Product Description

Writing Creative Nonfiction presents more than thirty essays on today's hottest literary form--creative nonfiction. The stellar line-up of contributors includes Philip Lopate, William Least-Heat Moon, Diane Ackerman, Ted Conover, Dinty Moore and many others. From researching ideas and structuring the story, to reportage and personal reflection, this book covers every key element of the craft. Each essay is followed by three exercises for hands-on learning.

* An impressive line up of the best teachers from the finest writing programs throughout the country
* Creative nonfiction titles are hot--with new books hitting the bestseller lists everyday!
* The AWP's role guarantees strong consumer and academic interest

Product Details

• Amazon Sales Rank: #70023 in Books
• Published on: 2001-05-10
• Original language: English
• Number of items: 1
• Binding: Paperback
• 400 pages

Amazon.com Review
Like eating a well-conceived meal at an exceptional restaurant, reading this book is a wholly satisfying experience. Less-skilled chefs may have failed to get the book's many disparate elements to cohere, but, in the hands of editors Carolyn Forché and Philip Gerard, those ingredients sing. Brenda Miller compares the shape of a lyric essay with that of a loaf of challah bread; Nicholas S. Hentoff and Harvey A. Silverglate offer a primer on legal land mines. Christopher Merrill ponders the art of war writing, while Dinty W. Moore explores,the use of humor in creative nonfiction. There's an essay about bringing oneself into the story, and another about taking oneself out. Bob Reiss offers hilarious yet salient advice on surviving as a writer overseas. The contributors (Annie Dillard, Phillip Lopate, Barry Lopez, Terry Tempest Williams, et al.) spend the first half of the book discussing creative nonfiction and the second half demonstrating it. Not only does the format work, but pairing the works of creative nonfiction with the accompanying commentary is educational and entertaining.

Among the book's most interesting sections, perhaps because their subject matter is underrepresented in writing-reference literature, are those about biography. Philip Furia discusses the need both to conduct an unbelievable amount of research and to leave a whole bunch of it out. And Honor Moore focuses on the intensity of biography writing: "I had no idea I was getting into twelve long years during which I would put preoccupation with someone else's life ahead of attention to my own." --Jane Steinberg

From Library Journal
Poet Forch (The Country Between Us) and novelist Gerard (Writing a Book That Makes a Difference) have brought together more than 30 writers and teachers affiliated with the Associated Writing Programs to introduce creative nonfiction as a new literary form. In this new form, which differs in style as well as technique from other nonfiction genres such as journalism, the critical essay, and academic biography, the crucial elements of storytelling are just as important as the accuracy of the text. Each of the contributors, who include Annie Dillard, Grace Paley, Lee Gutkind, and Alex Kotlowitz, presents an aspect of the craft by using examples from his or her own work. Most essays conclude with a few exercises designed to jumpstart the creative process. Although the style of each essay differs, and the writing is somewhat uneven from chapter to chapter, this is a wonderful book for the price. Highly recommend for academic libraries with writing programs and public libraries with a literary clientele. [Writer's Digest Book Club main selection.] Denise S. Sticha, Murrysville Community Lib., P.
- Denise S. Sticha, Murrysville Community Lib., PA
Copyright 2001 Reed Business Information, Inc.

From Booklist
What is "creative nonfiction"? The editors--poet Forche and novelist Gerard--cast a wide net: "memoir, lyric and personal essay, plotted narrative, biography, meditation, nature writing." In their collection's first section, writers who are also teachers discuss theory and methods, and experts offer advice on drafting a book proposal and relevant legal issues. A brief middle section, "Aftershocks," displays the sort of controversy creative nonfiction can generate (including controversy about the legitimacy of the genre itself!). The final section offers samples "to inspire, delight, teach, and simply to enjoy." Many contributors are featured in both the first and the third section; e.g., Judith Ortiz Cofer, Brenda Miller, Alan Cheuse, Phillip Lopate, Philip Furia, Honor Moore, Bob Reiss, and Dinty Moore. Others--among them, Terry Tempest Williams, Barry Lopez, and Annie Dillard-- appear only in the first or third section. Selections in the first section are followed by "thought" questions, so the volume could be used as a textbook for creative nonfiction classes, but most readers will simply appreciate the varied collection of fine writing gathered here. Mary Carroll
Copyright © American Library Association. All rights reserved

Customer Reviews

A Journey for Writers and Teachers of Writing
I purchased this book as an inspiration for designing the Advanced Feature Writing class and others I teach at Northwestern University. As I read and did some of the exercises suggested in the book, I began to realize how useful this book is not only for aspiring and senior writers of all kinds, but also for those who teach others to write.

It's a compendium of essays and writing exercises written by various authors from poet to essayist to magazine feature article writer, with some selections of their writings at the end of the book.

Don't let the long titles of mini-chapters steer you away from this book. For example, one chapter is entitled "Saying goodbye to once upon a time or implementing postmodernism in creative nonfiction." It may sound daunting, but the chapter is written clearly, creatively and thoughtfully about how fact, truth and fiction often get tangled when we write. The author of this chapter, Laura Wexler, shows us that the only place we can find cold, hard facts is in fairy tales. Yes, that's right. Fairy tales. Because in a fairy tale we can all say with certainty that Cinderella lost her glass slipper and Prince Charming found it and placed it on her foot, and they got married. But life isn't like that. And neither is nonfiction writing.

Wexler writes, regarding the Rodney King beating: "The Rodney King beating cannot be told as a fairy tale. There is no single true version of What Happened. Because everything about it is up for grabs, everything is unstable: motives, actions, and interpretations. It seems we cannot, despite Rodney King's famous plea, 'all get along' -- because we tell different stories about the same events. We always do." Wexler, however, does not leave us perlexed and discouraged about this "fact." Instead she offers insights and advice on how to write while remembering the nebulous qualitites of truth, fact, and fiction.

Incidentally, references to recent events such as the Rodney King beating pepper the essays throughout the book making it "fresh" and "new."

Not every chapter is as captivating as the one described above, and occasionally, some of the authors of the essays tend to become preocuppied with their knowledge of other authors and writing. And although I enjoyed the chapter on humor writing, I had hoped for much more on this subject. We need not be told that irony, satire and exaggeration are tools in humorous writing; rather we need to be shown how to use them, what works, and what doesn't.

The writing and interviewing exercises in the book are worthwhile, and I would have liked more. One example: Interview separately two people who were involved in the same event. Transcribe the interviews and consider the similarities and differences in the two versions.

This exercise is terrific for journalists as well as creative writers.

As a writer and editor, I found the book to be reaffirming as well as challenging. Many of the writing philosophies I've developed over the years are explained in exemplary fashion in this book. I am eager to work with my students on the exercises, and to share some of the chapters with my writing and editing colleagues.

Sheryl De Vore Assistant Managing Editor, Pioneer Press Senior Lecturer, Northwestern University, Journalism Department sdevore@voyager.net

Does Creative Nonfiction Exist?
Over the past several years there has been quite a controversy as to what exactly is creative nonfiction.
In fact, there are some who even go so far as denying its existence and claim there is no such animal!
If we are from the school that accepts that it is alive and kicking, we must then be able to describe what exactly is creative nonfiction.

Carolyn Fauché and Philip Gerard, editors of Writing Creative Nonficton, perhaps best sum up what it is all about when they state: "creative nonfiction has emerged in the last few years as the province of factual prose that is also literary-infused with the stylistic devices, tropes, and rhetorical flourishes of the best fiction and the most lyrical narrative poetry. It is fact based writing that remains compelling, undiminished by the passage of time, that has at heart an interest in enduring human values: foremost a fidelity to accuracy, to truthfulness."

In order to support their belief in creative nonfiction, Fauché and Gerard have presented more than thirty essays that examine all of above key ingredients inherent in writing creative nonfiction.
Divided into three sections, the reader will receive tips pertaining to such topics as researching ideas and structuring the story, reportage, personal reflection, developing powerful observation techniques, awareness of the filters that put you between yourself and the world, shaping the lyric essay, creating biography, war writing, using humor, and taking yourself out of the story.

What is quite noteworthy about the book is that the reader receives valuable advice from over thirty well- known writers such as: Terry Tempest Williams, Allan Cheuse, Phillip Lopate, Carolyn Forché, and Philip Gerard, all of whom contribute immensely in convincing us that, yes, creative nonfiction does exist.
It may be true that it has undergone many name changes over the years- nonfiction novel, narrative non-fiction, literary journalism, literary non-fiction, and new journalism, however, they all lead us to the conclusion that no matter how confusing it sounds, creative nonfiction is still distinguishable from daily journalism, academic criticism, and critical biography.

The book also offers a primer on the practical business of drafting a business proposal as presented by Stanley Colbert, and a section about what happens after publication.
Finally, as the editors most aptly state: "as a final gift to the reader, we've included the `Creative Non-Fiction' reader offering the companion pieces and other exemplary essays to inspire, delight, reach, and simply to enjoy."

This review first appeared on the reviewer's own site: Bookpleasures.com

Nicholas Hentoff rules
This book is almost uniformly excellent, but the essay by Nicholas Hentoff alone is worth the purchase price. Hentoff, a semi-legendary Arizona criminal defense lawyer and champion of civil rights, offers invaluable advice to nonfiction writers on avoiding legal landmines, and therefore avoiding the tendency towards self-censorship. Every journalist who cares about doing work that matters should have a copy of this essay.