Prepared by:
Kristal Faith R. Pagaduan
BSE 3- English Major
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Module 1- Creative Nonfiction: An Overview
Creative Writing
Module 1 Creative Nonfiction: An Overview
Objectives
At the end of this module, you are expected to attain the following
learning outcomes:
A. Compose introduction and conclusion of creative nonfiction using the
strategies discussed;
B. Write your own coherent and unified essay.
Introduction
As the technological and educational trends are becoming more
complex, the need of people to factual information grew. Ronald Weber said:
A large and growing public that feels it really should take an interest
and is looking for guidance as to what is, currently “The Real Thing”… a
liberally educated public that had been through the required surveys of
Literature, yet, was caught up in contemporary fascination with the
new and the new and the topical.
Thus, the rise of nonfiction little by little crushes the popularity of fiction,
and as readers switch from reading short stories and novels to reading news
articles, creative writing is introduced.
Module 1- Creative Nonfiction: An Overview
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Advanced Organizer
Journalism
(Nonfiction)
 Accurate in the
presentation of
information
 Remains
subjective
Creative
Nonfiction
Fiction


Has an
imaginative
approach but remains
accurate in the
presentation of
information
Imaginative
Activity
Group Activity
Accomplish the advance organizer below by jotting down 8 terms associated to
the word Creative Nonfiction. Then write phrases or clauses below the advance
organizer justifying why the words you wrote are associated with Creative
Nonfiction.
Creative
Nonfiction
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Module 1- Creative Nonfiction: An Overview
Analysis
Summarize your group’s responses.
We
think
that
Creative
Nonfiction
is
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Abstraction/Generalization
The text you just read is an example of creative biography. The actions “eyes
flashing and fists clenched” were imagined by the author for the sake of
imaginative reconstruction of the event.
CREATIVE NONFICTION
Creative nonfiction was used to be called personal journalism or literary
journalism or new journalism or parajournalism. Eventually, today, it is called
creative nonfiction. According to Theodore A. Rees Cheney, “Creative
nonfiction requires the skill of a story teller and the research ability of the
reporter” (1991).
This type of writing begins with the facts, elaborates on the facts, interprets
them, and more importantly, presents them in an interesting and engaging way.
In other words, it is a “more imaginative approach to reporting”.
The key word is “personal”. The writer of creative nonfiction presents the
world- or the slice of it that he wishes to focus on- through the prism of her own
personality.
Module 1- Creative Nonfiction: An Overview
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Creative nonfiction is a nonfiction prose which utilizes the techniques and
strategies of a fiction. It combines the authority of literature and authority of fact
(Gutkind 1997).
In her book A Manual for Filipino Writers, Chistina Pantoja Hidalgo writes:
The writer of creative nonfiction may not alter facts in the interest of improving
his story. He must not deliberately misquote his sources, misconstrue his
statements, or mislead his readers. He is expected to write compelling stories
about real life, and in doing so, he must employ all the devices and strategies
available to the fictionist. Sometimes, this involves the imagining of scenes or
even conversations that never actually happen.
Application
Separate the attributes of the text below based on the advance organizers
presented.
Would Antonio Luna Have Been a Strongman?
Eyes flashing and fists clenched, Luna entered the house and ran
upstairs, after sleeping a sentry who had been too unnerved to
salute. Upstairs, Luna was met by his mortal foe, Felipe
Buencamino, who told him that Aguinaldo had gone to San Isidro.
(Nick Joaquin, 1997, 178)
Share your answers with your group and answer the following follow-up
questions:
1. What does the text say about Antonio Luna?
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2. Could the clenching of fists and flashing of eyes be documented by Nick
Joaquin?
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Module 1- Creative Nonfiction: An Overview
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3. What did the writer try to build in the minds of the reader?
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4. Did the text remain factual? In what way?
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Writing Exercise
From the Overview of Creative Nonfiction, I learned that …
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Module 2- Types of Creative Nonfiction
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Module 2 Types of Creative Nonfiction
Introduction
Creative nonfiction covers a very broad field in the writing discipline;
however, at the end of it is the term literary journalism or new journalism- writing
in a personal way about the facts in a news event, and on the other end is the
literary memoir, what Annie Dillard referred to when she said “works of
nonfiction can be coherent and crafted work of Literature” (1995).
The earlier statement which is “a writer of creative nonfiction may not alter
the facts in the interest of improving his story (Hidalgo)”, may not necessarily be
applied in literary memoir or a travel essay where it may be useful to say or
invent a travelling companion who would serve as a foil to the narrator by
presenting entirely different expressions of the place described.
Advance Organizer
Creative Nonfiction
Literary Journalism
 Magazine feature
article
 Newspaper
column as cultural
commentary
 Review
 Interview story
 Character sketch
 Personal essay
 Autobiographical
sketch
Literary Memoir
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Module 2- Types of Creative Nonfiction
Activity
Individual Activity
Write about your most memorable stay in a place in at least 3
paragraphs.
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Group Activity
Share your output in the group and discuss its type.
Module 2- Types of Creative Nonfiction
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Analysis
The facts, pieced together from the accounts of several people are as
follows. Baltazar Endriga, who may or may not be the president of the Cultural
Center of the Philippines, depending on whose side you’re taking in this long
drawn-out conflict, arrived at the CCP on Monday evening for the Mamila
Premiere of Carmen,, in radical new version, by choreographer Mats Ek, kicked
off the festivities, though perhaps in a more literal fashion than th organizers
have envisioned. Mr. Endriga was also there in his capacity as the CCP
President, his position having been recently upheld by the Court of Appeals,
which used a Temporary Restraining Order against Endriga’s oppositors, Gloria
Angara and her trustees. In the first place, Endriga, being a citizen of this
country, presumably has the right to set foot on the lobby of the CCP; he was
not carrying nuclear weapons and other explosive devices.
As Endriga who was accompanied by officers of the French embassy,
approached the entrance to the main lobby, six or ten security guards- the
witnesses’ accounts vary- stood in his path. They announced that they were
under instructions to prevent Endriga from entering the building. These
instructions have been issued by their superiors, who received their orders from
Ms. Angara and her Board of Trustees. The French representatives explained that
Endriga was their guest, and they were going to watch the ballet. The security
guards repeated that Endriga was barred from the premises. Words were
exchanged (a lovely turn of phrase, as if you were to say to me, “Thaumaturgy”
and I were to reply “Periodonist”), and when reason made no dent, physical
force was applied.
The security guard pushed Endriga and company out the door. The
French representatives took hold to Endriga and attempted to push their way in.
The security guard tried to push them out.. People started cussing. Soon
everyone was yelling, and the jostling match erupted into full-blown melee. The
commotion was such that a group of performers rehearsing on an upper floor
heard the noise, ran downstairs, and beheld the chaos.
-
Jessica Zafra, “The New Uncouthness,” June 2, 1999;
Twisted 5(Anvil 2000, 166-67)
With the various characteristics present in the text, compare your essay
with the text above. Use an advance organizer to show their relationship.
Module 2- Types of Creative Nonfiction
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Abstraction/ Generalization
Due to the extensive range it covers, creative nonfiction, aside from being
classified as a literary memoir and literary journalism mentioned earlier in this
module, there are still some terms to be considered in identifying the types and
classifications of writing under the mentioned two types, which may be under
literary memoir or literary journalism depending upon their manners of
construction and the information they ought to provide.
1. Profile- an in-depth article or essay that concentrates on one
person or a place.
2. Literary journalism or new journalism- writing in a personal way
about the facts in a news event.
3. Personal narratives or “life stories”- may be divided into
autobiographical narratives (e.g., journals, memoirs, travel
narratives, etc.); and biographical narratives (e.g., character
sketches, interview stories, etc.)
Application
Reconstruct the advance organizer presented on this unit incorporating
the classifications of creative nonfiction according to the manner of text
construction and the information various texts provide. Write a short explanation
of the advance organizer you shall construct.
Writing Exercise
From the Types of Creative Nonfiction, I learned that …
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Module 3- The Pre-writing Process
Creative Writing
Module 3 The Pre-writing Process
Introduction
One difficult part of writing is beginning the text- selecting what topic to
write about, who to read your text, and the process of gathering information
regarding the process. All these are needed abilities in beginning your creative
nonfiction text.
Advance Organizer
Selecting a
topic
Determining the
Audience
Gathering Information/Doing
Research
Writing the Draft
Module 3- The Pre-writing Process
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Activity
Before you read the processes, explain in your own words how you deal
with them.
Selecting
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Determining
Audience
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Gathering
Data
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Module 3- The Pre-writing Process
Abstraction/ Generalization
Here are the needed preparatory activities before engaging yourself into
the actual writing process:
1. Selecting a topic
The beginning writer often complains that he has nothing to write
about, yet, as Jacobi said: “From walking. From talking. From listening.
From observing. From doing. From reading. From believing. From
disagreeing. From dreaming. From asking. From having an open mind,”
subjects or topics for writing are everywhere.
You should begin with something close to home or close to you,
something you are interested in or curious about, but it shouldn’t stop you
from reaching the world. However modest it may be, a work that pretends
to be literature should be both local and universal, both timely and
enduring. Alfred Gonzales (1947)
2. Determining the audience
All the facts in the world would be wasted on readers who are
unable to appreciate them.
Thus, it is necessary to handle and organize your essay depending
upon who the target audience is. Your choice of language is also a
necessary factor to consider- i.e., the choice of words, the length of
sentences, the images, the allusions. Your approach would also vary upon
the audience- i.e., personal narrative would not be so effective to
children, yet, it may be effective to adult people.
The amount and type of information that the essay or article should
contain would also depend on the audience’s capacity to absorb it.
3. Gathering Data
An important thing to remember is: no matter how great your way
with words, or how engaging the personality you project, the bottom line
is: how much do you know about your subject?
In gathering information, you have to consider the following factors:
 What kind of information
 Where to get it
 Keep current information
It is also immensely important to develop in yourself the art of
listening.
Module 3- The Pre-writing Process
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Application
Select five topics, think of the target audience, and gather information
about your topic. Then fill up the table below.
TOPIC
TARGET AUDIENCE
INFORMATION
GATHERED ABOUT
THE TOPIC
Module 3- The Pre-writing Process
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Writing Exercise
From the Pre-writing process, I learned that …
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Module 4- Strategies of Creative Nonfiction
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Creative Writing
Module 4 Various Strategies of Creative Nonfiction
Introduction
The strategies of creative nonfiction are very much alike with the
strategies of fiction. Gutkind said that the basic objective of creative nonfiction
is to teach (he refers to it as “the mission of the genre”), but the point is to do it in
such manner “that the most resistant reader will be interested in learning more”
(1997).
Eventually, it means that a good piece of creative nonfiction has a
personal voice, a clearly defined point of view, which will reveal itself to the
tone, and be presented through scene, summary, and description, as it is in
fiction.
Advance Organizer
Scene
Rhetorical
Techniques
Strong
Beginning
Structure
Character
Approach
Point of View
Strategies
Tone
Voice
Concrete
Evocative
Details
Convincing
Ending
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Module 4- Strategies of Creative Nonfiction
Activity
How do you identify a creative nonfiction text? Explain your answer or
give examples.
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Abstraction/ Generalization
Strategies of Writing Creative Nonfiction
1. Approach
It has something to do with how the writer handles hi subject. It may also
be the angle on how the story is viewed.
Objective Approach- there is no narrator present in the text.
Subjective Approach- the writer himself is the narrator and his personal
emotions towards the subject would reflect on the text
Whether which of the two- objective or subjective approach- is
appropriate in a text will be dependent upon the writer’s circumstances.
2. Point of View
It has something to do with perspective- whether who owns the story or
who can best tell the story. The narrator may act as either a participant or an
observer.
Note that point-of-view greatly differs from the grammatical person.
Consequently, even the first person is used, the point-of-view may still be that of
an observer; and even the point-of-view is that of the principal character, the
third person may be used.
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Module 4- Strategies of Creative Nonfiction
Occasionally, the writer uses second person into draw the reader into the
story, creating the impression that he is a part of the story, thus he is witnessing
the events described in the text.
Creative nonfiction however, generally use the first and third persons or
they use the indefinite pronoun “one”.
3. Tone
Tone is the writers attitude towards his subject. A subject may be
presented in a sarcastic tone, reverent tone, or apologetic tone, depending on
the distinction of the writer.
Tone may be evident in a text through the writer’s choice of words.
NOTE: Approach, tone, and point-of-view are very important strategies in writing
your essay. Handling these three correctly and wisely on your text will effectively
convey your meaning.
4. Voice
Voice is related to tone and style . It refers to the choice of word, length of
sentences, use of certain images, metaphors, allusions, etc.- which reveal a
particular personality, and a particular attitude.
5. Structure
Your topic will itself suggest the structure of your text. Structure is the
arrangement or organization of the text.
a. Chronological structure- an arrangement of events in a linear fashion
as they occurred in time.
b. Flashback structure- beginning in a certain point of the story then
moving back in the past.
c. Parallel structure- a type of structure that has several stories, running
side by side with occasional cross-cutting or convergence.
d. Collage or Mosaic structure- it involves pasting together of small
fragments, which all together build up the total picture of what happened.
e. Question and Answer structure- it allows the reader to hear the
subject’s voice without awkwardness of having to repeat “he said” or “she said”
before or after every direct quotation.
Module 4- Strategies of Creative Nonfiction
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f. Frame or The story-within-a-story- it is a good structure to use when you
want to say two stories- say, a travel narrative, where the actual physical journey
is paralleled by an inner journey.
6. A strong, Dramatic Beginning
a. Title- it is not necessarily written before the piece is written, but it is good
to have a working title to help you focus.




Catchy and clever tiles have an advantage
Titles which are too long are at disadvantage
Titles should not be misleading
It should give the reader an idea of what to expect
b. The first paragraph
First paragraphs lead the reader to reading the whole text. Thus, it must
catch attention, give the reader a hint of what the subject is, set the tone, and
guide the reader to what comes next.
The key to good creative nonfiction is dramatic writing and the key to
good dramatic writing is action.
Ways of beginning:
 Passage of vivid description
 Quotation
 Dialogue
 Question
 Striking statement
 Reference to current event
 In medias res- plunge right into the middle of the action

6. Rhetorical Techniques
a. Definition- bit is particularly important on essay writing or expository
writing where the major concern is explaining the concept or idea or issue.
b. Comparison-and-contrast- it is easier for the readers to understand an
idea or concept when compared to something they are familiar with.
 When using this method, remember not to compare and contrast
more than two items at the same time, otherwise, you may confuse
your readers instead of enlightening them.

It is also important to compare only those that belong to the same
class.
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Module 4- Strategies of Creative Nonfiction
c. Illustrations and examples- this technique makes abstract or general
ideas more concrete, it clarifies. It may be in the form of anecdotes and
quotations or in simple enumeration.
 Make sure that the relation between your example and the idea
you wish to clarify is immediately apparent to the reader.
d. Classification- it is a good device for organizing complex materials
provided that there is a principle governing the classification and that principle
must be meaningful enough.
e. Analogy or extended metaphor7. Character
The ability to reveal characters is the an important skill for writing.
Types of Characters
a. Character in Action- describes what the main character does
b. Description of physical appearance- shows the audience how the
character in the text looks like- through the way he dresses, the way he moves,
his height, age, etc.
c. Presenting through the eyes of the people
d. Dialogue or monologue- presenting the character based on what he
says or how he says it.
e. Idiosyncratic behavior- gives a view on the character’s unique
behavior.
f. Reconstruction of the subject’s special setting or ambiance- the place
where the character stays is described.
8. Concrete and evocative details
The most successful pieces of creative nonfiction are rich in details. Bare
facts are never enough. They need to be fleshed out; they need to be
humanized.
a. Details should be accurate and informative
b. Details must be suggestive or evocative
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Module 4- Strategies of Creative Nonfiction
9. Scene
The chief distinction between traditional reporting and creative nonfiction
is the use of scenes and dramatic writing. It heightens the feeling of being “right
here” in the thick of what happened. This is done by presenting the news not
through summary and exposition but through scenes.
10. A convincing ending
It must be the logical conclusion of the flow of your text or of the
development of your ideas. The reader must be left with the impression that the
subject was adequately discussed or presented.
Ways of ending:
a. Dramatic denoument
b. Note of quiet lyricism
c. Moral lesson
d. Anecdote
e. point made at the beginning of the essay
Application
Choose one topic from the following and write an essay incorporating the
strategies you learned from this module. Write a catchy title for your text.
a. My unforgettable travel
b. My best friend
c. My favorite pet
d. My greatest learning
e. My college life
e. Environmental issues
f. Animals or insects
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Module 4- Strategies of Creative Nonfiction
Writing Exercise
From the strategies of writing creative nonfiction, what
important characteristics must a writer of creative nonfiction
possess?
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Module 4- Strategies of Creative Nonfiction
Synapse Strengthener
Research examples of texts employing the various types of presenting the
following techniques:
1. Rhetorical Devices
2. Character
3. Convincing Ending
References
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REFERENCE
Hidalgo, Christina P. (2005) Creative Nonfiction A Manual For Filipino Writers.
Quezon City: The University of the Philippines Press.