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TopicLiterature& LanguageSubtopicWritingWriting CreativeNonfictionCourse GuidebookProfessor Tilar J. MazzeoColby College

PUBLISHED BY:THE GREAT COURSESCorporate Headquarters4840 Westfields Boulevard, Suite 500Chantilly, Virginia 20151-2299Phone: 1-800-832-2412Fax: 703-378-3819www.thegreatcourses.comCopyright The Teaching Company, 2012Printed in the United States of AmericaThis book is in copyright. All rights reserved.Without limiting the rights under copyright reserved above,no part of this publication may be reproduced, stored inor introduced into a retrieval system, or transmitted,in any form, or by any means(electronic, mechanical, photocopying, recording, or otherwise),without the prior written permission ofThe Teaching Company.

Tilar J. Mazzeo, Ph.D.Clara C. Piper Professor of EnglishColby CollegeProfessor Tilar J. Mazzeo is the New YorkTimes best-selling author of The WidowClicquot: The Story of a Champagne Empireand the Woman Who Ruled It, the story of therst international businesswoman in history, andThe Secret of Chanel No. 5: The Intimate Historyof the World’s Most Famous Perfume. The Widow Clicquot won the 2008Gourmand Award for the best book of wine literature published in theUnited States.Professor Mazzeo holds a Ph.D. in English and teaches British and Europeanliterature at Colby College, where she is the Clara C. Piper Professor of English.She has been the Jenny McKean Moore Writer-in-Residence at The GeorgeWashington University, and her writing on creative non ction techniqueshas appeared in recent collections such as Now Write! Nonfiction: Memoir,Journalism, and Creative Nonfiction Exercises from Today’s Best Writers.An experienced travel, food, and wine writer, Professor Mazzeo is alsothe author of Back Lane Wineries of Sonoma and Back Lane Wineries ofNapa. Her travel essays have appeared in publications such as Food & Winemagazine, and her narrative non ction account of life in the Hotel Ritz inParis during the Second World War is forthcoming from HarperCollins.Professor Mazzeo divides her time between coastal Maine and the Californiawine country.i

Table of ContentsINTRODUCTIONProfessor Biography .iCourse Scope .1LECTURE GUIDESLECTURE 1Welcome to Creative Nonfiction .3LECTURE 2Finding the Story .10LECTURE 3Honoring the Nonfiction Contract .16LECTURE 4Writing Great Beginnings.22LECTURE 5Show, Don’t Tell .28LECTURE 6Launching a Narrative Arc .34LECTURE 7Cliffhangers and Page Turners .40LECTURE 8Building Dramatic Sentences .46LECTURE 9Rhetorical Devices and Emotional Impact .52LECTURE 10Putting It All Together.59ii

Table of ContentsLECTURE 11Revealing Character in Words and Actions .66LECTURE 12Creating Compelling Characters .71LECTURE 13Character Psychology .78LECTURE 14Getting Inside the Heads of Your Characters .83LECTURE 15Using Narrative Perspective .89LECTURE 16Shaping Your Voice .95LECTURE 17Writing the Gutter—How to Not Tell a Story .100LECTURE 18Dialogue Strategies in Creative Nonfiction .108LECTURE 19Researching Creative Nonfiction . 117LECTURE 20How to Not Have People Hate You.126LECTURE 21Revising Your Work .132LECTURE 22Building Your Audience .138LECTURE 23Getting Published .143iii

Table of ContentsLECTURE 24Being a Writer .148SUPPLEMENTAL MATERIALGlossary .153Bibliography .159iv

Writing Creative NonfictionScope:Have you ever wished that you could capture a vivid memory orexperience in words? Do you dream of writing about a historicalor cultural gure who fascinated you? Is there a family historyyou have always wanted to share, or one of your life’s adventures that youhave always said to yourself would make a wonderful story? Have you everwanted to launch a new career as a writer or wanted to explore writing as aprivate passion? Writing well is not only useful, but it helps us preserve ourlife experiences as they truly occurred or as we felt them. It lets us sharestories in ways that others nd compelling. Creative non ction can openwhole new windows on the way you and your readers experience history—maybe your history.This course will help you write effectively about the things that matter toyou, and it will introduce you to the exciting and quickly growing eldof creative non ction—the art of bringing all the traditional strategies ofctional storytelling to narrating real-life events. In this course, you willlearn how to craft powerful memoirs and family histories, how to write abiography of a fascinating gure, the history of an inspiring moment, or awork of riveting travel writing.This course takes you from the beginning to the end of the process of writingcreative non ction: from nding your story and crafting great beginningsto nding an audience for your book and working through the revisionprocess. It offers rsthand advice from a bestselling author on breakinginto the world of publishing and plenty of hands-on exercises for anyonesimply interested in learning how to write more powerfully about his or herpersonal experiences.Along the way, you will also learn about how to write chapters that arepage-turners, how to develop gripping characters, and how to nd theright structure for your story. You will learn how to develop the researchskills to support your writing and how to write about the lives of people1

you know in ways that will not make them uncomfortable. You will learnhow to use cliffhanger endings that keep your readers on the edge of theirseats, how to keep your reader imaginatively engaged in factual history,and how to avoid common pitfalls like mixed metaphors, purple prose, andstock characters. You will also learn about the ethics of writing about trueexperiences, biographies, and autobiographies and how to avoid—unlikesome recent controversial authors—breaking what writers and editors call thenon ction contract.In this course, you will practice new writing strategies that will help youmaster the art of storytelling so you can tell the stories of your experienceand of the world around you from new perspectives, with panache. You willlearn how to revise and edit your own work with new insight and con dence,how to nd a community of fellow writers, and the secrets of the sevenhabits that professional writers cultivate to keep on writing and to managewriter’s block.Your professor—an award-winning, New York Times best-selling author—will guide you through the genres of personal creative non ction writing thatboth interested amateurs and professionals can enjoy, including the memoir,cultural history, travel writing, personal essays, and biography. Lectures offerpractical advice on selecting and organizing ideas, establishing the goals andthemes of your work, and publishing nished products.ScopeYour professor uses memorable examples from well-known authors andspeci cally tailored craft exercises to help you learn the secrets of greatwriting from personal experience. You will learn highly effective researchtechniques to help you pursue your personal interests in prose, as well ashow to craft the non ction story you have always wanted to tell—beautifully.With the right instructor, writing creative non ction is a skill everyone canmaster and enjoy.2

Welcome to Creative NonfictionLecture 1To write great creative non ction, a writer must tell a fact-based storyin an imaginative way—not as easy a task as it sounds! Non ctionwriters must be dedicated to preserving the truth of their stories—thewho, what, why, where, when, and how. The creativity enters through theuse of perspective, which, like a camera lens, allows the writer to focus thereader’s attention and engage his or her imagination.The Elements of a Great (True) StoryYou have always wanted to write: Perhaps you have bought a bookcompleting your novel in 90 days or breaking into publishing.Perhaps you have taken a creative writing class. Maybe you have ahalf-completed project in a desk drawer. Maybe you have started afamily history, a biography, or a memoir.If you have ever wanted to write about a true event or your personalexperience but wanted to do it with panache, then you have beenthinking about writing creative nonfiction. To write creativenon ction, you need to learn great storytelling.Great storytelling requires a strong central character, grippingdialogue, and a fabulous beginning. It needs paragraph afterparagraph that keeps a reader wanting more, leading to asatisfying ending.There are tricks of the trade—things that published writers learnfrom struggling with the same challenges all writers face over andover, as well as from talking to each other about their struggles.And it is important to note, what works for a great non ction storyworks just as well for a great ctional story, too.3

What Is Creative Nonfiction?Imagine you are trying to tell a story. That story will be about amain character, and it will take place in a setting, just as a playconsists of an actor who performs on a stage.Because this story is non ction, it will consist primarily of facts.You will have facts about the setting—the “where” and “when” ofthe story. You will have facts about the main character—usually a“who,” but possibly a “what.”Based on just those few facts, you can write an opening paragraph.That paragraph should show the reader the who, where, and when,but in a way that raises as many questions as it answers to engagethe reader’s imagination.Lecture 1: Welcome to Creative NonfictionOpening paragraphs tease the reader by using the facts as they existin the real world but delivering them from a certain perspective, orpoint of view, to make the reader start wondering about the character.The wonderful thing about creative non ction is that from the samefacts, we can tell hundreds of different stories. Everyone has adifferent perspective; simply changing the focus on the imaginarylens changes the story.Learning to write creative non ction well is all about learning how tond your voice and your perspective on any story you want to write.One Story—Two PerspectivesHere is an example of how two versions of a single non ction storycan be simultaneously true to the facts and yet completely different.In the rst version, Professor Mazzeo enters The Great Coursesstudio, told with an air of mystery.The room was silent. As she walked to the oak podium,the carpet muf ed the sound of her footsteps. Beyond thewindows, there was only blue, and she remembered herown days as an undergraduate, days when she sat, pen in4

The Teaching Company Collection.The same scene can look very different when considered from differentperspectives. The Great Courses set looks like a warm, cozy place.hand, far at the back of a room, lled with excitement.Now, she cleared her mind of the other things occupyingher mind, things she couldn’t tell anyone in this roomabout, things that shaped her own unwritten story. Theproblem that obsessed her receded to the end of a long anddistant tunnel, and what she needed to do now was the onlything that came into focus. “Welcome to Writing CreativeNon ction,” she said. “I’m Tilar Mazzeo, and togetherwe’ll be exploring what it means to write a great story.”Here is that same scene again, only this time, we consider theexperience with a tone of tension and worry, as Professor Mazzeolets us know what problem so obsesses her.The studio was oddly silent. She could see only the legs ofthe cameramen, hunched over the cameras, with their emptyglass camera eyes staring back at her like space aliens. Asshe walked across the stage to the oak podium, the carpetmuf ed the sound of her footsteps, and the spotlight blinded5

The Teaching Company Collection.but from the professors’ point of view, it is bright, high-tech, and even a bitintimidating the first time they deliver a lecture.Lecture 1: Welcome to Creative Nonfictionher for a moment. Beyond the false windows, there was onlya blue panel, meant to suggest the sky, and she rememberedher own days as an undergraduate. Her shoes hurt, and shewished she had chosen another pair this morning. But ofcourse she couldn’t say that. She put that to the back of hermind. “Welcome to Writing Creative Non ction,” she said.“I’m Tilar Mazzeo, and together we’ll be exploring what itmeans to write a great story.”By shifting what facts you know, you see the character in a differentcontext, and by changing that context, the way the story developsin the reader’s mind changes. Notice, however, that in both cases,every piece of information was a fact.6

The Importance of FactsFiction, by de nition, is a written work that is based on the writer’simagination. Fiction does not have to be true. Non ction, therefore,is the opposite. It is writing that is true to facts and history.On any given day, you might encounter many types of non ction:You might read the news in the morning; read a popularautobiography on your lunch break; and review e-mails, memos,and meeting minutes throughout your day at work.These are very different kinds of writing, but all of them are whatwe used to call, in a general way, good journalism—a “who, what,why, where, when, and how,” fact-based approach to writing.Traditionally, university creative writing departments have beenthe place to learn ction and poetry writing. Today, many schoolsare offering programs in creative non ction as well. It is the fastestgrowing part of the creative writing world—and the fastest growingpart of the market for books too.Creative non ction gets a bit tricky because the “creative” partmeans the writer is using the techniques of ctional storytelling.Unless the writer has warned you, the reader, that he or sheis indulging in some creativity, you have the right to assumeeverything in the story is true—and the right to get angry if it is not.Non ction writers have a sort of contract with readers: We are notallowed to make anything up. We must be rigorous reporters oflived experience. Our impulses must be documentary.Despite this, the opportunities for creativity in non ctionwriting are immense. When writing is done at the highest levelof craftsmanship—when the way of telling the story is just asimportant as the story itself—we often call that literature.7

All the strategies for telling a great story are the same, whether youare writing a novel or a work of non ction: You must set a vividscene that lets your reader see every detail. The difference is thatdetails are historically accurate.Mr. A and Ms. B—A Writing ExerciseHere is your rst writing exercise in creative non ction. First, readthe following minutes of a conversation between two people—Mr.A and Ms. B:Mr. A expressed the desire to be given the envelope on thetable immediately. “This is my history,” he stated. Ms. Bdenied the request. Ms. B stated that his past actions werethe source of her reluctance. Mr. A argued that his pastactions had been misunderstood. Ms. B responded: “Youare a big jerk!”Lecture 1: Welcome to Creative NonfictionThe setting is an of ce. The characters sit on opposite sidesof a long table, and there is another woman sitting at the end ofthe table, along with lots of empty chairs. There are uorescentlights ickering.With so few facts, the real meaning of this scene is still up fordebate, so here are some more: Mr. A and Ms. B are a couple.The other woman is a mediator. The envelope contains photos oftheir lives together. And once, years ago, Mr. A used their weddingphotos as kindling for the replace by accident.The homework assignment is this: Using these and the other factsabout the couple given in the lecture, write a paragraph describingwhat you see in that room. Tell a good story, but only using thefacts. No making things up!8

Important Termscreative nonfiction: The art of bringing all the strategies of storytelling tothe narration of factual events.point of view: The perspective from which a story is told; may be rst (I/we), second (you), or third person (he/she/it/they).Suggested ReadingLounsberry, The Art of Fact.Ueland, If You Want to Write.Questions to Consider1. What are your goals as a writer? What projects are you interestedin exploring?2. What do you see as your strengths and weaknesses as a writer?9

Finding the StoryLecture 2Astory is not merely a series of events; it is a series of events with acompelling sense of momentum that carries the reader toward theconclusion. We call this momentum the narrative arc, and writersachieve it by having strong characters who experience challenges andcon icts and undergo changes as a result. In creative non ction writing,choosing the right character and the right con ict is an essential part ofstarting your story.Choosing Your CharactersWriters need to think about how to keep a narrative in motion. Someof the engines that move a narrative forward include subtext, stakes,tension, character con ict, scene, setting, good beginnings, andsatisfying endings. Achieving any of these often requires revision.Returning to the exercise from the last lecture, were you able to ndany of these narrative engines in the information you had? What didthe minutes leave out that might have been helpful?Lecture 2: Finding the StoryLet us return to that same couple, but this time, we visit them attheir rst meeting, on a blind date. The rst line of the minutes areas follows:12:05 p.m., Café Voisin. Present: girl, wearing heels,red lipstick, cute; guy, out of breath, foreign accent.Introductions. Girl orders double vodka. Guy ordersespresso. Guy: “Sorry to be late, I was just .”What are the missing pieces of information in these minutes? Wemight wonder why the man is out of breath, or why the woman isdrinking at noon, or why the date is so early in the day. Becausewe already know how this relationship works out, we are alreadylooking for signs of impending doom, too.10

All of these questions are about character. We are looking for theirinvestments and motivations. We can see the possibility of tensionand miscommunication on the horizon. Once we start to see thingson the horizon, we are thinking about narrative arc—where thisstory is going, what its forward momentum is.Another important question is what happened before this scene.One of the things we will talk a lot about later in the course is howsomething interesting has already happened before any really greatstory’s beginning.Teasing Out the DetailsIf we were ction writers, rewriting this story would be simple,because we could ll in the missing facts. In creative non ction,however, we cannot invent everything.If you already write ction, you may be feeling hemmed in by theweight of fact. However, there is more than enough for a story inour scenario. Creative non ction stories also offer something ctioncannot: the power of true human experience.To keep the non ction contract with the reader, you will need togather as many details as possible, because details are at the heart ofcharacter. In this case, facts can include nonverbal cues and logicalinferences drawn from what we nd in front of us.Think about the woman’s red lipstick and the high heels, forexample: What can you infer about her hopes or expectationsfor this meeting? How would you be con dent in describing her,knowing nothing else about her? The same kinds of facts—such ashis words, his accent, his observable demeanor—tell us about theman’s character as well.Once you have tried revising these minutes to create a narrativescene, as you did with the argument in the boardroom in the lastlecture, double check that you did not invent anything. Make sureyou did not give in to the “it makes a better story this way” impulse.11

Focusing the LensWhen characters meet, something happens, but there is a differencebetween something happening and telling a good story. However,since you cannot change what happened in creative non ction,where does that leave you as a writer trying to craft a compellingnarrative arc?You cannot invent dramatic moments, but you can choose theorder in which you present the real moments to the reader and thuscontrol the focus of the story.oIf you begin the scene describing the woman’s red lipstick, youinvite the reader to think about romance and attraction.oIf you begin with the phone conversation she had with her bossjust before the man arrived—the one that drove her to order thevodka—you invite the reader to think about tension instead.Lecture 2: Finding the StoryThe Three Keys to a StoryHow do you decide what makes an interesting story? A good storymust have at least three things:12oIt needs a narrative arc. Something has to happen. A seriesof events lled with dramatic tension must keep the readerwanting to reach the conclusion, even if he or she alreadyknows what happens—as, say, when you are writing about afamous historical event.oIt needs dramatic conflict, or tension. Again, even if we knowthe outcome of a historical event, a story is dull unless the maincharacter faces some opposition and struggles in reaching hisor her goals.oIt needs a character to experience these events and con ict and,ultimately, to undergo a transformation. A lot of the time, yourstories will be about con icts between two characters withdifferent goals.

The things that make a character interesting are the same thingsthat make people interesting in real life: complexity, uniqueness,internal con ict, passion, ambition, strength, and weakness. Wecan love or hate these characters, but the writer’s job is to makeus believe they are real and to make us care about what happens tothem—even if we are hoping they meet a bad end. Photo by Ralph Morse//Time Life Pictures/Getty Images.The Liberation of Paris—A Writing ExerciseFor our next exercise, we will use a photograph taken during theLiberation of Paris at the end of the Second World War that onceappeared on the cover of LIFE magazine. In the foreground, aFrench soldier runs, a ri e in his hand, past some old-fashioned carsand a streetlamp that immediately evoke Paris in the 1940s. Behinda car, a man on his knees takes aim at some distant target. Crouchedat his feet is another soldier, half hidden from view. High on awindow ledge of the building behind them, a civilian man stands,looking into the distance. Below him on the street are two otherpeople, looking in the same direction.Use this photograph from the Liberation of Paris during the Second World Waras your jumping-off point for the writing exercise.13

If you were the journalist reporting on the streets of Paris thatday, where would you nd the story in this image? Where are thenarrative arc, con ict, and character?There are at least nine possible characters to work from: The runningsoldier, the two crouching soldiers, and the three watching civilians—they make six. The crouching soldier’s target is the seventh.The last two are trickier: First, there is the photographer. Second,you have yourself, looking at this image not from the streets ofParis but from some distant vantage point. The author can alwaysbe, in creative non ction, one of the characters.Each character has a different set of motivations and stakes in theevents that are unfolding; each one offers a different narrative arcthat shapes the story.Of course, this image captures a single moment, and without knowingmore, you cannot write an entire non ction story yet. You cannotmake up more details than you have, but if you wanted to, you couldresearch them. We will talk more about research in future lectures.Lecture 2: Finding the StoryAs an exercise in learning how to craft and shape storytelling,however, looking at photographs and listening in on bits ofconversation are ways to think about what is powerful andinteresting in a situation.You can practice this same exercise now on your own. The bestplace to look is an old family album because you do not need to doresearch. You know the characters and the narrative possibilities.Look for a photograph that has great dramatic tension.14

Important Termsdramatic conflict: Con ict, either internal or external, that charactersexperience that moves a narrative forward.narrative arc: The idea that a story has a natural forward trajectory and thatcon icts move toward complication and resolution.Suggested ReadingFandel, Picture Yourself Writing Nonfiction.Zinsser, On Writing Well.Questions to Consider1. Creative non ction is about telling true stories. Think about the kind oftruth photographs tell. Do you think photographs are a more objectiveform of history than creative non ction? Why or why not?2. Look around you. How do the people you see reveal hints of character intheir dress and external appearances? What can you learn about creatingcharacter from this?15

Honoring the Nonfiction ContractLecture 3Part of writing non ction means making a commitment to telling thetruth. That can leave the novice wondering where exactly there isroom for creativity. By looking at examples of creativity from twomemoirists—Maxine Hong Kingston, who did it the right way, and JamesFrey, who infamously did it the wrong way—we can begin to see the shapeof the non ction contract the author makes with the reader.The Nonfiction ContractAs your writing becomes more ambitious, you will likely want totake on larger and more complicated topics. That means you willneed to do the kind of research that will let you put words intothe mouths of your characters and maybe even write about theirinnermost feelings and motivations.Lecture 3: Honoring the Nonfiction ContractThis brings us back to the nonfiction contract and, in particular,the line between fact and interpretation. What do we do as writerswhen we really need to know something to move our story forwardand we just cannot nd it? How do we write about things beyondour experience and feel con dent that we are doing it truthfully?One of the best ways to examine this issue is by looking atauthors who got it wrong—who broke the non ction contract withtheir readers.Think about a moment in your life when you heard someone saysomething untrue or unfair about you. For most of us, the reactionis distress, pain, embarrassment, and anger.Because we write non ction, our characters are real people. Ifthey are living people, we risk causing that same pain to others.Even if they are long dead, people may feel strongly about them ortheir reputations.16

Why “Creative Nonfiction”?Until a decade or so ago, the term “creative non ction” did notexist, but narrative historical writing did. The roots of creativenon ction actually lie in 20th-century literary journalism, the kindof work that someone like Ernest Hemingway wrote for a magazinelike Colliers.Conventional, commercial journalism was cool, detached, andobjective. It reported the facts and named names, but it did not tryto bring the people in those stories to life as characters. Literaryjournalists like Hemingway and his colleagues—often strugglingliterary writers—took a different approach, reporting the news froma rsthand, personal perspective.These same techniques started appearing more and more, oftenin histories. In the 1970s especially, authors become interested inwriting history from the perspectives of “average” people—peoplewhose experiences were not covered in books about monarchs andpresidents. Since the technique was being used outside journalism,the term “literary journalism” no longer t.Another good reason for not using the term “literary journalism” anylonger touches on ethical issues. For several decades now, televisionhas been supplanting print journalism as the primary source of news,and more and more often, the television shows with the greatestnumber of viewers are those that blur the boundaries betweenreporting and satire or between journalism and commentary.Thus journalism does not always keep the non ction contract today,which is ne as long as the reader or viewer understands the natureof the bargain. Few viewers confuse satirical programming withfactual reporting. In fact, getting the joke is part of the pleasure.The word “journalism” no longer automatically and reliablyimplies “I didn’t make anything up,” and it does not imply the sameboundaries about commentary and interpretation.17

If writing creative non ction means having to walk such a ne line,why would an author want to write non ction instead of ction?Because there is something powerful about reality. True storiesteach us something about what it me

With the right instructor, writing creative non¿ ction is a skill everyone can master and enjoy. v. 3 Welcome to Creative Non fi ction Lecture 1 T o write great creative non¿ ction, a writer must tell a fact-based story in an im

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