short creative nonfiction essay examples

25 Great Nonfiction Essays You Can Read Online for Free

Alison Doherty

Alison Doherty is a writing teacher and part time assistant professor living in Brooklyn, New York. She has an MFA from The New School in writing for children and teenagers. She loves writing about books on the Internet, listening to audiobooks on the subway, and reading anything with a twisty plot or a happily ever after.

View All posts by Alison Doherty

I love reading books of nonfiction essays and memoirs , but sometimes have a hard time committing to a whole book. This is especially true if I don’t know the author. But reading nonfiction essays online is a quick way to learn which authors you like. Also, reading nonfiction essays can help you learn more about different topics and experiences.

Besides essays on Book Riot,  I love looking for essays on The New Yorker , The Atlantic , The Rumpus , and Electric Literature . But there are great nonfiction essays available for free all over the Internet. From contemporary to classic writers and personal essays to researched ones—here are 25 of my favorite nonfiction essays you can read today.

“Beware of Feminist Lite” by  Chimamanda Ngozi Adichie

The author of We Should All Be Feminists  writes a short essay explaining the danger of believing men and woman are equal only under certain conditions.

“It’s Silly to Be Frightened of Being Dead” by Diana Athill

A 96-year-old woman discusses her shifting attitude towards death from her childhood in the 1920s when death was a taboo subject, to World War 2 until the present day.

“Letter from a Region in my Mind” by James Baldwin

There are many moving and important essays by James Baldwin . This one uses the lens of religion to explore the Black American experience and sexuality. Baldwin describes his move from being a teenage preacher to not believing in god. Then he recounts his meeting with the prominent Nation of Islam member Elijah Muhammad.

“Relations” by Eula Biss

Biss uses the story of a white woman giving birth to a Black baby that was mistakenly implanted during a fertility treatment to explore racial identities and segregation in society as a whole and in her own interracial family.

“Friday Night Lights” by Buzz Bissinger

A comprehensive deep dive into the world of high school football in a small West Texas town.

“The Case for Reparations” by Ta-Nehisi Coates

Coates examines the lingering and continuing affects of slavery on  American society and makes a compelling case for the descendants of slaves being offered reparations from the government.

“Why I Write” by Joan Didion

This is one of the most iconic nonfiction essays about writing. Didion describes the reasons she became a writer, her process, and her journey to doing what she loves professionally.

“Go Gentle Into That Good Night” by Roger Ebert

With knowledge of his own death, the famous film critic ponders questions of mortality while also giving readers a pep talk for how to embrace life fully.

“My Mother’s Tongue” by Zavi Kang Engles

In this personal essay, Engles celebrates the close relationship she had with her mother and laments losing her Korean fluency.

“My Life as an Heiress” by Nora Ephron

As she’s writing an important script, Ephron imagines her life as a newly wealthy woman when she finds out an uncle left her an inheritance. But she doesn’t know exactly what that inheritance is.

“My FatheR Spent 30 Years in Prison. Now He’s Out.” by Ashley C. Ford

Ford describes the experience of getting to know her father after he’s been in prison for almost all of her life. Bridging the distance in their knowledge of technology becomes a significant—and at times humorous—step in rebuilding their relationship.

“Bad Feminist” by Roxane Gay

There’s a reason Gay named her bestselling essay collection after this story. It’s a witty, sharp, and relatable look at what it means to call yourself a feminist.

“The Empathy Exams” by Leslie Jamison

Jamison discusses her job as a medical actor helping to train medical students to improve their empathy and uses this frame to tell the story of one winter in college when she had an abortion and heart surgery.

“What I Learned from a Fitting Room Disaster About Clothes and Life” by Scaachi Koul

One woman describes her history with difficult fitting room experiences culminating in one catastrophe that will change the way she hopes to identify herself through clothes.

“Breasts: the Odd Couple” by Una LaMarche

LaMarche examines her changing feelings about her own differently sized breasts.

“How I Broke, and Botched, the Brandon Teena Story” by Donna Minkowitz

A journalist looks back at her own biased reporting on a news story about the sexual assault and murder of a trans man in 1993. Minkowitz examines how ideas of gender and sexuality have changed since she reported the story, along with how her own lesbian identity influenced her opinions about the crime.

“Politics and the English Language” by George Orwell

In this famous essay, Orwell bemoans how politics have corrupted the English language by making it more vague, confusing, and boring.

“Letting Go” by David Sedaris

The famously funny personal essay author , writes about a distinctly unfunny topic of tobacco addiction and his own journey as a smoker. It is (predictably) hilarious.

“Joy” by Zadie Smith

Smith explores the difference between pleasure and joy by closely examining moments of both, including eating a delicious egg sandwich, taking drugs at a concert, and falling in love.

“Mother Tongue” by Amy Tan

Tan tells the story of how her mother’s way of speaking English as an immigrant from China changed the way people viewed her intelligence.

“Consider the Lobster” by David Foster Wallace

The prolific nonfiction essay and fiction writer  travels to the Maine Lobster Festival to write a piece for Gourmet Magazine. With his signature footnotes, Wallace turns this experience into a deep exploration on what constitutes consciousness.

“I Am Not Pocahontas” by Elissa Washuta

Washuta looks at her own contemporary Native American identity through the lens of stereotypical depictions from 1990s films.

“Once More to the Lake” by E.B. White

E.B. White didn’t just write books like Charlotte’s Web and The Elements of Style . He also was a brilliant essayist. This nature essay explores the theme of fatherhood against the backdrop of a lake within the forests of Maine.

“Pell-Mell” by Tom Wolfe

The inventor of “new journalism” writes about the creation of an American idea by telling the story of Thomas Jefferson snubbing a European Ambassador.

“The Death of the Moth” by Virginia Woolf

In this nonfiction essay, Wolf describes a moth dying on her window pane. She uses the story as a way to ruminate on the lager theme of the meaning of life and death.

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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. 

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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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Essays About Creative Non-Fiction: Top 5 Examples and 10 Prompts

Check out our essay examples and writing prompts guide if you’re writing essays about creative non-fiction.

Creative non-fiction is a skilled and artistic way of telling stories based on true accounts, facts, and interviews. It can include essays, long-form articles, or books. Writing creative non-fiction can be very challenging when writing a literary work as it combines in-depth research and authentic, creative storytelling.

This work requires great attention to detail and getting the facts straight while keeping your readers engaged with your imaginative writing style. In short, authors of creative non-fiction enjoy the best — as well as the paramount challenges — of both the journalistic and poetic worlds. 

5 Intriguing Essay Examples

• 1. Whatever You Write, There You Are  by Kristen Martin

2. The 5 Rs Of Creative Nonfiction Story by Lee Gutkind

3. svetlana alexievich’s nobel prize is a huge win for nonfiction writing by katy waldman, 5. legends of the fall by chiqui jabson chua, 1. types of creative non-fiction writing, 2. creative non-fiction writing tips, 3. a personal memoir, 4. a travel guide and experience essay, 5. business writing, 6. a memorable family gathering, 7. the story behind a painting, 8. creative non-fiction works you love, 9. an unforgettable lesson in class, 10. the person who inspires you the most, 1. whatever you write, there you are   by kristen martin.

“Creative nonfiction can take many forms, be it a meandering lyric essay or long-form narrative journalism, and its practitioners don’t always agree on how creative one can be with the truth.”

For the most part, the authors of creative non-fiction have to constantly choose between sharing their personal experiences and the universal. While creative non-fiction seems biased toward the latter, authors surprisingly understand their inner selves more deeply when they embark on an outward journey to explore material facts. Nine creative non-fiction authors share their experiences of this so-called “backdoor memoir” phenomenon.

“What is most important and enjoyable about creative nonfiction is that it not only allows but encourages the writer to become a part of the story or essay being written. The personal involvement creates a special magic that alleviates the suffering and anxiety of the writing experience; it provides many outlets for satisfaction and self-discovery, flexibility and freedom.”

Gutkind lets readers into his 5R techniques of being a creative non-fiction journalist. These Rs are real, reflection, research, reading, and riting. This immersion journalist, whose extensive experience included participating in an open-heart surgery as a wallflower observer, talks about the main elements of creative non-fiction while writing one along the way.

“After conducting hundreds of interviews, she arranges people’s intimate testimonies into a choir of almost impersonal witness; the resulting works have been called “novels-in-voices,” immersions in experience that are governed by a fierce, purposeful intellect.”

The Swedish Academy surprised the world in 2015 as it awarded the Nobel Prize for Literature to a creative non-fiction writer, marking a first in half a century since it happened. The move makes a resounding statement in the literary world on the essence of reportorial documentation after years of its unacceptance and criticism as a literary work.

4. Africa’s Cold Rush And The Promise Of Refrigeration by Nicola Twilley

“Over the next four or five hours, as the heat of the day sets in, gradually wilting the cassava leaves and softening the tomatoes, these men will cover hundreds of miles, carrying food from the countryside to sell in markets in the capital, Kigali.”

In this remarkably creative non-fiction, a journalist poignantly and painstakingly chronicles the daily hardships in Rwanda, where men rise before dawn and help bring food to the market in the next town, often just in the nick of time before spoilage. Twilley immerses in Rwanda and its cold chain problem, interviewing scientists, cold economy experts, and policymakers who all work toward making refrigeration happen for the African country. 

“In the foothills of western Kyoto, towering bamboo trees sway in the mild wind, turning the sunlight into a delicate jade. Nearby, temples and villas sit amid fine gardens and, not too far uphill, a town pulsates with living traditions from ancient Japan.”

This article is an enjoyable descriptive non-fiction piece, giving us a Kyoto tour in early fall and autumn. We follow the author on her commute through an urban neighborhood, up to the mountain, and into one temple after another. With the author’s vivid imagination and ingenuity for words, the readers are led on to a journey in Japan as though they are experiencing firsthand the stillness of Kyoto’s green trails and the serene beauty of its mountainous landscape. 

10 Great Writing Prompts on Essays About Creative Non-fiction

List down the many types of creative non-fiction and explain how they simultaneously promote the presentation of facts and creative storytelling. Like this guide, you may also find your best picks for each type of creative non-fiction. 

Taking tips from some of the essay examples above, determine the common denominators in the authors’ techniques in producing creative non-fictional works. Then, explain how these techniques helped the authors achieve their desired effects.

If you were to write your memoir, what events would you be putting in the spotlight? For your essay, imagine how you would structure your memoir. You can choose either a sad or joyous event. What matters the most is to describe memorable experiences so that you can narrate them in exact detail. To ensure your essay will enthrall your readers, read our storytelling guide . 

Traveling creates wanderlust, a desire to feed yourself with new information and experiences. For this easy, recall a trip, or embark on a new adventure. First, write about the culture of the place and the people around you. Next, describe the place and culture and share the most important lessons you have learned from this adventure. Finally, describe the other future adventures you’d like to go on.

Business writing is not a usual source of attraction for several writers — especially for writers who chose to write because they despised math. There are joys never imagined in weaving stories from numbers. In this essay, offer your readers some tips to enjoy and make a profit in writing creative non-fictional pieces about business.

For this writing prompt, recount a memorable gathering with family and relatives. To make this pass as creative non-fiction, first detail the purpose of the gathering, the settings, and the decorations as vividly as you can. Then, describe each family member present and their unique qualities that make them unforgettable. Finally, recount the conversations and the emotions surging in you as they chattered away. 

Pick a painting that captivates you the most and try to peel into its layers of meaning by researching its history, the stories, and the people that inspired the painter of the work. Next, try to mull the connection between the painting’s story and yours. This could explain what made you entranced at first glance. 

If there are creative non-fiction literary works that have shaped who you are today, talk about them in your essay and elaborate on the reasons you have admired the author’s thoughts. Then, convince your readers to pick up this book to see their self-transformation. 

Some classroom lessons succeed in keeping us engrossed in learning. Some could form the foundations of a hobby, while some could be our first step toward a professional career path. In this essay, reminisce on a class lecture you will never forget. Explain briefly what the subject matter was at the time and what your professor said about it that was forever etched on your memory. 

Each of us has an idol we look up to as an inspiration to reach our goals, whether a historical figure, a fictional character, or a living personality. Share yours and write a piece of creative non-fiction about their story as a hero. Then, point out their qualities, achievements, or advocacies that made you realize your bigger ambitions, find confidence, and believe in yourself. 

If you liked this article and want to put these ideas into practice, check out our round-up of storytelling exercises .

What is creative nonfiction? Despite its slightly enigmatic name, no literary genre has grown quite as quickly as creative nonfiction in recent decades. Literary nonfiction is now well-established as a powerful means of storytelling, and bookstores now reserve large amounts of space for nonfiction, when it often used to occupy a single bookshelf.

Like any literary genre, creative nonfiction has a long history; also like other genres, defining contemporary CNF for the modern writer can be nuanced. If you’re interested in writing true-to-life stories but you’re not sure where to begin, let’s start by dissecting the creative nonfiction genre and what it means to write a modern literary essay.

What Creative Nonfiction Is

Creative nonfiction employs the creative writing techniques of literature, such as poetry and fiction, to retell a true story.

How do we define creative nonfiction? What makes it “creative,” as opposed to just “factual writing”? These are great questions to ask when entering the genre, and they require answers which could become literary essays themselves.

In short, creative nonfiction (CNF) is a form of storytelling that employs the creative writing techniques of literature, such as poetry and fiction, to retell a true story. Creative nonfiction writers don’t just share pithy anecdotes, they use craft and technique to situate the reader into their own personal lives. Fictional elements, such as character development and narrative arcs, are employed to create a cohesive story, but so are poetic elements like conceit and juxtaposition.

The CNF genre is wildly experimental, and contemporary nonfiction writers are pushing the bounds of literature by finding new ways to tell their stories. While a CNF writer might retell a personal narrative, they might also focus their gaze on history, politics, or they might use creative writing elements to write an expository essay. There are very few limits to what creative nonfiction can be, which is what makes defining the genre so difficult—but writing it so exciting.

Different Forms of Creative Nonfiction

From the autobiographies of Mark Twain and Benvenuto Cellini, to the more experimental styles of modern writers like Karl Ove Knausgård, creative nonfiction has a long history and takes a wide variety of forms. Common iterations of the creative nonfiction genre include the following:

Also known as biography or autobiography, the memoir form is probably the most recognizable form of creative nonfiction. Memoirs are collections of memories, either surrounding a single narrative thread or multiple interrelated ideas. The memoir is usually published as a book or extended piece of fiction, and many memoirs take years to write and perfect. Memoirs often take on a similar writing style as the personal essay does, though it must be personable and interesting enough to encourage the reader through the entire book.

Personal Essay

Personal essays are stories about personal experiences told using literary techniques.

When someone hears the word “essay,” they instinctively think about those five paragraph book essays everyone wrote in high school. In creative nonfiction, the personal essay is much more vibrant and dynamic. Personal essays are stories about personal experiences, and while some personal essays can be standalone stories about a single event, many essays braid true stories with extended metaphors and other narratives.

Personal essays are often intimate, emotionally charged spaces. Consider the opening two paragraphs from Beth Ann Fennelly’s personal essay “ I Survived the Blizzard of ’79. ”

We didn’t question. Or complain. It wouldn’t have occurred to us, and it wouldn’t have helped. I was eight. Julie was ten.

We didn’t know yet that this blizzard would earn itself a moniker that would be silk-screened on T-shirts. We would own such a shirt, which extended its tenure in our house as a rag for polishing silver.

The word “essay” comes from the French “essayer,” which means “to try” or “attempt.” The personal essay is more than just an autobiographical narrative—it’s an attempt to tell your own history with literary techniques.

Lyric Essay

The lyric essay contains similar subject matter as the personal essay, but is much more experimental in form.

The lyric essay contains similar subject matter as the personal essay, with one key distinction: lyric essays are much more experimental in form. Poetry and creative nonfiction merge in the lyric essay, challenging the conventional prose format of paragraphs and linear sentences.

The lyric essay stands out for its unique writing style and sentence structure. Consider these lines from “ Life Code ” by J. A. Knight:

The dream goes like this: blue room of water. God light from above. Child’s fist, foot, curve, face, the arc of an eye, the symmetry of circles… and then an opening of this body—which surprised her—a movement so clean and assured and then the push towards the light like a frog or a fish.

What we get is language driven by emotion, choosing an internal logic rather than a universally accepted one.

Lyric essays are amazing spaces to break barriers in language. For example, the lyricist might write a few paragraphs about their story, then examine a key emotion in the form of a villanelle or a ghazal . They might decide to write their entire essay in a string of couplets or a series of sonnets, then interrupt those stanzas with moments of insight or analysis. In the lyric essay, language dictates form. The successful lyricist lets the words arrange themselves in whatever format best tells the story, allowing for experimental new forms of storytelling.

Literary Journalism

Much more ambiguously defined is the idea of literary journalism. The idea is simple: report on real life events using literary conventions and styles. But how do you do this effectively, in a way that the audience pays attention and takes the story seriously?

You can best find examples of literary journalism in more “prestigious” news journals, such as The New Yorker , The Atlantic , Salon , and occasionally The New York Times . Think pieces about real world events, as well as expository journalism, might use braiding and extended metaphors to make readers feel more connected to the story. Other forms of nonfiction, such as the academic essay or more technical writing, might also fall under literary journalism, provided those pieces still use the elements of creative nonfiction.

Consider this recently published article from The Atlantic : The Uncanny Tale of Shimmel Zohar by Lawrence Weschler. It employs a style that’s breezy yet personable—including its opening line.

So I first heard about Shimmel Zohar from Gravity Goldberg—yeah, I know, but she insists it’s her real name (explaining that her father was a physicist)—who is the director of public programs and visitor experience at the Contemporary Jewish Museum, in San Francisco.

How to Write Creative Nonfiction: Common Elements and Techniques

What separates a general news update from a well-written piece of literary journalism? What’s the difference between essay writing in high school and the personal essay? When nonfiction writers put out creative work, they are most successful when they utilize the following elements.

Just like fiction, nonfiction relies on effective narration. Telling the story with an effective plot, writing from a certain point of view, and using the narrative to flesh out the story’s big idea are all key craft elements. How you structure your story can have a huge impact on how the reader perceives the work, as well as the insights you draw from the story itself.

Consider the first lines of the story “ To the Miami University Payroll Lady ” by Frenci Nguyen:

You might not remember me, but I’m the dark-haired, Texas-born, Asian-American graduate student who visited the Payroll Office the other day to complete direct deposit and tax forms.

Because the story is written in second person, with the reader experiencing the story as the payroll lady, the story’s narration feels much more personal and important, forcing the reader to evaluate their own personal biases and beliefs.

Observation

Telling the story involves more than just simple plot elements, it also involves situating the reader in the key details. Setting the scene requires attention to all five senses, and interpersonal dialogue is much more effective when the narrator observes changes in vocal pitch, certain facial expressions, and movements in body language. Essentially, let the reader experience the tiny details – we access each other best through minutiae.

The story “ In Transit ” by Erica Plouffe Lazure is a perfect example of storytelling through observation. Every detail of this flash piece is carefully noted to tell a story without direct action, using observations about group behavior to find hope in a crisis. We get observation when the narrator notes the following:

Here at the St. Thomas airport in mid-March, we feel the urgency of the transition, the awareness of how we position our bodies, where we place our luggage, how we consider for the first time the numbers of people whose belongings are placed on the same steel table, the same conveyor belt, the same glowing radioactive scan, whose IDs are touched by the same gloved hand[.]

What’s especially powerful about this story is that it is written in a single sentence, allowing the reader to be just as overwhelmed by observation and context as the narrator is.

We’ve used this word a lot, but what is braiding? Braiding is a technique most often used in creative nonfiction where the writer intertwines multiple narratives, or “threads.” Not all essays use braiding, but the longer a story is, the more it benefits the writer to intertwine their story with an extended metaphor or another idea to draw insight from.

“ The Crush ” by Zsofia McMullin demonstrates braiding wonderfully. Some paragraphs are written in first person, while others are written in second person.

The following example from “The Crush” demonstrates braiding:

Your hair is still wet when you slip into the booth across from me and throw your wallet and glasses and phone on the table, and I marvel at how everything about you is streamlined, compact, organized. I am always overflowing — flesh and wants and a purse stuffed with snacks and toy soldiers and tissues.

The author threads these narratives together by having both people interact in a diner, yet the reader still perceives a distance between the two threads because of the separation of “I” and “you” pronouns. When these threads meet, briefly, we know they will never meet again.

Speaking of insight, creative nonfiction writers must draw novel conclusions from the stories they write. When the narrator pauses in the story to delve into their emotions, explain complex ideas, or draw strength and meaning from tough situations, they’re finding insight in the essay.

Often, creative writers experience insight as they write it, drawing conclusions they hadn’t yet considered as they tell their story, which makes creative nonfiction much more genuine and raw.

The story “ Me Llamo Theresa ” by Theresa Okokun does a fantastic job of finding insight. The story is about the history of our own names and the generations that stand before them, and as the writer explores her disconnect with her own name, she recognizes a similar disconnect in her mother, as well as the need to connect with her name because of her father.

The narrator offers insight when she remarks:

I began to experience a particular type of identity crisis that so many immigrants and children of immigrants go through — where we are called one name at school or at work, but another name at home, and in our hearts.

How to Write Creative Nonfiction: the 5 R’s

CNF pioneer Lee Gutkind developed a very system called the “5 R’s” of creative nonfiction writing. Together, the 5 R’s form a general framework for any creative writing project. They are:

• Write about r eal life: Creative nonfiction tackles real people, events, and places—things that actually happened or are happening.
• Conduct extensive r esearch: Learn as much as you can about your subject matter, to deepen and enrich your ability to relay the subject matter. (Are you writing about your tenth birthday? What were the newspaper headlines that day?)
• (W) r ite a narrative: Use storytelling elements originally from fiction, such as Freytag’s Pyramid , to structure your CNF piece’s narrative as a story with literary impact rather than just a recounting.
• Include personal r eflection: Share your unique voice and perspective on the narrative you are retelling.
• Learn by r eading: The best way to learn to write creative nonfiction well is to read it being written well. Read as much CNF as you can, and observe closely how the author’s choices impact you as a reader.

You can read more about the 5 R’s in this helpful summary article .

How to Write Creative Nonfiction: Give it a Try!

Whatever form you choose, whatever story you tell, and whatever techniques you write with, the more important aspect of creative nonfiction is this: be honest. That may seem redundant, but often, writers mistakenly create narratives that aren’t true, or they use details and symbols that didn’t exist in the story. Trust us – real life is best read when it’s honest, and readers can tell when details in the story feel fabricated or inflated. Write with honesty, and the right words will follow!

Ready to start writing your creative nonfiction piece? If you need extra guidance or want to write alongside our community, take a look at the upcoming nonfiction classes at Writers.com. Now, go and write the next bestselling memoir!

Sean Glatch

Thank you so much for including these samples from Hippocampus Magazine essays/contributors; it was so wonderful to see these pieces reflected on from the craft perspective! – Donna from Hippocampus

Absolutely, Donna! I’m a longtime fan of Hippocampus and am always astounded by the writing you publish. We’re always happy to showcase stunning work 🙂

I like how it is written about him”…When he’s not writing, which is often, he thinks he should be writing.”

[…] Source: https://www.masterclass.com/articles/a-complete-guide-to-writing-creative-nonfiction#5-creative-nonfiction-writing-promptshttps://writers.com/what-is-creative-nonfiction […]

So impressive

Thank you. I’ve been researching a number of figures from the 1800’s and have come across a large number of ‘biographies’ of figures. These include quoted conversations which I knew to be figments of the author and yet some works are lauded as ‘histories’.

excellent guidelines inspiring me to write CNF thank you

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The 5 Rs of Creative Nonfiction

What's the Story #06

“The Essayist at Work” is our first special issue. The cover is different, and although it is our habit to center each issue around a general theme, the essays and profiles in “The Essayist at Work” are narrower in scope. In the future, we intend to publish special issues on a variety of topics, but this one is especially important, not only because it is our first, but also because it helps to launch the first Mid-Atlantic Creative Nonfiction Summer Writers’ Conference with the Goucher College Center for Graduate and Continuing Studies in Baltimore, Md., a supportive and enthusiastic summer partner. Many writers featured in “The Essayist at Work” will also be participating at the conference – an event we hope to continue to co-sponsor with Goucher for years to come.

The writers in this issue represent the incredible range of the newly emerging genre of creative nonfiction, from the struggle and success stories of Darcy Frey (“The Last Shot”) and William Least Heat-Moon (“Blue Highways”) to the master of the profession, John McPhee. From the roots of traditional journalism to poetry and fiction, Pulitzer Prize-winner Alice Steinbach, poet Diane Ackerman and novelists Phillip Lopate and Paul West, have helped expand the boundaries of form and tradition. Jane Bernstein, Steven Harvey, Mary Paumier Jones, Wendy Lesser and Natalia Rachel Singer ponder the spirit of the essay (and e-mail!), while I continue to reflect on and define the creative nonfiction form.

From the beginning, it has been our mission to probe the depths and intricacies of nonfiction by publishing the best prose by new and established writers. Creative Nonfiction provides a forum for writers, editors and readers interested in pushing the envelope of creativity and discussing and defining the parameters of accuracy, validity and truth. My essay below, “The 5 Rs of Creative Nonfiction,” is dedicated to that mission. It will appear in “More than the Truth: Teaching Nonfiction Writing Through Journalism,” which will be published in the fall of 1996 by Heineman.

It is 3 a.m., and I am standing on a stool in the operating room at the University of Pittsburgh Medical Center, in scrubs, mask, cap and paper booties, peering over the hunched shoulders of four surgeons and a scrub nurse as a dying woman’s heart and lungs are being removed from her chest. This is a scene I have observed frequently since starting my work on a book about the world of organ transplantation, but it never fails to amaze and startle me: to look down into a gaping hole in a human being’s chest, which has been cracked open and emptied of all of its contents, watching the monitor and listening to the rhythmic sighing sounds of the ventilator, knowing that this woman is on the fragile cusp of life and death and that I am observing what might well be the final moments of her life.

Now the telephone rings; a nurse answers, listens for a moment and then hangs up. “On the roof,” she announces, meaning that the helicopter has set down on the hospital helipad and that a healthy set of organs, a heart and two lungs, en bloc, will soon be available to implant into this woman, whose immediate fate will be decided within the next few hours.

With a brisk nod, the lead surgeon, Bartley Griffith, a young man who pioneered heart-lung transplantation and who at this point has lost more patients with the procedure than he had saved, looks up, glances around and finally rests his eyes on me: “Lee,” he says, “would you do me a great favor?”

I was surprised. Over the past three years I had observed Bart Griffith in the operating room a number of times, and although a great deal of conversation takes place between doctors and nurses during the long and intense surgical ordeal, he had only infrequently addressed me in such a direct and spontaneous manner.

Our personal distance is a by-product of my own technique as an immersion journalist – my “fly-on-the wall” or “living room sofa” concept of “immersion”: Writers should be regular and silent observers, so much so that they are virtually unnoticed. Like walking through your living room dozens of times, but only paying attention to the sofa when suddenly you realize that it is missing. Researching a book about transplantation, “Many Sleepless Nights” (W.W. Norton), I had been accorded great access to the O.R., the transplant wards, ethics debates and the most intimate conversations between patients, family members and medical staff. I had jetted through the night on organ donor runs. I had witnessed great drama – at a personal distance.

But on that important early morning, Bartley Griffith took note of my presence and requested that I perform a service for him. He explained that this was going to be a crucial time in the heart-lung procedure, which had been going on for about five hours, but that he felt obligated to make contact with this woman’s husband who had traveled here from Kansas City, Mo. “I can’t take the time to talk to the man myself, but I am wondering if you would brief him as to what has happened so far. Tell him that the organs have arrived, but that even if all goes well, the procedure will take at least another five hours and maybe longer.” Griffith didn’t need to mention that the most challenging aspect of the surgery – the implantation – was upcoming; the danger to the woman was at a heightened state.

A few minutes later, on my way to the ICU waiting area where I would find Dave Fulk, the woman’s husband, I stopped in the surgeon’s lounge for a quick cup of coffee and a moment to think about how I might approach this man, undoubtedly nervous – perhaps even hysterical – waiting for news of his wife. I also felt kind of relieved, truthfully, to be out of the O.R,, where the atmosphere is so intense.

Although I had been totally caught-up in the drama of organ transplantation during my research, I had recently been losing my passion and curiosity; I was slipping into a life and death overload in which all of the sad stories from people all across the world seemed to be congealing into the same muddled dream. From experience, I recognized this feeling – a clear signal that it was time to abandon the research phase of this book and sit down and start to write. Yet, as a writer, I was confronting a serious and frightening problem: Overwhelmed with facts and statistics, tragic and triumphant stories, I felt confused. I knew, basically, what I wanted to say about what I learned, but I didn’t know how to structure my message or where to begin.

And so, instead of walking away from this research experience and sitting down and starting to write my book, I continued to return to the scene of my transplant adventures waiting for lightning to strike . . . inspiration for when the very special way to start my book would make itself known. In retrospect, I believe that Bart Griffith’s rare request triggered that magic moment of clarity I had long been awaiting.

Defining the Discussion

Before I tell you what happened, however, let me explain what kind of work I do as an immersion journalist/creative nonfiction writer, and explain what I am doing, from a writer’s point-of-view, in this essay.

But first some definitions: “Immersion journalists” immerse or involve themselves in the lives of the people about whom they are writing in ways that will provide readers with a rare and special intimacy.

The other phrase to define, a much broader term, creative nonfiction, is a concept that offers great flexibility and freedom, while adhering to the basic tenets of nonfiction writing and/or reporting. In creative nonfiction, writers can be poetic and journalistic simultaneously. Creative nonfiction writers are encouraged to utilize fictional (literary) techniques in their prose – from scene to dialogue to description to point-of-view – and be cinematic at the same time. Creative nonfiction writers write about themselves and/or capture real people and real life in ways that can and have changed the world. What is most important and enjoyable about creative nonfiction is that it not only allows, but encourages the writer to become a part of the story or essay being written. The personal involvement creates a special magic that alleviates the suffering and anxiety of the writing experience; it provides many outlets for satisfaction and self-discovery, flexibility and freedom.

When I refer to creative nonfiction, I include memoir (autobiography), and documentary drama, a term more often used in relation to film, as in “Hoop Dreams,” which captures the lives of two inner-city high school basketball players over a six-year period. Much of what is generically referred to as “literary journalism” or in the past, “new journalism,” can be classified as creative nonfiction. Although it is the current vogue in the world of writing today, the combination of creative nonfiction as a form of writing and immersion as a method of research has a long history. George Orwell’s famous essay, “Shooting an Elephant” combines personal experience and high quality literary writing techniques. The Daniel DeFoe classic, “Robinson Crusoe,” is based upon a true story of a physician who was marooned on a desert island. Ernest Hemingway’s paean to bullfighting, “Death in the Afternoon,” comes under the creative nonfiction umbrella, as does Tom Wolfe’s, “The Right Stuff,” which was made into an award-winning film. Other well-known creative nonfiction writers, who may utilize immersion techniques include John McPhee (“Coming Into the Country”), Tracy Kidder (“House”), Diane Ackerman (“A Natural History of the Senses”) and Pulitzer Prize winner Annie Dillard (“Pilgrim at Tinker Creek”), to name only a few of the many authors who have contributed to this burgeoning genre.

Currently, many of our best magazines – The New Yorker, Harper’s, Vanity Fair, Esquire – publish more creative nonfiction than fiction and poetry combined. Universities offer Master of Fine Arts degrees in creative nonfiction. Newspapers are publishing an increasing amount of creative nonfiction, not only as features, but in the news and op-ed pages, as well.

Reading, ‘Riting, ‘Rithmitic – the 3Rs – was the way in which basic public school education was once described. The “5 Rs” is an easy way to remember the basic tenets of creative nonfiction/immersion journalism.

The first “R” has already been explained and discussed: the “immersion” or “real life” aspect of the writing experience. As a writing teacher, I design assignments that have a real-life aspect: I force my students out into their communities for an hour, a day, or even a week so that they see and understand that the foundation of good writing emerges from personal experience. Some writers (and students) may utilize their own personal experience rather than immersing themselves in the experiences of others. In a recent introductory class I taught, one young man working his way through school as a sales person wrote about selling shoes, while another student, who served as a volunteer in a hospice, captured a dramatic moment of death, grief and family relief. I’ve sent my students to police stations, bagel shops, golf courses; together, my classes have gone on excursions and participated in public service projects – all in an attempt to experience or re-create from personal experience real life.

In contrast to the term “reportage,” the word “essay” usually connotes a more personal message from writer to reader. “An essay is when I write what I think about something,” students will often say to me. Which is true, to a certain extent – and also the source of the meaning of the second “R” for “reflection.” A writer’s feelings and responses about a subject are permitted and encouraged, as long as what they think is written to embrace the reader in a variety of ways. As editor of Creative Nonfiction, I receive approximately 150 unsolicited essays, book excerpts and profiles a month for possible publication. Of the many reasons the vast majority of these submissions are rejected, two are most prevalent, the first being an overwhelming egocentrism; in other words, writers write too much about themselves without seeking a universal focus or umbrella so that readers are properly and firmly engaged. Essays that are so personal that they omit the reader are essays that will never see the light of print. The overall objective of the personal essayist is to make the reader tune in – not out.

The second reason Creative Nonfiction and most other journals and magazines reject essays is a lack of attention to the mission of the genre, which is to gather and present information, to teach readers about a person, place, idea or situation combining the creativity of the artistic experience with the essential third “R” in the formula: “Research.”

Even the most personal essay is usually full of substantive detail about a subject that affects or concerns a writer and the people about whom he or she is writing. Read the books and essays of the most renowned nonfiction writers in this century and you will read about a writer engaged in a quest for information and discovery. From George Orwell to Ernest Hemingway to John McPhee, books and essays written by these writers are invariably about a subject other than themselves, although the narrator will be intimately included in the story. Personal experience and spontaneous intellectual discourse – an airing and exploration of ideas – are equally vital. In her first book, “Pilgrim at Tinker Creek,” which won the Pulitzer Prize, and in her other books and essays, Annie Dillard repeatedly overwhelms her readers with factual information, minutely detailed descriptions of insects, botany and biology, history, anthropology, blended with her own feelings about life.

One of my favorite Dillard essays, “Schedules,” focuses upon the importance of writers working on a regular schedule rather than writing only intermittently. In “Schedules,” she discusses, among many other subjects, Hasidism, chess, baseball, warblers, pine trees, june bugs, writers’ studios and potted plants – not to mention her own schedule and writing habits and that of Wallace Stevens and Jack London.

What I am saying is that the genre of creative nonfiction, although anchored in factual information, is open to anyone with a curious mind and a sense of self. The research phase actually launches and anchors the creative effort. Whether it is a book or essay I am planning, I always begin my quest in the library – for three reasons. First, I need to familiarize myself with the subject. If it is something about which I do not know, I want to make myself knowledgeable enough to ask intelligent questions. If I can’t display at least a minimal understanding of the subject about which I am writing, I will lose the confidence and the support of the people who must provide access to the experience.

Secondly, I will want to assess my competition. What other essays, books and articles have been written about this subject? Who are the experts, the pioneers, the most controversial figures? I want to find a new angle – not write a story similar to one that has already been written. And finally, how can I reflect and evaluate a person, subject or place unless I know all of the contrasting points-of-view? Reflection may permit a certain amount of speculation, but only when based upon a solid foundation of knowledge.

So far in this essay I have named a number of well-respected creative nonfiction writers and discussed their work, which means I have satisfied the fourth “R” in our “5R” formula: “Reading.” Not only must writers read the research material unearthed in the library, but they also must read the work of the masters of their profession. I have heard some very fine writers claim that they don’t read too much anymore – or that they don’t read for long periods, especially during the time they are laboring on a lengthy writing project. But almost all writers have read the best writers in their field and are able to converse in great detail about the stylistic approach and intellectual content. An artist who has never studied Picasso, Van Gogh, Michelangelo, even Warhol, is an artist who will quite possibly never succeed.

So far we have mostly discussed the nonfiction or journalistic aspects of the immersion journalism/creative nonfiction genre. The 5th “R” the “riting” part is the most artistic and romantic aspect of the total experience. After all of the preparatory (nonfiction) work is complete, writers will often “create” in two phases. Usually, there is an inspirational explosion, a time when writers allow instinct and feeling to guide their fingers as they create paragraphs, pages, and even entire chapters of books or complete essays. This is what art of any form is all about – the passion of the moment and the magic of the muse. I am not saying that this always happens; it doesn’t. Writing is a difficult labor, in which a regular schedule, a daily grind of struggle, is inevitable. But this first part of the experience for most writers is rather loose and spontaneous and therefore more “creative” and fun. The second part of the writing experience – the “craft” part, which comes into play after your basic essay is written – is equally important – and a hundred times more difficult.

Writing in Scenes

Vignettes, episodes, slices of reality are the building blocks of creative nonfiction – the primary distinguishing factor between traditional reportage/journalism and “literary” and/or creative nonfiction and between good, evocative writing and ordinary prose. The uninspired writer will tell the reader about a subject, place or personality, but the creative nonfiction writer will show that subject, place or personality in action. Before we discuss the actual content or construction of a scene, let me suggest that you perform what I like to call the “yellow test.”

Take a yellow “Hi-Liter” or Magic Marker and leaf through your favorite magazines – Vanity Fair, Esquire, The New Yorker or Creative Nonfiction. Or return to favorite chapters in previously mentioned books by Dillard, Ackerman, etc. Yellow-in the scenes, just the scenes, large and small. Then return to the beginning and review your handiwork. Chances are, anywhere from 50 to 80 percent of each essay, short story, novel selected will be yellow. Plays are obviously constructed with scenes, as are films. Most poems are very scenic.

Jeanne Marie Laskas, the talented columnist for the Washington Post Magazine, once told me: “I only have one rule from start to finish. I write in scenes. It doesn’t matter to me in which order the scenes are written; I write whichever scene inspires me at any given time, and I worry about the plot or frame or narrative later. The scene – a scene – any scene – is always first.”

The Elements of a Scene

First and foremost, a scene contains action. Something happens. I jump on my motorcycle and go helter-skelter around the country; suddenly, in the middle of July in Yellowstone National Park I am confronted with 20 inches of snow. Action needn’t be wild, sexy and death-defying, however. There’s also action in the classroom. A student asks a question, which requires an answer, which necessitates a dialogue, which is a marvelously effective tool to trigger or record action. Dialogue represents people saying things to one another, expressing themselves. It is a valuable scenic building block. Discovering dialogue is one of the reasons to immerse ourselves at a police station, bagel shop or at a zoo. To discover what people have to say spontaneously – and not in response to a reporter’s prepared questions.

Another vehicle or technique of the creative nonfiction experience may be described as “intimate and specific detail.” Through use of intimate detail, we can hear and see how the people about whom we are writing say what is on their minds; we may note the inflections in their voices, their elaborate hand movements and any other eccentricities. “Intimate” is a key distinction in the use of detail when crafting good scenes. Intimate means recording and noting detail that the reader might not know or even imagine without your particular inside insight. Sometimes intimate detail can be so specific and special that it becomes unforgettable in the reader’s mind. A very famous “intimate” detail appears in a classic creative nonfiction profile, “Frank Sinatra Has a Cold,” written by Gay Talese in 1962 and published in Esquire Magazine.

In this profile, Talese leads readers on a whirlwind cross country tour, revealing Sinatra and his entourage interacting with one another and with the rest of the world and demonstrating how the Sinatra world and the world inhabited by everyone else will often collide. These scenes are action-oriented; they contain dialogue and evocative description with great specificity and intimacy such as the gray-haired lady spotted in the shadows of the Sinatra entourage – the guardian of Sinatra’s collection of toupees. This tiny detail – Sinatra’s wig lady – loomed so large in my mind when I first read the essay that even now, 35 years later, anytime I see Sinatra on TV or spot his photo in a magazine, I find myself unconsciously searching the background for the gray-haired lady with the hatbox.

The Narrative – or Frame

The frame represents a way of ordering or controlling a writer’s narrative so that the elements of his book, article or essay are presented in an interesting and orderly fashion with an interlaced integrity from beginning to end.

Some frames are very complicated, as in the movie, “Pulp Fiction”; Quentin Tarantino skillfully tangles and manipulates time. But the most basic frame is a simple beginning-to-end chronology. “Hoop Dreams,” for example, the dramatic documentary (which is also classic creative nonfiction) begins with two African-American teen-age basketball stars living in a ghetto and sharing a dream of stardom in the NBA and dramatically tracks both of their careers over the next six years.

As demonstrated in “Pulp Fiction,” writers don’t always frame in a strictly chronological sequence. My book, “One Children’s Place,” begins in the operating room at a children’s hospital. It introduces a surgeon, whose name is Marc Rowe, his severely handicapped patient, Danielle, and her mother, Debbie, who has dedicated her every waking moment to Danielle. Two years of her life have been spent inside the walls of this building with parents and children from all across the world whose lives are too endangered to leave the confines of the hospital. As Danielle’s surgery goes forward, the reader tours the hospital in a very intimate way, observing in the emergency room, participating in helicopter rescue missions as part of the emergency trauma team, attending ethics meetings, well-baby clinics, child abuse examinations – every conceivable activity at a typical high-acuity children’s hospital so that readers will learn from the inside out how such an institution and the people it services and supports function on an hour-by-hour basis. We even learn about Marc Rowe’s guilty conscience about how he has slighted his own wife and children over the years so that he can care for other families.

The book ends when Danielle is released from the hospital. It took two years to research and write this book, returning day and night to the hospital in order to understand the hospital and the people who made it special, but the story in which it is framed begins and ends in a few months.

Back to the Beginning – That Rare and Wonderful Moment of Clarity

Now let’s think about this essay as a piece of creative nonfiction writing, especially in relation to the concept of framing. It begins with a scene. We are in an operating room at the University of Pittsburgh, the world’s largest organ transplant center, in the middle of a rare and delicate surgery that will decide a dying woman’s fate. Her heart and both lungs have been emptied out of her chest and she is maintained on a heart-bypass system. The telephone alerts the surgical team that a fresh and potentially lifesaving set of organs has arrived at the hospital via helicopter. Suddenly the lead surgeon looks up and asks an observer (me) to make contact with the woman’s husband. I agree, leave the operating room and then stop for a coffee in the surgeon’s lounge.

Then, instead of moving the story forward, fulfilling my promise to Dr. Griffith and resolving my own writing dilemma, I change directions, move backwards (flashback) in time and sequence and begin to discuss this genre – immersion journalism/creative nonfiction. I provide a mountain of information – definitions, descriptions, examples, explanations. Basically, I am attempting to satisfy the nonfiction part of my responsibility to my readers and my editors while hoping that the suspense created in the first few pages will provide an added inducement for readers to remain focused and interested in this Introduction from the beginning to the end where, (the reader assumes) the two stories introduced in the first few pages will be completed.

In fact, my meeting with Dave Fulk in the ICU waiting room that dark morning was exactly the experience I had been waiting for, leading to that precious and magic moment of clarity for which I was searching and hoping. When I arrived, Mr. Fulk was talking with an elderly man and woman from Sacramento, Calif., who happened to be the parents of a 21-year-old U.S. Army private named Rebecca Treat who, I soon discovered, was the recipient of the liver from the same donor who gave Dave’s wife (Winkle Fulk) a heart and lungs. Rebecca Treat, “life-flighted” to Pittsburgh from California, had been in a coma for 10 days by the time she arrived in Pittsburgh; the transplanted liver was her only hope of ever emerging from that coma and seeing the light of day.

Over the next half-hour of conversation, I learned that Winkle Fulk had been slowly dying for four years, had been bedbound for three of those years, as Dave and their children watched her life dwindle away, as fluid filled her lungs and began to destroy her heart. Rebecca’s fate had been much more sudden; having contracted hepatitis in the army, she crashed almost immediately. To make matters worse, Rebecca and her new husband had separated. As I sat in the darkened waiting area with Dave Fulk and Rebecca’s parents, I suddenly realized what it was I was looking for, what my frame or narrative element could be. I wanted to tell about the organ transplant experience – and what organ transplantation can mean from a universal perspective – medically, scientifically, personally for patients, families and surgeons. Rebecca’s parents and the Fulk family, once strangers, would now be permanently and intimately connected by still another stranger – the donor – the person whose tragic death provided hope and perhaps salvation to two dying people. In fact, my last quest in the research phase of the transplant book experience was to discover the identity of this mysterious donor and literally connect the principal characters. In so doing, the frame or narrative drive of the story emerged.

“Many Sleepless Nights” begins when 15-year-old Richie Becker, a healthy and handsome teen-ager from Charlotte, N.C., discovers that his father is going to sell the sports car that he had hoped would one day be his. In a spontaneous and thoughtless gesture of defiance, Richie, who had never been behind the wheel, secretly takes his father’s sports car on a joy ride. Three blocks from his home, he wraps the car around a tree and is subsequently declared brain dead at the local hospital. Devastated by the experience, but hoping for some positive outcome to such a senseless tragedy, Richie’s father, Dick, donates his son’s organs for transplantation.

Then the story flashes back a half century, detailing surgeons’ first attempts at transplantation and all of the experimentation and controversy leading up to the development and acceptance of transplant techniques. I introduce Winkle Fulk and Pvt. Rebecca Treat. Richie Becker’s liver is transplanted into Rebecca, while his heart and lungs are sewn into Mrs. Fulk by Dr. Bartley Griffith. The last scene of the book 370 pages later is dramatic and telling and finishes the frame three years later when Winkle Fulk travels to Charlotte, N.C., a reunion I arranged to allow the folks to personally thank Richie’s father for his son’s gift of life.

At the end of the evening, just as we were about to say goodbye and return to the motel, Dick Becker stood up in the center of the living room of his house, paused, and then walked slowly and hesitantly over toward Winkle Fulk, who had once stood alone at the precipice of death. He eased himself down on his knees, took Winkle Fulk by the shoulder and simultaneously drew her closer, as he leaned forward and placed his ear gently but firmly between her breasts and then at her back.

Everyone in that room was suddenly and silently breathless, watching as Dick Becker listened for the last time to the absolutely astounding miracle of organ transplantation: the heart and the lungs of his dead son Richie, beating faithfully and unceasingly inside this stranger’s warm and loving chest.

100 Major Works of Modern Creative Nonfiction

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• An Introduction to Punctuation
• Ph.D., Rhetoric and English, University of Georgia
• M.A., Modern English and American Literature, University of Leicester
• B.A., English, State University of New York

Essays , memoirs , autobiographies , biographies , travel writing , history, cultural studies, nature writing —all of these fit under the broad heading of creative nonfiction , and all are represented in this list of 100 major works of creative nonfiction published by British and American writers over the past 90 years or so. They're arranged alphabetically by author last name.

Recommended Creative Nonfiction

• Edward Abbey, "Desert Solitaire: A Season in the Wilderness" (1968)
• James Agee, "Let Us Now Praise Famous Men" (1941)
• Martin Amis, "Experience" (1995)
• Maya Angelou , "I Know Why the Caged Bird Sings" (1970)
• Russell Baker, "Growing Up" (1982)
• James Baldwin , "Notes of a Native Son" (1963)
• Julian Barnes, "Nothing to Be Frightened Of" (2008)
• Alan Bennett, "Untold Stories" (2005)
• Wendell Berry, "Recollected Essays" (1981)
• Bill Bryson, "Notes From a Small Island" (1995)
• Anthony Burgess, "Little Wilson and Big God: Being the First Part of the Confessions of Anthony Burgess" (1987)
• Joseph Campbell, "The Hero With a Thousand Faces" (1949)
• Truman Capote , "In Cold Blood" (1965)
• Rachel Carson, "Silent Spring" (1962)
• Pat Conroy, "The Water Is Wide" (1972)
• Harry Crews, "A Childhood: The Biography of a Place" (1978)
• Joan Didion, "We Tell Ourselves Stories in Order to Live: Collected Nonfiction" (2006)
• Joan Didion, "The Year of Magical Thinking" (2005)
• Annie Dillard, "An American Childhood" (1987)
• Annie Dillard, "Pilgrim at Tinker Creek" (1974)
• Barbara Ehrenreich, "Nickel and Dimed: On (Not) Getting By in America" (2001)
• Gretel Ehrlich, "The Solace of Open Spaces" (1986)
• Loren Eiseley, "The Immense Journey: An Imaginative Naturalist Explores the Mysteries of Man and Nature" (1957)
• Ralph Ellison, "Shadow and Act" (1964)
• Nora Ephron, "Crazy Salad: Some Things About Women" (1975)
• Joseph Epstein, "Snobbery: The American Version" (2002)
• Richard P. Feynman, "The Feynman Lectures on Physics" (1964)
• Shelby Foote, "The Civil War: A Narrative" (1974)
• Ian Frazier, "Great Plains" (1989)
• Paul Fussell, "The Great War and Modern Memory" (1975)
• Stephen Jay Gould, "Ever Since Darwin: Reflections in Natural History" (1977)
• Robert Graves, "Good-Bye to All That" (1929)
• Alex Haley, "The Autobiography of Malcolm X" (1965)
• Pete Hamill, "A Drinking Life: A Memoir" (1994)
• Ernest Hemingway , "A Moveable Feast" (1964)
• Michael Herr, "Dispatches" (1977)
• John Hersey, "Hiroshima" (1946)
• Laura Hillenbrand, "Unbroken: A World War II Story of Survival, Resilience, and Redemption" (2010)
• Edward Hoagland, "The Edward Hoagland Reader" (1979)
• Eric Hoffer, "The True Believer: Thoughts on the Nature of Mass Movements" (1951)
• Richard Hofstadter, "Anti-Intellectualism in American Life" (1963)
• Jeanne Wakatsuki Houston and James D. Houston, "Farewell to Manzanar" (1973)
• Langston Hughes , "The Big Sea" (1940)
• Zora Neale Hurston , "Dust Tracks on a Road" (1942)
• Aldous Huxley, "Collected Essays" (1958)
• Clive James, "Reliable Essays: The Best of Clive James" (2001)
• Alfred Kazin, "A Walker in the City" (1951)
• Tracy Kidder, "House" (1985)
• Maxine Hong Kingston, "The Woman Warrior: Memoirs of a Childhood Among Ghosts" (1989)
• Thomas Kuhn, "The Structure of Scientific Revolutions" (1962)
• William Least Heat-Moon, "Blue Highways: A Journey Into America" (1982)
• Bernard Levin, "Enthusiasms" (1983)
• Barry Lopez, "Arctic Dreams: Imagination and Desire in a Northern Landscape" (1986)
• David McCullough, "Truman" (1992)
• Dwight Macdonald, "Against The American Grain: Essays on the Effects of Mass Culture" (1962)
• John McPhee, "Coming Into the Country" (1977)
• Rosemary Mahoney, "Whoredom in Kimmage: The Private Lives of Irish Women" (1993)
• Norman Mailer, "The Armies of the Night" (1968)
• Peter Matthiessen, "The Snow Leopard" (1979)
• H.L. Mencken, "A Mencken Chrestomathy: His Own Selection of His Choicest Writing" (1949)
• Joseph Mitchell, "Up in the Old Hotel and Other Stories" (1992)
• Jessica Mitford, "The American Way of Death" (1963)
• N. Scott Momaday, "Names" (1977)
• Lewis Mumford, "The City in History: Its Origins, Its Transformations, and Its Prospects" (1961)
• Vladimir Nabokov, "Speak, Memory: An Autobiography Revisited" (1967)
• P.J. O'Rourke, "Parliament of Whores" (1991)
• Susan Orlean, "My Kind of Place: Travel Stories from a Woman Who's Been Everywhere" (2004)
• George Orwell , "Down and Out in Paris and London" (1933)
• George Orwell, "Essays" (2002)
• Cynthia Ozick, "Metaphor and Memory" (1989)
• Robert Pirsig, "Zen and the Art of Motorcycle Maintenance" (1975)
• Richard Rodriguez, "Hunger of Memory" (1982)
• Lillian Ross, "Picture" (1952)
• David Sedaris, "Me Talk Pretty One Day" (2000)
• Richard Selzer, "Taking the World in for Repairs" (1986)
• Zadie Smith, "Changing My Mind: Occasional Essays" (2009)
• Susan Sontag, "Against Interpretation and Other Essays" (1966)
• John Steinbeck, "Travels with Charley" (1962)
• Studs Terkel, "Hard Times: An Oral History of the Great Depression" (1970)
• Lewis Thomas, "The Lives of a Cell" (1974)
• E.P. Thompson, "The Making of the English Working Class" (1963; rev. 1968)
• Hunter S. Thompson, "Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream" (1971)
• James Thurber, "My Life and Hard Times" (1933)
• Lionel Trilling, "The Liberal Imagination: Essays on Literature and Society" (1950)
• Barbara Tuchman, "The Guns of August" (1962)
• John Updike, "Self-Consciousness" (1989)
• Gore Vidal, "United States: Essays 1952–1992" (1993)
• Sarah Vowell, "The Wordy Shipmates" (2008)
• Alice Walker , "In Search of Our Mothers' Gardens: Womanist Prose" (1983)
• David Foster Wallace, "A Supposedly Fun Thing I'll Never Do Again: Essays and Arguments" (1997)
• James D. Watson, "The Double Helix" (1968)
• Eudora Welty, "One Writer's Beginnings" (1984)
• E.B. White , "Essays of E.B. White" (1977)
• E.B. White, "One Man's Meat" (1944)
• Isabel Wilkerson, "The Warmth of Other Suns: The Epic Story of America's Great Migration" (2010)
• Tom Wolfe, "The Electric Kool-Aid Acid Test" (1968)
• Tom Wolfe, "The Right Stuff" (1979)
• Tobias Wolff, "This Boy's Life: A Memoir" (1989)
• Virginia Woolf , "A Room of One's Own" (1929)
• Richard Wright, "Black Boy" (1945)
• Stream of Consciousness Writing
• Creative Nonfiction
• Examples of Images in Poetry, Fiction, and Nonfiction
• Writers on Reading
• An Introduction to Literary Nonfiction
• Defining Nonfiction Writing
• What Is Literary Journalism?
• List (Grammar and Sentence Styles)
• A Look at the Roles Characters Play in Literature
• Point of View in Grammar and Composition
• Tips on Great Writing: Setting the Scene
• Using Flashback in Writing
• Genres in Literature
• Premise Definition and Examples in Arguments
• Definition and Examples of Formal Essays

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50 Creative Nonfiction Prompts Guaranteed to Inspire

But not to worry. I present one whole hefty list of prompts just for creative nonfiction writers.

One small note before you dive in: don’t be afraid to mix and match the prompts. Each suggestion was meant to highlight a specific line of inspiration. There is absolutely no reason that two or three of these can’t be explored within one piece.

In fact, just use my tiny suggestions as springboards. Good luck!

1. Explore a scene or story from your memory by reimagining it from an alternate perspective. Write the event from the point of view of a passing bystander, another person close to the event, a pet, or even an inanimate object. When choosing your narrator, pay attention to how objective they would have been, what they would have paid attention to, and what sort of background knowledge they would have had about the scene.

2. Tell the nonfiction story that you don’t want your mother to read. You know the one. Don’t censor yourself.

3. Recall a moment in which you felt a strong spiritual or unidentifiable energy. Describe the scene in vivid detail, with special attention to the senses. Connect that scene to your relationship with your own religious beliefs or lack thereof. Examine how you incorporated that experience into your worldview.

4. Create a timeline of events depicting your life by using newspaper headlines. Try to focus on events that didn’t involve you directly, but connect them to the pivotal events in your life.

5. Tell the story of one of your family holiday gatherings. Identify any of your family’s common trademarks, such as your one aunt that seems to tell the same joke at every Christmas, or your two uncles that always hide from the rest of the family by doing the dishes. Explore how you are linked within this family dynamic, and how these little quirks evolved and changed over the years.

6. Tell the story of a location. Possibly one that is very close to your heart that you already know well, or a new one that inspires your curiosity. Pay particular attention to your own connection to the location, however small or large that connection may be.

7. Choose a location that you’ve come to know as an adult. Compare how you interact with this setting now to how you interacted with similar settings when you were a child. How has your perspective changed?

8. Describe a time in which you expected or wanted to feel a religious or spiritual moment, but couldn’t. What were you hoping would happen? How do you choose to interpret that?

9. Recall a key lesson that parents or family members tried to impart onto you as a child. For example: “live with a healthy mind and healthy body,” or “put others before yourself.” Revisit that lesson as an adult and connect it to how you have come to interpret it as you grew up or in your adult life. Feel free to pick a less serious lesson and have a little bit of fun with it.

10. Revisit a special birthday from when you were younger. Describe specific details, with emphasis upon the senses. Now that you have years of context, how do you feel about what your parents and family did or did not do for you? What does that event mean to you now?

11. Choose an event in your life that someone else remembers differently. Describe both memories and debate the differences. Who do you think is right? Why do you think you remember it differently?

12. Choose a strong emotion and think of two memories associated with it. What are the links between those two memories?

13. Think of a lesson you learned recently and apply it to a memory. How would your behavior have changed if you had applied the lesson back then?

14. Choose a commonplace or otherwise unremarkable memory and describe it in the most dramatic and absurd way possible. For inspiration, I’m leaving you with some quotes from Douglas Adams. “The ships hung in the sky in much the same way that bricks don’t.” “He leant tensely against the corridor wall and frowned like a man trying to unbend a corkscrew by telekinesis.” “It was a deep, hollow malevolent voice which sounded like molten tar glurping out of a drum with evil on its mind.”

15. Have you seen those bizarre Illuminati videos in which some automated voice tries to prove that Arch Duke Ferdinand is actually alive and has a monopoly on the world’s dairy farms? For this prompt, think of people in your life who have believed in crazy conspiracy theories, and write about the time they first shared them with you. Think of how your beliefs might seem naïve to them, and explore the tension between the competing versions of history.

You Can’t Make This Stuff Up

16. What do you want more than anything in your life? Write about the burning hot core of your desire, and how that desire has changed over your life.

17. Recall what stressed you out most as a child. Was it the creaking stairs leading to the basement? Or being lost at the store? Explore your current relationship to that stressor. Did you ever move past that fear or anxiety? How do you interact with it now?

18. What relationship in your life has caused the most pain? Write the key scene in that relationship, when everything was at stake.

19. Write about a road trip you took, and about where all your fellow travelers ended up in life versus where you ended up. Are you glad you didn’t end up where they did, or are you jealous?

20. How has your identity changed over the course of your life? Write a scene from your teenage years that epitomizes the type of person you were, and then write a scene from recent life that shows how you’ve changed.

21. What event in your life has angered you the most? Write the scene where it happened, and tell us what you would do if it happened again.

22. What single experience most shaped who you are? Describe the experience in a single, vivid scene.

23. Who was your first friend to die? Write about how you learned of their death, and how you and their other friends mourned them.

24. Choose a happy or comfortable memory and write it in a way that makes the memory creepy or eerie to the reader. Don’t change the basic facts of the event, only select different facts and present them differently.

25. Show yourself in a scene pursuing the thing you want most in the world. Try to show the reader, without telling them, about your character flaws.

26. If you could throw five items into the fire, what would they be and why? To be clear, by throwing them in this fire, there would be no trace of them left anywhere, even if it’s something on the Internet or a memory. This is a very powerful fire. What would the consequences be?

27. What physical object or family heirloom ties together your grandparents, your parents, and yourself? Describe this object in great detail, and what it has meant to generations of your family.

This is seriously the best anthology out there for creative nonfiction.   

Lee Gutkind and Annie Dillard have created a fantastic repository of classics.

In Fact: The Best of Creative Nonfiction

28. Tell a story from your life in inverted chronological order. Start with the end, then backpedal to the middle, then tell the beginning, and then fill in the rest of the gaps.

29. Write about your favorite trip or journey, and how that high level of happiness was eventually threatened.

30. Look at some photographs of your childhood. Look at the pictures of your old room, the clothes you wore, and the places you had been. Try to remember a friend from that time period, and describe the first memory of a time when they pressured you or made you uncomfortable or angry.

31. Take a small, boring moment that happened today and write as much as you can about it. Go overboard describing it, and make this boring moment exciting by describing it in intense detail with ecstatic prose. Eventually connect this small, boring detail with the grand narrative of your life, your bigger purpose and intentions.

32. Describe the best meal you ever ate. Then describe a conflict you had with the people you shared it with, one that happened before, during, or after.

33. Recall an individual that you particularly hated. Describe their cruelty to you, and try to write yourself into an understanding of why they might have done it.

34. What was the best/worst letter you ever received or wrote? Write about the situation surrounding that letter, and why it was so important.

35. Recall a name you’ve given to a toy, a car, a pet, or a child, and tell us the story of how you and your family selected that name. Who fought over the name? What was the significance of that name? What happened to the animal or thing you named?

36. Write about experiencing the craziest natural event you’ve ever seen — tornado, earthquake, tsunami, hurricane. Dramatize the physical danger of the natural event as well as the tension between you and the people you were with.

37. Tell the story of the most important person that has shaped your town and its culture (you might have to do some research). How did the activity of that person  influence the way you grew up or live currently?

How do you find good creative nonfiction stories?    

This book masterfully teaches you how to discover the stories others will want to hear.

Creative Nonfiction: Researching and Crafting Stories of Real Life

38. Scientists have wondered for years how nature and nurture plays into the development of human minds and their choices. Explore where you and your siblings are today and the choices that brought you there. Would you like to trade places with your sibling? Would you be happy living in their shoes? How have your personal choices differed over the years?

39. Write a scene of a time when someone older than you gave you advice, and write about how you followed it or ignored it and the consequences.

40. Write a single, three-paragraph scene when your sexual desire was thwarted by yourself or someone else.

41. Describe a scene when you were stereotyping someone. Did someone challenge you, or if you only felt guilty by yourself, how did you change your behavior afterwards?

42. Describe the biggest epiphany of your life, then backtrack and tell the lead-up to that scene or the aftermath. In the lead-up or aftermath, show how the epiphany was either overrated or every bit as valuable as you’d previously thought.

43. Write about a fork in the road in your life, and how you made the decision to go the direction you did.

44. Explore an addiction you had or currently have. Whether the addiction is as serious as alcohol or cigarettes, or something much more mundane like texting, video games, or internet usage, describe in vivid detail the first time you tried it. If you quit, tell the story of how you quit.

45. Recall a scene in which you chose to remain silent. Whether it was your boss’s racist rant, or just an argument not worth having, explore the scene and why you chose not to speak.

46. Revisit a moment in your life that you feel you will never be able to forget. What about that moment made it so unforgettable?

47. What makes you feel guilty? Revisit a moment that you are ashamed of or feel guilty for and explore why that is. Describe the scene and the event and communicate why you feel this way.

48. Write about a moment in which you acted selflessly or against your own benefit. What motivated you to do so? What were the circumstances? How did you feel after words?

49. Write about the most pivotal scene in a relationship with someone in your extended family — Uncle, aunt, cousin, grandmother. Describe the tension or happiness you shared, and how that came to affect your relationship from that point onward.

50. If all else fails, try a writing-sprint. Set an alarm for 5, 10, or 15 minutes and write as much as possible within that time span. Even if you begin with no inspiration, you might be surprised with what you come up with by the end.

The definitive guide to creating riveting true life stories.     

Storycraft: The Complete Guide to Writing Narrative Nonfiction

For added pressure, try these writing websites:

• Write Or Die

If you stop writing for more than 5 seconds, everything you’ve written disappears. It’s like writing with someone with a whip behind your chair. But with this new update you can choose to get positive reinforcements, too, like a kitten or candy, or to have your words disemvoweled rather than disappear.

A points-based system to encourage writers to write 750 words every single day. You get bonus points for not skipping days, and bonus points for writing more than 750 words.

• Written? Kitten!

Every 100 words you write, you get shown a picture of a kitten. Ah, simple motivation. No word whether a dog version of the site is in the works for those who are more dog people.

For more on creative nonfiction writing, I suggest Creative Nonfiction . This website works with its print magazine counterpart to specifically cater to creative nonfiction writers and operates as an excellent starting point for more inspiration. Happy writing!

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Thank you for adding Written Kitten to the list, Bridget! We have bunnies and dogs now!

Thank you for this. Very helpful for a useless person like me

Stfu, you are amazing, and no one in this entire universe is useless, except for me, so love yourself.

This is super awesome & I am so happy to have some new ideas… creative block has been beyond bad. this is what I have needed to start unclogging it!

do you have topics i can write about

This is very helpful!

I am searching for non-fiction writing topics

Every writer NEEDS this book.

It’s a guide to writing the pivotal moments of your novel.

Whether writing your book or revising it, this will be the most helpful book you’ll ever buy.

Ideas for Writing Creative Nonfiction

by Melissa Donovan | Apr 6, 2023 | Creative Writing | 16 comments

Looking for creative nonfiction ideas?

In fiction writing, we’re often inspired by what-if questions: What if an innocent person is convicted of murder? What if humanity finds itself facing total extinction? What if that rabbit hole leads to a fantastical wonderland?

Fiction is driven by imagination.

Ideas for writing creative nonfiction often arise from experience and interest rather than imagination. Instead of asking what-if questions, creative nonfiction writers set out to share their experiences, knowledge, ideas, opinions, passions, and curiosities.

Creative nonfiction is a vast field of writing that can be quite lucrative. Readers are always looking for advice and information. People love reading real-life accounts by writers with firsthand experiences. Whether you write a memoir about a personal experience you’ve had or launch a blog related to your field of expertise, creative nonfiction offers a world of possibilities, and there’s no shortage of creative nonfiction ideas for you to explore in your writing.

Creative Nonfiction Ideas

Writers who are on a quest for inspiration can find a wealth of creative nonfiction writing ideas. Here are some to get you started:

1. An autobiography is your life story. You get to share your experiences, successes, and failures. The trouble with autobiographies is that readers are rarely interested in reading biographical information about total strangers. Unless you’re a public figure, there will be little interest in your project. However, you can always do some research and investigative reporting and write a biography about someone else, or you can narrow your focus and write a memoir.

2. What is a memoir? A memoir is not a life story; it’s a personal account of a particular experience. For example, if you’ve survived an illness, disaster, or trauma, that experience might provide the foundation for a memoir. Writing of this nature is appealing to readers because it speaks to a specific audience. Young parents whose children are struggling with autism, for example, will be highly interested in reading a memoir by a parent who has raised a child with autism. What makes memoirs so popular is the promise that through personal experience, the writer has obtained expertise and is now sharing it with the world.

A memoir doesn’t have to be about your past experiences. You can set yourself up for writing a memoir. Elizabeth Gilbert set out on a year of adventure and then wrote about it and became a best-selling author. A.J. Jacobs has built a life and a career around experimental adventures. He read all thirty-two volumes of the Encyclopedia Britannica and then wrote about it. He spent a year living biblically and then wrote about it. He also experimented with outsourcing his entire life, and then wrote about it. If you’ve ever wanted to embark on a grand adventure or found yourself concocting experimental lifestyles, you may find that they fuel some interesting creative nonfiction ideas.

3. If a memoir is too daunting, try a personal essay instead. Personal essays can be short-form memoirs, in which you share a specific personal experience, but instead of writing an entire book, you can write a handful of pages. You can also use personal essays to express your ideas or opinions on any subject imaginable.

4. Are you an expert? If you’re an expert on any subject, you can share your expertise by writing creative nonfiction in the form of articles and topical essays. Write about the subject you studied in school, the work you’ve done throughout your career, or a hobby that you’ve enjoyed and mastered. Many writers avoid this type of writing, assuming that there is already enough information out there. But new works are being published every day on a wide range of topics. What makes them successful is not necessarily the information that is imparted, but the manner in which it is presented. A unique voice, a new take on the subject, and a fresh way to organize the information are all viable strategies for success in these types of creative nonfiction writing.

5. What’s your passion? You can take your personal experience and acquired expertise on anything in the world and turn it into a writing project. These days, writers share their thoughts and insights on everything from their favorite TV shows and video games to the meals they eat and the books they read. You can write about the philosophy of Star Trek . You could share tips and strategies for playing (and winning) popular video games. If you love coffee and have a penchant for taking pictures, set out to make a coffee table book about coffee. If you spend your mornings gardening and your evenings creating delicious home-cooked meals, you can launch a blog packed with tips and ideas for gardening, cooking, or healthy eating. You don’t have to be an expert or a professional to talk about your passion.

Check out “ A Guide to Writing Creative Nonfiction ” for an in-depth look at writing creative nonfiction

Where do you get creative nonfiction ideas.

Ideas for writing creative nonfiction books, blogs, essays, and articles are all around you. Your questions, passions, experiences, and ideas all have the potential to launch your next creative nonfiction writing project.

16 Comments

My writing ideas most often come from my dreams or from real life experiences. On occasion another article, nice photography, art or music will inspire an idea for me, but most often they come from my life.

I love to hear from writers about where they get inspiration. In fact, when I listen to interviews with authors, my favorite portion is always when they talk about how they came up with an idea. It’s so interesting! Thanks for sharing your sources of inspiration, Nicole.

Writing ideas are somewhat like the proverbial moths swarming to the light source. There are so many that simple gads of them get away. Yet, I’ve discovered that keeping pen and paper near me as often as possible helps me to capture words or sentences which later make it into the creative nonfiction I love writing.

Even though I write nonfiction I adore fiction. Often fictional characters utter something which speaks to my heart. When that happens I frequently find ways to add the ideas or information to my own writing. Gosh, do you think I need to credit the creators of those fictional beings? 🙂

Yvonne, I believe all fiction writers are inspired by the authors who came before them. If we credited all of them, the acknowledgements pages in our books would be books themselves!

Melissa thanks. You say it all and true that everything is right there in the creative juice of the writer. I happen to pursue on this passion and look after writing relevant articles in my MIndaview Column and complied these as social commentary I’m now graduating as nonfiction writer. I have now a contract from Mr. Tom Wallace of Publisher on Demand Global after evaluating my work “The Needle” (actually a metaphor of 14 years of Martial in the Phil.) and pronounced his verdict: I could be their next best selling author! Hmm what a compliment and a breakthrough.

That’s wonderful, Ricardo! Good luck with your book!

I agree with Yvonne about keeping pen and paper handy. The only thing is, I have sentences, phrases and words on papers all over my world. I guess that is better than no ideas! I always thought I would start publishing with fiction and as it turns out, I am enjoying writing self-help–all from my own experiences. Maybe the “made-up” stories will come later… Diana Fletcher, Author of Happy on Purpose Daily Messages of Empowerment and Joy for Women

Hi Diana. It sounds like you and I have had similar experiences. I always keep pen and paper handy, but the clutter that my ideas and notes generate can be a burden. I also thought I’d start publishing with fiction, but it looks like I’m going to publish a book on writing before I get around to publishing a novel. I have mixed feelings about that!

Great minds think alike, I just wrote a post on getting ideas. I talked about the importance of observing. Sometimes the process of getting an idea can begin with just writing down something you saw in the course of your day. Once you get in the habit of observing, start speculating, using the 5 Ws. This post has some great suggestions in it!

Thanks, Charlotte! Yes, observation skills are critical for writers. If we miss something, our readers will catch it. Sometimes that’s not a big deal. But if it’s a big plot hole, a character behaving out of character, or a gap in our research, failure to observe can be pretty detrimental.

Be mindful. Pay attention. Ray Carver suggested that even an ordinary, mudane event in your life, like brushing your teeth, can be endowed with power.

Great tips, Chaz!

Melissa I have a real story I want to tell in the creative nonfiction genre. It inspired me out of the blue. I.ve never before wanted to write. But then that’s how i got my ladybug tattoo, inspiration from an a-ha moment. So when the notebooks went on sale at the beginning of the school year for 15 cents apiece I stocked up. I write and research every day now. My story may or may not ever be published, but I am having a blast getting it out there!

That’s great, Jo! It sounds like an experience from your life inspired you to become a writer, which is awesome. I wish you the best of luck in all that you write.

I actually wrote a nonfiction novel few weeks ago and thanks to you my writing are so much better just because of these few simple ideas. Thank you Melissa 🙂

You just made my day, Anna. Thanks so much for letting me know that you found these ideas inspiring and helpful. I wish you the best in your writing adventures!

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“ Never counted on wishes (breaks a man to see what he misses) ” by Fletcher Fox

⭐️ Shortlisted for Contest #253

“I wish we could stay here forever.” Of course, everyone says that their first year of university. The excitement, the freedom of being away from home, the longing for an impermanent state to be permanent - that wish is genuine, yet rarely was it quite as potent as it was for you. You didn’t know at the time just how fleeting here would be - weeks later, you would again return to your childhood bedroom, a pandemic having closed down your new barely existent friendships, never again to be as easy to maintain as they had at that dinner table w...

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“ celestine meets luciano ” by tirashia lastrapes.

Submitted to Contest #264

Clarence Roosevelt and Clementine Fitzgerald had jumped the broom. Clementine gave birth 2 years before. Named her Clare Ann Roosevelt. Clarence was happier than kids in a water balloon fight on a sizzling hot day.  In a little town called Mancini, they picked the one and only church big enough to fit a thousand people inside. Light gray and royal blue were the colors for the wedding. Clementine's hair pin curled which complimented her soft and playful features. She was a slender framed woman. Short and sweet. She wore light gray o...

“ The Weekend at the Wheels Inn ” by Lily Finch

It was the third time we had gone away together, but the difference was that his entire extended family would be there with us this time. I hesitated when I heard that since we weren't exactly at that stage in our relationship yet, in my estimation. Michael picked me up on Thursday night. We both took Friday off since all of his aunts and uncles told him they were doing that. When we arrived at the Inn, I immediately noticed our rooms were all in a row on the same floor. That should've been my first red flag. The room doors were all open, an...

“ I'm Yours ” by Julie Vincent

Next morning, as we drove down Hunter Street Newcastle, I gasped in horror at seeing bridal boutiques down both sides of the street. What is this place? I heard a very clear, ‘Before you leave this place you’ll be married.’ This freaked me out. Was it God? The idea of marriage terrified me. And there was more, ‘You’ll have so many friends, you won’t want to leave.’ Uh? I don’t know anybody. I’m alone. I’m a mess. How could it be?Not knowing what else to do, the couple left me at a refuge. I was shown around. When we got to the part of the sp...

“ The Big Bad Wolf ” by Marie-Chantal Wang Iriart

Submitted to Contest #263

The Big Bad Wolf The whole world thinks I’m a villain. In fact, in every child’s story, there’s never a happy ending for me. Humans think we're the villains? Please. They clearly haven't met my Aunt Lupina at family gatherings. Parents warn their children to stay away from me. They tell kids to take the three little pigs as role models and take me as trash. The fear of wolves in Europe was so intense that there were actual trials where people were accused of being werewolves. This historical paranoia could be an interesting element to explor...

“ The Accord of Storms ” by Ava Black

My feet hurt, I smelled like a deep fryer, and the coffee burns on my forearm stung. I sat in the driver’s seat of my sky-blue 1990 Honda Accord, staring at the little mountain restaurant I’d never return to. I slammed the car door, and I screamed.The restaurant I worked at had just laid me off. It was 2010, and Canada was still struggling to recover from the Great Recession. I was broke, and though I’d been accepted into university, my mother made it clear she would kick me out at the end of the summer—whether or not I had saved enough for ...

“ Plus-One Perspective ” by George [email protected]

Plus-One Perspective I am here to offer you my plus one perspective.  Even though I was five years old at this plus one event, I was unaccompanied.  Let’s face it, plus one means very little to a five-year-old even if he’s running loose at his father’s wedding.   Early in November 1961, my father George, Sr. married Carole Bent.  It was my dad’s second marriage and Carole’s first.  In a romantic getaway honeymoon, dad would take his new bride to South Bend, Indiana to see the Syracuse University Orangemen take ...

“ A Broken System: My Struggle with CRPS ” by Lilly Mae

I've been forced to confront the harsh reality of a system that prioritizes power and greed over people's lives. I've been marginalized, ignored, and dismissed. But I refuse to be silenced. I demand accountability, justice, and compassion. I urge those in power to walk in my shoes, to understand my struggles, and to act with humanity. I will not be defeated; I will rise above the corruption and continue to fight for my rights and the rights of others. Together, we can create a better world, a world that values empathy, kindness, and justice....

“ The path you set ablaze ” by M.D. Adler

TW: Mentions of physical violence. Some stories shouldn't be told by me, especially stories such as this one. Regrettably, you will find this story bruised by my thoughts, my bias, my voice, all things of mine that shouldn't belong here. I bruised it while trying to hold on tight, as it twisted, turned, and writhed in my hands, trying to escape. “I don't belong to you.” It shrieked. I felt guilty digging my nails deeper into these stories, knowing none of these memories were mine to exhibit. Yet, all of them are true. There's a reason why yo...

“ What For! ” by Colin Munene

As I stared at the lifeless body of my daughter Lily lying before me, my mind was racing with a maelstrom of emotions - grief, rage, and an overwhelming need for answers. Needing to be absolutely certain, I raised my trembling hands and pointed two fingers at a woman across the street, quietly whispering "bang."The woman crumpled to the ground, and in that moment, I knew my life had taken an irreversible turn. I was no longer the mild-mannered professor people knew me as - I had become something else, something darker. The death of my belove...

“ Superhero ” by Lily Finch

It was April 24, 2024, when my mother arrived at her doctor's office and heard that her mortal enemy and most significant fear was back, and she was going to have to face it all again.The shock carried her home, and she drove her car on automatic pilot. She exited the porch, entered the house, and collapsed onto the couch.She called my older sister, whom she lived with during the week.She said, "I have some bad news. I have lung cancer.""You have what? What do you mean?" My sister said that numbness took over her extremities.The two ladies s...

“ This Wasn't It ” by Carly Dodgen

Hot Florida sun burns a small spot on Billie’s back, but behind she could hear a storm approaching. Her backpack leaves sweat stains on her black Against Me! shirt, worn thin from the teenager’s reckless love of it. She is walking the mile or so from school back home. It is a poor neighborhood, but not because of a lack of money. The people here had just stopped. Houses half-painted, cars half-fixed. So many lives seemed halted abruptly here. She hoped that hers was not among them. Their yards were a mottled combination of overgrown grass an...

“ The Ghost and the Half-Blood ” by Meagan McQuigge-Derkacz

  The Ghost and the Half-Blood “Marley, I’m too old for this running, my sweet child,” Mek Hemlock wheezed, his breath coming in laboured gasps as he stumbled over the uneven ground. The rest of the group was already several paces ahead, their hurried footsteps barely audible over the pounding of Marley’s heart. “I know, Mr. Hemlock,” Marley replied, her voice laced with urgency as she gently gripped his arm to steady him. “But we have to keep going if we want to live. It’s almost nightfall. We can’t let them find us...

“ Degrees of Parenting ” by Elizabeth Hoban

Submitted to Contest #262

That last day of July was so hot, even How hot was it? jokes had long since worn out their welcome. When Jack’s wife, Jess, begged for a much-needed weekend respite from their 5-year-old twin boys, with plenty of notice, Jack wholeheartedly agreed. A summer weekend of quality time alone with his sons would be a memorable bonding experience.“C’mon, Jess, how hard can it be?” Jack had said.“This, coming from a man who believes shoving quarters up his nose constitutes entertainment. Good luck.” Jess had laughed and before he knew it, ...

“ Art Must Have A Meaning ” by Olive Key

The sun burned down with an intensity that felt like cruel intentions. The grass stood as still as the statues, and the statues as sturdy as the great trees whose boughs hung calmer still so as to not disturb the shade that hid beneath them. Yet what the scene lacked in movement it made up for in glory and richness of scent and colour; surrounding the lawn, flowers of all shades shone as if seen in a fresh photograph, perfuming the hot air as the sun drew out their fragrances the way burning oil blends spices. In the centre, as pretty as lit...

“ Heatwave Heartache in the City That Never Sleeps ” by Debra Douglas

Dropping my grocery bags on the floor, I head straight for the bathroom, turn the shower to cold, and climb into the tub fully clothed, letting the freezing water wash over me. It’s early June at 10:30 am, and I had just walked from my New York City apartment on East 55th Street to Grace’s Market on East 68th Street and back, which is just under a mile. I had time to cool off while I browsed in the air-conditioned market, but the return walk back in 100+ degrees amid an air quality alert was a step too far. We’d just been released from COVID...

The Best Creative Nonfiction Short Stories

Made for those bookworms who love the compelling freedom of fiction but are looking for a little bit of the real world in their reading, creative nonfiction is the radiant lovechild of elegant poetry and rigorous reportage. Writers of this genre aim to present the truth — factually accurate prose about real life and real people — in a brilliant and creative way. Its faithful readers find themselves as enthralled by fact as they are by fantasy.

As a literary form, nonfiction can be a little hard to pin down. At its crux, creative nonfiction applies literary techniques drawn from poetry and fiction to content that would be at home in a textbook — making for an entertaining read that you might just learn something from! Among creative nonfiction short stories, you could find an insightful memoir, a dramatic monologue, hot, witty journalism, or a tight, personal essay.

Looking for new creative nonfiction stories? 

Look no further! Every week, hundreds of writers submit stories to Reedsy’s short story contest. On this page, you’ll find all of those that are categorized as creative nonfiction stories. This means that the featured writers were triggered by one of our prompts to look to their own experiences and reveal a true-life story — but, crucially, they decided to tell it in a brilliant and creative way. 

If you want to find the cream of the crop — perhaps the next Joan Didion or Jia Tolentino — then look to the top of the page: that’s where we’ve gathered all the winning and shortlisted entries. And don’t forget, if you’ve got a story to tell (fact or fiction), you too can enter our weekly contest and be in with a chance of nabbing the $250 prize plus a shot at publication in Prompted , our new literary magazine . Now wouldn’t that be a story?

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Nonfiction Essay

Nonfiction essay generator.

While escaping in an imaginary world sounds very tempting, it is also necessary for an individual to discover more about the events in the real world and real-life stories of various people. The articles you read in newspapers and magazines are some examples of nonfiction texts. Learn more about fact-driven information and hone your essay writing skills while composing a nonfiction essay.

10+ Nonfiction Essay Examples

1. creative nonfiction essay.

2. Narrative Nonfiction Reflective Essay

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3. College Nonfiction Essay

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4. Non-Fiction Essay Writing

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5. Nonfiction Essay Reminders

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6. Nonfiction Essay Template

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7. Personal Nonfiction Essay

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8. Teachers Nonfiction Essay

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9. Creative Nonfiction Assignment Essay

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10. Nonfiction Descriptive Essay

11. Literary Arts Nonfiction Essay

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What Is a Nonfiction Essay?

Nonfiction essay refers to compositions based on real-life situations and events. In addition, it also includes essays based on one’s opinion and perception. There are different purposes for writing this type of essay. Various purposes use different approaches and even sometimes follow varying formats. Educational and informative essays are some examples of a nonfiction composition. 

How to Compose a Compelling Nonfiction Essay

When you talk about creative writing, it is not all about creating fictional stories. It also involves providing a thought-provoking narrative and description of a particular subject. The quality of writing always depends on how the writers present their topic. That said, keep your readers engaged by writing an impressive nonfiction paper.

1. Know Your Purpose

Before you start your essay, you should first determine the message you want to deliver to your readers. In addition, you should also consider what emotions you want to bring out from them. List your objectives beforehand. Goal-setting will provide you an idea of the direction you should take, as well as the style you should employ in writing about your topic on your essay paper.

2. Devise an Outline

Now that you have a target to aim for, it is time to decide on the ideas you want to discuss in each paragraph. To do this, you can utilize a blank outline template. Also, prepare an essay plan detailing the structure and the flow of the message of your essay. Ensure to keep your ideas relevant and timely.

3. Generate Your Thesis Statement

One of the most crucial parts of your introduction is your thesis statement . This sentence will give the readers an overview of what to expect from the whole document. Aside from that, this statement will also present the main idea of the essay content. Remember to keep it brief and concise.

4. Use the Appropriate Language

Depending on the results of your assessment in the first step, you should tailor your language accordingly. If you want to describe something, use descriptive language. If you aim to persuade your readers, you should ascertain to use persuasive words. This step is essential to remember for the writers because it has a considerable impact on achieving your goals.

What are the various types of nonfiction articles?

In creatively writing nonfiction essays, you can choose from various types. Depending on your topic, you can write a persuasive essay , narrative essay, biographies, and even memoirs. In addition, you can also find nonfiction essay writing in academic texts, instruction manuals, and even academic reports . Even if most novels are fiction stories, there are also several nonfictions in this genre.

Why is writing nonfiction essays necessary?

Schools and universities use nonfiction essays as an instrument to train and enhance their students’ skills in writing. The reason for this is it will help them learn how to structure paragraphs and also learn various skills. In addition, this academic essay can also be a tool for the teachers to analyze how the minds of their students digest situations.

How can I write about a nonfiction topic?

A helpful tip before crafting a nonfiction essay is to explore several kinds of this type of writing. Choose the approach and the topic where you are knowledgeable. Now that you have your lesson topic, the next step is to perform intensive research. The important part is to choose a style on how to craft your story.

Each of us also has a story to tell. People incorporate nonfiction writing into their everyday lives. Your daily journal or the letters you send your friends all belong under this category of composition. Writing nonfiction essays are a crucial outlet for people to express their emotions and personal beliefs. We all have opinions on different events. Practice writing nonfiction articles and persuade, entertain, and influence other people. 

Text prompt

• Instructive
• Professional

Write about the influence of technology on society in your Nonfiction Essay.

Discuss the importance of environmental conservation in your Nonfiction Essay.

The Finest Narrative Non-Fiction Essays

Narrative essays that I consider ideal models of the medium

• Linguistics

Authors like , , , , , and epitomise this way of writing.

I'm not a Writer , but I write to explore other things – anthropology, weird cultural quirks in the web development community, interaction design, and the rising field of " tools for thought ". These things are all factual and grounded in reality, but have interesting stories twisted around them. Ones I'm trying to tell in my little notes and essays.

Perhaps you're the same kind of non- Writer writer. The playful amateur kind who uses it to explore and communicate ideas, rather than making the medium part of your identity. But even amateurs want to be good. I certainly want to get good.

Knowing what you like is half the battle in liking what you create. In that spirit, I collect narrative non-fiction essays that I think are exceptional. They're worth looking at closely – their opening moves, sentence structure, turns of phrase, and narrative arcs.

The only sensible way to improve your writing is by echoing the work of other writers. Good artists copy and great artists steal quotes from Picasso.

You may want to start your own collection of lovely essays like this. There will certainly be some Real Writers who find my list trite and full of basic, mainstream twaddle. It probably is. I've done plenty of self-acceptance work and I'm okay with it.

Twaddle aside, the essays below are worth your attention.

by Paul Ford

Paul Ford explains code in 38,000 words and somehow makes it all accessible, technically accurate, narratively compelling, and most of all, culturally insightful and humanistic.

I have unreasonable feelings about this essay. It is, to me, perfect. Few essays take the interactive medium of the web seriously, and this one takes the cake. There is a small blue cube character, logic diagrams, live code snippets to run, GIFs, tangential footnotes, and a certificate of completion at the end.

by David Foster Wallace – Published under the title 'Shipping Out'

Forgive me for being a David Foster Wallace admirer. The guy had issues, but this account of his 7-day trip on a luxury cruiseliner expresses an inner monologue that is clarifying, rare and often side-splittingly hilarious.

He taught me it is 100% okay to write an entire side-novel in your footnotes if you need to.

by David Graeber

Graeber explores play and work from an anthropological perspective. He's a master of moving between the specific and the general. Between academic theory and personal storytelling. He's always ready with armfuls of evidence and citations but doesn't drown you in them.

by Malcolm Gladwell

This piece uses a typical Gladwellian style. He takes a fairly dull question – Why had ketchup stayed the same, while mustard comes in dozens of varieties? – and presents the case in a way that makes it reasonably intriguing. He's great at starting with specific characters, times and places to draw you in. There are always rich scenes, details, personal profiles, and a grand narrative tying it all together.

Some people find the classic New Yorker essay format overdone, but it relies on storytelling techniques that consistently work.

by Mark Slouka

by Joan Didion

1 Backlinks

On opening essays, conference talks, and jam jars.

Purdue Online Writing Lab Purdue OWL® College of Liberal Arts

Lyric Essays

Welcome to the Purdue OWL

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Because the lyric essay is a new, hybrid form that combines poetry with essay, this form should be taught only at the intermediate to advanced levels. Even professional essayists aren’t certain about what constitutes a lyric essay, and lyric essays disagree about what makes up the form. For example, some of the “lyric essays” in magazines like The Seneca Review have been selected for the Best American Poetry series, even though the “poems” were initially published as lyric essays.

A good way to teach the lyric essay is in conjunction with poetry (see the Purdue OWL's resource on teaching Poetry in Writing Courses ). After students learn the basics of poetry, they may be prepared to learn the lyric essay. Lyric essays are generally shorter than other essay forms, and focus more on language itself, rather than storyline. Contemporary author Sherman Alexie has written lyric essays, and to provide an example of this form, we provide an excerpt from his Captivity :

"He (my captor) gave me a biscuit, which I put in my

pocket, and not daring to eat it, buried it under a log, fear-

ing he had put something in it to make me love him.

FROM THE NARRATIVE OF MRS. MARY ROWLANDSON,

WHO WAS TAKEN CAPTIVE WHEN THE WAMPANOAG

DESTROYED LANCASTER, MASSACHUSETS, IN 1676"

"I remember your name, Mary Rowlandson. I think of you now, how necessary you have become. Can you hear me, telling this story within uneasy boundaries, changing you into a woman leaning against a wall beneath a HANDICAPPED PARKING ONLY sign, arrow pointing down directly at you? Nothing changes, neither of us knows exactly where to stand and measure the beginning of our lives. Was it 1676 or 1976 or 1776 or yesterday when the Indian held you tight in his dark arms and promised you nothing but the sound of his voice?"

Alexie provides no straightforward narrative here, as in a personal essay; in fact, each numbered section is only loosely related to the others. Alexie doesn’t look into his past, as memoirists do. Rather, his lyric essay is a response to a quote he found, and which he uses as an epigraph to his essay.

Though the narrator’s voice seems to be speaking from the present, and addressing a woman who lived centuries ago, we can’t be certain that the narrator’s voice is Alexie’s voice. Is Alexie creating a narrator or persona to ask these questions? The concept and the way it’s delivered is similar to poetry. Poets often use epigraphs to write poems. The difference is that Alexie uses prose language to explore what this epigraph means to him.

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The 20 Best Works of Nonfiction of the Decade

In which we cheated..

Friends, it’s true: the end of the decade approaches. It’s been a difficult, anxiety-provoking, morally compromised decade, but at least it’s been populated by some damn fine literature. We’ll take our silver linings where we can.

So, as is our hallowed duty as a literary and culture website—though with full awareness of the potentially fruitless and endlessly contestable nature of the task—in the coming weeks, we’ll be taking a look at the best and most important (these being not always the same) books of the decade that was. We will do this, of course, by means of a variety of lists. We began with the best debut novels , the best short story collections , the best poetry collections , the best memoirs of the decade , and the best essay collections of the decade. But our sixth list was a little harder—we were looking at what we (perhaps foolishly) deemed “general” nonfiction: all the nonfiction excepting memoirs and essays (these being covered in their own lists) published in English between 2010 and 2019.

Reader, we cheated. We picked a top 20. It only made sense, with such a large field. And 20 isn’t even enough, really. But so it goes, in the world of lists.

The following books were finally chosen after much debate (and multiple meetings) by the Literary Hub staff. Tears were spilled, feelings were hurt, books were re-read. And as you’ll shortly see, we had a hard time choosing just ten—so we’ve also included a list of dissenting opinions, and an even longer list of also-rans. As ever, free to add any of your own favorites that we’ve missed in the comments below.

The Top Twenty

Michelle alexander, the new jim crow (2010).

I read Michelle Alexander’s  The New Jim Crow  when it first came out, and I remember its colossal impact so clearly—not just on the academic world (it is, technically, an academic book, and Alexander is an academic) but everywhere. It was published during the Obama Administration, an interval which many (white people) thought signaled a new dawn of race relations in America—of a kind of fantastic post-racialism. Though it’s hard to look back on this particular zeitgeist now (when, and I still can’t believe I’m writing this, Donald Trump is president of the United States) without decrying the ignorance and naiveté of this mindset, Alexander’s book called out this the insistence on a phenomenon of “colorblindness” in 2012, as a veneer, as a sham, or as, simply, another form of ignorance. “We have not ended racial caste in America,” she declares, “we have merely redesigned it.” Alexander’s meticulous research concerns the mass incarceration of black men principally through the War on Drugs, Alexander explains how the United States government itself (the justice system) carries out a significant racist pattern of injustice—which not only literally subordinates black men by jailing them, but also then removes them of their rights and turns them into second class citizens after the fact. Former convicts, she learns through working with the ACLU, will face discrimination (discrimination that is supported and justified by society) which includes restrictions from voting rights, juries, food stamps, public housing, student loans—and job opportunities. “Unlike in Jim Crow days, there were no ‘Whites Only’ signs.” Alexander explains. “This system is out of sight, out of mind.” Her book, which exposes this subtler but still horrible new mode of social control, is an essential, groundbreaking achievement which does more than call out the hypocrisy of our infrastructure, but provide it with obvious steps to change.  –Olivia Rutigliano, CrimeReads Editorial Fellow

Siddhartha Mukherjee, The Emperor of All Maladies (2010)

In this riveting (despite its near 600 pages) and highly influential book, Mukherjee traces the known history of our most feared ailment, from its earliest appearances over five thousand years ago to the wars still being waged by contemporary doctors, and all the confusion, success stories, and failures in between—hence the subtitle “a biography of cancer,” though of course it is also a biography of humanity and of human ingenuity (and lack thereof).

Mukherjee began to write the book after a striking interaction with a patient who had stomach cancer, he told The New York Times . “She said, ‘I’m willing to go on fighting, but I need to know what it is that I’m battling.’ It was an embarrassing moment. I couldn’t answer her, and I couldn’t point her to a book that would. Answering her question—that was the urgency that drove me, really. The book was written because it wasn’t there.”

His work was certainly appreciated. The Emperor of All Maladies won the 2011 Pulitzer in General Nonfiction (the jury called it “An elegant inquiry, at once clinical and personal, into the long history of an insidious disease that, despite treatment breakthroughs, still bedevils medical science.”), the Guardian first book award, and the inaugural PEN/E. O. Wilson Literary Science Writing Award; it was a New York Times bestseller. But most importantly, it was the first book many laypeople (read: not scientists, doctors, or those whose lives had already been acutely affected by cancer) had read about the most dreaded of all diseases, and though the science marches on, it is still widely read and referenced today.  –Emily Temple, Senior Editor

Rebecca Skloot, The Immortal Life of Henrietta Lacks (2010)

As a strongly humanities-focused person, it’s difficult for me to connect with books about science. What can I say besides that public education and I failed each other. When I read The Immortal Life of Henrietta Lacks , I found myself thinking that if all scientific knowledge were part of this kind of incredibly compelling and human narrative, I would probably be a doctor by now. (I mean, it’s possible .) Rebecca Skloot tells the story of Henrietta Lacks, a black woman who died of cervical cancer in 1951, and her cells (dubbed HeLa cells) which were cultured without her permission, and which were the first human cells to reproduce in a lab—making them immensely valuable to scientists in research labs all over the world. HeLa cells have been used for the development of vaccines and treatments as well as in drug treatments, gene mapping, and many, many other scientific pursuits. They were even sent to space so scientists could study the effects of zero gravity on human cells.

Skloot set a wildly ambitious project for herself with this book. Not only does she write about the (immortal) life of the cells as well as the lives of Lacks and her (human, not just cellular) descendants, she also writes about the racism in the medical field and medical ethics as a whole. That the book feels cohesive as well as compelling is a great testament to Skloot’s skills as a writer. “ Immortal Life  reads like a novel,” writes Eric Roston in his Washington Post review . “The prose is unadorned, crisp and transparent.” For a book that encompasses so much, it never feels baggy. Nearly ten years later, it remains an urgent text, and one that is taught in high schools, universities, and medical schools across the country. It is both an incredible achievement and, simply, a really good read.  –Jessie Gaynor, Social Media Editor

Timothy Snyder, Bloodlands (2010)

Timothy Snyder’s brilliant Bloodlands has changed World War II scholarship more, perhaps, than any work since Hannah Arendt’s Eichmann in Jerusalem, an apt comparison given that Bloodlands includes within it a response to Arendt’s theory of the banality of evil (Snyder doesn’t buy it, and provides convincing proof that Eichmann was more of a run-of-the-mill hateful Nazi and less a colorless bureaucrat simply doing his job). Snyder reads in 10 languages, which is key to his ability to synthesize international scholarship and present new theories in an accessible way. But before I continue praising this book, I should probably let y’all know what it’s about— Bloodlands is a history of mass killings in the Double-Occupied Zone of Eastern Europe, where the Soviets showed up, killed everyone they wanted to, and then the Nazis showed up and killed everyone else. By focusing on mass killings, rather than genocide, Snyder is able to draw connections between totalitarian regimes and examine the mechanisms by which small nations can suddenly and horrifyingly become much smaller.  –Molly Odintz, CrimeReads Associate Editor

Isabel Wilkerson, The Warmth of Other Suns: The Epic Story of America’s Great Migration (2010)

Wilkerson’s history of the Great Migration is a revelation. When we talk about migration in the context of American history, we tend to focus on triumphalist stories of immigrants coming to America, but what about the vast migrations that have happened internally? Between 1920 and 1970, millions of African-Americans migrated North from the prejudice-ridden South, lured by relatively high-paying jobs and relatively less racism. It takes a whole lot to make someone leave their home, and Wilkerson does an excellent job at reminding us how awful life in the South was for Black people (and still is, in many ways). The Warmth of Other Suns is not only fascinating—it’s also thrilling, taking us into the lives of hard-scrabble folk who were equal parts refugees and adventurers, and truly epic, telling a great story on a grand scale. Don’t think that means there aren’t small moments of humanity seeded throughout the book—for every sentence about the conduct of millions, there’s a detail that reminds us that we’re reading about individuals, with their own hopes, wishes, dreams, and struggles.  –Molly Odintz, CrimeReads Associate Editor

Robert A. Caro, The Passage of Power: The Years of Lyndon Johnson (2012)

While Robert Caro first came to prominence for The Powerbroker, his 1974 biography of divisive urban planner Robert Moses, it’s Caro’s ongoing multi-volume biography of LBJ, America’s most unjustly maligned president (fight me, Kennedy-heads!), that has cemented his legacy. It’s hard to pick one in particular to recommend, but The Passage of Power, which covers the years 1958-1964, captures the most tumultuous period of LBJ’s life in politics, as he went from feared senator, to side-lined VP, to suddenly becoming the post powerful figure in the world. There’s something profoundly moving about the vastness of these works—Caro is 83 now, and has dedicated an enormous part of his life to this singular project. His wife is his only approved research assistant, and together, they’ve upended half a century of LBJ criticism to reveal the complex, problematic, but always striving core of a sensitive soul.

I had a teacher in high school who spent 20 years working on her dissertation on LBJ. She’d spend each weekend at the LBJ Library at UT Austin, while working full time as a public school teacher, and kicked ass at both. There’s something about LBJ that inspires people to dedicate their entire lives to trying to figure him out, and in the process, trying to understand the world that made him, and that he made. Thanks to Caro, we can all understand LBJ a little bit better.  –Molly Odintz, CrimeReads Associate Editor

Tom Reiss, The Black Count: Glory, Revolution, Betrayal, and the Real Count of Monte Cristo (2012)

Tom Reiss opens his biography of Thomas Alexandre-Dumas, father of author Alexandre Dumas, with a scene that seems right out of an academic heist film. At a library in rural France, Reiss convinces a town official to blow open a safe whose combination was held only by the late librarian. What Reiss discovers are the rudiments of a grand and, until then, largely unknown story of the man who inspired some of his son’s most beloved tales.  The Black Count  is also a case study of complex racial politics during the age of revolutionary France. Dumas was born in 1762 in Saint-Domingue, the French Caribbean colony that would become Haiti. As the son of a French marquis and a freed black slave, Dumas was subject both to the privileges of the former and the kind of indignities suffered by the latter. His father, for instance, sells him into slavery when he is 12 only to purchase his freedom later and bring him to France, where the young man receives an aristocratic education. A final rift from his father prompts Dumas to join the military. Reiss creates a dynamic, if somewhat speculative portrait of Dumas based on letters, reports from battlefields, Dumas’ own writings, and more. By the time he is 30, Dumas has vaulted in the ranks from corporal to general and commands a division of more than 50,000 soldiers. It’s no accident that the thrilling militaristic feats Reiss describes sound like events out of  The Count of Monte Cristo  or  The Three Musketeers . Though the general becomes a cavalry commander under Napoleon Bonaparte, Reiss suggests that it was Napoleon himself who ruined Dumas not only from a personal standpoint, but civilizational as well. Napoleon reintroduced slavery in Haiti, after all, in contradiction to the republican dreams of Dumas’ contemporary, Toussaint Louverture, another rare and successful 18th-century general of African descent. Reiss unearths the ultimately tragic story of a man who was infamous in his own time for enjoying social and professional advantages that would’ve been unheard of for a mixed-race man in the US, a nation which of course went through its own revolution one generation earlier.  –Aaron Robertson, Assistant Editor

Elizabeth Kolbert, The Sixth Extinction (2014)

The premise of Elizabeth Kolbert’s Pulitzer-prize-winning book is a simple scientific fact: there have been five mass extinctions in the history of the planet, and soon there will be six. The difference, Kolbert explains, is that this one is caused by humans, who have drastically altered the earth in a short time. She points out on the first page that humans (which is to say,  homo sapiens , humans like us) have only been around for two hundred thousand or so years—an incredibly short amount of time to do damage enough to destroy most of earthly life. Kolbert’s book is so unique, though, because she combines research from across disciplines (scientific and social-scientific) to prepare an extremely comprehensive, sweeping argument about how our oceans, air, animal populations, bacterial ecosystems, and other natural elements are dangerously adapting to (or dying from) human impact, while also tracing the history of both the approaches to these things (theories of evolution, extinction, and other principles). It’s a depressing and horrifying argument on the face of it, but it’s made so delicately, even poetically—Kolbert’s concerned, occasional first-person narration, and her many interviews with professionals capable of the pithiest, most perfect quotes (not to mention that she interviews these experts, sometimes, over pizza) make this book a conversation, more than a treatise. Kolbert talks us through the headiest, most complicated science, breaking down this mass disaster morsel by morsel. This might be  The Sixth Extinction’ s greatest achievement—it is so smart while also being so quotidian, so urgent while also being so present. And this fits the tone of her argument: our current mass extinction doesn’t feel like an asteroid hitting the planet. It’s amassed by the small ways in which we live our lives. We are crawling, she illuminates, towards the end of the world.  –Olivia Rutigliano, CrimeReads Editorial Fellow

Ta-Nehisi Coates, Between the World and Me (2015)

Ta-Nehisi Coates’ Between the World and Me 1) won the National Book Award for Nonfiction in 2015, 2) was a #1 New York Times bestseller, and 3) was deemed “required reading” by Toni Morrison. What else is there to say? To call it “timely” or “urgent” or even “a prime example of how the personal is, in fact, political” (as I am tempted to do) does not quite capture the unique, grounding, heartbreaking experience of reading this book. Framed as a letter to his teenage son, Between the World and Me is both a biting interrogation of American history and today’s society and an intimate look at the concerns and hopes a father passes down to his son. In just 152 pages, this book touches on the creation of race (“But race is the child of racism, not the father”), the countless acts of violence enacted on black bodies, gun control, and anecdotes from the writer’s own life. Ta-Nehisi Coates, a correspondent for The Atlantic , exercises a journalist’s concision and clarity and fuses it with the flourish of a novelist and the caring instinct of a father. It is a wonderful hybrid. The way the topics, the tones, bleed into one another reads so naturally: “I write you in your fifteenth year. I am writing you because this was the year you saw Eric Garner choked to death for selling cigarettes; because you know now that Renisha McBride was shot for seeking help, and that John Crawford was shot down for browsing in a department store…” The list, of course, goes on. Between the World and Me brilliantly forces us to confront these tragedies again—to remember our own experiences watching the news coverage, to see them in the context of history filtered through Ta-Nehisi Coates’ unsurprised perspective, and to see them anew through the eyes of his disillusioned young son. There is an amazing generosity to these personal glimpses, the moments when the writer turns to his son (says “you”). They catch you off guard. (There are even photographs throughout, like a scrapbook you aren’t sure if you’re allowed to look through.) There have been many books about race, about violence and institutionalized injustice and identity, and there will be more, but none quite so beautifully shattering as this. –Katie Yee, Book Marks Assistant Editor

Andrea Wulf, The Invention of Nature (2015)

Andrea Wulf’s 2015 biography of 18th-century German naturalist Alexander von Humboldt—one of the most famous men of his time, for whom literally hundreds of towns, rivers, currents, glaciers, and more are named—is so much more than the story of a single life. Aside from chronicling a remarkably fertile moment in the history of European ideas (Von Humboldt was good buddies with his neighbor in Weimar, Goethe) Wulf reveals in Humboldt a true forebear of present-day ecology, a jack-of-all-trades scientist less concerned with the reduction of the natural world into its constituent specimens than with our place in a broader ecosystem.

And while it doesn’t seem particularly radical now, Humboldt’s proto-environmentalist ideas about the wider world, much of which he mapped and explored, stood in stark contrast to prevailing notions of Christian dominion, that dubious theological position conjured up in aid of empire. Insofar as Humboldt was among the first to understand and articulate the complex systems of a living forest, he was also the first to sound the alarm about the impacts of deforestation (much of which he encountered on his epic journey across the northern reaches of South America). Part adventure yarn, part intellectual history, part ecological meditation, The Invention of Nature restores to prominence an exemplary life, and reminds us of the tectonic force of ideas paired to action.  –Jonny Diamond, Editor in Chief

Stacy Schiff, The Witches (2015)

It’s surprising that with a topic as popular and recurring in American culture as the Salem witch trials there have not been more books of this kind. Pulitzer Prize-winning author of the bestselling Cleopatra, Stacy Schiff takes to the Salem witch trials with curiosity and a historian’s magnifying glass, setting out to uncover the mystery that has baffled, awed, and terrified generations since. She pokes at the spectacle that Salem has become in mainstream and artistic depictions—how it has blended with folklore and fiction and has hitherto become a sensationalized event in American history which nonetheless has never been fully understood. Schiff writes that despite the imagination surrounding the Salem witch trials, in reality, there is still a gap in their history of—to be exact—nine months; so the impetus of the book and the intent of Schiff is to penetrate the mass hysteria and panic that ripped through Salem at the time and led to the execution of fourteen women and five men. In her opening chapter, Schiff chillingly sets up the atmosphere of the book and asks key questions that will drive its ensuing narrative: “Who was conspiring against you? Might you be a witch and not know it? Can an innocent person be guilty? Could anyone, wondered a group of men late in the summer, consider themselves safe?” At the heart of Schiff’s historical investigation is the Puritan culture of New England—but part of her masterful synthesis is that she picks apart at each thread of Salem’s culture and evaluates the witch trials from every perspective. Praised for her research as well as her prose and narrative capabilities, Schiff’s The Witches has been described by The Times (London) as “An oppressive, forensic, psychological thriller”; Schiff herself, by the New York Review of Books as having “mastered the entire history of early New England.” A phrase that still haunts me for its resonance throughout human history, is: “Even at the time, it was clear to some that Salem was a story of one thing behind which was a story about something else altogether.” –Eleni Theodoropoulos, Editorial Fellow

Svetlana Alexievich, tr. Bela Shayevich, Secondhand Time (2016)

A landmark work of oral history, Svetlana Alexievich’s Second-hand Time chronicles the decline and fall of Soviet communism and the rise of oligarchic capitalism. Through a multitude of interviews conducted between 1991 and 2012 with ordinary citizens—doctors, soldiers, waitresses, Communist party secretaries, and writers—Alexievich’s account is as important to understanding the Soviet world as Solzhenitsyn’s The Gulag Archipelago . Second-hand Time first appeared in Russia in 2013 and was translated into English in 2016 by Bella Shayevich. As David Remnick wrote in The New Yorker , “There are many worthwhile books on the post-Soviet period and Putin’s ascent…But the nonfiction volume that has done the most to deepen the emotional understanding of Russia during and after the collapse of the Soviet Union of late is Svetlana Alexievich’s oral history…” It is shockingly intimate, Alexievich’s interviewees sharing their darkest traumas and deepest regrets. In their kitchens, at gravesites, each character tells the story of a nation abandoned by the Kremlin. Like much of Alexievich’s work, it is radical in its composition, challenging with its polyphony of distinctive, human voices the “official history” of a society that presented itself as homogeneous and monolithic—an achievement the Nobel committee recognized when it cited the Belorussian journalist for developing “a new kind of literary genre…a history of the soul.” Like her more recent The Unwomanly Face of War and Last Witnesses: An Oral History of the Children of World War II , Alexievich’s project is one of the most important accounts being produced today.  –Emily Firetog, Deputy Editor

Jane Mayer, Dark Money (2016)

In addition to being an incredible work of reporting, Jane Mayer’s Dark Money is a historical document of what happened to America as a small group of plutocrats funded the rise of political candidates who espoused policies and beliefs that had been, until then, considered a part of the fringe right wing of the Republican Party. Mayer describes this group as “a small, rarefied group of hugely wealthy, archconservative families that for decades poured money, often with little public disclosure, into influencing how Americans thought and voted.” Mayer’s painstakingly reported work is a monumental achievement; she lays out, in as much detail as could possibly be available, the mechanisms that allowed this group to channel their wealth and power, with the help of federal law, to a set of institutions that aim to fight scientific advancement, justice-oriented movements, and climate change. In doing so, they have overhauled American politics. As Alan Ehrenhalt put it in a review of the book for The New York Times, she describes “a private political bank capable of bestowing unlimited amounts of money on favored candidates, and doing it with virtually no disclosure of its source.”

The stakes here extend beyond American politics; Mayer points out that Koch money upholds some of the institutions most vigorously fighting climate activism and defending the fossil fuel industry. In 2017, she told the Los Angeles Times , “There are many things you can fix and you can bring back, and there are sort of cycles in American history and the pendulum swings back and forth, but there are things you can damage irreparably, and that’s what I’m worried about right this moment … And that’s why this particular book—because it’s about the money that is stopping this country from doing something useful on climate change.”  –Corinne Segal, Senior Editor

David France, How to Survive a Plague (2016)

To call How to Survive a Plague extensive would be an understatement; France’s account of the epidemic’s earliest days is overwhelmingly generous, letting the reader experience those days, and everything that followed, from within the community that faced it first. France recounts the ways in which scientists and doctors first responded to the virus, tracing the evolution of that understanding from within a small circle to a broad cry for awareness and resources; meanwhile, he shows how a community of people fighting for their lives mobilized alternative systems of communication, education, and support while facing an almost inconceivable wall of barriers to that work. The importance of language in this fight is at the forefront here, from the scientific question of what to call the virus, to its reputation in popular culture as “gay cancer,” to the disagreements within activist groups about how to tell their stories to an unsympathetic world.

This is an enraging history, one of various institutional failures, missed opportunities, hypocrisies, and acts of malice toward a community in crisis, motivated by hatred and horror of queer people and gay men in particular. But I felt equally enraged and in awe. This is a humbling history to read, especially if, like me, you come from a generation of queer people that has been accused of forgetting it. I’m grateful for France’s testimony; it won’t let any of us forget.  –Corinne Segal, Senior Editor

Andrés Reséndez, The Other Slavery (2016)

Reséndez’s The Other Slavery is nothing short of an epic recalibration of American history, one that’s long overdue and badly needed in the present moment. The story of the assault on indigenous peoples in the Americas is perhaps well-known, but what’s less known is how many of those people were enslaved by colonizers, how that enslavement led to mass death, and how complicit the American legal system was in bringing that oppression about and sustaining it for years beyond the supposed emancipation in regions in which indigenous peoples were enslaved. This was not an isolated phenomenon. It extended from Caribbean plantations to Western mining interests. It was part and parcel of the European effort to settle the “new world” and was one of the driving motivations behind the earliest expeditions and colonies. Reséndez puts the number of indigenous enslaved between Columbus’s arrival and 1900 at somewhere between 2.5 and 5 million people. The institution took many forms, but reading through the legal obfuscation and drilling down into the archival record and first-hand accounts of the eras, Reséndez shows how slavery permeated the continents. Native tribes were not simply wiped out by disease, war, and brutal segregation. They were also worked—against their will, without pay, in mass numbers—to death. It was a sustained and organized enslavement. The Other Slavery also tells the story of uprising—communities that resisted, individuals who fought. It’s a complex and tragic story that required a skilled historian to bring into the contemporary consciousness. In addition to his skills as a historian and an investigator, Resendez is a skilled storyteller with a truly remarkable subject. This is historical nonfiction at its most important and most necessary.  –Dwyer Murphy, CrimeReads Managing Editor

Rebecca Traister, All the Single Ladies (2016)

One night, facing a brief gap between plans with different people, I took Rebecca Traister’s All the Single Ladies to a bar. A few minutes after I ordered, deep in Traister’s incredible, extensive history of single women in America, a server came over to offer me another, more isolated seat at the end of the bar, “so you don’t feel embarrassed about being alone,” she said, quietly. I assured her I was okay, trying not to laugh. She was just so worried.

I turned back to my book to find Traister describing this kind of cultural distress— a woman, alone, in public?! —at a new generation of unmarried adult women, who are more autonomous and numerous today than ever before. Far from marking a crisis in the social order, Traister writes, this shift “was in fact a new order … women’s paths were increasingly marked with options, off-ramps, variations on what had historically been a very constrained theme.” She examines the history of unmarried women as a social and political force, including the activists who devoted their lives to establishing a greater range of educational, familial, and economic choices for women, with particular attention to the ways in which that history is also one of racial and economic justice in the US. Traister also highlights the networks of social support that women have created in order to survive patriarchy and establish lifestyles that did not depend on it; intimacy and communication among unmarried women, she shows, were the backbone of activist and reform movements that successfully challenged the dominant order.

The book draws on interviews from dozens of women of varying backgrounds, and their firsthand accounts are a portrait of life amid a historic shift toward female autonomy. Their stories, and Traister’s analysis, make it clear that even as options for many women are expanding, those options are not equally available or beneficial to all women. This is a stunning reckoning with the state of women’s independence and the policies that still seek to curtail it.  –Corinne Segal, Senior Editor

Caroline Fraser, Prairie Fires (2017)

Prairie Fires , Caroline Fraser’s Pulitzer Prize- and National Book Critics Circle Award-winning biography of Laura Ingalls Wilder is not just a painstakingly researched and lyrically realized account of how the Little House on the Prairie author decanted the poverty and precarity of her homesteader family’s existence into narratives of self-reliance and perseverance—although it is that—it is also a meditation on the human need “to transform the raw materials of the past into art.” Full disclosure, I did not read the Little House on the Prairie books as a child and have no sentimental attachment to Laura, Pa or Ma. But in looking at the life behind the books, Wilder emerges as a tenacious, sometimes fragile figure, and as a literary operator of uncommon nous and self-awareness. Drawing on unpublished manuscripts, letters, diaries, and land and financial records, Prairie Fires has all the essentials of a great history book. Most importantly, Fraser’s great skill is in pulling back the veils of mythology that have enshrouded her subject and the era her works helped to define, enabling us to see both the real people and the myths themselves with fresh, critical eyes. There is no romanticizing of the Frontier, and a very real understanding of the sentimentality and bias of an overtly racist understanding of “westward expansion.” It is a remarkable book.   –Emily Firetog, Deputy Editor

David W. Blight, Frederick Douglass: Prophet of Freedom  (2018)

In 2017, monuments commemorating heroes of the Confederacy were being debated, defaced and toppled throughout the United States. That same year, months before President Trump signed a law creating a commission to plan for the bicentennial of Frederick Douglass’ birth, he infamously seemed to suggest that Douglass was still around, doing an “amazing job” and “getting recognized more and more.” The irony was hard to miss: it was easy to eulogize a past that was not comprehensively, nor even fundamentally understood. One achievement of historian David Blight’s monumental study of the former slave turned abolitionist is the thoroughness with which it examines the man’s development across three autobiographies he produced in the span of ten years. The popular image of Douglass has long been that of a bushy-haired man affixed to Abraham Lincoln’s side, delivering rousing speeches on abolition and the sins of slavery. And while there is basic truth to that, Blight sets out to fill the gaps in public understanding, guiding readers from the Maryland slave plantation where Douglass was born to the many stops along his European speech circuit, when he established himself as one of the world’s most recognizable opponents of slavery. The vague circumstances of Douglass’ birth (he was born to an enslaved woman and a white man who may also have been his owner) later compelled him to create his own life narratives, a task that he accomplished both in writing and oratory. Blight’s engagement with Douglass’ writing also marks the biography as a triumph of public-facing textual criticism. For decades before  Prophet of Freedom  astonished critics and general readers, Blight had been making his name as one of the leading Douglass scholars in the US. Blight’s work was not historical revisionism, but rather a considered analysis of a man who relied on actions as much as words. Many may be surprised to learn, for example, what a vocal supporter Douglass was of the Civil War and violence as a necessary means to dismantle the system that had nearly destroyed him. Prophet of Freedom  feels as definitive as a Robert Fagles translation of Homer—we hope it’s not the final word, though it will take quite the successor to produce a worthwhile follow-up.  –Aaron Robertson, Assistant Editor

Robert Macfarlane, Underland (2019)

One hesitates to label any book by a living writer his “magnum opus” but Macfarlane’s Underland —a deeply ambitious work that somehow exceeds the boundaries it sets for itself—reads as offertory and elegy both, finding wonder in the world even as we mourn its destruction by our own hand. If you’re unfamiliar with its project, as the name would suggest, Underland is an exploration of the world beneath our feet, from the legendary catacombs of Paris to the ancient caveways of Somerset, from the hyperborean coasts of far Norway to the mephitic karst of the Slovenian-Italian borderlands.

Macfarlane has always been a generous guide in his wanderings, the glint of his erudition softened as if through the welcoming haze of a fireside yarn down the pub. Even as he considers all we have wrought upon the earth, squeezing himself into the darker chambers of human creation—our mass graves, our toxic tombs—Macfarlane never succumbs to pessimism, finding instead in the contemplation of deep time a path to humility. This is an epochal work, as deep and resonant as its subject matter, and would represent for any writer the achievement of a lifetime.  –Jonny Diamond, Editor in Chief

Patrick Radden Keefe, Say Nothing: A True History of Memory and Murder in Northern Ireland (2019)

Attempting, in a single volume, to cover the scale and complexity of the Northern Ireland Troubles—a bloody and protracted political and ethno-nationalist conflict that came to dominate Anglo-Irish relations for over three decades—while also conveying a sense of the tortured humanity and mercurial motivations of some of its most influential and emblematic individual players  and  investigating one of the most notorious unsolved atrocities of the period, is, well, a herculean task that most writers would never consider attempting. Thankfully, investigative journalist Patrick Radden Keefe (whose 2015  New Yorker  article on Gerry Adams,  “Where the Bodies Are Buried”,  is a searing precursor to  Say Nothing ) is not most writers. His mesmerizing account, both panoramically sweeping and achingly intimate, uses the disappearance and murder of widowed mother of ten Jean McConville in Belfast in 1972 as a fulcrum, around which the labyrinthine wider narrative of the Troubles can turn. The book, while meticulously researched and reported (Radden Keefe interviewed over one hundred different sources, painstakingly sorting through conflicting and corroborating accounts), also employs a novelistic structure and flair that in less skilled hands could feel exploitative, but here serves only to deepen our understanding of both the historical events and the complex personalities of ultimately tragic figures like Dolours Price, Brendan Hughes, and McConville herself—players in an attritional drama who have all too often been reduced to the status of monster or martyr. Once you’ve caught your breath, what you’ll be left with by the close of this revelatory hybrid work is a deep and abiding feeling of sorrow, which is exactly as it should be.   –Dan Sheehan, BookMarks Editor

Dissenting Opinions

The following books were just barely nudged out of the top ten, but we (or at least one of us) couldn’t let them pass without comment.

Maggie Nelson, The Art of Cruelty: A Reckoning (2011)

Maggie Nelson, if evaluated from a first glance at her authored works, may appear to be a paradox. That the author of Bluets, a moving lyric essay exploring personal suffering through the color blue, also wrote The Red Parts , an autobiographical account of the trial of her aunt’s murderer, may seem surprising. Not that any person cannot and does not contain multitudes but the two aesthetics may seem diametrically opposed until one looks at The Art of Cruelty and understands Nelson’s fascination with art on the one hand, and violence on the other. Nelson hashes out the intersection of the two across multiple essays. “One of this book’s charges,” she writes, “is to figure out how one might differentiate between works of art whose employment of cruelty seems to me worthwhile (for lack of a better word), and those that strike me as redundant, in bad faith, or simply despicable.” The Art of Cruelty is a self-proclaimed diagram of recent art and culture and does not promise to take sides, to deliver ethical or aesthetic claims masquerading as some declarative truth on the matter. So cruelty is very much approached from Nelson’s poetic sensibility, with a degree of nuance, and an attitude of reflection and curiosity but also one of a certain distance so that all the emotions—anger, disgust, discomfort, thrill etc.—can be viewed as part of a whole rather than in isolation. Cruelty, counterbalanced with compassion—especially with reference to Buddhism—is certainly not hailed by Nelson as a cause for celebration but worthy of rumination and analysis so that it is not employed tacitly and without recourse. No book could ever, I think, provide an exhaustive evaluation of this topic, nor is Nelson’s approach that of a philosopher or art-historian looking to propose a theory. Nevertheless, she dexterously, and creatively, manages to hold a mirror to our culture’s fascination with cruelty and invites us to reflect on our personal reasons for indulging it.  –Eleni Theodoropoulos, Editorial Fellow

Óscar Martinez, The Beast (2013)

For over a decade, Martinez has been a witness and a chronicler of the ground-level effects of the war on drugs, reporting from across Latin America with a special focus on Central America and his home country of El Salvador, where more recently he’s been writing about the bloody culture of MS-13 and other narco-cliques that have expanded their power. Before that, he was charting the plight of migrants running the terrible gauntlet across borders and through narco-controlled territories. Martinez rode the dreaded train known as “The Beast” and collected the stories of those traveling north on this perilous journey. While crime isn’t strictly the focus of the book, Martinez looks at the direct effects of mass crime at a regional/global level, as well as the outlaw communities springing up to prey on the vulnerable. The subject matter is dark, but Martinez writes with the terrible, piercing clarity of a Cormac McCarthy. The Beast is a dispatch from a nearly lawless land, where families struggle and suffer, narcos get richer, violence spreads, the drugs head north, the guns head south, and so it goes on. Forget the rhetoric, the politics, and the propaganda. The Beast is the real story of the drug war. “Where can you steer clear of bandits?” Martinez asks. “Where do the drugs go over? Where can you avoid getting kidnapped by the narcos? Where is there a spot left with no wall, no robbers, and no narcos? Nobody has been able to answer this last question.” To call this book prescient disregards how long our problems have persisted, and how long we’ve managed to ignore the chaos our country’s policies have created.  –Dwyer Murphy, CrimeReads Managing Editor

Matthew Desmond, Evicted (2016)

There are more evictions happening now, per capita, in the United States, than there were during the Great Depression. As it turns out, there’s a lot of money to be made from poverty—not, course, for those who need it, but for the landlords who orchestrate the kind of housing turnover that traps people in deeper and longer cycles of debt. Poverty in America has long been conflated with moral failure, but as Matthew Desmond’s Evicted illustrates in great detail, if there’s any moral failing happening, it’s with those who would take advantage of such systemic and generational iniquities.

Desmond, a Princeton-trained sociologist and MacArthur fellow, went to see for himself in 2008, at the height (depths?) of the housing crisis, undertaking a year-long study of eight Milwaukee-area families, spending six months in a mobile home and another six months in a rooming house, creating much more than a journalist’s snapshot of life as an American renter. With Evicted , Desmond has widened our perspective on cyclical hardship and its disproportionate impact on people of color, illustrating (with neither the leering nor the condescension of so much reporting on the poor) that eviction is more often a cause of poverty than a symptom.  –Jonny Diamond, Editor in Chief

Yuri Slezkine, The House of Government (2017)

I recommend this book to those who wish to demonstrate their physical strength in public and show off that they can read a giant Russian history book one-handed, but also I recommend this book to everyone, ever, in the world, because it’s so fantastic. At first glance, this is a lengthy tome inspired by a Tolstoyan approach to lyrical history, ostensibly concerned with the history of an apartment complex that was home to much of the early Soviet elite—and was subsequently depopulated by Stalinist purges. Within this apartment building, however, lay the central irony of the revolution—those who believed deeply enough in an idealistic system to embrace violent, repressive means of revolution, were soon enough subjected to those same mechanisms of repression. From this central irony, Slezkine, always concerned with how the micro fits into the macro, zooms out to look at the Soviets as just another bunch of millenarians (and to understand what an insult that is, you’ll have to pick up the book).  –Molly Odintz, CrimeReads Associate Editor

Richard Lloyd Parry, Ghosts of the Tsunami (2017)

Richard Lloyd Parry, Tokyo bureau chief for The Times of London, begins his book by describing the way his office building in Tokyo shook in March 2011 when an earthquake hit the city. He called his family and checked that they were OK and then walked through the streets to see the damage. Used to quakes, this one seemed bad, but not the worst he had lived through. Less than an hour after the earthquake, though, a tsunami killed an estimated 18,500 Japanese men, women and children. In Ghosts , Parry focuses his story on Okawa, a tiny costal village where an entire school and 74 children washed away. In somewhat fragmentary threads, Parry explores the families that survived, the ghosts that follow them, and the landscape of a place that will never be the same. In localizing the story in one community, Parry is able to clearly define the painfully individual fallout of a national tragedy. It is emotionally draining to read, which is a warning I give everyone when I recommend the book (which I do constantly). But it is one of my favorite books and I would be remiss not to include in our list for best nonfiction of the decade.  –Emily Firetog, Deputy Editor

Jenny Odell, How to Do Nothing (2019)

I grew up in a town named after a body of water—Rye Brook—and went to a high school also named after that body of water—Blind Brook—but growing up, no one seemed to actually know where the brook was, at least none of the kids. We didn’t talk about it, except to note its hiddenness— it’s behind the school, someone once told me, while another person said it was behind that hotel, behind the park, behind the airport . Recently, I decided to find it on a map and noticed, for the first time, that the brook, far from being a hidden thing, defines the majority of Rye Brook’s borders. Recognizing this foundational feature of my hometown for the first time, more than a decade after I left it, was disorienting, completely re-rendering my perception of the place I thought I knew best.

My search that day came after I read Jenny Odell’s account of her similar awakening to the ecology of her hometown, Cupertino, and all the features in or around it: Calabazas Creek, nearby mountains, and the San Francisco Bay. “How could I have not noticed the shape of the place I lived?” she writes, and, later, describing her own disorientation in a way that resonates with my own, added, “Nothing is so simultaneously familiar and alien as that which has been present all along.”

One way of describing the premise of this book is to say “that which has been present all along” is reality itself: each of us, from day to day, living our physical lives in a physical place. But in 2019, life doesn’t usually feel like that; it feels like an onslaught of forces that aim to turn our attention away from this reality and monetize it in a shapeless virtual space. In that environment, Odell writes, doing “nothing,” or finding any way to disrupt the capitalistic drive to monetize, is an act of political resistance, even as she recognizes that not everyone has the economic security or social capital to opt out. “Just because this right is denied to many people doesn’t make it any less of a right or any less important,” she writes. This book also draws on philosophy, utopian movements, and labor organizing to describe how various people have attempted to “do nothing” in their own way throughout history, with an outlook that is grounded in ecology. (And bird watching!) Ultimately, Odell writes, the act of doing nothing creates space for the kind of contemplation and reflection that is essential to activism and to sustaining life. I experienced this book as a space of sanity and as a beginning; I hope you do, too.  –Corinne Segal, Senior Editor

Honorable Mentions

A selection of other books that we seriously considered for both lists—just to be extra about it (and because decisions are hard).

Peter Hessler, Country Driving (2010)  · Ron Chernow, Washington: A Life (2010)  ·  Barbara Demick, Nothing to Envy (2010)  · Marina Warner, Stranger Magic (2012)  · Jon Meacham, Thomas Jefferson: The Art of Power (2012)  · Oscar Martinez, The Beast (2013) · Katherine Boo, Behind the Beautiful Forevers (2013)  · Mary Ruefle, Madness, Rack, and Honey (2013)  · David Epstein, The Sports Gene (2013)  · Sheri Fink, Five Days at Memorial (2013)  · David Finkel, Thank You for Your Service  (2013) ·  George Packer, The Unwinding  (2013)  · Naomi Klein, This Changes Everything (2013) ·  Roxanne Dunbar-Ortiz, An Indigenous People’s History of the United States (2014) · Sarah Ruhl, 100 Essays I Don’t Have Time to Write (2014) ·  Olivia Laing, The Trip to Echo Spring (2014)  · Hermione Lee, Penelope Fitzgerald (2014) ·  Mary Beard, SPQR (2015) ·  Sam Quinones, Dreamland  (2015) ·  Ibram X. Kendi, Stamped From the Beginning (2016)  · Ruth Franklin, Shirley Jackson (2016) · Arlie Russell Hochschild, Strangers In Their Own Land (2016) ·  Margot Lee Shetterly, Hidden Figures (2016)  ·  Laura Dassow Walls, Henry David Thoreau: A Life (2017)  ·  David Grann, Killers of the Flower Moon (2017)  · Elizabeth McGuire, Red at Heart (2017) · Frances FitzGerald, The Evangelicals (2017) · Jeff Guinn, The Road to Jonestown  (2017) · Michael Tisserand, Krazy (2017) · Lawrence Jackson, Chester Himes (2017)   ·  Zora Neale Hurston, Barracoon (2018) · Beth Macy, Dopesick  (2018) · Shane Bauer, American Prison  (2018) · Eliza Griswold, Amity and Prosperity  (2018) · David Quammen, The Tangled Tree  (2018).

Emily Temple

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