Principles, Elements, Techniques, and Devices in Creative Nonfiction

5 Basic Principles

1. Introduction

Writing fiction isn’t easy. For some it is intuitive. For others it requires hard work, perseverance, and close attention to form and technique. If you are going to learn to write fiction, you will need to know a few basic principles. These principles include point of view, characterization, plot, and conflict. These principles can be exercised in many different ways. How you choose to exercise them is what will make your story distinctively different from anyone else’s.

2. Point of View

Point of view determines how the story will be told or narrated. As such, some choices have to be made. You must ask yourself: Will I tell this story in 1st person, 2nd person, or 3rd person? In 1st person a story is narrated using the pronoun “I.” The character telling the story is part of the story, which means that the narration is limited to that character’s observations and opinions. He may narrate his own story or someone else’s, but in either case it will always be his story. After all, he is the one telling it. Thus the advantage of 1st person is also its disadvantage. It may offer you a sense of control in working through a single character, but it also provides limited flexibility as the narrative is restrained by that character’s singular experience.

In 2nd person a story is narrated using the pronoun “you.” The narrator could be speaking to someone specifically within the story or just be referencing “you” in general. If the narrator is speaking to someone within the story, the narrator is a character within the story, but if the narrator is referencing “you” in general, he may actually be the narrator of the story writing directly to his reader (i.e. you). The advantage of 2nd person is that it is slightly more flexible than 1st person as it presents the option of two different narrators. However, the disadvantage of 2nd person is that it can be complicated and confusing. If it is to be used well, it requires careful control. If it is not carefully controlled, it can quickly become cumbersome, awkward, clunky, even irritating. 2nd person tends to work best when it is a narrator within a story speaking to another character. So make it clear that your narrator is speaking directly to another character and avoid mixing its use with the usage of “you” in general. Using “you” in general is generally best avoided, that is, unless you have an intentional reason for it.

In 3rd person a story is narrated using the pronouns “he” or “she.” The narrator tells someone else’s story from the outside. He may narrate by showing, that is, describing the story’s characters, events, and scenes using only what can be seen or heard, or by telling, that is, depicting the characters, events, and scenes by summarizing them, interpreting them, or commenting on them. The advantage of 3rd person over 1st person or 2nd person is that it is much more flexible. 3rd person offers a range of narration from objective (purely descriptive) to omniscient (all-knowing). Using 3rd person allows you to move unhindered between the external and internal worlds of one or more characters.  While 3rd person provides ultimate flexibility in terms of point of view, it may also be difficult to control. So it is wise to clearly distinguish each character and organize shifts between characters’ points of view.

3. Characterization

Character signifies human experience. It includes many elements such as a body, a mind, and social circumstances. A character must have a body. This is called physical characterization. Give your character a mole or a crooked knee. Allow your reader to see your character.  For example: in Charles Dickens’ Hard Times, Dickens depicts Mrs. Sparsit as that woman “with the Coriolanian style of nose and the dense black eyebrows” (Dickens 47). In this way, Dickens allows us to see his character, to picture her.

4. Plot

Plot is different from characterization. Plot equates to events. A character must have experience; but if there are no events in your story, what can your character experience or react to? In Hard Times Dickens places his two characters, Louisa and Thomas, whose lives are micromanaged by their practical-minded father, Mr. Gradgrind, in the path of a traveling circus, at which point we find “Louisa peeping with all her might through a hole in a deal board, and…Thomas abasing himself on the ground to catch but a hoof of the graceful equestrian Tyrolean flower-act” (18)! It is a singular event that has enormous consequences as the unimaginative and well-ordered lives of two characters are ruptured by the possibilities of the artistic and unrestrained, consequences which result in a succession of dramatic events. So give your story interesting, character-testing events. Does your character get pushed out of a car on the way to school or does that malicious girl two houses down fall out of your character’s front yard tree and land on his head? How your character reacts to the events he experiences can define his character.

5. Conflict

Conflict, on the other hand, is what disturbs a character. It can be internal or external. If conflict is internal, it resides within the character. In this case, a character may not want to go into the pet store to look at dogs because he remembers getting bitten by a dog on his newspaper route as a child; and he can’t bring himself to even look at them, even though he wants to buy one for his girlfriend. If the conflict is external, it resides outside the character. In this case, a character may try to buy a dog, but it is too expensive and the owner won’t let him have it for less money. Will he punch the owner in the nose, will he steal the dog when the owner isn’t looking, or will he go work harder and come back when he can pay for it?

Elements of Creative Nonfiction

The creative nonfiction writer often incorporates several elements of nonfiction when writing a memoir, personal essay, travel writing, and so on. The following is a brief explanation of the most common elements of nonfiction:

• Fact. The writing must be based on fact, rather than fiction. It cannot be made up.
• Extensive research. The piece of writing is based on primary research, such as an interview or personal experience, and often secondary research, such as gathering information from books, magazines, and newspapers.
• Reportage/reporting. The writer must be able to document events or  personal experiences.
• Personal experience and personal opinion. Often, the writer includes personal experience, feelings, thoughts, and opinions. For instance, when writing a personal essay or memoir.
• Explanation/Exposition. The writer is required to explain the personal experience or topic to the reader.
• Essay format. Creative nonfiction is often written in essay format. Example: Personal Essay, Literary Journalistic essay, brief essay.

Literary Elements

Creative nonfiction is the literature of fact. Yet, the creative nonfiction writer utilizes many of the literary devices of fiction writing.  The following is a list of the most common literary devices that writers incorporate into their nonfiction writing:

• Storytelling/narration. The writer needs to be able to tell his/her story. A good story includes an inciting incident, a goal, challenges and obstacles, a turning point, and resolution of the story.
• Character. The nonfiction piece often requires a main character. Example: If a writer is creating his/her memoir, then the writer is the central character.
• Setting and scene. The writer creates scenes that are action-oriented; include dialogue; and contain vivid descriptions.
• Plot and plot structure. These are the main events that make up the story. In a personal essay, there might be only one event. In a memoir, there are often several significant events.
• Figurative language. The writer often uses simile and metaphor to create an interesting piece of creative nonfiction.
• Imagery. The writer constructs “word pictures” using sensory language. Imagery can be figurative or literal.
• Point of view. Often the writer uses the first person “I.”
• Dialogue. These are the conversations spoken between people. It is an important component of creative nonfiction.
• Theme. There is a central idea that is weaved through the essay or work. Often, the theme reveals a universal truth.

The 5’Rs of Creative Nonfiction

Lee Gutkind, who is a writer, professor, and expert on creative nonfiction, wrote an essay called “The Five R’s of Creative Nonfiction.” In this essay, he identified five essential elements of creative nonfiction. These include:

1. Creative nonfiction has a “real life” aspect. The writer constructs a personal essay, memoir, and so forth, that is based on personal experience.  He also writes about real people and true events.
2. Creative nonfiction is based on the writer engaging in personal “reflection” about what he/she is writing about. After gathering information, the writer needs to analyze and assess what he/she has collected. He then must evaluate it and expression his thoughts, views, opinions. Personal opinion is permissible and encouraged.
3. Creative nonfiction requires that the writer complete research. The writer needs to conduct research to learn about the topic. The writer also needs to complete research to discover what has been written about the topic. Even if a writer is crafting a personal essay, he will need to complete secondary research, such as reviewing a personal journal, or primary research, such as interviewing a friend or family member, to ensure that the information is truthful and factual.
4. The fourth aspect of creative nonfiction is reading. Reading while conducting research is not sufficient. The writer must read the work of the masters of his profession.
5. The final element of creative nonfiction is writing. Writing creative nonfiction is both an art and craft. The art of creative nonfiction requires that the writer uses his talents, instincts, creative abilities, and imagination to write memorable creative nonfiction. The craft of creative nonfiction requires that the writer learn and deploy the style and techniques of creative nonfiction in his/her work.   

5 Nonfiction Writing Techniques That Will Keep Readers Turning Pages

Do fiction and nonfiction writing have anything in common?

After all, their goals are fundamentally different. One wants to entertain, the other one mainly educates.

But take a look at Hunter S. Thompson’s work and you will know better. Thompson was a master at crafting tight, compelling fiction, and he used these very same fiction techniques to become one of the most highly acclaimed and fascinating nonfiction writers in history.

There’s no doubt: If you want to hook your audience, some story techniques come in extremely handy. It’s basic human psychology.

Take a page from your favorite fiction writer and adopt these five nonfiction writing tips.

1. Tell a memorable story

Humans have been fascinated by stories since the dawn of time. At lunch, we tell our newest stories to our co-workers; at night, we tell fanciful tales to our kids and then consume suspense from our flatscreens.

We remember stories much better than abstract rules, formulas or concepts. Your post or essay will be stronger and more relatable if you include little examples, experiences and comparisons.

For example, instead of saying “Spinach is healthy,” you could tell a story about a runner who improved his performance by eating a lot of spinach. Just two or three additional sentences is often enough to help your words hit home for the reader.

2. Bait your audience

Great fiction grabs you right at the beginning and doesn’t let your attention go until the end. Why not do the same with your nonfiction?

If your article is online, it’s in direct competition with thousands of other articles; your reader can choose from all of them instantly, and mostly for free. She could also just close her browser and go watch TV. In today’s multimedia world, attention is the number one commodity.

Does your first sentence make the reader want to read the second? Does your second sentence evoke curiosity for the third? Here are a couple of options for beginnings that I found worked best for my blog:

One strategy is beginning with a little personal or historical story. Take a look at the storytelling tips above and make sure to always keep the reader wondering what’s next. Before he knows it, he will be halfway through your article.

You could also ask a question that moves your audience. If you write an article about how to save money, how about a start with “Isn’t it frustrating that at the end of any given month, there is no money left in your wallet?“ That’s how you put yourself in the reader’s shoes, to make her identify with you and your article.

You could start with an interesting or funny thought, too. When you’re writing about the phases of the moon, why not begin the post like this: “Did you know that on the moon, you would only weigh 16.5 percent of your weight on Earth?”

By using one of these strategies, you have a better chance of catching your reader’s attention — and keeping it.

3. Use emotional language

Bad nonfiction pieces are overly factual and prosaic. (Think of the last academic paper you read. Snooze!) They often employ a certain “code” of complex sentence structures and foreign words to make them seem more credible and expert-like.

The antidote: use more imagery, more emotion and more personality. Metaphors are also an interesting way to add some spice. Instead of writing “double-digit percent fluctuations,” write, “a rollercoaster ride of ups and downs.”

The less abstract your nouns, the better. Any noun of something you’re able to touch physically is better than something you can’t touch. Palpable words draw the reader into your text more effectively, so he experiences them instead of simply reading them.

Certain words like ”confession” or “magic” are emotionally charged power words that hit your audience strongly. They make them feel your content. Power words can evoke vibrant emotions, and emotion will keep the reader’s eyes glued to every single word of yours.

So read some Hemingway or Dickens, reconnect with the emotional side of your writing, and stir up your audience’s feelings!

4. Say it simply

Have you ever given up on an article or instruction manual because its wording frustrated you? If you have great content, don’t encrypt it. Provide even more value for your reader by cutting the content down into easily digestible bites.

Look at any post on The Write Life: The content is top-notch, but it’s all packed into short sentences and easily understandable vocabulary. Ideas are broken down into detail. You see short paragraphs and a lot of white space. All the components of tight, simple writing are right before your eyes.

Many great novels are written in a fairly simple style. They impress with story rather than with wording. Take any novel by Charles Bukowski: Do you think his prose would have the same effect if it used long-winded, multi-clause sentences and a jungle of technical terms? Rather than trying to make a sophisticated expression, Bukowski conveys emotion and character.

Say it as simply as possible, but make sure your idea comes across.

5. Surprise the reader

Good fiction is full of surprising twists, but nonfiction often reads predictably, which is to say, dull.

Do it better and include an unexpected twist or turn when you can. It will keep things interesting and fun for your audience. Why do we watch dramas and why do we like our gifts wrapped up? It’s for the kick of the surprise that awaits us.

Keep readers on their toes by asking them a question and answering it in a way they wouldn’t have expected. For example, if you are writing an article about robots, you could ask: Which famous person drew early plans for a robot?

(Answer: Leonardo da Vinci drew up plans for an armored humanoid machine in 1495.)

You could also make a statement and follow it up with a point that seems like a contradiction. Don’t forget to explain and reconcile your points. A surprising joke or a provocative comparison can keep the reader interested as well, provided it fits your style and the format of your writing. Be imaginative, just like a fiction writer.

Finally, how can you train yourself in the above techniques?

One way helps for sure: read a lot of great fiction. The storytellers’ styles and strategies will spill over into your unconscious, and before you know it, you’ll be a master at helping every reader fall in love with your writing.

Literary Devices in Creative Nonfiction

Creative nonfiction essays use literary devices to make essays compelling, to present and document events, and to help readers determine an essay’s significance.

Setting

Setting details, listed below, are presented and described when important. In “Blood and Water,” the setting details of Flint, Michigan during its water crisis are especially important. In other essays, like “Goodbye to All That,” a writer considers the culture and climate of entire cities. In essays that take place in a single room, like “The Moment,” most setting details aren’t especially important.

Where — Geography and physical place

When — Time of day, time of year, time in history

Weather and Climate

Social climate (historical context)

Conflict / Problem

Readers aren’t particularly interested in lists of events. First this happened, then this happened, and then I went to the bank.

Stories and essays are crafted around conflict. Is there a personal conflict between two people? A decisions to be made? A personal issue, like being broke or feeling isolated? A social problem? A problematic cultural trend, like racism? An institutional problem, like healthcare or college tuition? A health or mental health concern?

All essays, whether they are narrative or topical, personal or reported, are about a conflict or problem. Sometimes it’s reflected on, sometimes it’s exposed, and sometimes it’s resolved.

Dialogue

As discussed in the previous lesson, dialogue helps readers understand and picture a scene. It also helps readers get to know the characters, stay interested, and get invested. Scenes usually include dialogue.

A good rule to remember for dialogue is that it can be recreated if not remembered word-for-word, but it cannot be created — which means we can’t make it up, change its meaning or intention, or take it out of context.

Description / Imagery / Scenes

Concrete details ground readers and help them visualize scenes, relate to situations, understand stories, and care about what’s going on.

Lists and summaries don’t get readers to invest in stories. Details, scenes and thoughts do. Specificity is essential to successful writing.

Characterization

Authors use description, memories, subjective opinions, dialogue and other details to help readers get to know a character. Sometimes, their clothes are important, other times an author will give you a glimpse of how they treat others.

Remember that in personal narratives, writers are presenting stories from their own skewed and biased points of view. We’re all skewed and biased, especially when it comes to our depictions and understanding of other people.