creative nonfiction writing assignment

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Breaking into Creative Nonfiction, Part 1: The Basics

• The Art of Fact
• The Art of Truth
• Gonzo Journalism
• Neo-gonzo Journalism
• The Fourth Genre (after poetry, fiction and drama)
• The Literature of Reality
• New Journalism
• Literary Journalism
• Narrative Nonfiction

How is it reported and written? Creative nonfiction relies on: •  Immersion reporting and research • Documents (public and private records) • Tools of literary realism: Scene-by-scene construction; Dialogue: Point of View; Status details (Wolfe) • Description (Sense of place, character, time) • Reflection •  Narrative frames (Chronology; parallel narrative; In media res) •  Segmentation •  Extra-literary design • The “ line between fact and fiction ” and John Hersey’s “ Legend on the License” — None Of This Is Made Up

>>Coming Thursday: Part 2, Breaking into Creative Nonfiction

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Course Syllabus

The Building Blocks of Personal Essay

Each of us has stories that are worth telling, but how can we fit the messiness of our lives through the narrow corridor of an essay? How can we resuscitate those moments on the page so that they live in the readers’ imaginations with the same force and freight as when we experienced them? How can we dramatize these events so that they attain the qualities of literature?

Over the course of ten weeks, students will learn the building blocks of a writing a personal essay—establishing a compelling narrative persona, creating strong characters, conjuring vivid descriptions, and building satisfying plots. Most importantly, students will learn how to connect their experiences to larger truths about our world. To do so, we’ll dissect the work of published authors and tweeze out for examination various elements of the personal essay. We will also look at contemporary trends in creative nonfiction, discussing recent developments in voice, essay structure, and hybrid genres. Students will write three 2,500 essays, as well as participate in optional writing assignments and class discussions.

How it works:  

Each week provides:

• discussions of assigned readings and other general writing topics with peers and the instructor
• written lectures and a selection of readings

Some weeks also include:

• writing exercises and/or prompts
• opportunities to submit a full-length essay for instructor and/or peer review (up to 2,500 words and typically in weeks 3, 6, and 9)
• optional video conferences that are open to all students in Week 2 (and which will be available afterwards as a recording for those who cannot participate)

Aside from the live conference, there is no need to be online at any particular time of day. To create a better classroom experience for all, you are expected to participate weekly in class discussions to receive instructor feedback on your work.

Week 1: Detail and Description

This week we will put a handful of classic personal essays under our critical lens to discuss the DNA of creative nonfiction—concrete details. We will also discuss some strategies for developing evocative descriptions. Students will be asked to complete a 500-word optional writing assignment that puts these strategies into practice.

Week 2: The Blueprint of a Scene

What makes an effective scene? How do they heighten the stakes of our stories? How is a scene different from exposition? For which moments in our stories do we use scenes? Many times we as essayists try to avoid scenes because we can’t remember exactly what was said or what happened. This week we will talk about how to account for those gaps in our memory and how to construct scenes that both propel the plot and add emotional depth to our stories.

Week 3: Establishing Character and Conflict

Our best stories usually hinge upon a clear conflict–a thwarted desire, an unexpected complication, a frayed relationship. This week we’ll talk about the importance of having a clear conflict and the differences between internal and external conflicts. We’ll also discuss strategies for ensuring that our characters aren’t stock caricatures but exist on the page as real people. Students will participate in a short exercise about sketching characters.

Week 4: Personae—The Many Voices of an Essayist

One of the most difficult things to achieve as an essayist is a compelling narrative persona. This week, we’ll talk about developing an authorial sensibility that effectively mirrors who we are as people. We’ll also discuss how different subjects will require different narrative voices and how we can recalibrate our narrative approach to suit these particular topics. Finally, we’ll devote a portion of this week to looking at nonstandard narrative perspectives, such as using the second- or third-person point of view to dramatize other people’s stories. Students will be asked to complete a 500 word optional writing assignment on narrative voice. Students will also turn in the first of three 2,500 essays.

Week 5: Structure—How to Scaffold Our Experiences

This week’s discussions will be centered on the various ways we can organize our essays. As one might expect, different structures can yield different effects, so we’ll discuss the benefits and drawbacks of using fragmented chronologies, braided storylines, topic-based structures, and other forms. Students will read a variety of essays that use some of these structures.

Week 6: The Nature of Truth

One of the most persistent questions that comes up in creative nonfiction classes is “what do we mean by nonfiction?” How do we as essayists claim to approximate the truth? What authority do we have in doing so? How can we present a subjective interpretation or reality without intruding upon the sanctity of facts? How can we present our memories even though they might be skewed by emotion or warped by time? This week, we’ll talk about how to navigate such questions as we write about potentially sensitive topics. Furthermore, we’ll address the ways in which the haziness of our memory can take our essays in interesting structural and thematic directions. Students will turn in the second of three 2,500 essays.

Week 7: Research—How to Find and Incorporate Outside Help

It would be silly to think that we’re limited solely to the limited the narrow parameters of our memories when we sit down to write about our lives. Not only can we call upon the usual suspects—books, magazine articles, academic journals—but we can also find essay fodder in the most unexpected of places—our parents’ diaries; our baby books; our father’s tax documents; the sermons of our childhood pastor; the lecture notes from our first college philosophy class; the brochure for the army our brother consulted when he decided to enlist. We’ll also discuss strategies for incorporating this research into our essays in ways that preserve the seamlessness of the narrative.

Week 8: Moving from the Personal to the Universal

Since grade school, many well-meaning teachers have told us that writing is an act of expression, but this definition often encourages flowery, me-centric writing and might allow us to think that our essays can be cathartic burst of emotions without any concern for who’s reading them. To my mind, writing is an act of communication, a transmission between two consciousnesses (writer-to-reader) facilitated by a well-dramatized, well-crafted story. In order for this communication to be successful, we essayists must figure out ways of connecting our experiences to larger ideas.

Week 9: Revision

This week we’ll discuss the most crucial phase in the writing process—revision. We’ll review common mechanical and conceptual issues, and discuss strategies for pruning our prose of fluff, re-structuring the paragraphs, and locating and cultivating larger themes in our work. Students will be given a checklist to guide them during revision. Students will also submit their final 2,500 essay of the term.

Week 10: Publishing

Entering the literary marketplace can be daunting, so this week’s lecture will be devoted to demystifying the experience. Aside from reviewing the basics of how to write a cover letter, how to interpret rejection letters, and how to pitch your work to agents and publishers, we’ll also talk about finding and submitting to literary magazines that match our aesthetics and sensibilities.

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

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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Nonfiction-Inspired Poetry: A Creative Writing Assignment

Poetry and nonfiction are quite possibly two of the most polarizing text genres for both teachers and students. People tend to gravitate toward them or away from them, but they are both so important in the ELA curriculum. Students need to be able to read and write about nonfiction and poetry. In today’s post, I’m sharing one of my favorite creative writing assignments for secondary ELA.

In the past, I’ve written about ways to make poetry engaging as well as how to write poetry inspired by pictures . Since poetry is not my favorite genre to teach, I’ve really had to do some research to find assignments that my students will enjoy. Reading and analyzing it is not really the issue. When I ask students to write poetry, they generally seem less than inspired.

I first learned about this type of poetry when I was reading  A Teacher’s Guide to the Multigenre Research Project . What I love about it is that it combines elements of found poetry, concrete poetry, and collages. In her book, Lutz calls this form of poetry a crot. Crots are snippets of thoughts…short fragments. As a creative writing assignment, the crot blurs the lines between prose and poetry, and the power rests on the author’s creativity in expression.

What I like to do with this type of creative writing assignment is ask students to respond to nonfiction (and fiction) texts thoughtfully during our poetry or multigenre unit. It really is a fun assignment to teach, to write, and to grade. Here’s how I introduce it to my students:

1. Read a nonfiction text.

So we begin by reading and annotating the source that we will use as inspiration for the crot. I love to allow students choice. Their passion about the topic brings out their best work. Still, I use a model to demonstrate. The example above references research from two different nonfiction articles as well as a Disney movie and Paul Laurence Dunbar’s poem “We Wear the Mask.”

These crots, or collage poems, can be written without research, but the whole purpose as I use them is to present knowledge learned about a topic in an inspiring and nontraditional way. Still, they should be taking that information and using it to convey an original idea. When students use multiple sources, I ask them to unify the themes in their crot.

2. Teach students about white space.

One of the fun parts of writing poetry that consists of short snippets of thought is that the author gets to decide where to place those thoughts on the page. Placement should be strategic and even symbolic. I seize this opportunity to give students a brief lesson on marketing. Less is more.

3. Emphasize the importance of the artistic approach.

Crots that involve symbolic color, fonts with bold personalities, and uniquely arranged information will have a deeper meaning than those that are typed linearly in all 12 point Times New Roman font.

Have students do some research about what different colors might symbolize. Ask them to think about the content they are writing. How can it be arranged to represent differences in opinion, sequence, or cause and effect? Allow students the opportunity to add doodles, images, and even magazine word or letter cut-outs to their crots for added zest.

4. Be clear about expectations.

One of the mistakes I made the first time I asked students to write this nonfiction-inspired poetry was in not clarifying how many sources I wanted them to use and how much research I expected them to incorporate. I ended up with some students who only had one line from their crot that conveyed an idea from research. Be clear about what percentage of the poem or how many times you want a reference from the source.

Consider whether you want to teach students to use footnotes or endnotes. Traditional citations would be too intrusive for this context, but asking students to use superscript numbers or to provide an endnotes page can offer a polished effect that emphasizes the research component of the assignment.

5. Allow time for peer feedback.

One of the most powerful parts of writing these crots has been allowing my students time to discuss their work. They have such amazing ideas for one another regarding how to represent ideas more symbolically through color, arrangement, figurative language, and imagery. Consider supplying them with the rubric you intend to use while grading to focus their suggestions.

Students always enjoy looking back at the initial draft of their poems, noting how much they develop through the revision process.

If you are looking for a way to meaningfully engage students in critical thinking while writing poetry inspired by nonfiction source material, try this unique creative writing assignment. Hang their final products as artwork in your classroom. Surrounding ourselves with happy, bright poetry goes a long way in the battle to change reluctant students’ attitudes about the genre in general.

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You can find the assignment I use with students by clicking on the image below.

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Creative non-fiction writing exercises

(Re-posted from:  http://www.keepwriting.net/prompts.htm)

Writing Prompts

These prompts are intended to help inspire your creativity. Try your hand at any one of them or use them as quick ten minute writing exercises. More exercises will be added as time goes by, so please check this page periodically – the most recent prompts appear at the top. Remember what Natalie Goldberg says about writing practice: Keep your hand moving. Note: prompts #1 through #10 are preserved from the original Keep Writing classes, hosted by Linda Rome.

# 18:  Self-Searching

When you’re struggling with what to write about, sometimes it helps to get reacquainted with yourself…who you are…what matters to you. Here is an exercise designed to help you discover, and inspire you to explore in your writing, those things you feel most passionate about.

Take out two pieces of paper. Now answer every question in Phase One on the list below. If you would be willing to share your answers with the wider world, put those answers on the first sheet of paper. Any answers you are not willing to share should go on the second piece of paper. But all questions must be answered fully and honestly.

Once you’ve finished with Phase One, go through all your answers carefully, expanding on them by answering the corresponding questions in Phase Two.

If you find that those things you feel most passionate about are the ones you aren’t willing to share…don’t despair. Creative writing recreates reality – frequently changing events and characters, times and places – while staying true to the heart of the story – its emotional truth.

Pick one of your answers and recreate it into a story, an essay, a poem, a performance piece, that you would like to share.

# 17:  Sketching

Think you might enjoy writing about some far-off place and time…or maybe even inventing an imaginary place and culture all your own? Here’s a basic exercise to help you define place, time, and cultural mores as a context for your story.

# 16:  Characterization

Use the following format to create your own character. No cheating. Do not simply fill in the blanks by describing yourself or someone you know. Instead, fill in the blanks describing someone you’d find it interesting to know. Then, remembering that conflict is the essence of all dramatic writing, repeat the process by imagining a character whose value, attitudes, etc. would likely put them in opposition to the first character you invented.

Full Name: Nicknames: Sex: Age: Height: Weight: Hair: Eyes: Skin: Posture: Appearance: Health: Birthmark: Abnormalities: Heritage: Where born: Where live: Favorite food: Favorite subject in school: Favorite game as child: Best memory: Worst memory: Smoke/Drink/Drugs Profile: Favorite section of newspaper: Favorite type of music: Last book read: Last movie seen: Morning or night person: Introvert/Extrovert: Indoor or outdoor person: Greatest fear: Closest friend: Dearest possession: Favorite season: Class: Occupation: Education: Family: Home Life: IQ: Religion: Community: Political Affiliation: Amusements/Hobbies: Reading Interests: Sex Life: Morality: Ambition: Frustration: Temperament: Attitude: Psychological Complexes: Superstitions: Imagination

# 15:  Word Lists

Word lists can sometimes be a great spur to creativity. Try this one. Set your timer for ten minutes, then read the word list below and attempt to write something (a poem, a story, a short play) that contains all nine of these words.

Once you’ve completed this exercise, reread what you have written. Is there a character or a situation worth pursuing farther?

Another variation of this exercise is to create your own word list, listing only words that in some way are significant to you as a person. Then, use this list as your jumping off place, following the same rules as those given above.

# 14:  Recollections

Write some memoirs about a favorite teacher..

# 13:  Celebration

Write about a special birthday.

# 12:  Reinvention

Write about an incident in your past that you would like a chance to relive and do differently.

# 11:  Suspense

Write in any form (poetry, drama, short story, nonfiction, memoir, etc.) a piece that incorporates the phrase, “Don’t pick up the phone.”

# 10:  Explorations

A. Write a paragraph or story about noise.

B. Make a list: Start each phrase with “It would be crazy to. . . ” Go until you run out of sentences. Then, write the other side of the coin: Start each phrase with “It would be perfectly sane to. . . .”

C. Explore the differences of the two lists – either in an essay or poem or put two characters in a dangerous situation together where one is more likely to have said the “it would be crazy” statements and the other would be more likely to say their opposite.

D. Put on a piece of music and write where it takes you.

E. Comment on a newspaper or T.V. clip.

F. Imagine yourself as a child, looking at your mother’s wallet. What do you see? How do you feel? Tell a story from this child’s perspective.

# 9:  Disclosures

A. Make up a word and tell us what it means. Use it in a sentence, a story, a scene. The word can reflect something you always thought needed a word or it can be a set of sounds that trigger your imagination. Try it as a verb, an adverb, or a noun. Be playful.

B. Write a short paragraph/essay about something you used to do with your grandmother or grandfather that you still do today. Questions you might ask and answer: Why do I still do whatever it is? Do I enjoy it, how have my feelings for the activity changed? Why? Have I passed this on to my children? Explore the then and now.

C. Look at a picture. What is the secret hidden in the picture? Explore it, push the characters until they reveal the secret knowledge, power, or pain that they conceal.

# 8:  New Perspectives

A. Write a story about a person turning eighty.

B. Write a dialogue between two people who have to share a seat on a plane and who are attracted to one another. Introduce an obstacle to the smooth sailing of this attraction.

C. Write about an ugly moment between two people, but don’t label it. Make the reader experience it without you telling them what is going on.

E. Choose one aspect of the natural world that you feel has something to teach you. What specific quality does it express that speaks to you about your own life? Cluster your thoughts and shape them into a poem. (From Poetic Medicine by John Fox).

F. Write about a birthday.

G. Write the saddest thing you know about friendship.

H. Go back to one of the exercises you’ve done since the beginning of class and edit it with an eye to new ideas, different approaches, clearer sentences. Add a sustaining metaphor or an apt simile. Approach it creatively.

# 7:  In the Moment

Today celebrate what you still don’t know. Make a list of the elements you are unsure of in the plot of your story; the ideas as yet undeveloped in a poem; or the point of an essay that hasn’t yet crystallized. These are your reasons to keep on writing. Or, write the phrase “I still don’t know” as a diving study and fill the page with whatever comes out. Select one thing you don’t know to write/learn about today. — From Bonni Goldberg, Room to Write

A. In this exercise we’re going to practice being present to what is around us and reflecting that present reality in our writing. Get up and walk around the house, the porch, the deck, and/or the yard. Spend five or six minutes. Then write three pages about whatever comes to mind. This isn’t even a rough draft; this is just flow; pure mental, emotional, associative pure flow.

B. Go through your three pages and underline the sentences or paragraphs, phrases, or ideas you think are most interesting, provocative, amusing, enlightening. Underline or bracket them. With these thoughts in mind, again walk around. Then sit down and write something you might be willing to share, building on your first efforts. Let the ideas and subject matter pick the form.

# 6:  Motivation

“Always do what you’re afraid to do,” Ralph Waldo Emerson’s visionary Aunt Mary advised him. We tie ourselves in knots to sabotage the energy that might be unleashed if we move resolutely ahead. The risks of making changes are great. . . especially great changes. — Gail Sher, One Continuous Mistake

Write out all the things you are afraid to do concerning your writing and your writing life. Do not simply make a list, but use sentences so you can experience the flow of your thoughts. If you are stuck, start your sentences with something like, “I am afraid my writing will. . . .” or “I am afraid writing is . . . .”

Now make a list of other things you’re afraid of doing. Be as outrageous as you can.

In this exercise, we’re going to use quotations as our jumping off place into writing. You may choose the form: narrative or essay or dialogue. Spend the first five minutes thinking, jotting notes, clustering, doodling, gnashing your teeth, or wandering around, if you choose. If no response comes together for you, write three pages on what is going on in your mind, starting with the quote:

“Where we are going is here.” or “Both ways are best.” or “What is the straight within the bent?”

Who might say such words? In what context? You may use them as dialogue or images or theme. Write a poem or a story or a reflection. Let yourself play.

# 5:  Dialogues and Expositions

A. Write about a day in the “life” of an inanimate object. (Suggestions: a mirror, football, computer, refrigerator, rug, or paperclip.)

B. Write some funny dialogue between a father (or mother) and his/her daughter (or son) who must explain explain why she/he is two hours past curfew.

C. Expository essays that define call for short or extended definitions to help both the reader and the writer understand the meaning of a word. Depending on its length, you may develop your definition by examples, comparisons, and/or functions. Fill in the blank. Go for 10 minutes. Bad luck is __________.

D. Write a story about a factory.

E. Describe a lake as seen by a young man who has just committed murder. Do not mention the murder. (Exercise taken from John Gardner’s The Art of Fiction .)

F. Look around the room you’re in. Write about an object that you have an emotional attachment to or that triggers an emotional response in you. Some tips for writing ten minutes a day: Try to do it around the same time every day. It helps build a habit. Go with your first thoughts. Get down the sentences as they occur to you. Trust yourself. You can edit later. This ten minutes is for writing, not editing, not note taking, not planning. If you pick up a piece from the day before, you must make forward progress – at least one sentence. Keep writing!

# 4:  Narratives

Writing has tremendous energy. If you find a reason for it, any reason, it seems that rather than negate the act of writing, it makes you burn deeper and glow clearer on the page. Ask yourself, “Why do I write?” or “Why do I want to write?” but don’t think about it. Take pen and paper and answer it with clear, assertive statements. Every statement doesn’t have to be one hundred percent true and each line can contradict the others. Even lie if you need to, to get going. If you don’t know why you write, answer it as though you do know why. — Natalie Goldberg, Writing Down the Bones

Tip: If you feel stuck, start out: I don’t know why I write, but . . . . or I feel that as a writer I have something to say, but. . . . But? But what? Stay with this “but” until you are about “but,” the most knowledgeable person in the world.

Since everyone likes a good story, it’s no wonder that the narrative is such a popular form of writing. Fairy tales, anecdotes, short stories, novels, plays, comics, and even some poems are all examples of the narrative form. Simply stated, a narrative is a story based on fact or fiction. Any type of narrative (or story) writing is built on a series of events. By telling about these events one after the other, just as they occurred, your story will satisfy a reader’s curiosity about what happens next. (A more complex narrative device of moving back and forth from past to present within a story is call the flashback technique.) A narrative composition can be used to entertain, make a point, and/or illustrate a premise.

A. Write a story about wanting and glue and staring.

B. Respond to the following quote. Follow where the words lead you.

A man’s life is nothing but an extended trek through the detours of art to recapture those one or two moments when his heart first opened.  — Albert Camus

# 3:  Highlighting Details

A. Start a story with a word that starts with the letter B – any B, any word.

B. Pick a particular time of day and a particular window. Spend 10 minutes each day for three days describing what you see out of the window.

C. Write about what you hate most about writing.

D. Create a lovable character with one disappointing flaw. Put that character in the same room as you and a very favorite small child in such a way that the disappointing flaw is evident. What happens?

E. Remember haiku? Those 5-7-5 syllable poems that have a touch of nature and a hint of epiphany in them? Try writing one every day this week. Or try your hand at a sonnet!

# 2:  Found Objects

A. You find a checkbook on the ground-perhaps you’re in a park, jogging along the highway, or in the parking lot at the Mall. You decide to return it. What happens next?

B. You’re tired. Who isn’t? You make a mistake, a costly mistake. What happens next?

C. Question of the year: What do you see in that new piece of art your spouse or significant other brought home? How do you feel when you find out it cost the equivalent of three months pay? Write this story in the third person.

D. Let’s revisit the expensive piece of art your significant other brought home. Write a story from the point of view of the person who brought it home.

E. Paper clips. How important are they? Pick up your pen and write about paper clips for ten minutes.

F. Pick out one piece of your writing. Look in Writer’s Market or some other marketing tool and pick out three possible places to send it. Write them down, bookmark them. Or type up a query and send off your piece.

G. Pick out three current market listings that sound appealing to you. Think of an article idea that you would be able to write for that market. Write your idea and the approach you’d take down. Write down the names of possible contacts to interview or the titles of books for quotes you might need or use. Play around with a first sentence. Write a rough draft. (Take ten minutes to do each of the previous directions.)

# 1:  Observe and Analyze

A. Sit in your favorite chair. Write about the view. If you want to write a piece of fiction, imagine someone who is the total opposite of how you see yourself, and put him or her in that same chair. How does the view change?

B. The pair of shoes, scuffed and worn, stood sentinel, at the door. Use the previous sentence as the beginning or ending sentence for a short story-maximum 1200 words.

C. Today, notice all the people that grease your day but who you rarely think about: the newspaper delivery person, the mailman, the elevator doorman, the pizza delivery guy, the cashier at the grocery store or the hostess at your favorite eatery. One of them is a murderer. What’s the story here? Who tells it? What happens next?

D. Pick out one page of your work. Look at it very carefully, sentence by sentence. Cull 10% of the words. Look at the verbs in each sentence. Punch them up by choosing more vigorous, more active verbs. On your word processor, take out all the adjectives and adverbs. Add them back sparingly.

E. Pick out another page of your work. Look at it very carefully, sentence by sentence. Where do you make leaps of logic that may leave your reader confused? Where do you make assumptions about what the reader knows? Are those assumptions valid? Do you actually portray the scene you see in your mind’s eye-or are there important details you’ve left out? Add them in. Pay attention to the sensory details: add in whatever is necessary to make the reader hear, smell, taste, or feel what’s going on in the scene (or essay or poem).

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Creative Non-Fiction

• Creative Writing

JRN 240 / CWR 240 • Spring 2015

This is a course in factual writing and what has become known as literary nonfiction, emphasizing writing assignments and including several reading assignments from the work of John McPhee and others. Enrollment is limited to 16 second-year students , by application only.

Apply here . For the writing sample, submit whatever you consider to be your best work, from any source, written since you came to Princeton, including, if you like, a new piece written for the application.

Mondays, 1:30 - 4:20 pm

Instructor(s)

More details.

View this course listing @ registrar.princeton.edu

Previous Courses

Spring 2024

Creative nonfiction: the act of immersion: reporting deeply on the lives of others.

Creative Non-fiction

Spring 2020

Creative nonfiction, spring 2019.

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Writing Creative Nonfiction

A history workshop.

Assignments

This is a workshop. Over our eight weeks together we will do three things:

Read creative nonfiction.

Rewrite an older piece of writing in different styles to practice bringing greater creativity to our own work.

Research and write an original short piece of creative nonfiction.

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The Practice of Creative Writing

Psychology in Everyday Life

A guide for students fourth edition | ©2021 heather sellers.

ISBN:9781319321161

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ISBN:9781319215958

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ISBN:9781319458263

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Be bold. Write well. Have fun.

When it comes to writing, The Practice of Creative Writing has a simple message: you can do this, and it’s worthwhile to try. Designed for students in the introductory course, The Practice of Creative Writing teaches writers how to trust their own voice, experiment with form, and develop a writing process that allows them to spend more productive time at the desk.   Rather than locking into one genre early, writers are encouraged to work among and in between genres and to focus on creating a writing practice that privileges close observation, patience, and techniques of pattern, energy, and shape. Heather Sellers, who writes in multiple genres herself, has developed a lively, welcoming, student-centered approach that teaches creative concentration, close reading, and generating pages. She provides opportunities to be playful and to experiment at the same time that she teaches students the importance of discipline, form, and craft. Heather Sellers is a certified online instructor, and The Practice of Creative Writing is designed to be used in traditional face-to-face classrooms or in online education. Each chapter begins with objectives for that module. Prompts and writing practices are carefully sequenced. Every chapter ends with both genre-specific writing projects alongside hybrid and experimental prompts. The readings included in this new edition invite students to experience an even wider range of innovative and new literatures.  A new chapter on creative ways to approach revision as a shaping practice engaged throughout the writing process helps students work harder on their writing.

New to This Edition

"The Practice of Creative Writing stands out as an inspiring, engaging, and useful text for beginning creative writers. Heather Sellers manages to introduce core concepts and literary techniques with an emphasis on practice that is integral to building a multi-genre course without being overly prescriptive. Instructors can choose from a variety of contemporary literature selections and provide students with the models, writing prompts, and exercises that help them grow as creative writers." — Kathleen McCoy, Adirondack CC, Queensbury "The Practice of Creative Writing by Heather Sellers is the most useful creative writing textbook on the market. It addresses student writers in an amiable, colloquial way and makes complex ideas about writing craft simple and approachable. The book is an enthusiastic invitation to students to engage the exciting, infinite possibilities of the art of creative writing." — Scott Ward, Eckerd College "This text helps students think outside the boxes of genre to instead focus on the building blocks of creativity and the nuances of form and technique. By teaching writers to analyze literature as a careful balance of image, tension, energy, pattern, and insight, they can in turn understand how to employ the same elements in their own work in order to engage and move their readers." — Dr. Courtney Huse Wika, Black Hills State University "Sellers text is very student friendly. It successfully helps the beginning creative writer into the writing field by making solid comparisons to other art fields they may be familiar with and utilize. It talks about writing in practical terms while not dazzling readers with literary terms for the sake of labelling." — Joyce Kessel, Villa Maria College, Buffalo "This is my go-to text in intro to CW. Ive adopted it; Ive recommended it. Its a perfect balance of wit, humility, and intellect. Behind the words, you sense a real person--a writer--not a corporate shadow. Heather Sellers walks readers through the intricacies of creative writing with a lovely balance of humor and rigor." — Jeffrey Newberry, Abraham Baldwin Agricultural College "I really think this is an incredibly adroit text in that the writer writes with her audience well in mind. This responsiveness spans many aspects of the book, its structure, its content, its voice and style, even down to paragraph structure. There are many repetitions in the chapter sections and this great; when students don’t know how to read for main ideas, the repetitions aid in reinforcing their learning. The volume begins with students’ reading a graphic comic, something with which they are familiar, and then moves to approaching literary texts, something with which they are less familiar. It draws many analogies using music, again, something that students both know and care about. On these rhetorical levels, this is probably the best introduction to creative writing I’ve even read and used, and I’ve been teaching creative writing for 26 years." — Scott Ward, Eckerd College "The literary selections are outstanding, representing a multicultural array of authors with contemporary relevance, high interest, and a mix of well-known and lesser known writers." — Kathleen McCoy, Adirondack CC, Queensbury "I generally dont use or like textbooks, but this textbook caught my eye. This is largely because the author approaches creative writing like a practicing artist might, coaching students towards their best and deepest selves, offering surprising insights and exercises, building their close-reading muscles, encouraging honest and specific images and sentences. I love this about the book, and this is what distinguishes it for me." — Maria Brandt, Monroe CC "The Practice of Creative Writing stands out from other creative writing textbooks because it focuses on critical craft principles - such as the use of sensory detail, writing to communicate tension and insight, and revision practices - over a rigid focus on form or progressing through forms. It allows the instructor the freedom to pair the textbook with as few or as many forms as they want to assign in their creative writing classes." — Martha Webber, Cal State Fullerton "This is a creative writing textbook written by an accomplished and articulate WRITER, who understands the writing process and uses a teachable, effective approach for introducing students to writing in multiple genres." — Patricia Francisco, Hamline University, St. Paul "Heather has selected an awesome collection of creative works that exemplify a variety of forms. A number of these shorter/quicker forms (e.g., flash fiction), are great for getting novice creative writers acclimated to the depth and temperature of the water." — Bill Gary, Kentucky Community & Technical College System "This book takes a "personal trainer" approach to the practice of writing. It is a gentle, encouraging voice in the writers ear." — Robert Cowser, St. Lawrence University

Fourth Edition | ©2021

Heather Sellers

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Fourth Edition | 2021

Table of Contents

Heather Sellers is professor of English in the graduate and undergraduate writing programs at the University of South Florida, where she was honored with a university-wide teaching award. She offers courses for creative writers in hybrid and experimental writing, fiction, memoir, essays, and poetry as well as a course for teachers of creative writing. Born and raised in Orlando, Florida, she earned her PhD in English/Creative Writing at Florida State University. She has taught at New York University, the University of Texas–San Antonio, St. Lawrence University, and for almost two decades, Hope College, where she was elected Professor of the Year. A recipient of a National Endowment for the Arts Fellowship for Fiction and a Barnes and Noble Discover Great New Writers award for her short story collection Georgia Under Water, she has published widely in a variety of genres. Her work appears in the New York Times; The Pushcart Prize anthology; The Best American Essays; O, the Oprah Magazine; Good Housekeeping; Reader’s Digest; Parade; Real Simple; On the Seawall; Adroit; Longreads; Creative Nonfiction; and frequently in The Sun Magazine. Her memoir You Don’t Look Like Anyone I Know: A True Story of Family, Face Blindness, and Forgiveness was a Michigan Notable Book of the Year and Editor’s Choice at The New York Times Book Review. Other publications include Drinking Girls and Their Dresses: Poems; and Spike and Cubby’s Ice Cream Island Adventure, a children’s book. She lives in Saint Petersburg, Florida. Her website is heathersellers.com .

Fourth Edition | 2021

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Related Titles

Chapter 9: Shape

Author Talk

Heather Sellers on why she wrote The Practice of Creative Writing: A Guide for Students

Heather Sellers, An Online Course Is Like a Poem

Heather Sellers, Nonjudgmental Workshops

Heather Sellers, Practice of Creative Writing

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Teaching Nonfiction Writing

September 9, 2024

Discover effective strategies to develop non-fiction writing skills in the classroom, empowering students to become confident and independent writers.

Nonfiction writing is a vital tool for helping students express their ideas and understanding in a world that often emphasizes creative storytelling. In today’s educational landscape, where critical thinking  and information literacy are more important than ever, mastering nonfiction writing is essential for students to communicate effectively and navigate the complexities of the world around them.

To write well in nonfiction, students need to learn various techniques and strategies that not only improve their writing but also build their confidence. By using text features , choosing engaging topics , and incorporating visual aids , educators can help students organize their thoughts and create strong, convincing arguments. Confidence grows when students have the right tools and guidance at every step of their learning journey.

This article will explore essential strategies for teaching nonfiction writing, focusing on approaches for both younger and older students, and creative methods that blend traditional writing with digital tools. These insights aim to help teachers develop confident nonfiction writers who are ready to share their ideas and perspectives with the world.

The Importance of Nonfiction Writing at School

Nonfiction writing plays a key role in education. One of the most effective ways to teach it is through interactive read-alouds, where teachers can show students the structure and style of nonfiction writing. These read-alouds spark meaningful discussions , helping students understand how nonfiction texts are built.

The variety of nonfiction children's literature available today is rich and diverse. A classroom library filled with nonfiction trade books gives students a chance to explore different formats and styles. These texts not only support independent reading but also help students become familiar with the features and structure of nonfiction writing. As students engage with a range of nonfiction works, they develop the skills needed to navigate and understand these texts with confidence.

Choosing nonfiction books that match students' interests can increase engagement, making reading more relevant and enjoyable. Award-winning nonfiction literature isn't just about recognition—it plays a vital role in creating a language-rich environment that fosters curiosity and learning.

In co-taught classrooms , nonfiction texts help expand students' vocabulary and deepen their understanding of content. Reading nonfiction gives students access to factual information, building a strong foundation for future learning. Research shows that students who are exposed to a broad range of nonfiction texts are better equipped with knowledge and vocabulary , setting them up for greater success in their reading and academic development.

Key Strategies for Teaching Nonfiction Writing

As we dissect the essential strategies for teaching nonfiction writing, it is paramount to acknowledge that this craft is a combination of various skills—planning, composing, revising, editing, and publishing. Each step articulates a thread in the fabric of the writing process, culminating in a rich tapestry of language and fact-based content. Nonfiction writing instruction, therefore, should not just focus on a single aspect but embrace the whole cycle to support the comprehensive development of a nonfiction writer.

Teachers, as facilitators, can significantly enhance the nonfiction writing experience by providing collaborative opportunities for students to explore an array of real-world texts. This method fosters a dual proficiency—in research and writing skills. Structurally, when nonfiction writing lessons are organized around five cardinal purposes—informing, instructing, narrating, persuading, and responding—a scaffolding is created that effectively structures a nonfiction writing curriculum.

Engagement is the currency of education, and hence finding high-interest topics and texts is crucial to nurturing motivation for nonfiction writing assignments. This captivation with the subject matter steers students towards success. Furthermore, teaching them the art of summary—which demands conciseness and focus—provides clarity on the expectations for summarizing nonfiction texts.

Incorporating Text Features

Text features play a pivotal role in nonfiction, serving three vital functions: navigating readers to pertinent information, enriching their comprehension of the given content, and expanding their knowledge orbit about the main topic. When these text features are visual—such as photography, illustrations, graphics, and iconography—they have the power to stir up prior knowledge and kindle inquiry from multiple perspectives.

Employing graphic organizers tailored to diverse nonfiction text structures aids students in identifying and applying suitable reading strategies . It's akin to providing a map in which students can chart their course through complex information. Moreover, engaging students with games and interactive activities dedicated to learning text features embeds these skills in a manner that is entertaining and memorable. Encouraging self-correction when utilizing these organizers empowers students to exhibit their understanding and mastery over the assorted text structures embedded in nonfiction.

Engaging Topics to Enhance Understanding

Presenting students with high-interest nonfiction texts and topics that resonate with their curiosity and daily life sharply escalates motivation, encouraging them to delve deeper and explore content more fervently. Such regular exposure perfects their ability to anticipate and adeptly navigate the myriad subgenres, formats, structures, and text features. This interaction should not be episodic but integrated into daily routines to spur students' understanding of the content while simultaneously enhancing their writing prowess.

Opportunities for collaborative work with nonfiction texts are foundational for students to hone their voice while polishing clarity, authority, and organization in their writing. This social interplay with engaging nonfiction materials also provides fertile ground for building vocabulary and content knowledge through rich discussions and interactions, setting a robust foundation for proficient reading comprehension . It is in these discourse-rich environments that students become skilled not only in understanding nonfiction but in molding their insights into writing that informs and illuminates.

Using Structural Learning to Improve Non-Fiction Writing

Teachers can use the Structural Learning Toolkit to help elementary students become confident nonfiction writers. The toolkit provides practical strategies that support the development of essential writing skills and help students work with informational texts . Below are key concepts from the toolkit, each with practical classroom applications to enhance writing skills.

Exploratory Talk

Engaging students in exploratory talk  helps them express and develop their ideas before writing. By using Talk Tools , teachers can encourage students to discuss their thoughts about kinds of nonfiction or specific topics. These discussions deepen students’ understanding and prepare them to write more effectively by refining their ideas and arguments.

Visual Planning

Visual planning is an excellent way to help students structure their writing. By guiding students to use graphic organisers , teachers can assist them in mapping out their ideas, ensuring that the information flows logically. This approach is particularly useful for nonfiction writers who are working with informational texts and need to organise complex content clearly.

Block Building Kits

Block Building Kits are hands-on tools that allow students to physically arrange their ideas before writing. This visual and tactile strategy helps students, especially elementary students , see the connections between their thoughts and how to build their nonfiction writing. It’s an effective way to reinforce classroom reading practices and ensure that students can visualise the structure of their work.

Deep Understanding

Developing a deep understanding of content is essential for clear nonfiction writing. The toolkit’s thinking framework helps students build strong background knowledge on a topic. Teachers with knowledge of the role of content understanding can guide students to connect new information to what they already know, ensuring their nonfiction writing is well-informed and structured.

Learning Actions for Writing

Identifying specific learning actions , such as summarising or hypothesising, enables students to extend their ideas in writing. Teachers can integrate these actions into language arts lessons , helping students apply critical thinking to their writing. This approach builds content knowledge and improves their ability to express complex ideas in nonfiction texts.

By incorporating these strategies into classroom practices, teachers can better equip students to handle the demands of nonfiction writing and enhance their overall literacy skills.

Techniques for Younger Students

Younger students might be best supported by an educational scaffolding that propels them into more advanced stages of literacy. This scaffolding can take various forms, such as collaborative research and writing activities, which not only acquaint them with the pragmatic applications of writing but also ignite their excitement about the subjects they explore. Indeed, by incorporating a selection of real-world nonfiction texts, educators can tap into the intrinsic curiosities of their students, fostering a genuine interest in the topics discussed.

To achieve inclusivity within nonfiction writing instruction, lessons devised for years 4–8 can be adeptly modified to cater to the developmental stages of younger learners. This adjustment ensures that all students, regardless of their literacy level, are given equitable opportunities to grow under the instruction of nonfiction literacies.

Extended writing units, focused on specific nonfiction text types, offer a chance for students to immerse themselves deeply within a subject, thereby elevating their understanding and refining their skills progressively. Such comprehensive units enable young learners to engage with nuanced aspects of informative writing, developing expertise and confidence over time.

Furthermore, encouraging a strong student voice in nonfiction compositions is vital. It helps clarify their viewpoints, establishes a sense of authority, and enhances organizational skills. When students comprehend the importance of conveying their perspectives with clarity and organization, their nonfiction writing does not merely inform but also engages and persuades.

Illustration and Labeling

When students use illustrations to support their writing, such as drawing an animal in its habitat or a busy city scene, they add depth to their storytelling. These visuals help the reader better understand the text by making it clearer and more relatable.

Labels and captions play an important role too, acting as guides for readers. By encouraging students to label their drawings or add captions to images, we are helping them develop skills to explain and annotate their ideas, which strengthens their learning and understanding.

Combining text with images does more than just mix two types of media—it boosts visual literacy. This skill is important for interpreting the complex messages we encounter every day. When students look at visuals alongside text, they tap into what they already know, helping them approach new information with a deeper understanding.

In the classroom, analyzing visual elements , especially in nonfiction picturebooks, encourages students to think critically about diversity and representation. Through these discussions, students start to notice which stories are being told and which are left out, promoting a more inclusive way of thinking about nonfiction writing.

Encouraging Creativity Through Visual Aids

In nonfiction writing, visuals like photos, illustrations, and graphics aren’t just extras—they play a key role in expanding students' understanding and encouraging them to appreciate different perspectives. These visual features help connect new information with what students already know, making learning more engaging.

When teachers encourage students to have thoughtful discussions about visual elements, it opens the door to deeper inquiry, reflection, and emotional connection with the content. These conversations help students process information in a way that is supportive and inclusive, fostering understanding and avoiding negative experiences.

In today's world, where we are constantly surrounded by images, teaching students to critically evaluate visual elements is essential. It helps them understand how images shape the way information is presented and influence their perceptions. This skill is important for creating thoughtful, informed individuals who can actively engage in society.

Additionally, using visual text features strategically can improve both navigation and understanding. These features break down information into manageable pieces and help readers get a better grasp of the main topic. By combining text and visuals effectively, students can enhance both their reading and writing skills, making nonfiction writing a richer and more meaningful experience.

Techniques for Older Students

For older students, nonfiction texts are a powerful tool for improving language skills . The technical vocabulary within these texts offers an opportunity to enhance their understanding of words through decoding and word exercises. This process not only expands their vocabulary but also strengthens their overall reading abilities.

But nonfiction isn't just about reading. Writing with confidence and clarity is equally important. By engaging in exercises that focus on critical thinking and rhetorical skills, students can learn to craft nonfiction pieces that are coherent and persuasive. Extended units of study that explore various nonfiction genres help students refine their writing style and strengthen their command over the material.

To support this growth, instructional materials turn theory into practical skills, reinforcing language abilities that are crucial for real-world success. Through structured nonfiction writing exercises, students develop key competencies that benefit them across academic subjects.

Revision is also key for older students. Tailored strategies help pinpoint areas where clarity needs improvement or arguments need strengthening. These focused interventions teach students how to dissect, understand, and rebuild nonfiction texts, providing essential lessons for their language development journey.

Sentence Writing Routines

In English instruction, routines are essential because consistency builds confidence. Daily sentence writing exercises give students regular practice with crafting sentences, helping them improve their writing skills one sentence at a time. These short, focused tasks encourage creativity while providing a structured environment to support those who struggle with sentence construction.

By making these routines a daily part of the classroom, teachers ensure that students are continuously refining their writing skills. The impact goes beyond sentence fluency—these exercises help students learn how to build cohesive narratives, especially in nonfiction writing, where clear and concise sentences are key.

Teachers can strengthen their literacy programs by incorporating daily writing exercises. The regular act of writing allows students to develop their abilities gradually, turning writing challenges into valuable opportunities for growth.

The 5W and H Questioning Technique

The 5W and H questioning technique is a powerful tool that helps students dig deeper into nonfiction material. This method asks students to explore the basics of any topic by addressing six key questions: who, what, when, where, why, and how . These questions guide students toward a comprehensive understanding of the subject matter.

This technique aligns naturally with students' curiosity, allowing them to engage with the world around them. It’s flexible enough to support younger students who are just starting to explore nonfiction, while also challenging older students to develop more advanced analytical skills. By asking these structured questions, students can create detailed summaries, making sense of complex information and staying engaged with the content.

The 5W and H technique builds both confidence and competence . It transforms vague concepts into clear, tangible ideas, helping students better understand and express intricate nonfiction topics. Simple yet effective, this strategy empowers educators to encourage deeper thinking and improve students' nonfiction writing abilities.

In nonfiction writing, establishing sentence writing routines is essential for building both confidence and creativity . These routines consist of short, focused writing tasks that help students improve their ability to construct clear and effective sentences.

Incorporating these quick exercises into the daily classroom schedule gives students regular practice with sentence construction, a key element of language development . For students who may struggle with writing, these routines provide a supportive structure where they can gradually develop their skills.

By making sentence writing a regular part of the curriculum, teachers can support a comprehensive writing program that strengthens overall literacy. This routine benefits all students, whether in primary classrooms or co-taught environments, by embedding nonfiction writing as a natural and consistent part of language arts education. Structured, consistent practice helps students become more confident writers, laying a strong foundation for success in nonfiction writing:

A selection of nonfiction trade books, ranging from award-winning nonfiction children's literature to nonfiction picturebooks, can be a rich resource pool for these activities. Ultimately, such routines can magnify the repertoire of choices in nonfiction compositions and enrich the review of classroom practices in language arts instruction.

Mixing Media to Enhance Learning

In teaching nonfiction writing, blending text with images is more than just a creative choice—it's a strategy that connects with diverse learners. By incorporating multimedia into nonfiction lessons, teachers encourage students to not only absorb information but also analyze how knowledge is constructed.

Using mixed media in language arts nurtures critical literacies . Engaging students with images alongside text allows them to express their emotions and examine the deeper meanings conveyed by visual elements. For example, using nonfiction picture books or photographic essays in the classroom can broaden students' perspectives, giving voice to stories that might otherwise be overlooked in traditional text.

A picture can indeed tell a thousand words. As students reflect on the images embedded in nonfiction, they sharpen their ability to evaluate how visuals shape the narrative and influence perceptions. Visual literacy becomes an essential companion to traditional literacy, helping students appreciate the complex layers within nonfiction writing.

Nonfiction literature also enriches the curriculum by offering diverse viewpoints and enabling students to explore real-world issues. This genre serves as a gateway to global perspectives, helping students become aware of biases and cultural influences . As they engage with nonfiction, students build the skills necessary for civic participation , a key part of a democratic society.

Using Digital Resources

The digital world offers a range of resources for teachers looking to strengthen nonfiction writing instruction. Platforms provide interactive tools, such as charts and checklists, as well as texts like "5 Kinds of Nonfiction," which help break down different nonfiction styles and encourage the use of mentor texts.

Educators can also benefit from Melissa Stewart’s website, a valuable resource for teaching nonfiction. Stewart’s materials help teachers breathe life into lessons on nonfiction reading and writing. Additionally, the "Explorations in Nonfiction Writing" series provides age-specific materials, making it easier to tailor lessons to the needs of the classroom.

Digital libraries offer classrooms access to a wide range of nonfiction books, including award-winning titles. These resources not only support traditional teaching methods but also provide opportunities for students to engage with a diverse range of experiences and narratives .

Incorporating Multimedia Projects

Visual literacy plays a crucial role in nonfiction writing, especially in a world dominated by multimodal communication. Visual literacy involves cognitive, emotional, cultural, and political aspects, making it an essential part of how students interpret and engage with texts.

Teachers can enhance nonfiction lessons by incorporating graphic and visual elements . Visual stimuli spark prior knowledge, deepen understanding, and offer multiple perspectives on societal issues presented in nonfiction texts.

Classrooms can become spaces where students create multimedia projects that go beyond traditional writing. By drawing from nonfiction sources, students can build arguments, analyze viewpoints, and engage with social issues such as racism or gender inequality, all through their multimedia creations.

Nonfiction, therefore, becomes a platform for creative and critical expression , encouraging diverse interpretations and fostering discussions on complex human experiences.

Building Confidence in Student Writing

Building confidence in nonfiction writing starts by connecting lessons to students' real-world experiences . By introducing award-winning nonfiction literature, teachers expose students to a variety of writing styles and formats that can serve as inspiration for their own writing.

Writing a strong nonfiction summary requires a solid understanding of the key elements that make nonfiction distinct. When teachers set clear expectations, students can gain confidence in summarizing nonfiction texts effectively and clearly.

Table: Scaffolds for Nonfiction Writing Instruction

Relevant topics play a crucial role in sparking student engagement . When students see themselves and their experiences reflected in the material, their motivation to write and their confidence in expressing ideas increase significantly.

To foster both competence and confidence in nonfiction writing, classrooms should integrate tools like prompt pages and write-about-reading templates . These scaffolds guide students through the writing process, helping them structure their thoughts and build stronger nonfiction writing skills. This approach allows students to navigate the world of nonfiction with authority, developing a sense of self-assuredness in their writing.

Further Reading on Developing Non-fiction Writers

These studies highlight evidence-based strategies for improving nonfiction writing skills in elementary students, focusing on classroom practices, informational texts, and the development of confident, independent writers.

1. Astutik, W. B., Yuwana, S., & Hendratno, H. (2021). Development of Non-Fiction Text Digital Learning Media in Narrative Writing Skills for Fourth Grade Elementary School Students.

Summary : This research focused on developing digital learning media for non-fiction writing in fourth-grade classrooms. Results showed significant improvement in students' narrative writing skills, enhancing their ability to work with informational texts. The study emphasizes the importance of integrating technology to challenge children and build content knowledge in the classroom.

2. Paz, S. D. L., & Graham, S. (2002). Explicitly Teaching Strategies, Skills, and Knowledge: Writing Instruction in Middle School Classrooms. Journal of Educational Psychology, 94, 687-698.

Summary : This study demonstrated how explicitly teaching writing strategies and content knowledge improved the nonfiction writing skills of elementary students. The use of instructional design focused on informational texts helped students become more confident writers, with increased mastery of nonfiction literacies.

3. Riley, J., & Reedy, D. (2000). Developing Writing for Different Purposes: Teaching about Genre in the Early Years.

Summary : This research explored how teaching nonfiction genres in primary classrooms supports young writers in understanding key features of informational texts. By focusing on classroom reading practices and providing structured writing activities, students became independent writers capable of producing coherent nonfiction compositions.

4. López Niño, F., & Varón Páez, M. E. (2018). Building Writing Skills in English in Fifth Graders: Analysis of Strategies Based on Literature and Creativity. English Language Teaching, 11, 102-110.

Summary : This study highlights creative writing strategies, such as acrostics and comic strips, used to build nonfiction writing skills in fifth graders. The integration of real texts and informational content allowed students to engage more effectively in nonfiction writing while developing as nonfiction writers with improved writing choices.

5. Hoad, E. (2002). Developing and Encouraging Writing Skills.

Summary : The author provides concrete ideas for encouraging non-fiction writing in elementary students with special educational needs. The study emphasizes using real texts and classroom reading practices to enhance accessibility for children, ultimately promoting confidence in nonfiction writing and supporting learning in co-taught classrooms.

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Finding Your Footing: Sub-genres in Creative Nonfiction

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Memoir is perhaps the “flagship” of creative nonfiction, the sub-genre most familiar to those outside of literary and academic circles. Most human beings lead interesting lives filled with struggle, conflict, drama, decisions, turning points, etc.; but not all of these stories translate into successful memoir. The success of the memoir depends on the writer’s ability to sequence events, to tell a story, and to describe characters in believable ways, among other things. Writer Carol Spindel reminds us that in the mid-2000s a scandal surrounding writer James Frey’s A Million Little Pieces erupted after he was forced to admit that large sections of his “memoir” were “fictionalized:” he’d embellished, made things up. A memoir that strays from the truth is not far removed from lying, because regardless of the writer’s intention, the story deceives the reader. Spindel writes that, unlike in novels, “The knowledge expressed in the memoir has the legitimacy acquired through first-hand experience.” Good memoir also provides reflection on the events that have happened to the writer, so it “can give readers insights into society, and even into the larger meaning of life itself” (Spindel).

The Braided Essay

The braided essay is a good tool for introducing writers—especially student writers—to the CNF genre. In a braided essay, the writer has multiple “threads” or “through-lines” of material, each on a different subject. The essay is broken into sections using medial white space, lines of white space on a page where there are no words (much like stanzas in poetry), and each time there is a section break, the writer moves from one “thread” to another. Braided essays take their name from this alternating of storylines, as well as from the threads the story contains; there are usually three, though to have four or two is also possible. Though there is not a strict formula for success, the form usually contains at least one thread that is very personal and based on memory, and at least one thread that is heavily researched. Often, the threads seem very disparate at first, but by the climax of the essay, the threads being to blend together; connections are revealed.

Topical Writing

Perhaps the genre closest to an essay or a blog post, topical writing is an author’s take on a given topic of specific interest to the reader. For example, nature writing and travel writing have been popular for centuries, while food writing is gathering steam via cooking blogs. Nature writing involves exploring the writer’s experience in a beautiful and thoroughly rendered natural setting, such as a cabin on a mountaintop. Travel Writing, as the name implies, details the writer’s experiences while traveling, whether by choice on a vacation or out of necessity due to business or serving in the military. Finally, contemporary food writing explores the writer’s connection to cooking and enjoying food of any variety. All three will occasionally step into the writer’s personal experiences via memories, but these episodes are always related to the topic driving the essay.

Whatever form a creative nonfiction piece takes, it must remain based in the author’s actual lived experiences and perceptions. Like academic writing, the piece must be accurately researched and the sources must be documented. Finally, the author must also always leave room to reflect on how their experiences have shaped them into the person they are now. It’s the reflection that makes the reader feel satisfied: it offers something to the reader that they can carry with them, a way of seeing the world.

Works Cited

Cokinos, Christopher. “Organized Curiosity: Creative Writers and the Research Life.” Writer’s Chronicle 42.7: April/May 2015. 92-104. Print.

Ironman, Sean. “Writing the Z-Axis: Reflection in the Nonfiction Workshop.” Writer’s

Chronicle 47.1: September 2014. 42-49. Print.

Spindel, Carol. "When Ambiguity Becomes Deception: The Ethics of Memoir." Writer's

Chronicle (2007): n. pag. AWP . Association of Writing Programs, 1 Dec. 2007. Web. 13

Sept. 2015.

Terrill, Richard. "Creative Nonfiction and Poetry." Writer's Chronicle (2004): n. pag. AWP .

Association of Writing Programs, Oct.-Nov. 2004. Web. 3 Oct. 2015.