piece is not a poem, what aspects of it are poetic ? Consider the imagery employed to suggest the season of death, for all of nature. The writer describes her experience sitting at her desk next to the window, observing the signs of autumn: the plow “scoring the field” where the crop (or “share”) has already been harvested. Although the scene begins in morning—characterized by energetic exertions of nature, including the rooks, rising and settling into the trees again and again with a great deal of noise, “as though to be thrown into the air and settle slowly down upon the tree tops were a tremendously exciting experience”—the day shifts, as the essay progresses, to afternoon, the birds having left the trees of this field for some other place. Like the moth, the day and the year are waning. The energy that each began with is now diminishing, as is the case for all living things.

The writer is impressed with the moth’s valiant struggle against its impending death because she is also aware of its inevitable doom: “[T] here was something marvellous as well as pathetic about him.” As is common in poetry, Woolf’s diction not only suggests her attitude toward the subject, but also exhibits a lyrical quality that enhances the work’s  effect: She introduces words whose meanings are associated with youth and energy, as well as sounding strong with the “vigorous” consonants of “g,” “c,” “z,” and “t”—words such as “vigour,” “clamour,” and “zest.” Yet, the author counters this positive tone with other words that suggest, both in meaning and in their softer sounds, the vulnerability of living things: “thin,” “frail,” “diminutive,” and “futile.” In a third category of diction, with words of compliment—”extraordinary” and “uncomplainingly”—

Woolf acknowledges the moth’s admirable fight. In addition to indicating the moth’s heroism, the very length of these words seems to model the moth’s attempts to drag out its last moments of life.

3. Style and Tone

• Style: writing skills that contribute to the effect of any piece of literature
• Tone: attitude conveyed by the language a writer chooses

Woolf’s choice of tone for an essay on this topic is, perhaps, what distinguishes it from the many other literary works on the subject. The attitude is not one of tragedy, horror, or indignation, as we might expect. Rather, through imagery and diction, Woolf generates a tone of wistfulness . By carefully crafting the reader’s experience of the moth’s death, through the author’s own first person point of view, she reminds us of our own human struggle against death, which is both heroic and inevitable.

Step 2: Personal Response

For Further Reading

Believe it or not, people actually add essays to their reading lists! Here are a few folks talking about their favorite essay collections. 🙂

https://youtu.be/ta68Bj7n0o4

Attributions

• Content created by Dr. Karen Palmer. Licensed under CC BY NC SA .
• Content adapted from “Creative Nonfiction, the 4th Genre” from Writing and Literature , licensed under CC BY SA .
• Content adapted from “ What is Creative Non-Fiction ” licensed CC BY NC .

The Worry Free Writer Copyright © 2020 by Dr. Karen Palmer is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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How to Write Non Fiction

Last Updated: December 29, 2022 References

This article was co-authored by Christopher Taylor, PhD . Christopher Taylor is an Adjunct Assistant Professor of English at Austin Community College in Texas. He received his PhD in English Literature and Medieval Studies from the University of Texas at Austin in 2014. There are 11 references cited in this article, which can be found at the bottom of the page. This article has been viewed 70,008 times.

Nonfiction writing includes many different types of creative work, including essays, memoirs, biographies, and autobiographies. But nonfiction also includes different types of instructive/informational writing, such as academic textbooks, self-help books, and travel/reference books. If you're interested in writing nonfiction, you'll want to decide on a type of nonfiction that you're most interested in and read as much as you can by popular authors in that field. Once you've gotten the hang of the genre, you'll be ready to write your own compelling work of nonfiction.

Crafting a Personal Essay

• Think about things that you care about or are passionate about. Make a list of 10 subjects, then decide which subject you will have the most to say about (and/or the subject with which you have the most personal experience).
• Don't resist a topic because it will be difficult or require research. If you're passionate about that subject and you think you have a lot to say about it, then go for it.
• Be flexible. You may decide to change your mind, or you may find that some items on your list relate to one another (and could potentially be woven together).

• Since you're writing a personal essay, it's important that the topic you choose has some direct, personal significance in your life.
• Be as specific as possible when choosing your topic. Narrow it down to a memory, an occasion, etc.
• For example, instead of writing about loss, you might choose to write about a specific kind of loss (like death), then choose one specific event (like the death of a parent or friend) as your starting point.
• The various elements of your essay should all be related somehow, and you'll need to make that relationship clear to the reader to avoid confusion.
• You can always expand your topic to include other related concepts/events, or to become a larger meditation on the larger subject that your event touches on, but it's best to begin with one single topic idea and go from there.

• One common form for writing personal essays is to begin with a very specific image, instant, or memory (zoomed in, to put it in film terms) and gradually expand outward to address the larger subject.
• Another common form employs the exact opposite: starting very broad, then zooming in on the specific memory, event, etc. This can be a bit tricky, though, as a broad topic can easily lose the interest of your readers early on in the essay.
• One form that's been gaining popularity over the last few years is the lyric or hybrid essay. This combines poetry and essay elements, essentially creating a long-form nonfiction poem.
• Try writing your essay in one form, and if it doesn't feel right you can experiment with a different form.

• Try to incorporate all five senses. You won't be able to make the reader see, hear, smell, taste, or touch the things you have, but if you craft your piece of writing skillfully, the reader should feel like he/she has experienced them first hand.
• Build your images in a linear, narrative way. In other words, don't fill every tangent with long-winded descriptive passages - save that for the main "story" thread of your book or essay.
• Make sure your details are relevant. If you're just throwing in details to make the essay or book "pretty," it's probably just a distraction.

• Don't worry about typos (unless they'll be impossible to decipher) while you write your first draft. You can fix these minor errors in the editing and revision stage.
• Make sure you're using visceral details - what many writing teachers refer to as showing, not telling. For example, instead of saying outright that you were frustrated, describe the way you narrowed your eyes and furrowed your brow at someone.
• Think about whether the form you're using is working for the essay at hand. If it's not working, try something different, as the overall form will be more difficult to work with during revision.
• Consider whether or not you adequately address every aspect of your subject. As you complete your first draft, you should also think about whether or not you've left anything unresolved and make any necessary corrections.

Writing a Creative Nonfiction Book

• Think about the things that you find most captivating.
• Unlike a personal essay, you do not have to be the main subject of a nonfiction book (though you can be!).
• As you consider your subject matter, remember that you'll need to be able to write a whole book about that subject. Think about whether you'd be able to say that much about a subject before you commit to it.

• A memoir (from the French word for "memory/reminiscence") is a detailed retelling of some part of your life. Unlike an autobiography, which can cover a whole life, a memoir is usually rooted in a specific theme, event, or time and place in your life. [6] X Research source
• A travelogue discusses a place and its people, culture, and/or food. It tends to be very heavily based upon the author's experience and therefore is a subjective personal account (unlike a travel guide, which seeks to objectively convey information without any personal experience). [7] X Research source
• Nature and environmental writing should revolve around a personal experience with nature. The writing should ultimately promote some degree of awareness of current environmental issues and should ideally foster a sense of wonder, adventure, and advocacy in readers.
• A biography is a retelling of someone else's life, and it may cover a specific time period (like a memoir of someone else's life) or that person's entire life. Biographies can be captivating narrative reenactments of a person's life or you can even create a historical fiction, and can really bring the subject's story to life.
• If you have a series of related personal essays, you can organize them into a book-length essay collection. Make sure to focus your story around a central theme, form, or idea.

• Think about where you could best begin your book, and what the logical conclusion of that story should be. If writing a biography, for example, the book might end with a retelling of the subject's death.
• If you're writing a memoir, the book should adequately frame the chosen time and place in your life. It's up to you to decide where the logical conclusion of that part of your life should be, and how to tell it best.
• If you're writing a travelogue, you'll need to include details about yourself, as well as where, when, why, and how you traveled. You should make yourself easy to relate to for readers and write in a way that brings your experience to life on the page. [9] X Research source
• When writing about nature or the environment, you'll need to show a genuine engagement with nature (ideally through some form of outdoor activity), balance nature facts with your subjective thoughts and feelings, and show a level of curiosity that makes everyday objects in nature seem new and exciting. [10] X Research source

• If you're writing a biography, you will most likely need a lot of factual information. This may require reading through textbooks and other biographies, or even visits to a museum or historical society.
• If you're writing a memoir, talk to other people who knew you during that time (ideally a close relative, friend, or someone who was with you as you experienced that part of your life). You'd be amazed at how many details you've forgotten, misremembered, or completely fabricated.
• A travelogue should draw heavily upon your notes and journals from the trip, but you'll also need to conduct research on the subjects you write about. For example, you'll want to learn as much as possible about the culture and people of that region, the food most frequently associated with that culture, etc.
• A nature or environmental project should involve researching the names and descriptions of the plants, animals, and geographic areas you describe. You may also want to research how ecosystems work together in complex and unique ways in the areas you write about.

• Create scenes within your essay or book, the same way a fiction writer would portray a scene in a short story or novel.
• Think of the people in your nonfiction essay/book as characters. Are they fully developed on the page, and do readers get a good sense of their overall personalities?
• Write strong dialogue. No one can remember the exact, word-for-word transcript of every conversation they've ever had, but your recollection of conversations should be as truthful as possible and written in a way that's easy to follow.

• Make sure you work in a quiet place where you won't be distracted or disturbed.
• You can measure your writing time temporally (by how many hours have passed), or by word or page count.
• Be consistent with your schedule. It doesn't necessarily have to be every day, but it should be the same days and the same times, week in and week out.

• Focus on larger issues as you hammer out your first draft. You can correct line-level issues during the revision/editing process.
• Make sure everything is tied up by the end of the book. Don't leave anything unresolved, and make sure the reader will have a sense of closure and completion by the end of your book.

Composing Other Types of Nonfiction

• If you're going to write an informational book, you'll need to know a lot about that subject. Most informational books are written by experts in that field.
• If you're not an expert, that's okay. You'll just need to make up for it with exceptional and extensive research.
• Informational writing should provide readers with clear definitions of terms, detailed descriptions of what something is and how it works, and information on how to engage with that object (using it, finding it, etc.).
• Make sure you'll be able to write a whole book on the subject you've chosen. Again, you don't need to know everything about that subject, but it should be something that can be written about at length if you want to fill a whole book.

• Think about the intended audience/readership for your book.
• Academic texts should be written formally, avoiding any slang or colloquialisms. Academic writing should also include complex language that is technical and specialized when necessary. [14] X Research source
• You'll need to make connections clear to the reader so that seemingly disparate concepts are explicitly related and clarified.
• An academic book will treat and comment on research done by other authors in the discipline associated with your book.

• Writing an instructive book will require a good deal of research as well, but it will be research that will help you relay steps in a project (rather than research that will create the definitive book of World History, for example).
• An instructive book should break down the basic concepts of a project, define any unique terms, and give readers a thorough, step-by-step guide on how to complete that project.
• Do your research, talk to experts, and take extensive notes. Then, when the time comes, you'll be able to break down those notes (informed by the research you've done) into a simple how-to guide.
• An example of an instructional book might be a hunting guide, written for someone who's never been hunting before. The book will need to explain the ins and outs of hunting, from its most basic concepts to the most complex ways of preparing the meat, for example.

Revising and Editing Your Work

• Give yourself anywhere from a few days to a few weeks after finishing the project before you attempt to revise/edit your work.
• If you try to edit/revise right away, you'll be less likely to notice issues within the writing (typos/errors, as well as things that aren't clear or don't make sense), and you'll have a harder time cutting things that aren't necessary.
• Keep in mind that revising and editing your work is an essential part of the writing process. Do not skip over this step or spend less time on it than the other steps.

• Read your draft slowly out loud to yourself.
• Take your time and circle, highlight, or otherwise mark anything that is incorrect or incomplete. Don't make revisions as you read, though, or you could lose your place many times.
• As you read, make sure you're only reading what you've written on the page, word for word.
• In addition to typos and incomplete thoughts, look for any sentences that trip you up or confuse you as you read aloud. These sentences should also be marked for revision.
• Once you've gotten through the whole thing (or a good chunk of it, like an entire chapter), go through and make the necessary changes.

• This is another aspect of why approaching the work after a short intermission will give you the best results. You may not realize that something hasn't been resolved because you've connected all the dots in your head (which a reader obviously can't do).

• If something hasn't been fully explained or resolved, you're less likely to notice it than an outside reader. Your mind will fill in the gaps precisely because you were the author and you know what you meant to say.
• Ask your friend to help you proofread your manuscript for typos, errors, and other line-level problems.
• Let your friend know that you want honest, critical assessment (not just praise).

• If anything was rushed through or not fully explored, revisit that section and think about ways to flesh out the subject so it's more comprehensive.
• Rearrange certain sections to see if they can complement one another. A sparsely-written section may end up being much fuller and more complete by being rearranged near another section.

• Use clear, concise language. Cut out any flowery prose that distracts from the rest of your book or essay.
• No matter how fond you are of the way a sentence sounds, if it is not necessary or relevant, it shouldn't make the final cut.

Expert Q&A

You Might Also Like

• ↑ https://owl.english.purdue.edu/owl/resource/753/1/
• ↑ https://www.uvm.edu/wid/writingcenter/tutortips/nonfiction.html
• ↑ http://www.writersdigest.com/online-editor/25-tips-to-make-you-a-better-nonfiction-writer
• ↑ http://www.writersdigest.com/online-editor/8-ways-to-prepare-to-write-your-nonfiction-book-in-a-month
• ↑ http://literarydevices.net/memoir/
• ↑ http://www.writersdigest.com/tip-of-the-day/breaking-into-travel-writing-the-5-elements-of-writing-travel-articles
• ↑ http://www.ecopsychology.org/journal/ezine/naturewriting.html
• ↑ http://www.uefap.com/writing/feature/featfram.htm
• ↑ http://www.dailywritingtips.com/how-to-revise-edit-and-proofread-your-writing/
• ↑ http://www.gbcnv.edu/documents/ASC/docs/00000057.pdf
• ↑ http://writingcenter.fas.harvard.edu/pages/editing-essay-part-one

About this article

To write nonfiction, choose a topic that’s significant to you, then write a personal essay connecting it to one of your memories. For example, begin an essay about death by describing an experience of losing a loved one, then expand from there. A nonfiction book, unlike a personal essay, simply has to focus on a specific topic you’re interested in. Think of each chapter like a story, the people like “characters,” and the events like the “plot.” Even though you’re describing true events, the book will be more interesting if it’s written in an engaging style. To learn how to research and outline your nonfiction work, scroll down! Did this summary help you? Yes No

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Writing a Summary or Rhetorical Précis to Analyze Nonfiction Texts

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Academic writers across all disciplines analyze texts. They summarize and critique published articles, evaluate papers’ arguments, and reflect on essays. In order to do these things, they have to read complex texts carefully and understand them clearly.

This page is about how you can read and analyze nonfiction texts. When you’ve read a text well, you can then discuss it in class, think critically about it, incorporate it into your writing, consider it in light of other texts, and advance or push against its ideas. We believe two productive strategies for approaching this kind of reading and analysis are active reading and rhetorical précis writing. This page provides a guide to these strategies and practical ways to help you evaluate, compare, and reflect upon nonfiction texts.

Active Reading

Introduction to the rhetorical précis, parts of a rhetorical précis, using a rhetorical précis to guide analysis.

Active reading requires you to slow your reading down, engage more intentionally with the text, think about it, and focus your attention on its ideas. When you read actively, you can’t just flip pages and daydream about tomorrow’s plans. Much has been written about active reading, but generally we recommend that when you read you:

• Skim over the text before reading it. Look to see how long it is, where it’s published, how it may be divided into sections, what kind of works cited list it has, whether there are appendices, etc. Use the title to help you predict what the text is about and what it argues. This overview will help you to understand the context, genre, and purpose of this piece as well as help you gauge how long it will take you to read it and how it might be relevant to your class, paper, or project.
• Take notes about the text’s key ideas and your responses to those ideas. Depending on the text and your preferences, these notes could be made on your copy of the text or article or in a separate place. Notes will help you remember and process what the text is about and what you think about it.

In addition to these strategies, we firmly believe that one of the best ways to understand a book, article, essay, blog post, etc. is to write a summary of it. Specifically, we recommend that you use your reading to generate a rhetorical précis.

“Précis” is French for “specific” or “precise.” It’s also a particular kind of writing. When you write a précis you have to exactly and succinctly account for the most important parts of a text. If you write a successful précis, it is a good indication that you’ve read that text closely and that you understand its major moves and arguments. Writing a précis is an excellent way to show that you’ve closely read a text.

Disclaimer: There are different kinds of précis for different contexts. A legal précis is different from what we’re talking about here. Some précis are longer or shorter than others. If you are writing a précis as a course assignment, be sure to follow your instructor’s guidance on what this should consist of and how it should be formatted.

Sometimes rhetorical précis writing is a course requirement. However, even if you aren’t required to write a précis for a class, writing one can help you in a number of ways. Writing a précis guides your reading and directs your attention to the key aspects of a text. Précis writing prepares you to discuss a text and sets you up for that important next step: analysis. A rhetorical précis can even help you structure your annotated bibliography annotations or provide you with summary sentences to include in a paper as you account for your sources.

A rhetorical précis, as developed by Margaret K. Woodworth and described in her 1988 article “The Rhetorical Précis” (published by Rhetoric Review), consists of four dense but direct sentences.

• The first sentence identifies who wrote the text, where and when it was published, and what its topic and claim are.
• The second sentence explores how the text is developed and organized.
• The third sentence explains why the author wrote this, her purpose or intended effect.
• The fourth and final sentence describes the “for whom” of the text by clarifying who the intended or assumed audience of this text is.

Let’s look more closely at those four parts.

First Sentence: Who, Where, When, and What?

Start by identifying the author and offering any information that might help clarify who this person is in relation to this text. Is this a scholar? If so, what is her field? Is she a public official or a prominent blogger? Is he a public intellectual? A reporter? A spokesperson? Has he written other stuff? Locate a bio in the journal or the book cover. Do a quick internet search. Figuring out who the writer is will help you understand some of the texts’ context.

Next up, the publication. What is its title? Is it a book in a series or an article in a special collection? Does it appear in the leisure section of a local newspaper? Sometimes the title of the journal is self-explanatory, but at other times it’s unfamiliar or not clearly connected to a specific discipline. Explain it as necessary. Add the date in parentheses after the title of the text. Unless it’s a newspaper, magazine, or time-sensitive online article, usually just the year will suffice.

The rest of the sentence should be about the article’s topic—what it is about. In order to make this part particularly precise, use a rhetorically strong verb to describe the author’s claim. For example, the author may suggest, argue, analyze, imply, urge, contrast, or claim something.

Second Sentence: How?

In this sentence, provide a very condensed outline of how the author develops, structures, and supports the argument. What kind of evidence does the article draw upon? How is the case built? Perhaps by comparing and contrasting, illustrating, defining, or providing context? Perhaps the text starts out with a narrative and then moves into a description of several research studies? This sentence should account for all the most important moves made across this piece.

Third Sentence: Why?

What does the writer want the reader to do, believe, feel, or think about all this? What was the purpose of this text? In the first sentence, you told us what that author is arguing; now it is time to consider why the author has done all of this. Use an “in order to” phrase in this sentence to very clearly indicate the purpose.

Fourth Sentence: For Whom?

In the final sentence, identify the author’s intended audience and offer some rationale for how you know that to be the audience. Look back at the publication and think about who is likely to read this kind of magazine, journal, or book. Pay attention to the language used in this piece and how much background the writer provides. What does the writer assume readers believe, know, or value? Identifying the audience helps you consider how rhetorically effective this text is.

An Annotated Sample of a Rhetorical Précis

Take a look at this annotated précis of William Cronon’s 1995 article “The Trouble with Wilderness: Or, Getting Back to the Wrong Nature.” It closely follows the précis structure outlined above.

In “The Trouble With Wilderness: Or, Getting Back to the Wrong Nature” (1995), the opening essay of the edited collection Uncommon Ground: Rethinking the Human Place in Nature, renowned environmental historian William Cronon [Comment: The information about who Cronon is was very easily located at the end of the article and through a quick internet search.] critiques the romantic idolization of supposedly untouched, vast wilderness and argues that such a perspective of wilderness negatively affects humankind’s relationship with nature. Cronon builds a historical case for wilderness as a human construct, explores the cultural and literary foundations for the belief that wilderness is a sublime frontier, identifies the problematic paradoxes inherent in this belief, and outlines the detriments of and possible paradigm–shifting solutions to this environmental problem. [Comment: One of the challenges of the second sentence is to decide what not to include. In this case, more could be said about what those paradoxes and detriments are, but since the focus here is on the “how” instead of the “what,” they have been left out. If those kinds of unidentified details are important enough, there is room to mention them more thoroughly in the third sentence.] Cronon opposes the perspective of wilderness as an idealized, non–human space in order to persuade his readers to live rightly in relationship to nature and embrace the reality that “home” as a welcoming, responsibility–requiring place encompasses both “wilderness” and “civilization.” [Comment: Often there is more than one “why,” so be on the look out for this as you actively read.] According to his specific identification, scholarly presentation, and publication venue, Cronon’s primary audience includes American environmentalist academics. [Comment: In the later third of this essay, Cronon uses the pronoun “we” to identify himself and his assumed readership. Often authors aren’t this useful in helping to identify an audience.]

Writing a good précis is a lot of work. It takes dedicated time and consideration. But, it can be useful in and of itself and productive in the development of additional academic writing. Of course, the most obvious application of a précis is connected to its function as a summary. In academic writing, we summarize sources all the time. Once you have written a précis, you can incorporate some of its sentences or ideas into your writing when you need to quickly account for a text’s argument, content, or purpose.

But a rhetorical précis is even more powerfully useful for writing analysis.

Etymologically, “analysis” comes from the Ancient Greek terms for “throughout” and “loosening.” When you analyze something, you deconstruct it, extract its parts, peer inside to see how everything fits together. You thoroughly loosen it in order to understand it better. When you’ve used a précis to lay out the primary elements of this text (the author; the argument’s what, how, and why; and the audience) in front of you, you’re ready to move on with your analysis. Analysis of nonfiction texts can take several forms, but three common ones are: evaluation and critique, comparison, and reflection.

Evaluation and Critique

Evaluating a text requires you to use your analysis to consider and critique the strengths and weaknesses of that piece of writing. Look back at the argument and audience and ask yourself some of these questions:

• Is this a persuasive argument for this group of readers?
• How well is the author’s argument developed and clarified through the structure of the text?
• Where does the logic of the argument and its supporting evidence cohere or fall apart?
• Do the author’s background, tone, evidence, and assumptions foster credibility?
• Does the piece achieve what the author intended?

Detailed answers—with examples—to any of these or similar questions could generate enough material for a close, analytical evaluation. Make sure that you are connecting your assertions about what works and doesn’t work in this text to the author, the argument’s development and purpose, and the audience. Make sure that you are looking deeply at how and why various elements of the text and its argument succeed or falter.

Through comparison, you bring together an analysis of more than one text. Start by writing a précis for each piece you have to compare. Then look at each précis side–by–side and ask yourself about how a sentence in one précis relates to the corresponding sentence in the other précis. Here are some questions to guide your thinking:

• Are all texts addressing a parallel idea?
• Are they making similar or different arguments?
• Have they employed similar methods to arrive at their arguments?
• Are they using the same kind of structure to develop those arguments?
• What is different about their intended audiences?
• Is one more or less successful or persuasive than the other?

Let what you identify as being similar and different about these texts guide your comparative analysis.

Reflection provides you with space to analyze a text in light of your experiences, perspectives, and ideas. In this kind of writing, you get to talk about yourself. In a way, a reflective analysis is kind of like a comparative analysis where the second text is you. Look back at that rhetorical précis and ask yourself questions like these, or other questions that connect what you know and have experienced with the text you have read:

• What else have you read or experienced that furthers or complicates the argument made by this text?
• How do you see that these ideas fit into the larger context of what you’ve been studying in this course?
• Why do you have a particular opinion or response towards this piece of writing?
• Moving forward, how can this text, its argument, or its presentation be influential in shaping your thinking or research?

In order to analyze a text, you need to understand key elements of it. Closely reading that text and summarizing it through a rhetorical précis can help you understand it better. In large part, the quality of your analysis will be dependent on the quality of your comprehension. So, give yourself the time you need to read carefully, think deeply, and analyze effectively.

Works Cited

Cronon, William. “The Trouble with Wilderness: Or, Getting Back to the Wrong Nature.” Environmental History , vol. 1, no. 1, pp. 7–28.

Woodworth, Margaret K. “The Rhetorical Précis.” Rhetoric Review , vol. 7, no. 1, pp. 156–64.

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Essays About Creative Non-Fiction: Top 5 Examples and 10 Prompts

Check out our essay examples and writing prompts guide if you’re writing essays about creative non-fiction.

Creative non-fiction is a skilled and artistic way of telling stories based on true accounts, facts, and interviews. It can include essays, long-form articles, or books. Writing creative non-fiction can be very challenging when writing a literary work as it combines in-depth research and authentic, creative storytelling.

This work requires great attention to detail and getting the facts straight while keeping your readers engaged with your imaginative writing style. In short, authors of creative non-fiction enjoy the best — as well as the paramount challenges — of both the journalistic and poetic worlds. 

5 Intriguing Essay Examples

• 1. Whatever You Write, There You Are  by Kristen Martin

2. The 5 Rs Of Creative Nonfiction Story by Lee Gutkind

3. svetlana alexievich’s nobel prize is a huge win for nonfiction writing by katy waldman, 5. legends of the fall by chiqui jabson chua, 1. types of creative non-fiction writing, 2. creative non-fiction writing tips, 3. a personal memoir, 4. a travel guide and experience essay, 5. business writing, 6. a memorable family gathering, 7. the story behind a painting, 8. creative non-fiction works you love, 9. an unforgettable lesson in class, 10. the person who inspires you the most, 1. whatever you write, there you are   by kristen martin.

“Creative nonfiction can take many forms, be it a meandering lyric essay or long-form narrative journalism, and its practitioners don’t always agree on how creative one can be with the truth.”

For the most part, the authors of creative non-fiction have to constantly choose between sharing their personal experiences and the universal. While creative non-fiction seems biased toward the latter, authors surprisingly understand their inner selves more deeply when they embark on an outward journey to explore material facts. Nine creative non-fiction authors share their experiences of this so-called “backdoor memoir” phenomenon.

“What is most important and enjoyable about creative nonfiction is that it not only allows but encourages the writer to become a part of the story or essay being written. The personal involvement creates a special magic that alleviates the suffering and anxiety of the writing experience; it provides many outlets for satisfaction and self-discovery, flexibility and freedom.”

Gutkind lets readers into his 5R techniques of being a creative non-fiction journalist. These Rs are real, reflection, research, reading, and riting. This immersion journalist, whose extensive experience included participating in an open-heart surgery as a wallflower observer, talks about the main elements of creative non-fiction while writing one along the way.

“After conducting hundreds of interviews, she arranges people’s intimate testimonies into a choir of almost impersonal witness; the resulting works have been called “novels-in-voices,” immersions in experience that are governed by a fierce, purposeful intellect.”

The Swedish Academy surprised the world in 2015 as it awarded the Nobel Prize for Literature to a creative non-fiction writer, marking a first in half a century since it happened. The move makes a resounding statement in the literary world on the essence of reportorial documentation after years of its unacceptance and criticism as a literary work.

4. Africa’s Cold Rush And The Promise Of Refrigeration by Nicola Twilley

“Over the next four or five hours, as the heat of the day sets in, gradually wilting the cassava leaves and softening the tomatoes, these men will cover hundreds of miles, carrying food from the countryside to sell in markets in the capital, Kigali.”

In this remarkably creative non-fiction, a journalist poignantly and painstakingly chronicles the daily hardships in Rwanda, where men rise before dawn and help bring food to the market in the next town, often just in the nick of time before spoilage. Twilley immerses in Rwanda and its cold chain problem, interviewing scientists, cold economy experts, and policymakers who all work toward making refrigeration happen for the African country. 

“In the foothills of western Kyoto, towering bamboo trees sway in the mild wind, turning the sunlight into a delicate jade. Nearby, temples and villas sit amid fine gardens and, not too far uphill, a town pulsates with living traditions from ancient Japan.”

This article is an enjoyable descriptive non-fiction piece, giving us a Kyoto tour in early fall and autumn. We follow the author on her commute through an urban neighborhood, up to the mountain, and into one temple after another. With the author’s vivid imagination and ingenuity for words, the readers are led on to a journey in Japan as though they are experiencing firsthand the stillness of Kyoto’s green trails and the serene beauty of its mountainous landscape. 

10 Great Writing Prompts on Essays About Creative Non-fiction

List down the many types of creative non-fiction and explain how they simultaneously promote the presentation of facts and creative storytelling. Like this guide, you may also find your best picks for each type of creative non-fiction. 

Taking tips from some of the essay examples above, determine the common denominators in the authors’ techniques in producing creative non-fictional works. Then, explain how these techniques helped the authors achieve their desired effects.

If you were to write your memoir, what events would you be putting in the spotlight? For your essay, imagine how you would structure your memoir. You can choose either a sad or joyous event. What matters the most is to describe memorable experiences so that you can narrate them in exact detail. To ensure your essay will enthrall your readers, read our storytelling guide . 

Traveling creates wanderlust, a desire to feed yourself with new information and experiences. For this easy, recall a trip, or embark on a new adventure. First, write about the culture of the place and the people around you. Next, describe the place and culture and share the most important lessons you have learned from this adventure. Finally, describe the other future adventures you’d like to go on.

Business writing is not a usual source of attraction for several writers — especially for writers who chose to write because they despised math. There are joys never imagined in weaving stories from numbers. In this essay, offer your readers some tips to enjoy and make a profit in writing creative non-fictional pieces about business.

For this writing prompt, recount a memorable gathering with family and relatives. To make this pass as creative non-fiction, first detail the purpose of the gathering, the settings, and the decorations as vividly as you can. Then, describe each family member present and their unique qualities that make them unforgettable. Finally, recount the conversations and the emotions surging in you as they chattered away. 

Pick a painting that captivates you the most and try to peel into its layers of meaning by researching its history, the stories, and the people that inspired the painter of the work. Next, try to mull the connection between the painting’s story and yours. This could explain what made you entranced at first glance. 

If there are creative non-fiction literary works that have shaped who you are today, talk about them in your essay and elaborate on the reasons you have admired the author’s thoughts. Then, convince your readers to pick up this book to see their self-transformation. 

Some classroom lessons succeed in keeping us engrossed in learning. Some could form the foundations of a hobby, while some could be our first step toward a professional career path. In this essay, reminisce on a class lecture you will never forget. Explain briefly what the subject matter was at the time and what your professor said about it that was forever etched on your memory. 

Each of us has an idol we look up to as an inspiration to reach our goals, whether a historical figure, a fictional character, or a living personality. Share yours and write a piece of creative non-fiction about their story as a hero. Then, point out their qualities, achievements, or advocacies that made you realize your bigger ambitions, find confidence, and believe in yourself. 

If you liked this article and want to put these ideas into practice, check out our round-up of storytelling exercises .

Yna Lim is a communications specialist currently focused on policy advocacy. In her eight years of writing, she has been exposed to a variety of topics, including cryptocurrency, web hosting, agriculture, marketing, intellectual property, data privacy and international trade. A former journalist in one of the top business papers in the Philippines, Yna is currently pursuing her master's degree in economics and business.

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25 Great Nonfiction Essays You Can Read Online for Free

Alison Doherty

Alison Doherty is a writing teacher and part time assistant professor living in Brooklyn, New York. She has an MFA from The New School in writing for children and teenagers. She loves writing about books on the Internet, listening to audiobooks on the subway, and reading anything with a twisty plot or a happily ever after.

View All posts by Alison Doherty

I love reading books of nonfiction essays and memoirs , but sometimes have a hard time committing to a whole book. This is especially true if I don’t know the author. But reading nonfiction essays online is a quick way to learn which authors you like. Also, reading nonfiction essays can help you learn more about different topics and experiences.

Besides essays on Book Riot,  I love looking for essays on The New Yorker , The Atlantic , The Rumpus , and Electric Literature . But there are great nonfiction essays available for free all over the Internet. From contemporary to classic writers and personal essays to researched ones—here are 25 of my favorite nonfiction essays you can read today.

“Beware of Feminist Lite” by  Chimamanda Ngozi Adichie

The author of We Should All Be Feminists  writes a short essay explaining the danger of believing men and woman are equal only under certain conditions.

“It’s Silly to Be Frightened of Being Dead” by Diana Athill

A 96-year-old woman discusses her shifting attitude towards death from her childhood in the 1920s when death was a taboo subject, to World War 2 until the present day.

“Letter from a Region in my Mind” by James Baldwin

There are many moving and important essays by James Baldwin . This one uses the lens of religion to explore the Black American experience and sexuality. Baldwin describes his move from being a teenage preacher to not believing in god. Then he recounts his meeting with the prominent Nation of Islam member Elijah Muhammad.

“Relations” by Eula Biss

Biss uses the story of a white woman giving birth to a Black baby that was mistakenly implanted during a fertility treatment to explore racial identities and segregation in society as a whole and in her own interracial family.

“Friday Night Lights” by Buzz Bissinger

A comprehensive deep dive into the world of high school football in a small West Texas town.

“The Case for Reparations” by Ta-Nehisi Coates

Coates examines the lingering and continuing affects of slavery on  American society and makes a compelling case for the descendants of slaves being offered reparations from the government.

“Why I Write” by Joan Didion

This is one of the most iconic nonfiction essays about writing. Didion describes the reasons she became a writer, her process, and her journey to doing what she loves professionally.

“Go Gentle Into That Good Night” by Roger Ebert

With knowledge of his own death, the famous film critic ponders questions of mortality while also giving readers a pep talk for how to embrace life fully.

“My Mother’s Tongue” by Zavi Kang Engles

In this personal essay, Engles celebrates the close relationship she had with her mother and laments losing her Korean fluency.

“My Life as an Heiress” by Nora Ephron

As she’s writing an important script, Ephron imagines her life as a newly wealthy woman when she finds out an uncle left her an inheritance. But she doesn’t know exactly what that inheritance is.

“My FatheR Spent 30 Years in Prison. Now He’s Out.” by Ashley C. Ford

Ford describes the experience of getting to know her father after he’s been in prison for almost all of her life. Bridging the distance in their knowledge of technology becomes a significant—and at times humorous—step in rebuilding their relationship.

“Bad Feminist” by Roxane Gay

There’s a reason Gay named her bestselling essay collection after this story. It’s a witty, sharp, and relatable look at what it means to call yourself a feminist.

“The Empathy Exams” by Leslie Jamison

Jamison discusses her job as a medical actor helping to train medical students to improve their empathy and uses this frame to tell the story of one winter in college when she had an abortion and heart surgery.

“What I Learned from a Fitting Room Disaster About Clothes and Life” by Scaachi Koul

One woman describes her history with difficult fitting room experiences culminating in one catastrophe that will change the way she hopes to identify herself through clothes.

“Breasts: the Odd Couple” by Una LaMarche

LaMarche examines her changing feelings about her own differently sized breasts.

“How I Broke, and Botched, the Brandon Teena Story” by Donna Minkowitz

A journalist looks back at her own biased reporting on a news story about the sexual assault and murder of a trans man in 1993. Minkowitz examines how ideas of gender and sexuality have changed since she reported the story, along with how her own lesbian identity influenced her opinions about the crime.

“Politics and the English Language” by George Orwell

In this famous essay, Orwell bemoans how politics have corrupted the English language by making it more vague, confusing, and boring.

“Letting Go” by David Sedaris

The famously funny personal essay author , writes about a distinctly unfunny topic of tobacco addiction and his own journey as a smoker. It is (predictably) hilarious.

“Joy” by Zadie Smith

Smith explores the difference between pleasure and joy by closely examining moments of both, including eating a delicious egg sandwich, taking drugs at a concert, and falling in love.

“Mother Tongue” by Amy Tan

Tan tells the story of how her mother’s way of speaking English as an immigrant from China changed the way people viewed her intelligence.

“Consider the Lobster” by David Foster Wallace

The prolific nonfiction essay and fiction writer  travels to the Maine Lobster Festival to write a piece for Gourmet Magazine. With his signature footnotes, Wallace turns this experience into a deep exploration on what constitutes consciousness.

“I Am Not Pocahontas” by Elissa Washuta

Washuta looks at her own contemporary Native American identity through the lens of stereotypical depictions from 1990s films.

“Once More to the Lake” by E.B. White

E.B. White didn’t just write books like Charlotte’s Web and The Elements of Style . He also was a brilliant essayist. This nature essay explores the theme of fatherhood against the backdrop of a lake within the forests of Maine.

“Pell-Mell” by Tom Wolfe

The inventor of “new journalism” writes about the creation of an American idea by telling the story of Thomas Jefferson snubbing a European Ambassador.

“The Death of the Moth” by Virginia Woolf

In this nonfiction essay, Wolf describes a moth dying on her window pane. She uses the story as a way to ruminate on the lager theme of the meaning of life and death.

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Examples of Creative Nonfiction: What It Is & How to Write It

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When most people think of creative writing, they picture fiction books – but there are plenty of examples of creative nonfiction. In fact, creative nonfiction is one of the most interesting genres to read and write. So what is creative nonfiction exactly? 

More and more people are discovering the joy of getting immersed in content based on true life that has all the quality and craft of a well-written novel. If you are interested in writing creative nonfiction, it’s important to understand different examples of creative nonfiction as a genre. 

If you’ve ever gotten lost in memoirs so descriptive that you felt you’d walked in the shoes of those people, those are perfect examples of creative nonfiction – and you understand exactly why this genre is so popular.

But is creative nonfiction a viable form of writing to pursue? What is creative nonfiction best used to convey? And what are some popular creative nonfiction examples?

Today we will discuss all about this genre, including plenty of examples of creative nonfiction books – so you’ll know exactly how to write it. 

This Guide to Creative Nonfiction Covers:

Need A Nonfiction Book Outline?

What is Creative Nonfiction?

Creative nonfiction is defined as true events written about with the techniques and style traditionally found in creative writing . We can understand what creative nonfiction is by contrasting it with plain-old nonfiction. 

Think about news or a history textbook, for example. These nonfiction pieces tend to be written in very matter-of-fact, declarative language. While informative, this type of nonfiction often lacks the flair and pleasure that keep people hooked on fictional novels.

Imagine there are two retellings of a true crime story – one in a newspaper and the other in the script for a podcast. Which is more likely to grip you? The dry, factual language, or the evocative, emotionally impactful creative writing?

Podcasts are often great examples of creative nonfiction – but of course, creative nonfiction can be used in books too. In fact, there are many types of creative nonfiction writing. Let's take a look!

Types of creative nonfiction

Creative nonfiction comes in many different forms and flavors. Just as there are myriad types of creative writing, there are almost as many types of creative nonfiction.

Some of the most popular types include:

Literary nonfiction

Literary nonfiction refers to any form of factual writing that employs the literary elements that are more commonly found in fiction. If you’re writing about a true event (but using elements such as metaphor and theme) you might well be writing literary nonfiction.

Writing a life story doesn’t have to be a dry, chronological depiction of your years on Earth. You can use memoirs to creatively tell about events or ongoing themes in your life.

If you’re unsure of what kind of creative nonfiction to write, why not consider a creative memoir? After all, no one else can tell your life story like you. 

Nature writing

The beauty of the natural world is an ongoing source of creative inspiration for many people, from photographers to documentary makers. But it’s also a great focus for a creative nonfiction writer. Evoking the majesty and wonder of our environment is an endless source of material for creative nonfiction. 

Travel writing

If you’ve ever read a great travel article or book, you’ll almost feel as if you've been on the journey yourself. There’s something special about travel writing that conveys not only the literal journey, but the personal journey that takes place.

Writers with a passion for exploring the world should consider travel writing as their form of creative nonfiction. 

For types of writing that leave a lasting impact on the world, look no further than speeches. From a preacher's sermon, to ‘I have a dream’, speeches move hearts and minds like almost nothing else. The difference between an effective speech and one that falls on deaf ears is little more than the creative skill with which it is written. 

Biographies

Noteworthy figures from history and contemporary times alike are great sources for creative nonfiction. Think about the difference between reading about someone’s life on Wikipedia and reading about it in a critically-acclaimed biography.

Which is the better way of honoring that person’s legacy and achievements? Which is more fun to read? If there’s someone whose life story is one you’d love to tell, creative nonfiction might be the best way to do it. 

So now that you have an idea of what creative nonfiction is, and some different ways you can write it, let's take a look at some popular examples of creative nonfiction books and speeches.

Examples of Creative Nonfiction

Here are our favorite examples of creative nonfiction:

1. In Cold Blood by Truman Capote

No list of examples of creative nonfiction would be complete without In Cold Blood . This landmark work of literary nonfiction by Truman Capote helped to establish the literary nonfiction genre in its modern form, and paved the way for the contemporary true crime boom.  

2. A Moveable Feast by Ernest Hemingway

Ernest Hemingway's A Moveable Feast is undeniably one of the best creative memoirs ever written. It beautifully reflects on Hemingway’s time in Paris – and whisks you away into the cobblestone streets.  

3. World of Wonders by Aimee Nezhukumatathil

If you're looking for examples of creative nonfiction nature writing, no one does it quite like Aimee Nezhukumatathil. World of Wonders  is a beautiful series of essays that poetically depicts the varied natural landscapes she enjoyed over the years. 

4. A Walk in the Woods by Bill Bryson

Bill Bryson is one of the most beloved travel writers of our time. And A Walk in the Woods is perhaps Bryson in his peak form. This much-loved travel book uses creativity to explore the Appalachian Trail and convey Bryson’s opinions on America in his humorous trademark style.

5. The Gettysburg Address by Abraham Lincoln

 While most of our examples of creative nonfiction are books, we would be remiss not to include at least one speech. The Gettysburg Address is one of the most impactful speeches in American history, and an inspiring example for creative nonfiction writers.

6. I Know Why the Caged Bird Sings by Maya Angelou

Few have a way with words like Maya Angelou. Her triumphant book, I Know Why the Caged Bird Sings , shows the power of literature to transcend one’s circumstances at any time. It is one of the best examples of creative nonfiction that truly sucks you in.

7. Hiroshima by John Hershey

Hiroshima is a powerful retelling of the events during (and following) the infamous atomic bomb. This journalistic masterpiece is told through the memories of survivors – and will stay with you long after you've finished the final page.

8. Eat, Pray, Love by Elizabeth Gilbert

If you haven't read the book, you've probably seen the film. Eat, Pray, Love by Elizabeth Gilbert is one of the most popular travel memoirs in history. This romp of creative nonfiction teaches us how to truly unmake and rebuild ourselves through the lens of travel.

9. Me Talk Pretty One Day by David Sedaris

Never has language learning brought tears of laughter like Me Talk Pretty One Day . David Sedaris comically divulges his (often failed) attempts to learn French with a decidedly sadistic teacher, and all the other mishaps he encounters in his fated move from New York to Paris.

10. The Glass Castle by Jeannette Walls

Many of us had complicated childhoods, but few of us experienced the hardships of Jeannette Walls. In The Glass Castle , she gives us a transparent look at the betrayals and torments of her youth and how she overcame them with grace – weaving her trauma until it reads like a whimsical fairytale.

Now that you've seen plenty of creative nonfiction examples, it's time to learn how to write your own creative nonfiction masterpiece.

Tips for Writing Creative Nonfiction

Writing creative nonfiction has a lot in common with other types of writing. (You won’t be reinventing the wheel here.) The better you are at writing in general, the easier you’ll find your creative nonfiction project. But there are some nuances to be aware of.

Writing a successful creative nonfiction piece requires you to:

Choose a form

Before you commit to a creative nonfiction project, get clear on exactly what it is you want to write. That way, you can get familiar with the conventions of the style of writing and draw inspiration from some of its classics.

Try and find a balance between a type of creative nonfiction you find personally appealing and one you have the skill set to be effective at. 

Gather the facts

Like all forms of nonfiction, your creative project will require a great deal of research and preparation. If you’re writing about an event, try and gather as many sources of information as possible – so you can imbue your writing with a rich level of detail.

If it’s a piece about your life, jot down personal recollections and gather photos from your past. 

Plan your writing

Unlike a fictional novel, which tends to follow a fairly well-established structure, works of creative nonfiction have a less clear shape. To avoid the risk of meandering or getting weighed down by less significant sections, structure your project ahead of writing it.

You can either apply the classic fiction structures to a nonfictional event or take inspiration from the pacing of other examples of creative nonfiction you admire. 

You may also want to come up with a working title to inspire your writing. Using a free book title generator is a quick and easy way to do this and move on to the actual writing of your book.

Draft in your intended style

Unless you have a track record of writing creative nonfiction, the first time doing so can feel a little uncomfortable. You might second-guess your writing more than you usually would due to the novelty of applying creative techniques to real events. Because of this, it’s essential to get your first draft down as quickly as possible.

Rewrite and refine

After you finish your first draft, only then should you read back through it and critique your work. Perhaps you haven’t used enough source material. Or maybe you’ve overdone a certain creative technique. Whatever you happen to notice, take as long as you need to refine and rework it until your writing feels just right.

Ready to Wow the World With Your Story?

You know have the knowledge and inspiring examples of creative nonfiction you need to write a successful work in this genre. Whether you choose to write a riveting travel book, a tear-jerking memoir, or a biography that makes readers laugh out loud, creative nonfiction will give you the power to convey true events like never before.  

Who knows? Maybe your book will be on the next list of top creative nonfiction examples!

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Ideas for Writing Creative Nonfiction

by Melissa Donovan | Apr 6, 2023 | Creative Writing | 16 comments

Looking for creative nonfiction ideas?

In fiction writing, we’re often inspired by what-if questions: What if an innocent person is convicted of murder? What if humanity finds itself facing total extinction? What if that rabbit hole leads to a fantastical wonderland?

Fiction is driven by imagination.

Ideas for writing creative nonfiction often arise from experience and interest rather than imagination. Instead of asking what-if questions, creative nonfiction writers set out to share their experiences, knowledge, ideas, opinions, passions, and curiosities.

Creative Nonfiction Ideas

Writers who are on a quest for inspiration can find a wealth of creative nonfiction writing ideas. Here are some to get you started:

1. An autobiography is your life story. You get to share your experiences, successes, and failures. The trouble with autobiographies is that readers are rarely interested in reading biographical information about total strangers. Unless you’re a public figure, there will be little interest in your project. However, you can always do some research and investigative reporting and write a biography about someone else, or you can narrow your focus and write a memoir.

2. What is a memoir? A memoir is not a life story; it’s a personal account of a particular experience. For example, if you’ve survived an illness, disaster, or trauma, that experience might provide the foundation for a memoir. Writing of this nature is appealing to readers because it speaks to a specific audience. Young parents whose children are struggling with autism, for example, will be highly interested in reading a memoir by a parent who has raised a child with autism. What makes memoirs so popular is the promise that through personal experience, the writer has obtained expertise and is now sharing it with the world.

A memoir doesn’t have to be about your past experiences. You can set yourself up for writing a memoir. Elizabeth Gilbert set out on a year of adventure and then wrote about it and became a best-selling author. A.J. Jacobs has built a life and a career around experimental adventures. He read all thirty-two volumes of the Encyclopedia Britannica and then wrote about it. He spent a year living biblically and then wrote about it. He also experimented with outsourcing his entire life, and then wrote about it. If you’ve ever wanted to embark on a grand adventure or found yourself concocting experimental lifestyles, you may find that they fuel some interesting creative nonfiction ideas.

3. If a memoir is too daunting, try a personal essay instead. Personal essays can be short-form memoirs, in which you share a specific personal experience, but instead of writing an entire book, you can write a handful of pages. You can also use personal essays to express your ideas or opinions on any subject imaginable.

4. Are you an expert? If you’re an expert on any subject, you can share your expertise by writing creative nonfiction in the form of articles and topical essays. Write about the subject you studied in school, the work you’ve done throughout your career, or a hobby that you’ve enjoyed and mastered. Many writers avoid this type of writing, assuming that there is already enough information out there. But new works are being published every day on a wide range of topics. What makes them successful is not necessarily the information that is imparted, but the manner in which it is presented. A unique voice, a new take on the subject, and a fresh way to organize the information are all viable strategies for success in these types of creative nonfiction writing.

5. What’s your passion? You can take your personal experience and acquired expertise on anything in the world and turn it into a writing project. These days, writers share their thoughts and insights on everything from their favorite TV shows and video games to the meals they eat and the books they read. You can write about the philosophy of Star Trek . You could share tips and strategies for playing (and winning) popular video games. If you love coffee and have a penchant for taking pictures, set out to make a coffee table book about coffee. If you spend your mornings gardening and your evenings creating delicious home-cooked meals, you can launch a blog packed with tips and ideas for gardening, cooking, or healthy eating. You don’t have to be an expert or a professional to talk about your passion.

Check out “ A Guide to Writing Creative Nonfiction ” for an in-depth look at writing creative nonfiction

Where do you get creative nonfiction ideas.

Ideas for writing creative nonfiction books, blogs, essays, and articles are all around you. Your questions, passions, experiences, and ideas all have the potential to launch your next creative nonfiction writing project.

16 Comments

My writing ideas most often come from my dreams or from real life experiences. On occasion another article, nice photography, art or music will inspire an idea for me, but most often they come from my life.

I love to hear from writers about where they get inspiration. In fact, when I listen to interviews with authors, my favorite portion is always when they talk about how they came up with an idea. It’s so interesting! Thanks for sharing your sources of inspiration, Nicole.

Writing ideas are somewhat like the proverbial moths swarming to the light source. There are so many that simple gads of them get away. Yet, I’ve discovered that keeping pen and paper near me as often as possible helps me to capture words or sentences which later make it into the creative nonfiction I love writing.

Even though I write nonfiction I adore fiction. Often fictional characters utter something which speaks to my heart. When that happens I frequently find ways to add the ideas or information to my own writing. Gosh, do you think I need to credit the creators of those fictional beings? 🙂

Yvonne, I believe all fiction writers are inspired by the authors who came before them. If we credited all of them, the acknowledgements pages in our books would be books themselves!

Melissa thanks. You say it all and true that everything is right there in the creative juice of the writer. I happen to pursue on this passion and look after writing relevant articles in my MIndaview Column and complied these as social commentary I’m now graduating as nonfiction writer. I have now a contract from Mr. Tom Wallace of Publisher on Demand Global after evaluating my work “The Needle” (actually a metaphor of 14 years of Martial in the Phil.) and pronounced his verdict: I could be their next best selling author! Hmm what a compliment and a breakthrough.

That’s wonderful, Ricardo! Good luck with your book!

I agree with Yvonne about keeping pen and paper handy. The only thing is, I have sentences, phrases and words on papers all over my world. I guess that is better than no ideas! I always thought I would start publishing with fiction and as it turns out, I am enjoying writing self-help–all from my own experiences. Maybe the “made-up” stories will come later… Diana Fletcher, Author of Happy on Purpose Daily Messages of Empowerment and Joy for Women

Hi Diana. It sounds like you and I have had similar experiences. I always keep pen and paper handy, but the clutter that my ideas and notes generate can be a burden. I also thought I’d start publishing with fiction, but it looks like I’m going to publish a book on writing before I get around to publishing a novel. I have mixed feelings about that!

Great minds think alike, I just wrote a post on getting ideas. I talked about the importance of observing. Sometimes the process of getting an idea can begin with just writing down something you saw in the course of your day. Once you get in the habit of observing, start speculating, using the 5 Ws. This post has some great suggestions in it!

Thanks, Charlotte! Yes, observation skills are critical for writers. If we miss something, our readers will catch it. Sometimes that’s not a big deal. But if it’s a big plot hole, a character behaving out of character, or a gap in our research, failure to observe can be pretty detrimental.

Be mindful. Pay attention. Ray Carver suggested that even an ordinary, mudane event in your life, like brushing your teeth, can be endowed with power.

Great tips, Chaz!

Melissa I have a real story I want to tell in the creative nonfiction genre. It inspired me out of the blue. I.ve never before wanted to write. But then that’s how i got my ladybug tattoo, inspiration from an a-ha moment. So when the notebooks went on sale at the beginning of the school year for 15 cents apiece I stocked up. I write and research every day now. My story may or may not ever be published, but I am having a blast getting it out there!

That’s great, Jo! It sounds like an experience from your life inspired you to become a writer, which is awesome. I wish you the best of luck in all that you write.

I actually wrote a nonfiction novel few weeks ago and thanks to you my writing are so much better just because of these few simple ideas. Thank you Melissa 🙂

You just made my day, Anna. Thanks so much for letting me know that you found these ideas inspiring and helpful. I wish you the best in your writing adventures!

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Nonfiction Essay

Nonfiction essay generator.

While escaping in an imaginary world sounds very tempting, it is also necessary for an individual to discover more about the events in the real world and real-life stories of various people. The articles you read in newspapers and magazines are some examples of nonfiction texts. Learn more about fact-driven information and hone your essay writing skills while composing a nonfiction essay.

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What Is a Nonfiction Essay?

Nonfiction essay refers to compositions based on real-life situations and events. In addition, it also includes essays based on one’s opinion and perception. There are different purposes for writing this type of essay. Various purposes use different approaches and even sometimes follow varying formats. Educational and informative essays are some examples of a nonfiction composition. 

How to Compose a Compelling Nonfiction Essay

When you talk about creative writing, it is not all about creating fictional stories. It also involves providing a thought-provoking narrative and description of a particular subject. The quality of writing always depends on how the writers present their topic. That said, keep your readers engaged by writing an impressive nonfiction paper.

1. Know Your Purpose

Before you start your essay, you should first determine the message you want to deliver to your readers. In addition, you should also consider what emotions you want to bring out from them. List your objectives beforehand. Goal-setting will provide you an idea of the direction you should take, as well as the style you should employ in writing about your topic on your essay paper.

2. Devise an Outline

Now that you have a target to aim for, it is time to decide on the ideas you want to discuss in each paragraph. To do this, you can utilize a blank outline template. Also, prepare an essay plan detailing the structure and the flow of the message of your essay. Ensure to keep your ideas relevant and timely.

3. Generate Your Thesis Statement

One of the most crucial parts of your introduction is your thesis statement . This sentence will give the readers an overview of what to expect from the whole document. Aside from that, this statement will also present the main idea of the essay content. Remember to keep it brief and concise.

4. Use the Appropriate Language

Depending on the results of your assessment in the first step, you should tailor your language accordingly. If you want to describe something, use descriptive language. If you aim to persuade your readers, you should ascertain to use persuasive words. This step is essential to remember for the writers because it has a considerable impact on achieving your goals.

What are the various types of nonfiction articles?

In creatively writing nonfiction essays, you can choose from various types. Depending on your topic, you can write a persuasive essay , narrative essay, biographies, and even memoirs. In addition, you can also find nonfiction essay writing in academic texts, instruction manuals, and even academic reports . Even if most novels are fiction stories, there are also several nonfictions in this genre.

Why is writing nonfiction essays necessary?

Schools and universities use nonfiction essays as an instrument to train and enhance their students’ skills in writing. The reason for this is it will help them learn how to structure paragraphs and also learn various skills. In addition, this academic essay can also be a tool for the teachers to analyze how the minds of their students digest situations.

How can I write about a nonfiction topic?

A helpful tip before crafting a nonfiction essay is to explore several kinds of this type of writing. Choose the approach and the topic where you are knowledgeable. Now that you have your lesson topic, the next step is to perform intensive research. The important part is to choose a style on how to craft your story.

Each of us also has a story to tell. People incorporate nonfiction writing into their everyday lives. Your daily journal or the letters you send your friends all belong under this category of composition. Writing nonfiction essays are a crucial outlet for people to express their emotions and personal beliefs. We all have opinions on different events. Practice writing nonfiction articles and persuade, entertain, and influence other people. 

Text prompt

• Instructive
• Professional

Write about the influence of technology on society in your Nonfiction Essay.

Discuss the importance of environmental conservation in your Nonfiction Essay.

108 Engaging And Creative Nonfiction Writing Prompts

So you want to write a nonfiction book . Good for you! What are you going to write about ?

I know. That question stumps most everyone.

What indeed? Coming up with creative nonfiction ideas isn’t for the faint of heart.

Nonfiction is a big, broad genre of book writing, and narrowing it down to an area in which you have some expertise, background , or interest can be daunting.

And even if you kinda, sorta know what you want to write about , you’re not exactly sure how to begin or how to get your creative juices flowing.

That’s why we’ve created a varied list of nonfiction writing prompts for you — so you can narrow down your choices or pinpoint precisely the type of nonfiction you want to write.

108 Creative Nonfiction Writing Prompts

Ready to get started? Read through this list of creative nonfiction ideas, and make a note of any that resonate with you.

Or just start writing about one of the nonfiction prompts and see where it takes you.

If you’ve been wondering, “What are some nonfiction topics I might write about?” then these prompts can help you narrow down ideas for your next book project.

1. You’ve developed a new creative side-hustle, and you have enough business to bring in at least a few hundred (or even thousand) a month.

2. You know how to prepare for a specific kind of disaster, and you want to make others aware not only of the imminent danger of that disaster but how best to prepare for it.

3. The Missing Ingredient: What is one thing most people forget or overlook when making or doing something?

4. This is something most people don’t know about ______.

5. You could be more (or less) ______.

6. You need more _____ in your life.

7. Discontent is not (always) a lack of gratitude. Here’s why.

8. The right music can change everything for you. Here’s how.

9. Swap this for that and see how it changes your life!

10. Be your own devil’s advocate? Why would you want to do that?

11. What on earth does logic have to do with creative writing (or creative anything)?

12. Are your morning/nighttime habits keeping you poor? Or did they for a while?

13. How do you go on after your best friend dies (or leaves you)?

14. What one thing could you add to your workspace to make you happier and more productive?

15. What one thing in your life would you love to change? And what can you do to change it — and help others do the same?

16. Your doc says, “No more alcohol for you!” So, you look for ways to relax without it.

17. You used to take everything personally — thinking everyone was comparing you to someone else.

18. Why do bad things pile up the way they do? And what can you do about it?

19. Why would anyone want to live in < city /state/country>

20. Yeah, your desk is cluttered — and you’re okay with that.

21. Your oldest kid is driving you nuts, and you have to admit your role in that.

22. Your pets have all but destroyed an entire room in your home.

23. So, you want to do something dangerous (skydiving, parasailing, bungee jumping, learning parkour, etc.).

24. You’ve always wanted to travel to ______. How can you afford it, and what do you need to know?

25. Investing is a scary business. How do you even begin?

26. You’re moving, but you can’t find a buyer for your house. Why not rent it out instead — and how do you do that?

27. You have no Christmas budget, but you want to make this Christmas one your kids will remember fondly.

28. You learned something from writing your last book that has changed the way you write them.

29. Everything started to fall into place once you finally narrowed your focus to the kind of writing you really want to do.

30. When you changed this little thing in your diet, you started dropping weight faster than ever before.

31. Something you didn’t know about your body has been working behind the scenes, turning your own efforts against you.

32. Caffeine has always been one of your besties, but now your doc says you have to cut back — or even cut it completely from your diet!

33. Your path from the 9-to-5 job to full-time self-employment hasn’t been like the ones described by the experts whose books you’ve read, but you know you’re not alone.

34. Serendipity is nice and all, but something else is responsible for your success, and you want others to know what that is — and how they can make it work for them.

35. When was the last time you actually kept a New Year’s resolution? How did you keep it, and what difference did it make?

36. How big is your daily to-do list? And what kind of daily planning works for you?

37. What changes have you made to your monthly spending that have made a huge difference for you?

38. Desperation (i.e. lack of money and/or time) made you do it. You learned how to do something yourself, you did it well, and people are saying good things.

39. One of your kids has said, “I don’t read. I have ADHD.” You have ADHD, too, though, and you read plenty. You become determined to find out if something else is going on.

40. Adding this spice to every day’s menu has made a big difference in your health — as well as your enjoyment of cooking.

41. Only when you discovered and addressed a deficiency in a certain nutrient did you begin to feel more energetic, alive, and creative than you remember ever feeling before.

42. Your doctor suggests a new therapy for your condition but warns you that it could damage one of your other organs.

43. No one told you how hard it would be to withdraw from SSRIs (or how long it could take), but through trial and error, you found a way.

44. Everyone around you is telling you to quit taking your SSRI, but you know that — somehow — it has actually helped you.

45. Your kids have special needs, and you’re fed up with people making assumptions about their intelligence or their parenting when they act up in public.

46. You find an approach to homeschooling (or partial homeschooling) that restores your kids’ curiosity and love of learning and creating.

47. Your oldest wants to drop out of school, because so-and-so did it, and “Look how successful he is!”

48. Your marriage was deteriorating until you made this one, small change.

49. For years, all you had to do was look at a donut, and you’d gain weight. Then you changed one thing

50. You made a goal: “In the next 100 days, I will ______.”A hundred days later, you’ve exceeded your goal .

51. The first day of that “staycation” you wanted has arrived.

52. You went on a mission to where?

53. You’ve increased your own self-confidence and helped others to boost theirs, too.

54. Ditching both Netflix and your gym membership has changed your life for the better….

55. Changing your beliefs about something has caused some tension at home but has also made it possible for you to earn and accomplish more than you used to think was possible.

56. Childhood memories and the emotions attached to them have held you back for years, but not anymore.

57. Your high school education led you to college, which led you to a job you hated but felt stuck with for years.

58. What app or online tool has changed the way you do business?

59. Families can take a heavy toll on a house. What repair work have you had done to restore your home and what have you learned to do yourself?

60. Your second grader hates school and thinks reading is boring.

61. One of your kids is a writer and wants to take a page out of her main character’s book and dye her hair purple.

62. One of your kids has come out to you as gay, bisexual, or asexual.

63. One of your teenage kids has chosen a different religion and no longer wants to go to church with his family.

64. A brush with death has changed your priorities, and you’ve made some drastic changes.

65. You’ve hit your forties and found a list you made 10 years ago of the things you wanted to accomplish during your 30’s.

66. You’ve had an epiphany in the shower, and after exploring it with a journal entry, you’re thinking, “This could be a book!”

67. You’re looking at a goal and thinking, “What kind of person do I have to be to accomplish this goal in the time I’ve set for it?”

68. What does it mean to be neurotypical as opposed to neurodiverse?

69. How has marriage changed your perception of married life?

70. You learn that one of your kids is autistic, and you and your spouse have very different reactions to the news.

71. You and your spouse have opposing beliefs with regard to gender differences and sexual orientation, and it’s becoming a problem.

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72. You’ve just learned to fix something in your own house and have saved yourself thousands of dollars.

73. You can’t shake something from your past, but you’re not sure if you even remember it correctly anymore.

74. Your spouse doesn’t seem to really care about what you have to say, and it really bothers you.

75. Your significant other has started writing erotica and is making a nice, steady income with it, but you’re conflicted.

76. You’ve been writing books for years, and then your SO writes a book and sells more copies of his/her first novel than you’ve ever sold.

77. You’ve found the perfect quick remedy for canker sores, and it uses cheap and easy-to-find ingredients.

78. You’ve never really been a hat person until you saw a hat you liked on someone else.

79. You and your SO can’t agree on wall colors for your new home.

80. It all started when someone told you that you needed a professional photo taken.

81. Everyone should take a road trip, because…

82. Of all the superpowers, this would your #1.

83. You found the perfect secluded vacation spot/s with great food, and they’re not crazy expensive.

84. You’ve always had a knack for losing weight — right up until your mid-forties.

85. You have a gift for dismantling and countering other people’s arguments.

86. One of your kids has gotten her first job, and you want to help her budget her earnings without being too controlling.

87. One of your kids has just announced an engagement to a person you don’t particularly like or trust.

88. Your friend has challenged you to spend a week unplugged — no internet, no cable, and no phone.

89. Your in-laws have come over to help with house projects, and since your spouse didn’t tell you they were coming, the place is a disaster.

90. You really do want to lose that weight — really — but your daily wine habit is hard to kick.

91. Oh, the joys of pet ownership! Your new fur-baby has moved right in and claimed the house as his own — with multiple visual tokens of acceptance.

92. Your spouse wants to be intimate, but you’d rather avoid it.

93. Your friend wants to start a business with you. You spend hours talking about this and addressing the main obstacles, and finally, you go for it.

94. You’re so good at writing academic papers that your college classmates start offering to pay you to write their essays and reports for them.

95. Your in-laws vilify you as a traitor because of the way you voted, and their petty attacks even extend to your children.

96. Every time you go to a potluck, people come up to you and beg you for your recipe. You’ve decided to create your own potluck recipe book — with a unique twist.

97. You’ve attended a fascinating seminar about being “limitless,” and while you’re still a bit skeptical, you really want to believe in the speaker’s message. You go all in, and things start changing for you.

98. You’re fed up with your health-obsessed teenage son constantly telling you you’re out of the foods he likes, and when you ask him to try something else, he angrily reminds you that it’s not his fault he can’t tolerate those foods.

99. Your kid wants to eat nothing but croutons and potato chips, and you can’t get him to try anything else (ironically he’s the same child who later grows into the health-obsessed teenager in the previous prompt).

100. You’re out driving and your car has a flat. You call your spouse who basically throws up his hands, sighs dramatically, and tells you to call AAA. You get a tow, and your spouse (who is at home) suggests you learn how to change a tire.

101. After twenty-three years of adhering to your religious beliefs, you have more questions than ever, and no one can answer them in a satisfying way.

102. Your best friend, who never went to college, is earning much more than you are and is loving life more. You meet him for lunch and ask how he’s gotten to where is, and what do you have to do to get there.

103. The staff at your kid’s school have called to tell you they’re having trouble with your daughter again because she just doesn’t seem to respect the authority of her teachers or other school staff.

104. You and your spouse go to an IEP meeting for your son, who has been miserable at school and who is tired of being micromanaged by the staff.

105. You’re at a pre-wedding retreat at your church, and when the leaders announce a break, your fiance heads out the large glass front door and lets it close in your face.

106. Once again, you’ve played the peacemaker at home, and relative tranquility is restored, but your relationships with your spouse and with your kids has suffered, and you’re not sure which has done the most damage: the open arguments or the forced calm.

107. Throwing fancy brunches and dinner parties is one of your favorite things, and people come to you for ideas on how to make theirs better. You’ve decided to write a book on hosting unforgettable brunches and dinner parties.

108. You’ve never forgotten how you loved the food when you lived in, and you’ve collected a variety of recipes, along with the history behind them.

Did you find some nonfiction topics to write about?

We hope our list of writing prompts has primed your creative pump and that one (or more) of them is on the shortlist for your next book.

If you don’t feel confident that your topic is one that readers are looking for, check out our post on tools and resources to help you make the best choice.

Even if you use these prompts only as creative nonfiction writing exercises, you won’t be wasting your time.

You’ll not only have a better idea about possible book topics for the future but also you’ll improve your writing and hone your skills at fleshing out an idea.

All of your efforts contribute to your success as a writer and your sense of confidence as you begin outlining your next nonfiction book.

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BEST NONFICTION WRITING PROMPTS

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Write about a challenge that you experienced in your life, and then overcame., pick one of the five senses. write a descriptive piece about your surroundings based on that sense., write about a time when you explored somewhere new., write about a time that you felt happy., look at your most recent text. write a story based on that text..

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Write about a time that you made a mistake with lasting ramifications.

Write about a time when you helped someone..

• Write about a time when you felt like an outsider at an event.

Write about a time that you failed.

Choose a controversial topic from the news. write an opinion piece on it., subscribe to our prompts newsletter.

Never miss a prompt! Get curated writing inspiration delivered to your inbox each week.

Pick an impactful moment from your childhood. Write about it from the lens of adulthood.

The new york times runs a weekly modern love column. write your own "tiny love" column about a relationship in less than 100 words., write about your least favorite memory., write about your favorite memory., write about false news coverage of an important event., think of an item of clothing from your childhood, and write a story inspired by that., write a story where a particular piece of clothing appears three times..

• Write a story inspired by a memory of yours.

Write about a person trying to see something from another’s point of view.

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The best nonfiction writing prompts

Are you an author looking for nonfiction writing prompts to spark your creative muse? You're in the right place: we created this directory to house all the story ideas about life, people, and history you might need to succeed as a nonfiction writer. 

The great thing about nonfiction writing is that ideas can come from anywhere: in-house family drama with the parents, an argument over the Internet with a stranger about money, or a heart-to-heart talk with friends about your beliefs. So whether you're writing an essay or creative nonfiction, feel free to scour this page for inspiration. Who knows? Maybe one of the stories you write in response to a prompt will turn into your next book. 

If you're looking to cut to the chase, here’s a top ten list of our favorite nonfiction writing prompts:

• Write a story about inaction.
• Write a story about activism.
• Write about a date that was so terrible you’ll never forget it.
• Write about a secret you’ve never told the person you love.
• Write about someone (or something) you loved that you shouldn’t have.
• Pick one of the five senses. Write a descriptive piece about your surroundings based on that sense. 
• Write about a time when you helped someone. 

If you’re interested in becoming a nonfiction author, check out our free resources on the topic:

• The Non-Sexy Business of Writing Non-Fiction (free cours e)  — None of the sexy nonfiction books you see on the bestseller lists started that way. We can guarantee you that all those books were written the non-sexy way: through simple hard work that requires you to show up at the computer daily to get your words onto paper. This free ten-day course aims to help you through that process and emerge with a nonfiction book at the end of the tunnel. 
• How to Write a Memoir (blog pos t)  — Memoirs are among the most popular types of nonfiction markets in the publishing industry today. Suppose you're also interested in turning your life and experiences into a story with a beginning, middle, and end. In that case, this guide will walk you through the entire process: from outlining your memoir to writing and marketing it. 

Ready to start writing? Check out  Reedsy’s weekly short story contest  for the chance of winning $250! You can also check out our list of  writing contests  or our directory of  literary magazines  for more opportunities to submit your story.

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No one knows what ‘creative nonfiction’ is. That’s what makes it great.

In the first paragraph of “ The Fine Art of Literary Fist-Fighting ,” Lee Gutkind, the “Godfather” of the creative-nonfiction genre (a title used once to describe him in Vanity Fair in 1997 and since taken up repeatedly over the years, mostly by Gutkind himself, including in the bio on this book jacket), begins with a question he often receives: “‘What is creative nonfiction?’ Or, in some cases, ‘What the hell is creative nonfiction?’”

It’s a fitting sentiment for the genre, and for its longtime champion. This term, which others forgo in favor of “literary nonfiction” or “narrative nonfiction,” or simply “the essay,” as Gutkind writes, is a blanket that seeks to cover works from Joan Didion’s stylized journalistic chronicles of the ’60s to Mary Karr and the memoir boom of the ’90s to Annie Dillard’s nature writing, and everything in between that isn’t made up but also probably wouldn’t run in the newspaper. To practice or teach creative nonfiction (or whatever else you might want to call it) has been to operate from a defensive position. As Gutkind shows, this is a genre whose inception and growth were met with uncertainty, skepticism and in many cases disdain.

In trying to name, categorize, legitimize creative nonfiction, it’s hard not to feel that you’re being defined by what you are failing to do — it’s not creative in the eyes of fiction writers, or rigorously factual in the eyes of journalists, or properly literary in the eyes of academics. Here, Gutkind attempts to narrate the history of the genre, and that story is inevitably one of contestation and conflict — about what “creative nonfiction” even is, above all else, and just how “creative” writers can be before they’re no longer writing nonfiction. Those are familiar debates for some of us, and they haven’t stopped. I was in graduate school more than a decade ago, at one of the creative-nonfiction programs that Gutkind describes, and I was constantly getting into “Literary Fist-Fights,” though I imagine most of the people around me wanted to punch me for real.

Gutkind has been out there on those self-drawn front lines since the early ’70s. He’s a writer of numerous creative-nonfiction books (for which he immersed himself in topics ranging from the lives of those awaiting organ transplants, to the cutting-edge robotics program at Carnegie Mellon, to the ecosystem of a children’s hospital), a professor and an editor, all of these identities working toward a final form somewhere between evangelist and carnival barker. “I know that all of this scheming, all of these machinations, seem pretty crass and certainly not literary,” he writes about his efforts to get sustained funding for his seminal magazine, Creative Nonfiction. “I got a lot of heat from colleagues and other writers for being an unabashed promoter and even a self-promoter. Okay, maybe that was true — or partly true. But so what? It might work.”

It did work, and those of us who love the genre — many first drawn in by Gutkind’s magazine or his edited anthology — are grateful for it. These days, I don’t know if anyone would knock the hustle. Doomed hustling is the only literary mode left available, as so many great magazines, especially the kind that published the inventive, diverse work that we might call creative nonfiction, have fallen by the wayside — cut from shrinking university budgets, bought and gutted by venture-capital goons, scrubbed from the internet. The latest issue of Creative Nonfiction came out in 2022; there doesn’t seem to anything coming down the pike.

To look back, in these times of true literary and academic scarcity, the “fist-fighting” of grad program expansion and barbs exchanged between the tenured and endowed can seem like pretty enviable brawls. As much as anything, “The Fine Art of Literary Fist-Fighting” is a book about academia, a version of it that’s nearly extinct. Multiple scenes take place in panels at academic conferences, or during contentious department meetings; enemies are blazered, bloviating, Faulkner scholars who pound the table and refuse to let nonfiction writers into their ivory tower.

In the midst of all this, Gutkind, in his own telling, is the perma-rebel: a former hippie motorcycle man without a graduate degree, who doesn’t belong. He’s the scrappy kid from the real world, pushing himself through every door the fancier folk might want to slam in his face. But for most of the book, he’s ensconced within the literary and academic establishment, ultimately moving comfortably through the tenure track at a major research university in the city where he was born. I don’t mean to downplay Gutkind’s enormous accomplishments; only to say, as a fellow academic, that it’s easy to get caught up in the perceived intrigue of a meeting, to frame yourself only against those in your bubble, to lose sight of the fact that the art being discussed is a far more compelling subject than the minutiae of the discussion about it.

Gutkind is at his best in this book when he grudgingly becomes the type of memoirist that he usually writes about. The moments when he stops to look back on his own evolving perspective and investment are truly compelling — reflecting the continuing intellectual curiosity of someone who cares enough about this field to allow himself to change with it. He thinks back on essays that he rejected from the magazine that he might accept now, and shows us how dogmas seem indispensable until suddenly they’re old fashioned.

Most compellingly, he reflects upon his writing career, the choices he made within the murkily defined borders of creative nonfiction. He describes a scene from his second book, in which he sits outside a motel room to eavesdrop on a fight between two White baseball umpires and their crewmate, the first Black umpire in the National League. Decades on, he delves into not only what happened in the scene but his place as eavesdropper, the context leading up to the moment, the stylistic choices in not making up but certainly emphasizing the cruel language, and most of all, whether “in the end I actually hurt the man I was trying to help.” He puts himself, and us, right back in the moment — and the results are vivid, ambiguous, emotionally resonant, fascinating.

That is the enduring thrill of creative nonfiction — tiptoeing along the border between art and fact. It requires turning a critical eye on your own ambition, your care for others, the literal truth of what happened and the style with which you might express how it felt, as well as the question of whose story is being told and who has the right to tell it. It’s one that Gutkind chronicles as a reader, too, capturing the experience that we who love the genre have all had, coming upon a work that feels epiphanic with all these tensions and intimacies, even if you didn’t have the language to call what you were reading “creative nonfiction.” He writes of what it meant to a young journalist to encounter a piece that broke the rules, as he did when he first read Gay Talese’s “Frank Sinatra Has a Cold.” And he describes the awe he felt upon reading James Baldwin’s “Notes of a Native Son,” an essay that achieved so much . He captures this experience as an editor, too, when a then-unknown writer sent him her first manuscript and, decades into his career, he discovered that he could still be surprised.

This is, I think, what so often gets buried in discussions about creative nonfiction — including many of those documented in this book. The more one zeroes in on defining and defending, the more the writing can move away from whatever it is that makes the genre meaningful to so many people. Gutkind has given his life to this genre; I wish I knew more about what it means to him.

The Fine Art of Literary Fist-Fighting

How a Bunch of Rabble-Rousers, Outsiders, and Ne’er-Do-Wells Concocted Creative Nonfiction

By Lee Gutkind

Yale University Press. 292 pp. $35

Plot Your Novel -- Plot Your Scenes with John Claude Bemis is now open for enrollment. Space is strictly limited. For those interested, you are encouraged to learn more right away.

Written by S. Kalekar May 27th, 2024

35 Print Literary Journals that Publish Fiction, Nonfiction, and Poetry

These literary magazines and journals publish fiction, nonfiction, and poetry in print. Most also publish some work online. Not all of them are open now, but many are. A few calls are themed. Some of the magazines pay writers. A Public Space This magazine publishes fiction, nonfiction (including memoir and long-form cultural criticism), poetry, and translations. For prose, they also publish excerpts from longer works. The deadline is 31 May 2024. Details here . (They also offer fellowships for early-career writers and editors, which are currently closed, but which you can read about here .) Salt Hill They publish fiction, poetry, nonfiction, translations, interviews, and art. They are affiliated with Syracuse University. Their website says, they publish work “by people at various stages in their literary and artistic careers. We publish new and emerging writers alongside those with long, illustrious careers in the literary arts.” They’re currently open for art and nonfiction – “We accept a wide-range of creative nonfiction. Currently, we are especially interested in memoir and essay forms. Please do not send us work that exceeds 30 pages before querying us first.” Details here and here . Profiles This is a Dublin-based journal. Their website says, “Profiles welcomes character-driven fiction and non-fiction — both original works and works in translation — under 5,000 words. We’re interested in publishing character studies. We love writing that channels the author’s insatiable curiosity about other people (or their talent for self-reflection), is empathetic without bordering on apologia, and shows human nature as it is, not necessarily as it should be.” Pay is €200 for non-commissioned writers and translators (see here ). Submit by 4 June 2024. Details here . Spellbinder Their website says, they’re “particularly keen to promote the works of those who are at the beginning of their literary careers. However, they also welcome submissions from writers and artists who have been published before and feature widely-known creatives in each issue as well.” They accept fiction, nonfiction, poetry, translations, drama, as well as (themed) artwork. Submission is via a form . They pay £3. They plan to reopen for submissions on 1 July 2024. Details here . Channel Magazine This Ireland-based magazine publishes fiction and poetry, for which they have submission periods; non-fiction (which is considered for both online and print) is considered on an ongoing basis. They have detailed guidelines, including, “We love work that speaks directly of a writer’s bond with and fear for our planet, and work that takes a local landscape, or a local flower, as its subject; equally, though, we love work that draws on an aspect of nature as setting, image or metaphor. We believe that all writing relies to some extent on historical engagement with nature, in that all human language has been shaped by our embeddedness in our shared environments.” For fiction and poetry, the deadline is 20 June 2024. They accept submissions in English and Irish. Pay is €35 per printed page, up to €250 per piece and with a minimum fee of €50 for single-page works. For work published online, they pay €35 per 400 words, up to a maximum of €250 per piece and with a minimum fee of €50. Details here . Space & Time They accept speculative fiction (up to 5,000 words preferred), poetry, and art. For fiction, they want “Broken boundaries, blown minds and new horizons. Science fiction, fantasy, horror, steampunk, magical realism—we look for work with a speculative element. Creative hybrids welcome. If you can combine horror, science fiction and fantasy into one compelling plot, you’ve caught our attention.” They want submissions on the ‘ Solution Revolution ’ theme for their next reading period, which is 15-30 June 2024. They pay. Details here and here . redrosethorns Their website says, “redrosethorns began with a simple core belief, that feminism is about empowerment.” They want writing (up to 3,000 words) and art on the Rebellion/Conformity theme for their annual print magazine. The deadline Is 30 June 2024. Details here .

Sonder Magazine Sonder is a Dublin-based print journal. Their tagline is ‘Supporting New Voices’. About who is eligible to submit, they say, “Writers submitting work should not have had a full collection or work published; this does not include the publication of single poems, stories or chapbooks. If you have had single poems or stories published, you are still eligible to submit.” And, “Sonder is all about bringing different perspectives together. Everyone is wildly and magically different, yet there is still a universality that draws us all together. We are about reflecting those differences and, ultimately, what it is that brings us together.” They are accepting creative nonfiction, flash fiction, and short fiction on the ‘ Need ’ theme. They pay €300. Submission is via a form. The submission deadline is 31 May 2024. Details here . Blink-Ink This is a print journal for 50-word fiction. They publish quarterly, and have themed issues. They will reopen for submissions on 1 st June 2024. Details here and here .  The London Magazine This is a UK-based literary magazine in print and online; they accept submissions of fiction, nonfiction, and poetry; they charge a fee for general unsolicited submissions, and they also have fee-free submission dates which are listed on their guidelines page (the upcoming fee-free submission date is 31 May 2024). They pay. (Apart from that, their editor has recently also issued a pitch call for essays – send only pitches for this call, not unsolicited submissions – they want “argumentative essays that examine literature and the places it intersects with wider culture.” There is no submission fee for these essays. See the pitch call here .) Strix This is a thrice-yearly magazine of poetry and short fiction based in Leeds, and you can read about it here . Send up to 3 pieces of fiction totalling up to 1,500 words combined, or 3 poems. The deadline is 31 May 2024. Submission is via a form. Details here . The Pig’s Back This is an Ireland-based journal. Their website  says, “Though we have a particular interest in writing from the northwest, we are eager to read work from all across Ireland, and beyond. Our main aim is to provide opportunities for those voices who have yet to be discovered, to help them define themselves and guide them in their careers.” They publish fiction and nonfiction, of 3,000-5,000 words. They do not accept poetry. Pay is €300. Watch for their next submission period. Details here . The Cincinnati Review This literary magazine accepts fiction, fiction translations, literary nonfiction, poetry, poetry translations, and art. They also have a weekly online Flash feature called miCRo. See their editors’ preferences . They accept online submissions only, except from writers with disabilities or those who are incarcerated. They open for print journal submissions at the beginning of September, December, and May, and will accept submissions until a cap is reached. For miCRo, submissions are usually ongoing, with temporary closures. For print, length guidelines are: fiction up to 40 pages, non-fiction up to 20 pages, and up to 5 poems. Pay is $25/page for prose and $30/page for poetry in the print journal; and $25 for miCRo contributions. Details here and here . Slippery Elm Literary Journal This print journal publishes fiction, poetry, creative nonfiction, and visual art. It is affiliated with The University of Findlay. Send up to 5,000 words of prose, or up to 3 poems. General submissions are fee-free, and contests have a fee attached. Watch for their next submission period. Details here . Weird Horror Magazine They publish horror and weird fiction. They also accept translations. “We are seeking horror and weird fiction from 500 to 5,000 words, firm.  Query first if your story is over 5,000 words. We are a home for the strange, the macabre, the eerie, the esoteric, the fabulist, and the gothic. The darkly numinous. The odd.  We are not interested in extreme horror. Do not send science fiction or fantasy.” Payment is $0.02/word, up to $100. They will reopen for submissions during 2-15 September 2024. Their submission form will open during the submission period. Details here . The Stinging Fly This respected Irish print journal publishes short fiction, novel extracts, nonfiction, and poetry. They pay €45 per magazine page, but with a minimum/maximum payment of €300/€1200 for fiction and nonfiction, €150 for flash Fiction/shorter essays (1 – 2 pages), and €40-60/poem.  The deadline is 29 May 2024 for the Winter 2024 issue. Submission is via a portal. Details here .   The MacGuffin This magazine is affiliated with Schoolcraft College. They publish fiction, nonfiction, poetry, and art; send prose of up to 5,000 words, or up to 5 poems. Their submission period is 1 September to 30 June. Details here and here . The Echo: Teen Art & Lit Mag They publish work by writers ages 13-19 from around the world. They want memoirs, short stories and flash fiction in any genre, poetry, critical essays, short scripts, art, and photography. They’re reading work on the Mysteries & Magic theme until 31 May 2024. Details here and here . NōD Magazine This magazine is published by the University of Calgary. They publish poetry, prose, and visual art, and will reopen on 1 st June 2024 for submissions. Details here . RHINO This is a journal of poems, translations, and flash fiction/nonfiction (up to 500 words). Regular submissions to are open 1 March – 30 June 2024, or until monthly caps are reached. They also accept translations – see here . Their general submission guidelines page is here . Submit here . Baltimore Review They publish fiction, nonfiction, and poetry. Some editor preferences are in the bios on their Staff page. Work collected online is published in an annual print issue. Send up to 5,000 words for prose, or up to 3 poems. Pay is $50 (via a gift certificate or PayPal, if preferred). The deadline is 31 May 2024. Details here and here . Kennings Literary Journal This literary magazine is affiliated with Hanover College. They publish fiction, poetry, creative nonfiction, digital art, physical art, photography, and other media. They are currently closed to submissions. Details here .

Poetry Magazine This magazine is run by the Poetry Foundation. They accept poetry, translations, and poetry-related prose submissions, as well as special features (archival and contemporary portfolios, digital archive pitching – for poem guides, poem collections, and samplers). They pay $10/line of poetry (minimum $300), and $150/page of prose. The deadline is 15 June 2024. Details here and here .  Litro They have a print and online magazine; see here . For the print magazine , they have various themes, including Litro World Series: Democracy (deadline extended to 14 June 2024), and Money – The Currency of our Lives (deadline 25 June 2024). They also have other features/themes/opportunities listed, including for Litro Live (for work performed on stage), fee-free and fee-based submissions for Crayon Magazine for graphic arts and literature, and several online features – see their Submittable . They also accept pitches for some sections – see their guidelines page (scroll down). InScribe This journal is affiliated with Tabor’s Creative Writing and Communication program. They have a print and an online magazine (see here ). They’re reading submissions on the ‘Food’ theme for the print magazine – short fiction in any genre, both formal and free verse poetry as well as works of creative nonfiction. Send prose of up to 3500 words, or poetry up to 50 lines. The deadline is 28 June 2024. Details here . Ribbons Their website says, “Ribbons is the official publication of the Tanka Society of America. The journal is published twice a year, and each issue offers more than 200 tanka selected for their craftsmanship and originality. Ribbons also publishes essays on tanka by leading poets and scholars, book reviews that are thoughtful and incisive, and translations of poems written by important contemporary Japanese tanka poets.” Their guidelines say, “For each issue, you are welcome to submit either up to ten original, unpublished tanka or two tanka sequences (not more than six tanka per sequence) or one tanka sequence and up to five tanka.” You can also send tanka prose of up to 300 words. Deadlines are 30 June for the Fall/Winter issue, and 31 January for the Spring/Summer issue. Details here . Chestnut Review This is a print and online magazine. “We are drawn to beautiful language, resonant images, and we crave narrative.” They have fee-free submissions of flash (up to 1,000 words), poetry, and art. Also, “If you have work that doesn’t fit neatly into the below categories, that doesn’t mean we won’t want to see it. Choose the most appropriate and include a note—we’ll figure it out.” They read throughout the year, with cut-off dates for issues. General submissions of short prose, and of more than 3 poems, have a fee attached. They accept short prose submissions for Black and Indigenous authors (1,000-5,000 words) without a submission fee. They pay $120. Details here .

Seaside Gothic This UK-based magazine publishes art, fiction, poetry, and nonfiction that meet the criteria of seaside gothic literature (it is led by emotion, not reason, exploring the human experience mentally and spiritually as well as physically; It addresses duality—land and sea, love and hate, the beautiful and the grotesque; It connects to the edge, living on the seaside either literally or figuratively, and has one foot in the water and the other on solid ground). All contributors are paid. Their next submission period is 8-14 July 2024. Details here . One Story This magazine publishes one literary fiction story per issue, of 3,000- 8,000 words. They also accept reprints, if the story has appeared in print only, outside North America. They pay $500 and 25 contributor copies. Submissions will reopen in the fall. Details here .

THINK Their website says, “THINK publishes poems that emphasize craft as well as content. We are responsive to metrical verse, to strategic rhyme, to inventive uses of nonce forms, and to free verse with a clear organizing principle. …We are receptive to well-crafted, nuanced fiction that explores and illuminates the human condition. THINK also publishes essays dealing with the art and history of poetry, as well as analyses of poems and the works of important poets. While such essays often reflect extensive knowledge and scholarship, they are written for a broad range of non-specialist readers. We appreciate and seek out informed, creative non-fiction, especially pieces that focus on the natural world. Finally, THINK publishes reviews, including composite reviews (in batches of three books) of new collections of poetry.” Send up to 5 poems, or 1 piece of prose (criticism, fiction, creative nonfiction, personal essay). The deadline is 30 June 2024 for the Summer/Fall issue. Details here . The First Line This quarterly journal accepts fiction of 300-5,000 words that begins with a pre-set first line; 500-800 word critical essays about your favorite first line from a literary work; as well as some poetry. For their next submission period, the line for fiction is: ‘ When she was eight, Alice Henderson briefly held the world record for filling her mouth with marbles. ’ (Deadline 1 August 2024). Pay is  $25.00 – $50.00 for fiction, $10.00 for poetry, and $25.00 for nonfiction; please see their note for international submitters. Details here . The Last Line This journal, affiliated with The First Line, wants stories that end with this line: ‘ I didn’t want to admit it, but Lee was usually right. ’ Pay is $20-40 for stories of 300-5,000 words – see the note for international submitters. The deadline is 1 October 2024. Details here .  The Paris Review They accept submissions of prose in February, June, and October and poetry in January, April, July, and October. Submissions are accepted via Submittable until they reach capacity, as well as by mail, during their submission months. Details here . Coin-Operated Press They publish collaborative zines on a different theme each month (mostly A5; poetry zines are A6). For June, the theme is RPGs ; for July, it is Birds ; for August, Furries . You can read their FAQ here . Submission is via a form on the website. They have announced all their monthly themes here .

Bio:  S. Kalekar is the pseudonym of a regular contributor to this magazine. She can be reached  here .

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Nonfiction Nonsense by Max Pasakorn

Where to submit your poems, stories and essays (june-july 2024), check out these literary magazines, journals, contests and presses with deadlines in june-july, compiled by max pasakorn..

Welcome to ‘Nonfiction Nonsense’! This is likely the first of a monthly update on submission calls I’ve noticed floating around my literary circles — some of them I’m also submitting to. More content is coming soon from this Substack — including book reviews and author interviews and my thoughts on the writing life. So, without further ado…

If you’ve been working hard on your creative writing but aren’t sure yet where to send your work, here are some venues with deadlines approaching as fast as a GST hike:

Singapore-based Submission Opportunities for Short-Form Creative Writing

Home-brewed poetry journal Kopi Break (which I co-edit with Kendrick Loo and Topaz Winters) has recently taken a short hiatus from publishing new poems — because we’re eagerly waiting for new and exciting poems to slide into our DMs (inbox)! To give potential submitters a bit of a push (I know us Singaporeans ‘prefer’ being motivated by KPIs), Kopi Break has now shifted from a rolling submissions model to one with a deadline for every quarter. Send us your 3 best poems with a short bio at [email protected] . For more information on our editorial taste, check out this interview I did recently with Poets & Writers magazine . Accepted poems will undergo an editorial process, be published on the Kopi Break website and on the Kopi Break newsletter, be remunerated $10SGD (have a few kopis on us!) and be promoted on Kopi Break’s social media channels. The upcoming deadline, for poems to be published in July-September is June 15.

Singapore Unbound’s SUSPECT Journal is always on the lookout for “poetry, literary fiction, essays, and any kind of writings that do not fall into these categories, written or translated into English by authors who identify as Asian.” They pay $100USD for each accepted contribution, and (from my sensing) is keen especially on publishing marginalized voices globally. They’re open for submissions year-round , but I heard from their very adorable poetry editor that they’d love to see more submissions in the queue. Find out more on their submissions page .

Youth-led Singaporean literary magazine Sploosh has recently announced a short extension on their open call for the upcoming issue, themed “HAUNT” with guest editor and fabulous speculative fiction writer Wen-yi Lee . They’re looking for texts of any genre that responds to this theme, and pay $10 per poem and $20 per prose piece. From their open call page: “Write about the forces that disturb you in the day or keep you up at night. Aim a torchlight squarely at the recesses of the mind or what’s lurking in the corner of your eyes. We want works that linger, fixate, possess.” They are especially inviting to new and emerging writers — like those who’ve never had their work published before. Their initial deadline was 31 May, but they’ve since extended the deadline to June 5 (though their web page has yet to be updated). Read more on their submissions page.

Indie publishing collective Atelier Arcadia has an open call for their upcoming “what we burn for” anthology . They’re looking for short form prose and microfiction pieces (up to 3,500 words) responding to this hot theme. From their open call website : “You can write about a lost home, an unrequited love, climate anxiety — everything's fair game. But we do ask that the submitted work not include explicit sex/nudity, violence, or content that violates any Singaporean laws.” After walking in the sun in search for lunch today, I might write something about my sunburnt skin and my expired Krave Beauty sunscreen. The submission deadline for this anthology is June 22. More details on their website .

Singaporean publisher Landmark Books has an active open call for “Laughing Matters” , an anthology of humor writing in celebration of Adrian Tan. They’re looking for prose (short stories or nonfiction works) of 3,500 to 4,000 words from writers with a connection to Singapore. Their criteria for what is considered humorous, it seems, is what “make readers at least smile, or better chuckle, even laugh out loud”. So, if your writing is at least somewhat entertaining, consider sending it their way. The guidelines especially encourage submissions from writers who aren’t previously published. The submission deadline for this anthology is June 30. More details on their website .

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International Submission Opportunities for Short-Form Creative Writing

Honey Literary , founded by two amazing Asian-American poets and committed to publishing BIPOC and LGBTQ+ voices, is open for submissions. I’ve been published there before (with a poem they nominated for Best New Poets) and I can’t recommend them enough, especially because they seem to really love unapologetically queer and powerful writing. I also love how this publication has divided its genres by content and not by form; the categories in their journal include “Animals”, “Sex+”, “Food & Beverage”, and “Valentines”, in addition to the usual “Poetry”, “Essays”, and “Interviews”. Their call for Issue 8 ends on June 15 , and you can read their submission guidelines here .

Underblong , run by superstar poets and best friends Chen Chen and Sam Herschel Wein is currently open for poetry submissions. I’ve been following Underblong for a while now and love their overall playful approach to poetry and the language that comes along with it. I mean… even the submission guidelines say: “ Underblong  is the coatroom of your secret’s secrets, a boiling pot of kit-kats becoming your favorite soup. Send us a poem that cuts through the crap. Send us your dinner chicken. Poems made by a soul.” They pay a modest $20. Their submission period also ends on June 15 (so you could send similar poetry packets to both Honey Literary and Underblong), and you can learn more on their submission guidelines page .

Sweet Lit was co-founded by Thai-American writer Ira Sukrungruang (whose memoir This Jade World I absolutely loved). They’re currently open for submissions of poetry and short creative nonfiction of up to 1,500 words. Their commitment to diversity in literature, I think, is what draws me to this publication. From their About Us page: “We observed too many magazines that cultivated elitism by running ads of the names of famous writers they rejected or claiming to publish “the best” of American letters. … Sweet Lit  strives to curate a journal that opens the doors wide.  Sweet Lit  looks forward to the possibilities of the word and the community the word can create for all of us.” Their submissions close June 30 , and you can read their guidelines here .

The Asian-American Writers’ Workshop has opened poetry submissions for their digital magazine The Margins . They’re looking for original or translated poetry by Asian American and diasporic poets. This is a pretty prestigious journal, and I’ve been quite impressed with their poetry selection, especially this Anetra Aubade poem (about Anetra from Season 15 of Drag Race). They pay $50-90 USD. Submissions close June 6 . More on their Submittable page here.

Submission Opportunities for Chapbook or Book-length Works

The 2024 Gaudy Boy Poetry Book Prize by Singapore Unbound is currently open for submission. The Book Prize is awarded annually to an unpublished manuscript of original Anglophone poetry by an author of Asian heritage residing anywhere in the world. The award is $1,500USD and publication in both the US and Singapore. This year’s contest is judged by Singaporean poet Hamid Roslan, whose collection parsetreeforestfire defies language and categorisation. Manuscripts must be 70-120 pages (whew!). They recently extended the deadline to June 3 , so definitely send in a poetry manuscript if you have one! More details here .

Diode Editions’ Poetry Chapbook and Full-Length Poetry Contests are open for submissions. Folks might know of this contest because Singaporean poet Shawn Hoo won this contest a few years ago and his chapbook Of the Florids (with an adorable tapir on the cover) was published by Diode. If you have a chapbook (25-55 pages) or a full-length collection (56-100 pages), consider submitting; their turnaround for the prize also seems to be super fast. The guidelines say results will be announced in August. Winners receive $750 and publication of their chapbook or $1,500 and publication of their full-length poetry collection. The prize closes on July 15. More details on their contest guidelines page.

The annual Epigram Fiction Book Prize is open after a year-long hiatus for works of fiction of 40,000 words or more. The prize is open to all citizens and permanent residents of “Brunei, Cambodia, East Timor (Timor-Leste), Indonesia, Laos, Malaysia, Myanmar, Philippines, Singapore, Thailand and Vietnam, ages 18 years old and above.” The prize is $25,000SGD and publication by Singaporean publisher Epigram Books. Finalists are also offered a publishing contract. This contest has been running since 2020, and published some exciting novels and short story collections in Singaporean literature, which you can browse on Epigram Books’ shop , including my friend Ally Chua’s eco-mystery novel and Jon Gresham’s novel about the Raffles’ banded langur . The deadline for the prize is August 1 , but it’s good to send work in earlier as 5 hardcopy manuscripts are required with each submission. More details on their guidelines page.

Know submission opportunities with later deadlines?

Submission opportunities often spread through word-of-mouth, and I’m likely to miss out on opportunities if not for my friends, colleagues, hook-ups, and other members of the global literary community. Contribute to a future edition of this “Where to Submit” newsletter by sending details of a submission opportunity you know about via this contact me form . (So I don’t have to wade through the internet like a clownfish to verify the opportunity, please include at least a submission guidelines link to the website/journal/magazine/press you’re sharing about!)

To everyone with the audacity and delusion to send their writing out to the world:

Regardless of your submission’s outcome, you dared let your voice be heard. Be proud, and congratulations. If your work is published because this newsletter directed you to an opportunity, I’d love to read and profile your piece in a future post of ‘Nonfiction Nonsense’. Let me know:

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