FACTS, NONFICTION, and CREATIVE NONFICTION

By Ruth P. Saunders

Creative nonfiction is factually based, and in contrast to other styles of nonfiction, should  engage the reader through description of the setting and use of a literary tone. “Pure” nonfiction, if it exists, presents only facts in a scholarly manner. Both entail research and do not invent, add, or deceive.

To make the distinction more concrete, below is an excerpt from one of my creative nonfiction stories, “Driven to Distraction.” It is about a family driving lesson I had in my teens.

Creative Nonfiction:

On that warm Sunday morning, I sat self-consciously behind the wheel. Daddy was in the passenger seat, and Momma was in the back with my brother and sister. Before the car was in motion, Daddy and Momma braced their bodies as though they were preparing for the impact of an imminent crash. My sister and brother were more relaxed and looking forward to some entertainment at the expense of their older sister on the way to church. I took a deep breath.

…

With rising pitch and sense of annoyance Daddy exclaimed, “Turn if you are going to turn. Get on the road!” A sibling echoed, “Yeah, don’t go so slow!”

I speeded up.

Momma pleaded, “Not so fast. Slow down!” A sibling repeated, “Yeah, slow down!”

I slowed down.

Momma: “Not that slow—you have to drive.” A sibling restated, “Yeah, go faster!”

 

Below the same information is written in an academic nonfiction form for this blog.

Nonfiction:

I sat in the driver’s seat, Daddy sat in the passenger seat, and Momma and my siblings were in the back. My parents, but not my siblings, appeared to be tense at the outset of the journey to church.

…

With obvious emotion in their voices, each member of the family provided often contradictory instructions for how I should drive.

 

The original is told in the tone of a story, includes contextual details revealing the perspective of the writer, and is designed to engage the reader. The second version uses an academic style, removes most contextual information, and is more likely to be described as “objective.” Both versions portray the same event. Facts were recalled from my memory, which is fallible, but were verified with my sister and brother, who shared the experience. So far, the first version follows creative nonfiction “rules.”

 

But what about “do not invent, add, or deceive?” There was no deception, and nothing was added to my recollection of the event, but the story dialog was invented because details of the conversation were lost from memory over time.

 

The standard guiding my writing was “to stay true to my authentic self and experiences.”  I believe this story meets that standard. But, having only fragments of memory to work with, I created the dialogue presented in this story. Does this invention violate a tenet of creative nonfiction? Or it a justifiable use of literary style to enhance readability?

 

 

Sources comparing nonfiction and creative nonfiction:

https://www.donnajanellbowman.com/2010/08/25/nonfiction-vs-creative-nonfiction-vs-historical-fiction/

https://www.creativenonfiction.org/online-reading/line-between-fact-and-fiction

https://en.wikipedia.org/wiki/Creative_nonfiction

WHO INSPIRES YOU TO WRITE?

Ruth P. Saunders

Perhaps it was an encouraging word from a teacher that cleared your path to writing. Maybe reading the words of an accomplished author moved you. Possibly you just loved words and putting them together to convey ideas, images, or feelings. Or it could be a combination of things that inspired, motivated, or facilitated your becoming a writer.

Many people influenced me. A trusted high school teacher encouraged me to write for the school newspaper. Before that I had never considered writing, and those first encouraging words unlocked the door to future possibilities. An English professor in college supported my literary writing when I had doubts about my abilities. My professors in graduate school nurtured my academic writing.

But the first and foremost person instrumental in my becoming a writer was my mother. She did this through word and example.

As a child I was prone to frustration if every line of prose or picture did not flow from my fingers onto the page in final form. In exasperation I crumpled incomplete narratives and partial pictures into tight balls and tossed them into the trash—until my mother stopped me. She explained that real artists finish the work before evaluating it. I learned over time to separate the creative process from the editing process, to let the words flow without judgment until later, when it was time to revise and edit.

As many youngsters, I compared my work to that of others and despaired because mine fell short. My mother explained the reality that someone will always be ahead of you in any endeavor. Evaluating your products this way will make you unhappy and stop you from doing the good work you can do. Life is enriched when you learn from people rather than compete with them. My work is enhanced when I engage collaboratively with a writing community.

My mother went to business college when she finished high school and became a legal secretary. She read widely, and there were always books in the house. She read to her children until we could read on our own, and we were encouraged to think, question, and discuss ideas. These early exposures formed the foundation for self-expression in written words.

An adept storyteller, my mother enrolled in college English classes in her 60s at the Walterboro Salkehatchie branch of the University of South Carolina with the goal of becoming a better writer. Being the only older adult in a classroom of college students was daunting to her, but she wanted to commit her stories to paper for future generations.

She wrote and self-published her book, Low Country Children, in 1986. My mother died in 2013, but her work was the inspiration and model for the stories and essays I have shared with the Columbia II Writers’ Workshop for the past year and a half. I will self-publish my collection this summer. I know my mother would be pleased.

Who inspires you?

HOW DOES ONE WRITE DURING a TIME LIKE THIS?

Ruth P. Saunders 

I must confess at the outset that my muse has deserted me, and I don’t know if its absence is a temporary or a persistent state. Along with many others, I am overwhelmed by witnessing the end of the world as we know it. I was not prepared to cope with a global pandemic, but then how does one prepare for that? I find it difficult to carry on ordinary activities, including writing.

My only urge to write in the last several weeks was to return to academic writing, to identify and synthesize information from credible sources to help me understand what is happening as a way of getting through it. That fleeting impulse was gone before I got to the keyboard.

I have been able to write during challenging periods in the past. Some of my best poetry came during times of emotional lows. Something about inner darkness is conducive to deep reflection and expression for me. Finding the right words brings light.

My more recent creative nonfiction writing grew from the pain of losing my parents, first my mother to dementia over 10 years and then my father five years later. I began writing to deal with these losses by focusing on the good memories. The writing process has helped me celebrate and honor the lives of my parents, appreciate how early experiences shaped me as a person, and value the present positives in my life.

But feeling down or sad due to loss are personal responses to the “world as we know it.” The COVID-19 pandemic and the global reaction to it seem to signal a more fundamental and pervasive change in human affairs. The passage of time will provide some perspective on current events, their impact and what the “new world” will be like. For now, we must live with uncertainty.

For this blog, I had hoped to provide practical suggestions for writing during uncertain times. But that would be disingenuous, given where I am with my own work. Thankful for modern technology during these days of social distancing, I searched the internet to learn from other writers.

I found two bloggers with useful perspectives and suggestions for writers during the unfolding pandemic. I am not familiar with the prior work of Jenna Avery, a sci-fi screenwriter, or Tim Waggoner, a fantasy and horror writer. I continue to glean ideas from them, hoping for a spark of inspiration that converts to action. Perhaps you will find them helpful, as well.

In the meantime, I try to be patient with myself and to trust that my muse will return.

AM I A WRITER?

By Ruth P. Saunders

Am I a writer or a person who sometimes writes?

According to Wikipedia, “A writer is a person who uses written words in various styles and techniques to communicate ideas. Writers produce various forms of literary art and creative writing such as novels, short stories, poetry, plays, screenplays, and essays as well as various reports and news articles that may be of interest to the public.”

I have communicated ideas through written words for many years. Early on, it was a task, such as the reports or essays assigned at school, or the memos, letters, reports, and academic journal articles required for work. I did not consider myself as a writer because my compositions fulfilled job requirements.

After years of publishing academic articles, I authored a textbook. I enjoyed the challenge of expressing and organizing the content in my specialty area for students, practitioners, and researchers. It felt good to contribute to my professional field as an academic writer.

I retired from academia and now write creative nonfiction stories, essays, and poems. This has led me to wonder, “What is a real writer?”. Here are some reflections on this question.

Do writers need a certain type or amount of education? I can see some advantages of this, but beyond literacy and ability to express thoughts, educational credentials don’t seem necessary.

Does it require that one publish, earn a certain amount, or at least aspire to make money through writing? That describes being a professional writer rather than a writer per se. I write for motivations other than financial rewards, although some writers earn pay for their work.

Do the literary products have to be judged “good” for one to qualify as a writer? I hope not and don’t think so. We may agree the quality of written pieces varies, but they are all created by writers. Some are simply more skilled than others.

So, am I a writer? I don’t have a degree in writing, haven’t published my creative work, don’t aspire to earn money, and get mixed reviews on the quality of my products.

Yes, I believe I am.

There are two reasons for this. First, writing is what I do. I engage in the writing process, which involves a way of experiencing the world as well as the act of regularly putting words on a page.

Second, writing defines who I am. As part of my self-identity, it connects me to the larger world of past, present, and future human beings who strive to harness the power and ambiguities of words to express thoughts and ideas.

Embracing my writer identity removed a shadow from my worldview, allowing me to see and write with increased clarity.

WORK In PROGRESS

By Ruth Saunders

My lighthearted creative nonfiction about growing up in rural, Lowcountry South Carolina describes experiences that have shaped me as a person with the hope others will find them entertaining. My goals are to put together a collection of stories for family and friends and to submit an electronic version to the Self-e Library Journal. This past year I have shared many of these pieces with participants in the Columbia II Writers Workshop and a manuscript consultant. The feedback and discussion have been beneficial and, in this blog, I share some of what I have learned.

· Reason 

Defining my purpose (why I am doing this), goal (what I am trying to do) and intended audience (who I am doing it for) serves as a guiding beacon that keeps me from getting lost on the long path to realizing the final product. I have also learned that the purpose, goal, and intended audience may evolve on the journey, and that is OK.

· Remember

What I write must be authentic to my memory and experience. Human memory enables us to carry the narratives of ourselves forward in time, helping create a sense of self. But our memories do not store an infallible record of factual events and not all memories are preserved. Those that are retained are malleable, revised over time with new experiences. My writing necessarily focuses on the memories I have kept and sculpted over time. Within these limitations, I do my best to stay true to my authentic experience.

· Research

I frequently request “memory assists” from my sister and brother, as we shared the setting and many experiences. My sister is also the family archivist, so she is my source on recorded family information such as names, dates, and other genealogical facts. I do internet searches to gather relevant background and historical information. I ask family and friends to read pieces to make sure the material rings true to them and to correct factual errors.

· Reflect 

I find it useful to reflect on memories, notes, flow charts, outlines, feedback, and early drafts. Taking time to think and to allow ideas to incubate increases the depth of the writing. I am beginning to identify and deliberately incorporate into my writing themes and images embedded in my experience. I enjoy this slow and exciting process of self-discovery.

· Review

By getting feedback from others I identify areas that need strengthening, rework the flow of the narrative, add detail and dialogue to make the piece believable and real, and work to make the stories entertaining to the reader.

· Write and Revise

Writing is not a series of ordered steps as listed above but is a cyclical process. I write and revise at every “step” and not necessarily in the order listed. “Steps” will be repeated as often as needed until I reach the final product. 

MANAGING FEEDBACK to IMPROVE WRITING QUALITY

By Ruth P. Saunders

Getting feedback from other writers is not enough; we must also use it productively to improve the quality of our writing. Here are some guiding thoughts to consider.

      · Share an early draft but not the first.  

Develop the piece through self-editing before sharing but not for too long. Getting input sooner moves the writing forward and reduces opportunities for attachment, which can inhibit the openness needed to manage constructive criticism.

· Separate yourself from the products you have created.

The critique applies to the piece, not the person producing it. Self-doubt predisposes us to infer what comments mean about the writer rather than about words and sentences. Seek constructive ways to increase confidence rather than pursuing “evidence” to support personal misgivings. Alternatively, feeling accomplished as a writer may incline us toward reluctance to accept criticism of new work.

· Try it all on and then take off what doesn’t fit.

Treat all criticism as valid initially—open your mind completely and try out suggestions on the page. It’s like shopping for clothes or accessories: experiment, put on something new, and take a good look in the mirror. If it doesn’t look good or feel right, take it off.

· Allow time for processing and incubating.

Grant yourself days, weeks, or months to review feedback, reflect, “try it on,” and see how it works. Some comments become clearer with repeated consideration, and others need to incubate undisturbed for periods of time. Check with trusted others about remarks you find disagreeable or unclear.

· Pay attention to patterns.

Notice similarity in feedback received from different people over time and incorporate fixes for these into your self-critiquing and self-editing process. For example, I overuse the word “that.” I search for and correct this as part of my writing process.

· Consider the source and the circumstances.

Writers vary in ability to provide constructive criticism, which is a learned skill separate from the art of composing. And accomplished critics experience transient events affecting ability to provide useful feedback on a single occasion. Remember this if you are baffled by a review.

· Strive to provide useful and empathetic comments for others.

As your ability to critique others’ writing develops, you improve at assessing and applying feedback to your own.

· Affirm yourself as a writer.

Keep a balanced focus on what succeeds as well as the problems in every piece. The goal is to strengthen your work and you control this process. And, as always, keep writing.

PERSPECTIVES ON WRITING AS A CREATIVE PROCESS

By Ruth Saunders

The quantity and quality of words placed on the page are not determined by the amount of time spent writing. Inventing prose or poetry moves forward in fits and starts interspersed with occasional steps backward. On good days, words flow from the fingertips. On other days, hours of hard work produce one line which is later deleted. The outcome is uncertain each time we write. 

This fickleness is one of the reasons getting started is difficult. Another is the human tendency to continue doing the same thing. Overcoming inertia of rest, or the state of not-writing, takes energy. Writers must negotiate the reality of moment-to-moment uncertainty and the challenge of  inertia. I cannot change the unpredictability of the creative process or human nature, but I can offer some observations about writing as an activity.

First, the process is effective in the long run; one period of writing may not produce much, but consistent writing moves the work forward. Frequent practice alters the beginning state of inertia from not-writing to writing which begets more writing. More frequent sessions lower the stakes of each. Knowing this enables me to be more realistic about a single session and to keep going.

Second, it is easy to get frustrated and fall into the habit of nonproductive self-criticism. Internal dialogue such as “Why do I bother?” and “I am not good at this” tends to shift us toward a state of not-writing. But this thinking is an emotional reaction to a transient situation; it is not a reflection of yourself as a writer. It can be useful to create a positive internal dialogue that recognizes the other side of the coin, tailored to resonate for you. Examples which work for me include, “I love words” and “I am good at reaching my goals.”

Third, not all writing will be at the optimal level. Perhaps some people routinely produce the highest quality work, but most of us write a lot of ordinary lines, paragraphs, and pieces. Realizing this results in “perfectionistic procrastination” and not-writing. I remind myself, as I did when I played basketball in high school, you must shoot to score—but they’re not all going in. This means you need to shoot more, not less. High scorers take risks rather than waiting for the “right moment.” It’s commonplace advice, but you must keep writing.

Our perspective on the creative process of writing affects the way we feel and what we do as writers. Challenging our habits, expectations, and internal dialogue can reduce stress and make it easier to start and maintain frequent writing sessions, and this can enhance work quantity. Seeking and managing feedback from other writers is essential to improving writing quality. But that is the subject of a future blog.

THE LATEST ADDITION

Meet a New SCWA Columbia II Blogger

RUTH P SAUNDERS

Ruth retired in February, 2015, after 30 years of teaching, research and service in the Department of Health Promotion and Education in the Arnold School of Public Health at the University of South Carolina, Columbia. Retirement afforded her the opportunity to begin writing creative nonfiction in earnest after years of dabbling. In addition to focusing on writing, Ruth is also a visual artist and has worked for about four years with oil, oil pastel, gouache, graphite, collage, and mixed media. She plans to combine her passions for literary and visual arts. Her current goal is to develop professionally as a creative nonfiction writer and to write, illustrate and publish a collection of memories and stories about growing up in rural Lowcountry South Carolina in the 1950s and 1960s.

TRANSITIONING from ACADEMIC to CREATIVE NONFICTION WRITING

By Ruth P Saunders

I enjoyed 30 years in academia and produced the expected scientific publications. I liked academic writing, but by retirement four years ago I felt ready to explore more artistic approaches.  One of my retirement goals is to channel my love of writing into creative nonfiction, to explore and reflect on memories in essays and stories. Here are my thoughts about similarities and differences between the two nonfiction styles.

First, some similarities. It is important to know your audience and use clear language as well as appropriate grammar and punctuation. Academic and creative nonfiction pieces need a beginning, middle, and end. Each paragraph conveys a single point, and transition sentences guide the flow of the narrative. A well-written manuscript of either type conveys a clear message. Feedback from peers is essential for effective writing in any context.

Academic and creative nonfiction differ in several ways, as well. In a rather academic fashion, I have categorized these into purpose, audience, structure, content, and language.

Differences between Academic and Creative Nonfiction Writing

	Academic	Creative
Purpose	Advancing scientific knowledge and informing	Personal expression and entertainment
Audience	Professionals within a field of study	Broader audience
Structure	Highly structured by journal-specific publication guidelines	Flexible depending upon purpose, audience and intended outlet
Content	Narrowly focused professional topic describing research methods and results, systematic literature review or professional commentary	Describes author’s perception of a wide range of factual experiences or events
Language	Formal, often containing field-specific jargon and abbreviations; intended to convey an objective perspective	Informal, using simple words that are clear; presumed to convey a subjective perspective

Academic manuscripts are formal in tone and intended to advance scientific knowledge. They are directed at scientists and professionals within specific disciplines using field-specific technical language. The content focuses on a specific topic, builds upon previously reported work, and is presumably guided by scientific methods designed to increase objectivity. Manuscript structure and formatting is prescribed by field-specific academic journals to maintain objectivity and consistency across time. Guidelines include headings for major sections of the document (e.g., Abstract, Introduction, Methods, Results, Conclusions, References) and how to format citations of previous scientific work in the narrative and final reference list.

Creative nonfiction writing is more flexible and less formal. It is subjective, focusing on the author’s experiences and reflections to entertain a more broadly defined audience. The language should not require specialized knowledge to understand, and the structure is simpler and clearer. It should be interesting, meaningful, relevant, and engaging to the reader.

Academic writing is comfortable, and I continue to publish. But I want to reflect upon my life more subjectively, with a hint of humor. I want to honor memories that have shaped the present and share them in meaningful ways. Creative nonfiction writing enables me to do this and helps me grow as a writer and a person.