NAME : EESHAAN

PRN : 18010223122

DIV :E

BATCH : 2018 – 2023

ANSWERS:

Ans 2.

a) Narrative Nonfiction:

There are many ways to tell a story, some writers prefer to stick to the truth, some prefer to
make up truths of their own, and some will settle somewhere in the middle. The genre of
narrative nonfiction requires heavy research, thorough exploration, and an aim to entertain
while also sharing a true, compelling story.

Narrative nonfiction, also known as creative nonfiction or literary nonfiction, is a true story
written in the style of a fiction novel. The narrative nonfiction genre contains factual prose
that is written in a compelling way, facts told as a story. While the emphasis is on the
storytelling itself, narrative nonfiction must remain as accurate to the truth as possible.

Narrative nonfiction tells a real-life story about real people and events with stylistic elements
akin to that seen more in fiction. It often requires more research than traditional news
reportage due to its creative flexibility, as narrative nonfiction writers must go to greater
lengths to accurately express the facts and details of another person’s life in a literary way.

One of the great things about nonfiction writing is that almost anyone is capable of writing it.
By tapping into your own experiences and putting pen to paper, you can create engaging,
moving pieces that explore your personal history. Creative nonfiction is a type of nonfiction
writing that encourages writers to incorporate techniques more often found in fiction writing
and include personal opinion and emotion into their work.

The 4 Golden Rules of Writing Creative Nonfiction

When trying to translate a true story into a creative nonfiction personal essay or longer book-
length piece, it’s important to follow some general guidelines. One of the exciting parts about
creative nonfiction is the leeway it gives writers to explore emotional truths, but this should
never come at the expense of facts. If you’re interested in writing creative nonfiction for the
first time, consider some of these creative nonfiction writing tips:
 1. Make sure everything is factually accurate:

Even though writing creative nonfiction shares certain characteristics with writing
fiction, writers should make sure that everything they write is factually accurate.
Obviously, if this complicates things or proves too hard for you, you can always
consider writing a piece of fiction.

2. Play with person:

Oftentimes the point of view of narrative nonfiction is dictated by the type of piece
you are writing but sometimes you have some wiggle room to experiment with
different techniques. Consider shifting from first person to third person or vice versa,
especially when writing about your own personal life experiences. This can give you
some new perspective on real world events.

3. Follow emotion:

One of the major differences between different subsets of the nonfiction genre is the
way that emotion can play in a piece. Reporters try to avoid speaking about their own
life or injecting their own editorial opinions into a piece. Creative nonfiction writers
often listen to their emotions and allow their feelings to affect the shape and tone of
their writing.

4. Incorporate literary techniques:

One of the things that separates creative nonfiction and literary journalism from other
forms of nonfiction is the use of techniques more often seen in the world of fiction.
Elements of fiction that you might find in creative nonfiction include: extended
metaphor, allegory, imagery, synecdoche, and many more

Memoir is the personal side of creative nonfiction but there’s a public side as well, often referred
to as narrative or literary journalismor “big idea” stories. Michael Pollan (The Botany of Desire)
captures big ideas, for example, as does Oliver Sacks (The Man Who Mistook his Wife for a
Hat) through creative nonfiction.

One distinction between the personal and the public creative nonfiction is that the memoir is the
writer’s particular story, nobody else’s. The writer owns it. In contrast, the public side of creative
nonfiction is mostly somebody else’s story; anybody, potentially, owns it, anybody who wants to
go to the time and trouble to write about it. These pieces, although narrative, focus on fact,
leading to a bigger and more universal concept.

In every issue, Creative Nonfiction publishes “big idea/fact pieces”, creative nonfiction about
virtually any subject—from baseball gloves to brain surgery to dog walking to immortality or pig
roasting. There are no limits to the subject matter as long as it is expressed in a story-oriented
narrative way. These are stories almost anyone could research and write.

Because they’re so personal, memoirs have a limited audience, while the public kind of creative
nonfiction—when authors write about something other than themselves has a larger audience.
These “big idea/factual essays” are more sought after by editors and agents and will more likely
lead to publication.

b) Fiction v/s Non fiction:

Fiction:

Fiction is fabricated and based on the author’s imagination. Short stories, novels, myths, legends,
and fairy tales are all considered fiction. While settings, plot points, and characters in fiction are
sometimes based on real-life events or people, writers use such things as jumping off points for
their stories. For instance, Stephen King sets many of his stories and novels in the fictional town
of Derry, Maine. While Derry is not a real place, it is based on King’s actual hometown of
Bangor. King has even created an entire topography for Derry that resembles the actual
topography of Bangor. Additionally, science fiction and fantasy books placed in imaginary
worlds often take inspiration from the real world. A example of this is N.K. Jemisin’s The
Broken Earth trilogy, in which she uses actual science and geological research to make her
world believable.

Non Fiction:

Nonfiction, by contrast, is factual and reports on true events. Histories, biographies, journalism,
and essays are all considered nonfiction. Usually, nonfiction has a higher standard to uphold than
fiction. A few smatterings of fact in a work of fiction does not make it true, while a few
fabrications in a nonfiction work can force that story to lose all credibility. An example is when
James Frey, author of A Million Little Pieces,  was kicked out of Oprah’s Book Club in 2006
when it came to light that he had fabricated most of his memoir. However, nonfiction often uses
many of the techniques of fiction to make it more appealing. In Cold Blood is widely regarded as
one of the best works of nonfiction to significantly blur the line between fiction and nonfiction,
since Capote’s descriptions and detailing of events are so rich and evocative. However, this has
led to questions about the veracity of his account.