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  • Other Added - Crafting Well-Written Creative Nonfiction While Avoiding Its Pitfalls

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    You may not realize what that credit card bill is doing to you…Bob is a 27 year old truck driver. He dropped out of college after one year and got a job. With hard work and good luck, he is making about $35,000 a year. Bob is passionate about remaining debt free. He drove his old car from high school until he could afford to pay cash for a newer one. He rented a cheap apartment until he saved a solid down payment on his house. Even during the lean months, he steadfastly refused to build up a credit card balance he couldn’t pay off at the end of the
    uthor promises to tell his or her version of the truth using details, facts, and experiences. This truth is, of course, filtered through the author and is subject to the author's worldview. When the reader reads an essay, he or she assumes that the work is tr
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    Problems with writing creative nonfiction arise because quite often, essays and memoirs discuss real people who are still living and may not appreciate having their lives opened on the page. Another problem is that the authors deliver more fiction than nonfiction, after billing their work as creative nonfiction. James Fry of A Million Little Pieces (2003) and Anthony Godby Johnson of A Rock and A Hard Place (1994) come to mind. Both authors fictionalized their experiences so that they could sell more books. Mary Karr, The Liar's Club (1998), who wrote about her dysfunctional family says, "My experience is there's no way you can manufacture events and find the truth. Great memoirs don't take bizarre experiences and make them more bizarre and outrageous. They take bizarre experiences and make them familiar. That's the power." Writers of creative nonfiction make a tacit pact with their readers that their story is a true one, and readers often feel lied to if they learn that the story they spent time reading is fiction. The author promises to tell his or her version of the truth using details, facts, and experiences. This truth is, of course, filtered through the author and is subject to the author's worldview. When the reader reads an essay, he or she assumes that the work is tru
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    ion, after billing their work as creative nonfiction. James Fry of A Million Little Pieces (2003) and Anthony Godby Johnson of A Rock and A Hard Place (1994) come to mind. Both authors fictionalized their experiences so that they could sell more books. Mary Karr, The Liar's Club (1998), who wrote about her dysfunctional family says, "My experience is there's no way you can manufacture events and find the truth. Great memoirs don't take bizarre experiences and make them more bizarre and outrageous. They take bizarre experiences and make them familiar. That's the power." Writers of creative nonfiction make a tacit pact with their readers that their story is a true one, and readers often feel lied to if they learn that the story they spent time reading is fiction. The author promises to tell his or her version of the truth using details, facts, and experiences. This truth is, of course, filtered through the author and is subject to the author's worldview. When the reader reads an essay, he or she assumes that the work is tr
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    Karr, The Liar's Club (1998), who wrote about her dysfunctional family says, "My experience is there's no way you can manufacture events and find the truth. Great memoirs don't take bizarre experiences and make them more bizarre and outrageous. They take bizarre experiences and make them familiar. That's the power." Writers of creative nonfiction make a tacit pact with their readers that their story is a true one, and readers often feel lied to if they learn that the story they spent time reading is fiction. The author promises to tell his or her version of the truth using details, facts, and experiences. This truth is, of course, filtered through the author and is subject to the author's worldview. When the reader reads an essay, he or she assumes that the work is tr
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    re experiences and make them familiar. That's the power." Writers of creative nonfiction make a tacit pact with their readers that their story is a true one, and readers often feel lied to if they learn that the story they spent time reading is fiction. The author promises to tell his or her version of the truth using details, facts, and experiences. This truth is, of course, filtered through the author and is subject to the author's worldview. When the reader reads an essay, he or she assumes that the work is tr
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    uthor promises to tell his or her version of the truth using details, facts, and experiences. This truth is, of course, filtered through the author and is subject to the author's worldview. When the reader reads an essay, he or she assumes that the work is true, while allowing for time and character compression and name changes, which allow more creativity for the writer.

    The following storytelling techniques are designed to help creative writers negotiate this creativity versus truth issue:

    Compressing time Sometimes compressing or collapsing time is necessary in order to keep the flow of the story and to ensure that the reader will not get lost in extra details. Changing the time of when events occurred is acceptable, as long as the truth of the story is not lost. For example, if a writer is describing her time in Seattle on a trip, she may want to combine details from her first and third day, for organizational purposes and to keep her reader involved in her story. However, if she made up what she did on her trip, then her essay would be fiction, not creative nonfiction.

    Compressing characters and changing characters' names Compressing and changing characters' names is on the verge of turning an essay into a fictionalized acc

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