nonfiction narrative essay examples

25 Great Nonfiction Essays You Can Read Online for Free

A list of twenty-five of the greatest free nonfiction essays from contemporary and classic authors that you can read online.

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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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

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8 January 2024

How to Write Amazing Narrative Non-Fiction

Narrative non-fiction brings to life true stories like historic events and personal experiences. It uses the techniques usually associated with fiction writing, such as plot , character , and detailed scene-setting .

This very popular genre informs the reader with facts and detailed accounts of real-life events, but is written in an engaging and dramatic way designed to grip the reader’s attention and make the reading experience enjoyable. Narrative non-fiction is sometimes referred to as literary non-fiction or creative non-fiction.  

Why should you write narrative non-fiction?

What is interesting and exciting about narrative non-fiction is that it can cover just about any topic. You might see it shelved in almost any section of physical and online bookstores. For example, narrative non-fiction can explore an unknown perspective on a historical event based on research that’s only just been discovered. It can tell the story of an individual or a company’s dramatic demise or it can paint an eye-opening picture of a particular political or social current affair. 

What makes good narrative non-fiction?

Often written by investigative journalists, historians, and sometimes biographers, works of narrative non-fiction are informative but they are also entertaining to read because the storytelling element is so important. 

Conducting original and thorough research is a cornerstone of good narrative non-fiction writing. When researching their subjects, writers will often conduct interviews with key people, obtain access to private diaries, read old newspaper articles, and search historical records in order to get the most accurate information about a series of events. 

High-quality narrative

Another cornerstone of great narrative non-fiction is the quality of the writing. Just like in fiction books, writers use dialogue and characterization to reveal character relationships and story development. Choosing to tell the story through specific scenes instead of simply summarizing the events that took place is what separates this form of writing from other types of non-fiction like history, reports, news stories, and biographies.

The structure a writer chooses to tell the story in goes a long way to creating drama and suspense for readers. While straight histories or news reporting tend to tell events in chronological order, with narrative non-fiction you can be more playful. You can switch perspectives and timelines meaning that the story can be told in a more exciting and intriguing way.

For example, a lot of books open with a scene set in the present day to show the reader where the story is now, and then they will go back in time to show where the story began. Other books may start with a scene in the middle of all the action and then go back in time to tell the story from the beginning, catching up with the events the opening started with before going beyond them to finish the story.

The right balance between fact and fiction   

As this form of writing uses literary styles and techniques, writers sometimes use creative license to drive their story forward and make it more interesting. It’s hard to create a completely accurate representation of something that happened a long time ago unless you have ample records of the event, like a recorded conversation or eye-witness account. Often, writers might elaborate on some details, using conjecture to fill in the blanks in the narrative.

Finding the right balance between accuracy and creative license is important – you want to create a book that has integrity and is true to real life, but you also want to help the reader paint a picture of how something might have happened in the absence of concrete information. This should happen in an informed and subtle way, always noting where you’re using conjecture, rather than writing it as truth. 

A defined author presence

When using conjecture to drive the narrative, the perspective of the writer becomes an important element. In narrative non-fiction writing, there isn’t always a strong authorial voice driving the narrative, but it is still present.

The authorial presence and voice is especially important when there has been a lot of original research and witness interviews. Investigative reporters will often comment on characters who they have tried to speak with, who they might even be writing about, and will often have a personal connection to the story. As an example, they might explain how they received an anonymous tip from someone and will therefore include their own involvement in the story. They become part of the narrative.

Publication and audience

Narrative non-fiction is a very popular genre. Walk into most bookshops and you’ll see it represented on shelves and on feature tables. Typically this space has been dominated by male writers but it’s promising to see there are more and more female writers emerging in this space.

Narrative non-fiction tends to be published in a Hardback format because of its literary qualities and often very topical subjects. It’s a genre that is often very well reviewed in traditional media outlets like national papers. A year after the Hardback publication a Paperback format will typically be released. This new format will aim to reach more mass-market readers. Audio editions of narrative non-fiction tend to sell very strongly too, as readers who are interested in these kinds of narratives are usually big podcast listeners. 

Tips for writing narrative non-fiction 

If you’re developing a book proposal that classifies as narrative non-fiction, it’s helpful to ask yourself the following questions: 

• What is the best way to structure my book so that the story is dramatic and interesting?
• Am I describing scenes, events, and people in enough detail? If your reader didn’t know this story was true, might they almost mistake it for fiction? (It would be a good sign if they did –  often the highest praise for narrative non-fiction is ‘reads like a thriller’ or ‘a page turner I couldn’t put down’)
• Have you done enough research on the subject? How unique is your research? Is there more you could find out about the events of your subject from archival documents, contemporary diaries, or by interviewing characters or their families? 
• How can I prove that I am qualified to write this book? If you’re not an investigative journalist, historian, or professional writer by trade, how can you reassure the publisher and reader that you are qualified to write this book? It’s important to show how much research you’ve done on the subject and to use sample writing to show off the quality of your writing. 

Remember, this genre is all about research and storytelling. Your book should be well-researched and should account for real-life events as accurately as possible. It should be written in an engaging way that holds the reader’s attention. You should aim to tell your story in as dramatic and interesting a way as you can, while staying faithful to the truth. 

Bestselling books to read 

If you’re thinking about writing a narrative non-fiction book it’s a good idea to read some of the top-selling books in this area to help you get a flavour of the writing style and reading experience. Reading some of these books should also give you helpful insights into different ways you can hook your reader in, how to approach the narrative arc and structure of your book, and give you ideas on pacing. 

Agent Sonya by Ben MacIntyre 

This is the remarkable story of the greatest female spy in history, from one of Britain’s most acclaimed historians. A devoted mother-of-three, attentive wife, and friendly neighbour, Sonya Burton seemed to epitomise British domesticity. But far from an obedient homemaker, Sonya Burton was a dedicated communist, a decorated colonel, and a veteran spy who risked her life to keep the Soviet Union in the nuclear arms race.

In Agent Sonya , Ben Macintyre has created a page-turning work of non-fiction that has you hooked at every twist and turn, so much so that it almost reads like a thriller . Macintyre writes with the diligence and accuracy of the very best of journalists but the flair of a master storyteller .

He adds colour and incredible details to deeply researched reporting. Every sentence is rich with description and imagination but never at the cost of the truth. He is also wonderfully skilled at leading the reader down a rabbit hole about some seemingly insignificant event or detail that one might usually lose the thread of, only to weave it back into the main action with sophistication.

Bad Blood by John Carreyrou 

This is the inside story of the breathtaking rise and jaw-dropping collapse of Theranos, a multibillion-dollar biotech startup founded by Elizabeth Holmes, that promised to revolutionize the medical industry with a machine that would make blood testing significantly faster and easier. Holmes was a brilliant Stanford dropout whose startup, ‘unicorn,’ was backed by investors such as Larry Ellison and valued at more than $9 billion. There was just one problem: the technology didn’t work.

In Bad Blood , Wall Street Journal reporter John Carreyrou tells the riveting story of one of the most shocking tales of corporate fraud ever, a story of ambition and hubris in Silicon Valley. Carreyrou unveils the many dark secrets of Theranos with nuanced and compelling reporting , presenting the scientific, human, legal, and social sides of the story with remarkable skill.

Carreyrou’s brilliance is in his ability to explain complicated science that would ordinarily be difficult to follow in a remarkably digestible way. Not many writers can make a very specialist subject feel universal and accessible to all , but Carrreyou achieves it. The level of research he has undertaken to get to the truth of this deeply secretive company is unparalleled. He also paints fantastic character portraits and has a way of building intrigue around people shrouded in mystery that leaves you on the edge of your seat.

The Five by Hallie Rubenhold 

An astonishing feat of historical detective work, The Five is the story of Polly, Annie, Elizabeth, Catherine, and Mary-Jane, five women who never met but are famous for the same thing – being victims of Jack the Ripper. For more than a century, newspapers have been keen to tell us that ‘the Ripper’ preyed on prostitutes.

Not only is this untrue, as historian Hallie Rubenhold has discovered, but it has also prevented the real stories of these fascinating women from being told. Now, in this devastating narrative of five lives, Rubenhold finally sets the record straight, telling the untold stories of five women who wrote ballads, ran coffee houses, lived on country estates, breathed ink-dust from printing presses, and escaped people-traffickers. This is an incredible new perspective on a well-known story.

What is so exciting and different about this book is that Rubenhold casts an entirely new light on a well-known story and in doing so makes a political statement about the treatment of women both then and now. The author’s rage is palpable in the writing. It’s a blistering counter-narrative that has all the ingredients of a fantastic narrative non-fiction book – original and surprising research , gripping plot, clever structure , rich description  – but also a strong political and social undercurrent that acts as the beating heart of the book.

Empire of Pain by Patrick Radden Keefe 

This is the gripping and shocking story of three generations of the Sackler family and their roles in the stories of Valium and Oxycontin, by a prize-winning American investigative journalist. 

The Sackler name adorns the walls of many-storied institutions – Harvard; the Metropolitan Museum of Art; Oxford; the Louvre. They are one of the richest families in the world, known for their lavish donations to the arts and the sciences. The source of the family fortune was vague, however, until it emerged that the Sacklers were responsible for making and marketing Oxycontin, a blockbuster painkiller that was a catalyst for the opioid crisis-an an international epidemic of drug addiction that has killed nearly half a million people.

What makes Empire of Pain so exceptional is how Patrick Radden Keefe exhaustively documents jaw-dropping events over a long period of time to tell the story of a dynasty but also: a parable of 21st-century greed. It is a masterpiece of narrative reporting and writing, that draws conclusions no one had ever thought to make before and takes you from dodgy GP practices to the misfortunate hangouts of opioid victims, to glamorous fund-raisers to the inner echelons of power in modern-day America. 

Hidden Figures by Margot Lee Shetterly 

Set against the backdrop of the Jim Crow South and the civil rights movement, Hidden Figures is the never-before-told true story of NASA’s African-American female mathematicians who played a crucial role in America’s space program—and whose contributions have been unheralded, until now.

It tells the story of a coterie of bright, talented African-American women. Segregated from their white counterparts by Jim Crow laws, these “colored computers,” as they were known, used slide rules, adding machines and pencil and paper to support America’s fledgling aeronautics industry, and helped write the equations that would launch rockets, and astronauts, into space.

Drawing on the oral histories, scores of personal recollections, interviews with NASA executives and engineers, archival documents, correspondence, and reporting from the era, Hidden Figures recalls America’s greatest adventure and NASA’s groundbreaking successes through the experiences of five courageous, intelligent, determined, and patriotic women.

One of the things you can’t help but admire in this book is how Shetterly manages to weave so many moving parts and themes to tell a cohesive story – moving from World War II through NASA’s golden age, touching on the civil rights era, the Space Race, the Cold War, and the women’s rights movement, Hidden Figures tells a rich history of scientific achievement and technological innovation but also manages to recount the intimate stories of five women whose work forever changed the world.

Like Rubenhold, Shatterly is revisiting a moment or event in history – but rather than humanizing victims whose identities and stories were overlooked, Shatterly gives power back to the women who were actively written out of history books and who deserve credit for their enormous achievements, and in doing so helps to reframe how women are currently perceived in science and technology.

Note: All purchase links in this post are affiliate links through BookShop.org, and Novlr may earn a small commission – every purchase supports independent bookstores.

If you’re interested in writing non-fiction and want to get your work in front of a publisher, visit our  free non-fiction book proposal course   written by Lydia Yadi, Senior Commission Editor for Non-Fiction at Penguin Random House.

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• How to write a narrative essay | Example & tips

How to Write a Narrative Essay | Example & Tips

Published on July 24, 2020 by Jack Caulfield . Revised on July 23, 2023.

A narrative essay tells a story. In most cases, this is a story about a personal experience you had. This type of essay , along with the descriptive essay , allows you to get personal and creative, unlike most academic writing .

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Table of contents

What is a narrative essay for, choosing a topic, interactive example of a narrative essay, other interesting articles, frequently asked questions about narrative essays.

When assigned a narrative essay, you might find yourself wondering: Why does my teacher want to hear this story? Topics for narrative essays can range from the important to the trivial. Usually the point is not so much the story itself, but the way you tell it.

A narrative essay is a way of testing your ability to tell a story in a clear and interesting way. You’re expected to think about where your story begins and ends, and how to convey it with eye-catching language and a satisfying pace.

These skills are quite different from those needed for formal academic writing. For instance, in a narrative essay the use of the first person (“I”) is encouraged, as is the use of figurative language, dialogue, and suspense.

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Narrative essay assignments vary widely in the amount of direction you’re given about your topic. You may be assigned quite a specific topic or choice of topics to work with.

• Write a story about your first day of school.
• Write a story about your favorite holiday destination.

You may also be given prompts that leave you a much wider choice of topic.

• Write about an experience where you learned something about yourself.
• Write about an achievement you are proud of. What did you accomplish, and how?

In these cases, you might have to think harder to decide what story you want to tell. The best kind of story for a narrative essay is one you can use to talk about a particular theme or lesson, or that takes a surprising turn somewhere along the way.

For example, a trip where everything went according to plan makes for a less interesting story than one where something unexpected happened that you then had to respond to. Choose an experience that might surprise the reader or teach them something.

Narrative essays in college applications

When applying for college , you might be asked to write a narrative essay that expresses something about your personal qualities.

For example, this application prompt from Common App requires you to respond with a narrative essay.

In this context, choose a story that is not only interesting but also expresses the qualities the prompt is looking for—here, resilience and the ability to learn from failure—and frame the story in a way that emphasizes these qualities.

An example of a short narrative essay, responding to the prompt “Write about an experience where you learned something about yourself,” is shown below.

Hover over different parts of the text to see how the structure works.

Since elementary school, I have always favored subjects like science and math over the humanities. My instinct was always to think of these subjects as more solid and serious than classes like English. If there was no right answer, I thought, why bother? But recently I had an experience that taught me my academic interests are more flexible than I had thought: I took my first philosophy class.

Before I entered the classroom, I was skeptical. I waited outside with the other students and wondered what exactly philosophy would involve—I really had no idea. I imagined something pretty abstract: long, stilted conversations pondering the meaning of life. But what I got was something quite different.

A young man in jeans, Mr. Jones—“but you can call me Rob”—was far from the white-haired, buttoned-up old man I had half-expected. And rather than pulling us into pedantic arguments about obscure philosophical points, Rob engaged us on our level. To talk free will, we looked at our own choices. To talk ethics, we looked at dilemmas we had faced ourselves. By the end of class, I’d discovered that questions with no right answer can turn out to be the most interesting ones.

The experience has taught me to look at things a little more “philosophically”—and not just because it was a philosophy class! I learned that if I let go of my preconceptions, I can actually get a lot out of subjects I was previously dismissive of. The class taught me—in more ways than one—to look at things with an open mind.

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If you’re not given much guidance on what your narrative essay should be about, consider the context and scope of the assignment. What kind of story is relevant, interesting, and possible to tell within the word count?

The best kind of story for a narrative essay is one you can use to reflect on a particular theme or lesson, or that takes a surprising turn somewhere along the way.

Don’t worry too much if your topic seems unoriginal. The point of a narrative essay is how you tell the story and the point you make with it, not the subject of the story itself.

Narrative essays are usually assigned as writing exercises at high school or in university composition classes. They may also form part of a university application.

When you are prompted to tell a story about your own life or experiences, a narrative essay is usually the right response.

The key difference is that a narrative essay is designed to tell a complete story, while a descriptive essay is meant to convey an intense description of a particular place, object, or concept.

Narrative and descriptive essays both allow you to write more personally and creatively than other kinds of essays , and similar writing skills can apply to both.

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The Creative Penn

Writing, self-publishing, book marketing, making a living with your writing

How To Write Narrative Non-Fiction With Matt Hongoltz-Hetling

posted on August 24, 2020

Podcast: Download (Duration: 1:04:14 — 52.2MB)

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What is narrative non-fiction and how do you write a piece so powerful it is nominated for a Pulitzer? In this interview, Matt Hongoltz-Hetling talks about his process for finding stories worth writing about and how he turns them into award-winning articles.

In the intro, I talk about Spotify (possibly) getting into audiobooks and Amazon (possibly) getting into podcasts as reported on The Hotsheet , and the New Publishing Standard . David Gaughran's How to Sell Books in 2020 ; a college student who used GPT3 to reach the top of Hacker News with an AI-generated blog post [ The Verge ]; and ALLi on Is Copyright Broken? Artificial Intelligence and Author Copyright . Plus, synchronicity in book research, and my personal podcast episode on Druids, Freemasons, and Frankenstein: The Darker Side of Bath, England (where I live!)

Matt Hongoltz-Hetling is a Pulitzer finalist and award-winning investigative journalist. He's also the author of A Libertarian Walks Into a Bear .

You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript below.

• From writing for pennies an article to writing a Pulitzer – nominated article
• What is narrative non-fiction?
• How does narrative non-fiction differ from fiction?
• Where ideas come from and how to begin forming a story idea
• The necessity of being respectful of the real lives being examined and written about
• Portraying interview subjects with shades of grey
• Turning hours of source material into something coherent
• Finding the balance between story structure and meaning
• Knowing when an idea is appropriate for a book

You can find Matt Hongoltz-Hetling at matt-hongoltzhetling.com and on Twitter @hh_matt

Transcript of Interview with Matt Hongoltz-Hetling

Joanna: Matt Hongoltz-Hetling is a Pulitzer finalist and award-winning investigative journalist. He's also the author of A Libertarian Walks Into a Bear . Welcome, Matt.

Matt: Hey, thanks for having me on, Joanna.

Joanna: It's great to have you on the show.

First up, tell us a bit more about you and how you got into writing.

Matt: I got into writing when I was eight years old and I wrote this amazing book. I don't want to brag, but I wrote this book about an elf that was fighting in a dungeon, and this elf had some items of a magical persuasion and used them to defeat all sorts of monsters. So, that was pretty awesome. And I've been writing stuff ever since.

I grew up knowing that I wanted to write, loving to read, all that. And then my career path never really seemed to go that way. I actually started a student newspaper when I was in college in the hopes that that would be primarily a writing occupation, but I found very quickly that it was more small business skills that were needed.

I was selling advertisements much more so than writing to fill the newspaper sadly. And so, at some point I had just got the pile of rejection slips that I think we're all familiar with. I just didn't really know how to go about getting into the industry.

I was literally writing articles for, like, 25 cents an article, these, like, ‘How do you fix an engine?' or not even an engine, nothing that complicated, but, ‘How do you clean a window?'

Joanna: Content farms.

Matt: Yes, right. Content farms. Yes. Thank you. But I was writing.

My wife encouraged me to submit an article for my local weekly newspaper in a small town in the state of Maine. And that led to me being able to write more articles, still for very small amounts, 30 bucks an article. And that led to me getting a full-time job as a journalist at a weekly newspaper in rural Maine.

And even though that was fantastically exciting for me, I always knew that I wanted to do more. And so, I was always pushing, looking for that next level that would allow me to write more of the stuff that I wanted to write. And so, that led to larger newspapers, and then magazine opportunities, and then magazine opportunities led to a book opportunity. Now, I'm happy that I am just on the cusp of publishing my first book. I'm very excited about that.

Joanna: We're going to get into that in a second, but I just wonder because this is so fascinating.

How many years was it between writing for a content farm to being a Pulitzer finalist?

Matt: That was actually the shortest journey that you can imagine. Within, let's say, two years of my first newspaper article. I wrote the article that led to my highest-profile resume point which was that Pulitzer finalist status. And that article was about substandard housing conditions in the federal Section 8 program. It's federally subsidized housing and it's meant to be kept up to a certain standard, and the article which I wrote with a writing partner demonstrated that it was not and that there were a lot of people at fault.

What really elevated that article, it was a good article and all of that, but what really got it that level of recognition was that it also turned out to be an impactful article. It happened to come at a time when other people were looking at the housing authority for various reasons. It really struck a nerve and our Senator, Republican Susan Collins of Maine, she took a very avid interest in our reporting and was motivated to encourage reforms of the national Section 8 system.

She was in a political position to do that because she held the purse strings for the housing authorities. And so, it happened to have this very disproportionate impact and because it led to a positive change for the Section 8 housing program in the United States.

I think the people in the Pulitzer committee must've loved the idea that this tiny little rural weekly newspaper where we had three reporter desks, one of which was perennially vacant, had managed to write a story that was really relevant to the national scene.

Joanna: Absolutely fascinating. And I hope that encourages people listening who might feel that they're in a place in their writing career where they're not feeling very successful and yet you bootstrapped your way up there to something really impactful, as you say.

We're going to come back to the craft of writing, but let's just define ‘narrative nonfiction.' Your book, A Libertarian Walks Into a Bear , which is a great title.

What is narrative nonfiction and where's the line between that and fiction or straight nonfiction?

Matt: Narrative nonfiction, the way that I think of it is i t's basically just like any other fiction book, or novel, or piece that you might pick up except for the events described in it actually happened .

When I think of the difference, it just seems, to me, to be such a small, tiny little difference between fiction and nonfiction because when you write fiction, you're starting with an infinite number of possible events to write about. And when you're writing nonfiction, you're starting with a universe of events.

You're starting with everything that ever happened in the entire universe. That's the material that you can draw on. It is so close to infinite that really, it's just a method of curation. You're going to select some of these facts and arrange them in an order that will create the same exact experience as a powerful piece of fiction writing.

A narrative piece emphasizes the same things that a fiction story would in terms of there's character arcs, there are transformations, there's setting. We want a climax, we want everything that you would want when you're writing a fiction piece.

Joanna: Interesting. And you said at the beginning that it's a tiny difference between fiction and nonfiction. And I'm like, ‘No, surely, this is the biggest separation.' So, I feel like people would have quite a different view on that, but it's interesting because you said there, ‘a method of curation,' and you select the facts, whereas with fiction, obviously, you make it up.

How can you curate truth in a way that serves your story but doesn't distort what really happened?

Matt: That's an excellent question. And I think you do have to be careful to keep things in perspective.

So, I was thinking, ‘What if I was writing about someone in the aeronautics industry or who was an astronaut or maybe someone else within the industry who is motivated by this idea that people want to,' or yeah, ‘that he would like people to colonize the stars?' That's, I think, a very common sci-fi-type theme, and it's also very apparent in the people who go into those fields.

And so, you might take a set of facts. I would ask that person, ‘What are some of the seminal moments in your career? What were the turning points? What were the important things that shaped you as a person?' And this was just an idea that I had, I would look at the amount of cosmic matter in our atmosphere. So, every time a meteor hits the atmosphere, we know it burns up, dust rains down on the earth and that dust becomes part of us. We breathe it in.

Then I would try to draw a timeline between some natural spike in the amount of cosmic dust in the air that might've gone into our subject's body, and that person's decision to get into aeronautics. So, you maybe get to describe that this fantastic spectacular event of a comet the size of a blue whale entering the atmosphere, burning up, raining dust down on, let's say, North America.

And this aeronautics person is 12 years old at the time, he's thinking about baseball, but then he goes to a museum two weeks later and he's breathing in more cosmic dust on that day than he would on an average day, and then he decides to become an astronaut.

You can paint a very poetic scene with that, but it's also very important that you're not actually suggesting or theorizing that the cosmic dust had anything to do with that person's decision.

It's a way to wax poetically about this character and to maybe access a greater idea which is that we all want to go colonize the stars to some extent. That's a very human thing. It appears in our very earliest writings on both fictional and non-fictional.

And you can talk about this amazing spectacular event, you can talk about this person's decision, and if you do it right, the audience will understand that you've just used this as a jumping-off point to explore some of these bigger concepts and cool narrative opportunities without actually saying in a false way that cosmic dust is what makes us want to go out there. So, I'm just saying that you can arrange those events in a way that gives it life, and vibrancy, and maybe some creativity.

Joanna: I like that example. And you brought up so many things that I'm thinking about there.

First of all is using the individual to highlight the universal. If you wrote a piece about how big the universe is or whatever, that's not narrative nonfiction. That might be one of your how-to articles back in the day. So, you've used someone's experience to highlight something universal.

Where do you start? Because this is a question that fiction writers think about all the time. Do you start with the theme of, say, space? Do you start with a character, say you met someone and you want to interview them, or are you starting with, in your case, I guess, a commission or are you starting with just your own curiosity and following where it goes? So, I guess, as you said, that you could write about anything in the whole world.

How do you decide what to write?

Matt: I've spent a lot of my freelance writing career trying to craft pitches that will convince editors to give me a green light and offer me compensation in exchange for a piece of writing. And so, that undergirding structure allows for all those sorts of scenarios that you posit.

I'm always keeping my eye out for things when something interests me and lights me up, then I try to think about how I can make that subject or person who has just lit me up into a pitch that is marketable. I saw a freestyle street rapper a few weeks ago and I was really into what he was doing. I just thought he was amazing because his shtick was that he would incorporate things about the world around him into his rhymes really seamlessly.

I thought, ‘Oh, this guy has got this really amazing talent.' And so then you start thinking like, ‘Is this something that I would pitch to maybe a magazine about rhyme and rhyme structure or is this something that might be more like…is this a cognitive or a neurological skill that he's developed and how might that fit into maybe more of a neuroscience type magazine or is this just a guy who's got the great American story of, he developed a skill on the streets as it were, and then launched it into a career, in which case, we have maybe more of a universal story that could appear in any major market magazine?'

I suppose usually what sparks my interest is a person but it's not at all uncommon for my interest to also be sparked by just a topic. And then I'm searching for those characters who can exemplify that topic.

Joanna: Your writing does focus very much on people and all characters, as you say, but I'm wondering where do you take it from then? How do you tease out the story? Do you interview them?

And again, when you have this material about that person, how do you highlight your story, but also respect the person because you might say that, so, you've got the pitch with the neurological aspect. So, you think, ‘Okay. I want to write about how his brain works differently to someone else, how he can do that,' but then you find out some awful thing and you think that, ‘Okay. How do I respect this person, but how do I also deliver on my pitch?'

How do we ask the right questions to make our characters real, but also be respectful, because this is real life you're writing about?

Matt: My own inclination and approach is typically to just jump in and that's often great because it allows me to maintain forward momentum and use real wishful positive thinking to just hope that everything's going to pan out.

But sometimes its failing is that I will go very confidently striding down what turns out to be a dead end. And so, maybe I pitch this thing as a neurological sciencey story, and then a magazine editor says, ‘Yes, let's do this.' And so then I go back to the subject and I say, ‘I'd like to interview you,' and tell them what's going on.

And in the course of the interview, it turns out that they are not at all representative of the category of box that I want to put them into. And then I've suddenly got this big, awkward problem where I am looking for a different subject to satisfy the magazine editor and trying to get value out of my initial subject and my interview with him by placing him into something that is more appropriate for him. But when I get to that interview phase, I typically like to already have a commission in place before I do that because it's quite a time investment.

When I do interview someone, I like to make them very lengthy, in-depth interviews. Rarely do I talk to someone for less than two or three hours. And in the course of that two or three hours, my interview style is to not necessarily focus too much on asking the right questions so much as just unlocking how they see themselves and what is important to them, and get them talking about what lights them up.

And by not having a very firm idea of where I want to lead a subject, and being flexible in what they can say, what I find is that I often wind up with a really interesting story that maybe doesn't quite fit the mold precisely for where I thought it would go, but it's close enough that I can bridge that gap and the narrative is so compelling and good that nobody cares if there's maybe a slight sidetrack, a slight departure.

And as far as what if you find out something bad about someone while you're in the course of that interview? You're interviewing a person and they suddenly put the interview on pause and speak very sharply or meanly to their spouse or child and suddenly you get the feeling like, ‘You know what, this isn't really actually a very good person.' So, what do you do there?

I think it is very important to acknowledge the bad in people. And it's almost a necessary component. If I am not writing something both bad and good about a person that I'm writing about, then I know I'm not really doing a very good job because I don't know any people who are 100% good and I don't know any people who are 100% bad.

Oftentimes, if I'm talking to someone who we might think of as the hero of a narrative, they're doing good work, we're spotlighting them because of some amazing accomplishment they've done, I think it's really important to throw in a couple of negative character traits or details that will add a note of reality to your writing.

And conversely, if I'm interviewing someone who has committed murder or if I'm interviewing them because they're a bad person, then I'm always really looking for that redeeming quality because some murderers have just had a very bad day or gone through a very bad period in their life and maybe had some disadvantages in the first place.

Even though they've done this terrible, awful thing, there's still some context that you can provide that humanizes them. I think that most of my subjects, I think, appreciate that. Certainly, I've written about some people who've been very unhappy with how they've been portrayed. But I think most people appreciate it when you portray enough facets of their character that their true personality comes through.

Joanna: I've not done this kind of writing. So, I find it fascinating. I've been doing this podcast for 12 years and I have many, many, many hours and a lot of transcripts of material and I've thought many times, ‘It'd be great if I could go through and find all these snippets and turn this into something.' Working with transcripts is really hard. You just mentioned, you have a three-hour interview. So, presumably, you're recording this and you're taking notes as well.

How do you turn all this source material into an article? What's your curation and what's that process?

Matt: I am the kind of person who hates to throw things out. My wife will tell you that that can drive her nuts. And the same is true of my writing. I like to start with everything that has been said, even in a three-hour interview, and then just slowly apply criteria that squeezed some things out.

I always wind up with more material than will fit in the space that I have allotted. And then that encourages me to try to cram more words and more facts into smaller spaces and that results in this real efficient distillation. I think that's another good thing maybe about not being too goal-oriented when you write.

What I typically do is I'll interview someone, we'll have the three-hour interview. I've got copious notes, I got an audio transcript. If I am feeling up to it, I will transcribe every word of that audio interview which is grueling. Sometimes I will use one of those online programs that will convert it and spit out a transcript for you. And that transcript is never perfect, but you can make it perfect by listening and going through. And then I just slowly go through and clean it up.

Often, it's not like writing at all. It's like just fixing things. I might go through it and just correct all the typos in my transcription. And then I might go through and remove all the garble and then I might go through and anything that seems like a cohesive thought, I might put quotation marks around and put on the, ‘he said,' or the, ‘she said.'

Then I will maybe strip out, I'll say, ‘Oh, here, this person talked for 10 minutes about their mother and they were actually quite redundant, but here, this one time they said it, it was the most striking of the eight times they said the same thing.' And so, I will move those other seven iterations down to a notes section at the bottom.

And in this way, I am slowly shrinking and squeezing the text that is there. And if there are things that they've said, points they've made that are important, but that they didn't say it particularly well, then I might write a paraphrase and put the originals down in my notes section.

And then at some point, I will create a series of categories that represent different areas of the story, and then I will sort all of their quotes into those different categories. And all of this stuff that I've just talked about is very mechanical. So, even if you're not feeling particularly inspired, you can go through this rote, brute-force process and nibble away, and nibble away, and nibble away.

What you find at the end is that you actually have the bones of a story.

Often, the story will also involve going through the same process with multiple people and other sources of information, but once you've arranged all that stuff under the subheadings, and then you start to rearrange things within those sections, you find that you are suddenly, magically two-thirds of the way there.

Joanna: That's fascinating. I want to ask about this Pulitzer thing because I know everyone's so interested. And really, this is one of those prizes that is, for many people, a life goal, and you've actually won other awards. You're a multi-award-winning writer.

What's interesting to me is you talked about a story that made an impact. Substandard housing conditions is not the most inspirational thing for most people, but it's interesting. Presumably, you're not winning these prizes for your beautiful sentence structure.

For those authors who obsess with grammar and exact sentences, where's the line between that and story and meaning?

Matt: I think it is all-important including the sentence structure. I always take the position that grammar, and grammar is not really all that important other than in the service of making points very clearly. I really tend to take these very esoteric grammar points and just chuck them out the window because I want somebody to be able to understand what I'm saying.

Oftentimes, adhering very strictly to the rules of grammar impedes the knowledge of the layperson who I want to be able to read, and digest, and appreciate my article . I don't want to poo-poo sentence structure too much. I think there are so many articles written that you're trying to break through the noise of, and stand out in some way. I think the stories that I've been awarded from various organizations and for various things, they've all gone through the same basic process as many of my stories that have not been so recognized and have not turned out necessarily all that good.

But for whatever reason, there was a perfect alignment where the person that I happened to be talking to happened to exemplify that issue just right and the setting happened to work out and the climax of their personal story… there's a lot of just happenstance, I suppose, in that once you've been commissioned to write a story, you're writing that story.

And sometimes the material will support a real cracker-jack breakout story. What's more often is that as you go through the process, you hit an obstacle that you have to smooth over in some way and you turn in a very serviceable, perfectly good story.

But the things that I think really allow it to break through and get head and shoulders above tend to be things that are out of your control. You're going to do your very best job of research, you're going to do your very best job of writing, you're going to use all the good phrases, you're going to exert full control of your mastery of time and space, you're going to jump around in the narrative if that's in the timeline rather, if that's what the narrative calls for.

If you want to focus on the beating of a fly's wings, for some reason, you will do that. If you want to jump back into prehistory, you'll do that. And after you've employed all of those tricks and techniques to craft the very best story that you possibly can from the material, sometimes the material itself will just harmonize perfectly and get you to that place to achieve that potential that you hoped that you could. It's a little bit of luck and magic, I suppose. We can't always summon it or bottle it.

Joanna: Coming to the book, A Libertarian Walks Into a Bear , which, again, I love the title. It's great. What was it about this idea that made you decide to turn this story into a book-length project rather than a long-form article?

How did you know, ‘Right, I'm going to write a book about this?'

Matt: I was first commissioned for an article on the same topic. The story for those who don't know, it's about a group of libertarians which is a fringe political movement within the United States and their emphasis is on personal freedoms and personal rights.

This national group of libertarians decided to come to one small town, and just take over the town, and turn it into their utopia. Soon after they tried to enact this kind of crazy heist of the town, the town started experiencing bear problems. And so, the book is about how those things are connected.

I was initially commissioned to write an article based on the unusual bear activity that was seen in that town. I was interviewing a woman for my local newspaper about her difficulties in accessing VA benefits. And she was what we stereotype as a crazy cat lady. She was a little bit of a shut-in, she had a bunch of cats milling around, and I asked her about her cats because it's a good icebreaker, and I like cats.

She said, ‘I used to let them outside, but that was before the bears came.' I was like, ‘Oh, well, that sounds really interesting. Forget about the VA. Tell me about bears.' She just started talking about how a bear had eaten two of her cats and how the bears had become very bold and aggressive and were doing weird things.

I started asking around town, asking other people if they had also had bear experiences that seemed unusual. And when I had a feeling for what was going on in that town, I pitched the magazine article and I was really excited to get this magazine article. I really wanted to do a great job on it because ‘The Atavist Magazine' is a good platform and I knew that it would help me to make the case to other magazines that I could write really good narrative stuff.

I went back to town and went through all the interview process and all of that. And when I wrote my first draft for that magazine article, it was 32,000 words. And they would have accepted 4,000 words. So, the article, which I was very happy with, was still very much of a compromise of what I wanted to say about this bizarre situation involving libertarians and bears in this town.

I got in a couple of the best anecdotes including a situation where a bear fights a llama, but there was so much left unsaid, so many colorful things. In that case, I just had this massive trove of colorful materials sitting in my pocket. I knew that there was a very large narrative there because I had already written probably half of the book-length on it. So, it just seemed very natural to write a book about it.

Joanna: Is it a comedy?

Matt: I would call it a dark comedy. There is a lot of very funny stuff, I think, and I do stray into the comedic quite a bit. But there are also some very, kind of, weighty issues. A woman gets attacked by a bear. That's not funny, but there's also just all sorts of goofy stuff.

The llama thing is great. There's one situation where there are two old women who live next door to each other on a hill, and one of them is absolutely terrified of bears. Every time she cooks steak inside, she won't go outside for a day because she's afraid that the bears will smell the steak on her. And meanwhile, her neighbor has been feeding the bears doughnuts for 20 years and has a crowd of bears sitting outside her home waiting for her to come out with doughnuts and buckets of grain twice a day.

There's just a lot of really absurd situations that I was privy to. And I milk them for all I've got.

Joanna: That's so funny. It's so funny there because, of course, the truth can sometimes be stranger than fiction. And I guess that's what you're doing with narrative nonfiction is you are finding these stories.

We're almost out of time, but I do want to ask you because in your original email to me, you said, ‘I think a lot of writers start off like I started out, isolated and bereft of helpful connections and not the person who is going to schmooze at an event or something.'

How you have managed to do these things and even interview these people and get over those initial issues?

Matt: I think for most of my life, even while being very passionate about writing, I never felt like I was plugged into the writing community. I feel like everyone who went to get an advanced degree in writing, their professor could hook them up and their former colleagues would go out and join the industry and in places that would be helpful to them.

I just felt, like, really locked out of all of that. And schmoozing is definitely helpful, but, Joanna, I know that there's a certain component of your audience that is never going to schmooze because it's not their thing, and if they try really hard to force themselves to schmooze, they will sound like they're someone who's trying really hard to schmooze, right? It's just not going to be in everyone's nature and it wasn't in my nature.

I think even though the non-schmoozers have a disadvantage relative to the schmoozers, the non-schmoozers can get by on the basis of purely professional relationships which is what I did. As a journalist, I did develop a certain skill set in talking to people, but I've never been the guy at the cocktail party of other writers and editors who is like, ‘Hey, hire me for your next opportunity.'

I think for me, the key was to always I started small, I started writing for newspapers. I sent endless pitches and queries with different ideas and I slowly got better at sending those pitches . And every time a story of mine turned out that was something that I was proud of, that turned out pretty good, I added that to my portfolio.

And when one editor gives you a chance, lends you that sympathetic ear and gives you a chance to write for the next tier of publication that you're interested in, if you satisfy that editor, you may not have schmoozed them, but you have a working relationship with them. If they're happy with your work, that's all you need.

If you don't have the ability to schmooze your way into that, you still have an editor that you're working with. And perhaps you can ask that editor if they have other people in the industry who might also be willing to look favorably upon a submission from you where you're not just in the slush pile.

And you go through that process 100 or 1,000 times, and if you pay attention while you do it, you walk out of it with a group of a dozen editors that you can send a pitch to who have some idea of who you are and whether or not they like your work and your writing. And you're just always working to increase that circle of editors who look on you favorably.

Over the years, what I found and was very happy about was that those editors also bounce around from one position to another. Every time someone you know moves from one publication to the other, you want to try to maintain some contact with their initial publication and approach them in their new position and see if that might allow you to expand your horizons a little bit.

It's an iterative, slow process. It's not as easy as going to a cocktail party or a bar and palling around with the people who hold the reins to these publications, but it does get you there.

Joanna: That's great advice because I know I'm an introvert, many people listening are introverts, and knowing that the long-term professional approach is great. I think that's true if it's people submitting to short stories or if people want to get into traditional publishing, then all of that's quite true.

Where can people find you and your work and everything you do online?

Matt: Oh, thank you so much for asking. You can find me on Twitter @hh_matt . If you Google my name, you'll get to my website at matt-hongoltzhetling.com , and you can find my book, A Libertarian Walks Into a Bear , on Amazon, any major online retailer, and through the publisher which is PublicAffairs, a subsidiary of Hachette.

Joanna: Fantastic. Well, thanks so much for your time, Matt. That was great.

Matt: Joanna, thank you so much. This has been fantastic.

Reader Interactions

August 24, 2020 at 4:19 am

You always ask great questions Joanna but you outdid yourself this time on a topic I knew nothing about. That bear book sounds fascinating!

August 24, 2020 at 8:47 am

Thanks, Julie! Glad you found it interesting 🙂

August 9, 2024 at 8:26 am

Very interesting and insightful. Makes me want to go around, look for stories, inteview people and start writing an article or a book.

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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.

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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.

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Year-End Lists!

We don’t publish a lot of lists. But this year, having launched this new website with nearly complete access to 30 years of magazine archives, we thought it seemed like a good time to look back at the stories that resonated with our readers. 

In that spirit, we’ve compiled the most-read pieces published on our website in 2021, as well as the most-read work from our archives. 

And for good measure, we’ve pulled together a few pieces worth an honorable mention; our favorite Sunday Short Reads ; CNF content that was republished elsewhere; and the best advice, inspiration, and think pieces from some of our favorite publications.

Finally, if you enjoy what follows, please know there’s plenty more! We have a soft paywall on our site, which allows for three free reads a month. To get unlimited access for as little as $4/month, simply subscribe today.

Top 10 Published in 2021

• Almost Behind Us A dental emergency interrupts a meaningful anniversary // JENNIFER BOWERING DELISLE
• El Valle, 1991 An early lesson in strength and fragility // AURELIA KESSLER
• Stay at Home All those hours alone with a new baby can be rough // JARED HANKS
• The Desert Was His Home There are many things we don’t know about Mr. Otomatsu Wada, and a few things we do // ERIC L. MULLER
• Just a Big Cat The dramatic boredom of jury duty // ERICA GOSS
• What Will We Do for Fun Now? Her parents survived World War II and the Blitz just fine … didn’t they? // JANE RATCLIFFE
• Harriet Two brothers and a turtle // TYLER McANDREW
• Rango Getting existential at a funeral for a lizard   // JARRETT G. ZIEMER
• Mouse Lessons from a hamster emergency // BEVERLY PETRAVICIUS
• Roxy & the Worm Box Trying to recapture a childhood love of dirt // ANJOLI ROY

Top 5 from the Archive

• Picturing the Personal Essay A visual guide // TIM BASCOM
• The 5 Rs of Creative Nonfiction The essayist at work   // LEE GUTKIND
• The Line Between Fact & Fiction Do not add, and do not deceive // ROY PETER CLARK
• The Braided Essay as Social Justice Action The braided essay may be the most effective form for our times // NICOLE WALKER
• On Fame, Success, and Writing Like a Mother#^@%*& An interview with Cheryl Strayed   // ELISSA BASSIST

Honorable Mention ( ICYMI Essays)

• Latinx Heritage Month Who do you complain to when it’s HR you have a problem with? // MELISSA LUJAN MESKU
• Women’s Work Sometimes, freedom means choosing your obligations // EILEEN GARVIN
• Bloodlines and Bitter Syrup Avoiding prison in Huntsville, Texas, is nearly impossible // WILL BRIDGES
• Stealth A nontraditional couple struggles with keeping part of their life together private while undertaking the public act of filing for marriage // HEATHER OSTERMAN-DAVIS
• Something Like Vertigo An environmental writer sees parallels between her father’s declining equilibrium and a world turned upside down   // ELIZABETH RUSH

Our favorite Sunday Short Reads from our partners 

from BREVITY

• What Joy Looks Like SSR #128  // DORIAN FOX
• How to Do Nothing SSR #156 // ABIGAIL THOMAS

from DIAGRAM

• At 86, My Grandmother Regrets Two Things SSR #134 // DIANA XIN
• The Seedy Corner SSR #140 // KIMBERLY GARZA

from RIVER TEETH

• Waste Not SSR #131 // DESIREE COOPER
• This Is Orange SSR #141 // JILL KOLONGOWSKI

from SWEET LITERARY

• The Pilgrim’s Prescription SSR #122  // CAROLYN ALESSIO
• Leaves in the Hall SSR #160 // ANNE GUDGER

Our favorite stories from around the internet. 

Advice & Inspiration

• In Praise of the Meander Rebecca Solnit on letting nonfiction narrative find its own way (via Lit Hub )
• What’s Missing Here? A Fragmentary, Lyric Essay About Fragmentary, Lyric Essays Julie Marie Wade on the mode that never quite feels finished (via Lit Hub )
• Getting Honest about Om A brief essay on audience (via Brevity )
• Using the Personal to Write the Global Intimate details, personal exploration and respect for facts (via Nieman Storyboard )
• Fix Your Scene Shapes And quickly improve your manuscript (via Jane Friedman’s blog)

The State of Nonfiction

• What the NYT ‘Guest Essay’ Means for the Future of Creative Nonfiction Description (via Brevity )
• How the Role of Personal Expression and Experience Is Changing Journalism On the future of the newsroom (via Poynter )
• 50 Shades of Nuance in a Polarized World An essayist ponders when to write black-and-white polemics that attract clicks, and when to be more considered (via Nieman Storyboard )
• These Literary Memoirs Take a Different Tack Description (via NY Times )
• The Politics of Gatekeeping On reconsidering the ethics of blind submissions (via Poets & Writers )

“Our present-tense human experience is like a living tree growing by a river. The current in the river is the passing of time. Our individual pasts are like the same tree fallen in the river, drowned now, and disintegrating with surprising speed. We resist time’s flow with our memories and language, with our stories ”   

~ David James Duncan

Jul 10, 2024

Featuring the writing of Sean Enfield, Robert W. Fieseler, Melody Glenn, Hannibal Hamlin, Jenna Hammerich, Timothy J. Hillegonds, Sarah Minor, Ali Saperstein.

River Teeth is a biannual journal combining the best of creative nonfiction, including narrative reportage, essays, and memoir, with critical essays that explore the impact of nonfiction narrative on the lives of its writers, subjects, and readers.

River Teeth Finds a New Home!

After twenty years at Ashland University in Ohio, River Teeth will now be housed in the Department of English at Ball State University.

Read more …

Beautiful things.

River Teeth ‘s weekly online magazine, Beautiful Things, features micro-essays (of 250 words or fewer) that look closely to find beauty and meaning in the everyday.

River Teeth is on

River Teeth Revisited

Here at River Teeth, we love essays. We love reading essays, choosing essays, and writing essays. We love essays that feel urgent, essays we can’t put down, and essays that don’t turn away when the truth gets difficult or slippery.

We also like to think about how the best essays work— and that’s why we have created the online feature: River Teeth Revisited .

Share with us your River Teeth

River Teeth accept submissions of creative nonfiction through Submittable from September 1 to December 1 and January 1 to May 1.

The Book Prize

River Teeth ‘s editors conduct a yearly national contest for a book-length manuscript of literary nonfiction in English. All manuscripts are screened by the co-editors of River Teeth.  The contest winner receives $1,000 and publication by The University of New Mexico Press.

A Child’s Work

By Carol Moody She’s elbow-deep inside the dryer, searching for that old Halloween costume—as though everything depends on wearing a frayed polyester police officer jacket. Her parents have separated for good, and the three-year-old little brother wants to play “hopspital”—announcing himself as “Dr. Butter"...

 Sep 9, 2024 |  2 min read

By Paulette Studley My mother thinks people are breaking into her house. Leprechauns. She tells me they’ve stolen her eyeglasses and supermarket receipts. At eighty years old, she sits beside me as I dole out antipsychotics to her pillbox and remind her that it’s not true...

 Sep 2, 2024 |  2 min read

By Hanna Saltzman His eyes are shimmering lakes of grays and blues, absorbing all that he sees above: chipped paint the color of clouds, an arcing sparrow, summer sunlight dancing the polka on leaves of ivy draped across his sky. His weight pulls him down, while his awe pulls him up.

 Aug 26, 2024 |  2 min read

Latest News …

Brooke Champagne Joins the River Teeth Team

Hello from the confluence of River Teeth here at Ball State University in Muncie, Indiana, on the kind of gorgeous fall day that makes a person want to leash up the dog and head out into the fields and woods–but not so fast because submissions opened on September 1st and we’ve got a lot of reading to do. Happily, we love to read. 

 Sep 11, 2024  8 min read

Beth Nguyen Announced As River Teeth’s 2024 Literary Nonfiction Book Prize Judge

by Ethan Rice "We are thrilled to announce the final judge for the 2024 River Teeth Literary Nonfiction Book Prize. Beth Nguyen is an author and professor at University of Wisconsin-Madison, where she directs the MFA Program in Creative Writing..."

 May 2, 2024  2 min read

Meet River Teeth’s Spring 2024 Interns

Hello! We are excited to shine light on some of the creative minds and passionate spirits that have been working with us this past spring semester: our interns! From painting the beautiful rocks you might’ve seen at AWP to writing captions for Instagram posts to moving book reviews from our old website to our new website - our interns have been with us through it all and we couldn’t have done it without them. Each intern brings a unique blend of enthusiasm, curiosity, and dedication to our team. They had so much fun interviewing each other for this article, so we hope you enjoy getting a glimpse of them as much as we have loved working with them.

 Apr 26, 2024  12 min read

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Last updated on Oct 31, 2022

10 Personal Narrative Examples to Inspire Your Writing

About the author.

Reedsy's editorial team is a diverse group of industry experts devoted to helping authors write and publish beautiful books.

About Martin Cavannagh

Head of Content at Reedsy, Martin has spent over eight years helping writers turn their ambitions into reality. As a voice in the indie publishing space, he has written for a number of outlets and spoken at conferences, including the 2024 Writers Summit at the London Book Fair.

Personal narratives are short pieces of creative nonfiction that recount a story from someone’s own experiences. They can be a memoir, a thinkpiece, or even a polemic — so long as the piece is grounded in the writer's beliefs and experiences, it can be considered a personal narrative.

Despite the nonfiction element, there’s no single way to approach this topic, and you can be as creative as you would be writing fiction. To inspire your writing and reveal the sheer diversity of this type of essay, here are ten great examples personal narratives from recent years: 

1. “Only Disconnect” by Gary Shteyngart

Personal narratives don’t have to be long to be effective, as this thousand-word gem from the NYT book review proves. Published in 2010, just as smartphones were becoming a ubiquitous part of modern life, this piece echoes many of our fears surrounding technology and how it often distances us from reality.

In this narrative, Shteyngart navigates Manhattan using his new iPhone—or more accurately, is led by his iPhone, completely oblivious to the world around him. He’s completely lost to the magical happenstance of the city as he “follow[s] the arrow taco-ward”. But once he leaves for the country, and abandons the convenience of a cell phone connection, the real world comes rushing back in and he remembers what he’s been missing out on. 

The downfalls of technology is hardly a new topic, but Shteyngart’s story remains evergreen because of how our culture has only spiraled further down the rabbit hole of technology addiction in the intervening years.

What can you learn from this piece?

Just because a piece of writing is technically nonfiction, that doesn’t mean that the narrative needs to be literal. Shteyngart imagines a Manhattan that physically changes around him when he’s using his iPhone, becoming an almost unrecognizable world. From this, we can see how a certain amount of dramatization can increase the impact of your message—even if that wasn’t exactly the way something happened. 

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2. “Why I Hate Mother's Day” by Anne Lamott

The author of the classic writing text Bird by Bird digs into her views on motherhood in this piece from Salon. At once a personal narrative and a cultural commentary, Lamott explores the harmful effects that Mother’s Day may have on society —how its blind reverence to the concept of motherhood erases women’s agency and freedom to be flawed human beings. 

Lamott points out that not all mothers are good, not everyone has a living mother to celebrate, and some mothers have lost their children, so have no one to celebrate with them. More importantly, she notes how this Hallmark holiday erases all the people who helped raise a woman, a long chain of mothers and fathers, friends and found family, who enable her to become a mother. While it isn’t anchored to a single story or event (like many classic personal narratives), Lamott’s exploration of her opinions creates a story about a culture that puts mothers on an impossible pedestal. 

In a personal narrative essay, lived experience can be almost as valid as peer-reviewed research—so long as you avoid making unfounded assumptions. While some might point out that this is merely an opinion piece, Lamott cannily starts the essay by grounding it in the personal, revealing how she did not raise her son to celebrate Mother’s Day. This detail, however small, invites the reader into her private life and frames this essay as a story about her —and not just an exercise in being contrary.

3. “The Crane Wife” by CJ Hauser 

Days after breaking off her engagement with her fiance, CJ Hauser joins a scientific expedition on the Texas coast r esearching whooping cranes . In this new environment, she reflects on the toxic relationship she left and how she found herself in this situation. She pulls together many seemingly disparate threads, using the expedition and the Japanese myth of the crane wife as a metaphor for her struggles. 

Hauser’s interactions with the other volunteer researchers expand the scope of the narrative from her own mind, reminding her of the compassion she lacked in her relationship. In her attempts to make herself smaller, less needy, to please her fiance, she lost sight of herself and almost signed up to live someone else’s life, but among the whooping cranes of Texas, she takes the first step in reconnecting with herself.

With short personal narratives, there isn’t as much room to develop characters as you might have in a memoir so the details you do provide need to be clear and specific. Each of the volunteer researchers on Hauser’s expedition are distinct and recognizable though Hauser is economical in her descriptions. 

For example, Hauser describes one researcher as “an eighty-four-year-old bachelor from Minnesota. He could not do most of the physical activities required by the trip, but had been on ninety-five Earthwatch expeditions, including this one once before. Warren liked birds okay. What Warren really loved was cocktail hour.” 

In a few sentences, we get a clear picture of Warren's fun-loving, gregarious personality and how he fits in with the rest of the group.

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4. “The Trash Heap Has Spoken” by Carmen Maria Machado

The films and TV shows of the 80s and 90s—cultural touchstones that practically raised a generation—hardly ever featured larger women on screen. And if they did, it was either as a villain or a literal trash heap. Carmen Maria Machado grew up watching these cartoons, and the absence of fat women didn’t faze her. Not until puberty hit and she went from a skinny kid to a fuller-figured teen. Suddenly uncomfortable in her skin, she struggled to find any positive representation in her favorite media.

As she gets older and more comfortable in her own body, Machado finds inspiration in Marjory the Trash Heap from Fraggle Rock and Ursula, everyone’s favorite sea witch from The Little Mermaid —characters with endless power in the unapologetic ways they inhabit their bodies. As Machado considers her own body through the years, it’s these characters she returns to as she faces society’s unkind, dismissive attitudes towards fat women.

Stories shape the world, even if they’re fictional. Some writers strive for realism, reflecting the world back on itself in all its ugliness, but Carmen Maria Machado makes a different point. There is power in being imaginative and writing the world as it could be, imagining something bigger, better, and more beautiful. So, write the story you want to see, change the narrative, look at it sideways, and show your readers how the world could look. 

5. “Am I Disabled?” by Joanne Limburg 

The titular question frames the narrative of Joanne Limburg’s essay as she considers the implications of disclosing her autism. What to some might seem a mundane occurrence—ticking ‘yes’, ‘no’, or ‘prefer not to say’ on a bureaucratic form—elicits both philosophical and practical questions for Limburg about what it means to be disabled and how disability is viewed by the majority of society. 

Is the labor of disclosing her autism worth the insensitive questions she has to answer? What definition are people seeking, exactly? Will anyone believe her if she says yes? As she dissects the question of what disability is, she explores the very real personal effects this has on her life and those of other disabled people. 

Limburg’s essay is written in a style known as the hermit crab essay , when an author uses an existing document form to contain their story. You can format your writing as a recipe, a job application, a resume, an email, or a to-do list – the possibilities are as endless as your creativity. The format you choose is important, though. It should connect in some way to the story you’re telling and add something to the reader’s experience as well as your overall theme. 

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6. “Living Like Weasels” by Annie Dillard

While out on a walk in the woods behind her house, Annie Dillard encounters a wild weasel. In the short moment when they make eye contact, Dillard takes an imaginary journey through the weasel’s mind and wonders if the weasel’s approach to life is better than her own. 

The weasel, as Dillard sees it, is a wild creature with jaws so powerful that when it clamps on to something, it won’t let go, even into death. Necessity drives it to be like this, and humanity, obsessed with choice, might think this kind of life is limiting, but the writer believes otherwise. The weasel’s necessity is the ultimate freedom, as long as you can find the right sort, the kind that will have you holding on for dear life and refusing to let go. 

Make yourself the National Geographic explorer of your backyard or neighborhood and see what you can learn about yourself from what you discover. Annie Dillard, queen of the natural personal essay, discovers a lot about herself and her beliefs when meeting a weasel.

What insight can you glean from a blade of grass, for example? Does it remind you that despite how similar people might be, we are all unique? Do the flights of migrating birds give you perspective on the changes in your own life? Nature is a potent and never-ending spring of inspiration if you only think to look. 

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7. “Love In Our Seventies” by Ellery Akers

“ And sometimes, when I lift the gray hair at the back of your neck and kiss your shoulder, I think, This is it.”

In under 400 words, poet Ellery Akers captures the joy she has found in discovering romance as a 75-year-old . The language is romantic, but her imagery is far from saccharine as she describes their daily life and the various states in which they’ve seen each other: in their pajamas, after cataract surgeries, while meditating. In each singular moment, Akers sees something she loves, underscoring an oft-forgotten truth. Love is most potent in its smallest gestures.  

Personal narrative isn’t a defined genre with rigid rules, so your essay doesn’t have to be an essay. It can be a poem, as Akers’ is. The limitations of this form can lead to greater creativity as you’re trying to find a short yet evocative way to tell a story. It allows you to focus deeply on the emotions behind an idea and create an intimate connection with your reader. 

8. “What a Black Woman Wishes Her Adoptive White Parents Knew” by Mariama Lockington

Mariama Lockington was adopted by her white parents in the early 80s, long before it was “trendy” for white people to adopt black children. Starting with a family photograph, the writer explores her complex feelings about her upbringing , the many ways her parents ignored her race for their own comfort, and how she came to feel like an outsider in her own home. In describing her childhood snapshots, she takes the reader from infancy to adulthood as she navigates trying to live as a black woman in a white family. 

Lockington takes us on a journey through her life through a series of vignettes. These small, important moments serve as a framing device, intertwining to create a larger narrative about race, family, and belonging. 

With this framing device, it’s easy to imagine Lockington poring over a photo album, each picture conjuring a different memory and infusing her story with equal parts sadness, regret, and nostalgia. You can create a similar effect by separating your narrative into different songs to create an album or episodes in a TV show. A unique structure can add an extra layer to your narrative and enhance the overall story.

9. “Drinking Chai to Savannah” by Anjali Enjeti

On a trip to Savannah with her friends, Anjali Enjeti is reminded of a racist incident she experienced as a teenager . The memory is prompted by her discomfort of traveling in Georgia as a South Asian woman and her friends’ seeming obliviousness to how others view them. As she recalls the tense and traumatic encounter she had in line at a Wendy’s and the worry she experiences in Savannah, Enjeti reflects on her understanding of otherness and race in America. 

Enjeti paints the scene in Wendy’s with a deft hand. Using descriptive language, she invokes the five senses to capture the stress and fear she felt when the men in line behind her were hurling racist sentiments. 

She writes, “He moves closer. His shadow eclipses mine. His hot, tobacco-tinged breath seeps over the collar of my dress.” The strong, evocative language she uses brings the reader into the scene and has them experience the same anxiety she does, understanding why this incident deeply impacted her. 

10. “Siri Tells A Joke” by Debra Gwartney

One day, Debra Gwartney asks Siri—her iPhone’s digital assistant—to tell her a joke. In reply, Siri recites a joke with a familiar setup about three men stuck on a desert island. When the punchline comes, Gwartney reacts not with laughter, but with a memory of her husband , who had died less than six months prior.

In a short period, Gwartney goes through a series of losses—first, her house and her husband’s writing archives to a wildfire, and only a month after, her husband. As she reflects on death and the grief of those left behind in the wake of it, she recounts the months leading up to her husband’s passing and the interminable stretch after as she tries to find a way to live without him even as she longs for him. 

A joke about three men on a deserted island seems like an odd setup for an essay about grief. However, Gwartney uses it to great effect, coming back to it later in the story and giving it greater meaning. By the end of her piece, she recontextualizes the joke, the original punchline suddenly becoming deeply sad. In taking something seemingly unrelated and calling back to it later, the essay’s message about grief and love becomes even more powerful.

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Narrative Nonfiction Books: Definition and Examples

By Hannah Yang

Table of Contents

What is narrative nonfiction, narrative nonfiction examples, how prowritingaid can help you write narrative nonfiction.

There are countless types of nonfiction books that you can consider writing. One popular genre you might have heard of is narrative nonfiction.

So, what exactly is narrative nonfiction?

The short answer is that narrative nonfiction is any true story written in the style of a fiction novel.

Read on to learn more about what narrative nonfiction looks like as well as some examples of bestselling narrative nonfiction books.

Let’s start with a quick overview of what narrative nonfiction means.

Narrative Nonfiction Definition

Narrative nonfiction, which is also sometimes called literary nonfiction or creative nonfiction, is a subgenre of nonfiction . This subgenre includes any true story that’s written in the style of a novel.

It’s easy to understand this term if you break it down into its component parts. The first word, narrative, means story. The second word, nonfiction , means writing that’s based on fact rather than imagination.

So, if you put those two words together, it’s clear that narrative nonfiction refers to true events that are written in the style of a story.

Narrative Nonfiction Meaning

You can think of narrative nonfiction as a genre that focuses both on conveying the truth and on telling a good story.

Everything in a narrative nonfiction book should be an accurate portrayal of true events. However, those events are told using techniques that are often used in fiction.

For example, narrative nonfiction writers might consider writing craft elements such as plot structure, character development, and effective world-building to craft a compelling story.

Most narrative nonfiction books include the following elements:

A protagonist (either the author themselves or the core subject of the story)

A cast of characters (who are real people)  

Immersive, fleshed-out scenes

A plot arc similar to the plot arcs found in fiction novels

Use of literary devices such as metaphors, symbols, and flashbacks

Some narrative nonfiction writers also play with more creative elements to make the story more intriguing, such as multiple POVs, alternating timelines, and even the inclusion of emails, diary entries, and text messages.

Be confident about grammar

Check every email, essay, or story for grammar mistakes. Fix them before you press send.

At the end of the day, though, narrative nonfiction is still a form of nonfiction. That means it’s important to try to be as accurate as possible.

Authors writing in this genre need extensive research skills, whether that means combing through historical records or interviewing experts. It’s impossible to create a completely accurate representation of any true story, so it’s fine to take some creative license when writing narrative nonfiction, but most authors still do as much research as they can to make sure they’re correctly depicting what happened.

Which Genres Count as Narrative Nonfiction?

It’s hard to draw a clear line around what counts as narrative nonfiction since many works of writing blur the lines between subgenres.

Two genres that commonly intersect with narrative nonfiction are memoir and autobiography, which are terms that apply when an author tells the story of their own life. When these stories are told in a narrative style, some people consider that to be narrative nonfiction or literary nonfiction, while others believe memoir and autobiography should be a separate category.

Most journalism and biographies aren’t included under the narrative nonfiction umbrella, since they usually focus more on reporting than on telling a story. Still, a form of journalism called literary journalism deliberately aims to tell personal stories in a more creative way, and there are also biographies that do the same.

Some books in other nonfiction subgenres, such as travel writing, true crime, and even food writing, can also be told in a way that resembles narrative nonfiction. In fact, more and more nonfiction books these days are using literary techniques to hook readers in.

Narrative nonfiction books can focus on just about any topic as long as they use literary styles to tell true stories. If you’re writing nonfiction, you can definitely consider incorporating literary elements to craft a compelling narrative around your topic.

The best way to understand a genre of writing is by reading examples within that genre. Here are ten of the best narrative nonfiction books to add to your reading list.

In Cold Blood by Truman Capote (1965)

Truman Capote, best known for his novella Breakfast at Tiffany’s, started out as a fiction writer. When he wrote In Cold Blood , he famously called it a “nonfiction novel,” which introduced that term into the popular consciousness for the first time.   

In Cold Blood tells the story of a brutal quadruple murder that took place in 1959 in Holcomb, Kansas. The book describes the details of the murder, the ensuing investigation, and the eventual arrest of the murderers.  

In many ways, In Cold Blood defined the narrative nonfiction genre. It was one of the first times an author had written journalism in the structure of a novel, and it inspired many future writers to try creative nonfiction too.

Into Thin Air by Jon Krakauer (1997)

Jon Krakauer is a journalist and a mountaineer who summited Mt. Everest on the day a terrible storm hit the mountain. That storm ended up claiming five lives and leaving Krakauer himself ridden with guilt.

Into Thin Air is Krakauer’s account of his adventure and its deadly aftermath. It portrays the entire cast of characters that accompanied him up the mountain and also shows the character growth Krakauer experienced as a result.

This book is a famous example of a memoir that reads like an adventure novel. The American Academy of Arts and Letters gave this book an Academy Award in Literature in 1999 and described it as combining “the finest tradition of investigative journalism with the stylish subtlety and profound insight of the born writer.”

Seabiscuit: An American Legend by Laura Hillenbrand (1999)

Seabiscuit was a California racehorse in the 1930s. Because of his crooked leg, he was never expected to win.

However, when Seabiscuit was bought by Charles Howard and ridden by a jockey named Red Pollard, he rose to unexpected success. Now, Seabiscuit is remembered as one of the most iconic racehorses of all time.

Laura Hillenbrand, an equestrian writer, tells Seabiscuit’s story in this classic work of narrative nonfiction. Charles Howard, Red Pollard, and all the other characters involved in Seabiscuit’s life are researched and portrayed in a masterful way.   

Reading Lolita in Tehran: A Memoir in Books by Azar Nafisi (2003)

From 1995 to 1997, Nafisi led a secret book club at her house in Tehran. Every Thursday, she met with her most dedicated female student to read banned Western classics together, from Pride and Prejudice to Lolita.

In Reading Lolita in Tehran , Nafisi describes her experiences throughout the Iranian revolution. It’s a gripping book that provides rare and extraordinary insight into what it was like to be a woman in Tehran in the late 1990s.

Like all great narrative nonfiction, this book would be a compelling novel even if you didn’t know it was a true story, but the fact that it’s all true makes it even more powerful.  

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

Henrietta Lacks was a Black woman whose cells were taken by medical researchers in 1951 without her knowledge or consent. Ever since then, her cells, now known as HeLa cells, have been kept alive for medical uses.

HeLa cells have been essential for researching diseases, creating the polio vaccination, and making other medical breakthroughs. And yet, her family never benefited from or consented to their use.

Rebecca Skloot’s bestselling book The Immortal Life of Henrietta Lacks tells Lacks’ story in a thoughtful and illuminating way, weaving in research on the unjust intersection of medicine and race. The book won many awards and was later made into an HBO movie.

Hidden Figures by Margot Lee Shetterly (2016)

America’s achievements in space could never have happened without the contributions of Black female mathematicians at NASA, known as “human computers.” Before modern computers existed, these women used pen and paper to perform the calculations that launched rockets into space.

Shetterly’s book tells the stories of four of these brilliant women: Dorothy Vaughan, Mary Jackson, Katherine Johnson, and Christine Darden. The story follows them for over three decades as they overcame racial and gender prejudices to help shape American history.  

This work of literary nonfiction is well-researched, informative, and powerful. It was also made into a major motion picture by Twentieth Century Fox.

When Breath Becomes Air by Paul Kalanithi (2016)

Paul Kalanithi, a Stanford neurosurgeon, was only 36 years old when he received his Stage IV lung cancer diagnosis. He went from treating patients to becoming the patient in such a short span of time that he had to quickly learn how to accept his own mortality.

Kalanithi wrote this medical memoir during the last years of his life, describing how he came to terms with his diagnosis. When Breath Becomes Air tells Kalanithi’s story in a poignant and unforgettable way.   

Killers of the Flower Moon: The Osage Murders and the Birth of the FBI by David Grann (2017)

Killers of the Flower Moon is a true crime murder mystery about a terrible crime in the 1920s, when members of the Osage Indian nation in Oklahoma started getting killed one by one. Anyone who tried to investigate was in danger of getting murdered too until the death toll rose to over two dozen.

When the truth was finally uncovered, it turned out to be a chilling conspiracy bolstered by prejudice against Indigenous people.

Journalist David Grann tells the story of this shocking crime in this narrative nonfiction book, which is soon to be made into a major motion picture.

I’ll Be Gone in the Dark: One Woman’s Obsessive Search for the Golden State Killer by Michelle McNamara (2018)

The Golden State Killer was a serial killer who raped and murdered dozens of people in the 1970s and 1980s. Michelle McNamara was a true crime journalist who coined the name “Golden State Killer” in 2013 when she was poring over police records, determined to figure out the killer’s identity.

I’ll Be Gone in the Dark, which was still in the process of being written when McNamara died, blurs the genres between nonfiction, memoir, and crime fiction. The book eventually helped lead to the killer’s capture.

Facing the Mountain: A True Story of Japanese American Heroes in WWII by Daniel James Brown (2021)

After the Japanese attack on Pearl Harbor in 1941, Japanese Americans faced suspicion and systemic prejudice from their own country. In spite of the injustices they faced over the next several years, many Japanese Americans still signed up to fight for the US in World War II.

In Facing the Mountain , Daniel James Brown tells the stories of four Japanese American heroes: Rudy Tokiwa, Kats Miho, Gordon Hirabayashi, and Fred Shiosaki. The book follows these four men and their families and communities, who were irreversibly impacted by the events of the war.

Writing narrative nonfiction can be incredibly rewarding, but it can also be unusually tricky because you have to accomplish two goals at once. Unlike other nonfiction, which aims to inform, or most fiction, which aims to entertain, narrative nonfiction seeks to inform and entertain at the same time.

To inform, you’ll need your writing to be clear and easily readable. To entertain, you’ll need it to be gripping and active.

ProWritingAid can help with both of those goals. At the most basic level, the AI-powered grammar checker will make sure your writing is free of grammar, spelling, and punctuation mistakes. At a more sophisticated level, it will also make sure you’re hooking your reader in by using the active voice, precise word choices, and varied sentence lengths.

In addition, you can also use ProWritingAid to make sure you’re writing in the right tone and for the right reading level. Running your narrative nonfiction manuscript through ProWritingAid will ensure your writing truly shines.

There you have it—our complete guide to narrative nonfiction.

Good luck, and happy writing!

Hannah Yang

Hannah is a speculative fiction writer who loves all things strange and surreal. She holds a BA from Yale University and lives in Colorado. When she’s not busy writing, you can find her painting watercolors, playing her ukulele, or hiking in the Rockies. Follow her work on hannahyang.com or on Twitter at @hannahxyang.

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How to Write a Narrative Essay or Speech (With Topic Ideas)

• 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

A narrative essay or speech tells a story, often one based on personal experience. The narrative is a genre of writing that comprises works of nonfiction, stories that stick closely to facts and follow a logical chronological progression of events. In narratives, writers often use anecdotes to relate their experiences and engage the reader. In doing so, writers give their stories a level of emotional appeal. A narrative can be serious or humorous, but some kind of emotional appeal is essential to provide an audience with a way to connect to the story.

Below is an overview of how to construct a narrative essay or speech and some topic ideas for your next piece of narrative writing.

The most successful narrative essays usually share these three basic traits:

• They make a central point.
• They contain  specific details in support  of that point.
• They are clearly  organized in time .

Constructing the Essay

Magazines like the New Yorker and websites like Vice are known for the pages-long narrative essays they publish, sometimes called long-format journalism. But an effective narrative essay can be as short as five paragraphs. As with other kinds of essay writing, narratives follow the same basic outline:

• Introduction: This is the opening paragraph of your essay. It contains the hook, which is used to grab the reader's attention, and the thesis or topic, which you'll detail in the next section.
• Body: This is the heart of your essay, usually three to five paragraphs in length. Each paragraph should contain one example, such as a personal anecdote or noteworthy event, that supports your larger topic.
• Conclusion: This is the final paragraph of your essay. In it, you'll sum up the main points of the body and bring your narrative to an end. Writers sometimes embellish the conclusion with an epilogue or a takeaway.

Narrative Essay Topics

Choosing the topic for your narrative essay may be the hardest part. What you should be looking for in a topic is a particular incident you can recount in a well-developed and organized essay  or speech . Here are a few ideas to help you brainstorm topics. They're quite broad, but something should spark an idea.

• An embarrassing experience
• A memorable wedding or funeral
• An exciting minute or two of a football game (or another sporting event)
• Your first or last day at a job or new school
• A disastrous date
• A memorable moment of failure or success
• An encounter that changed your life or taught you a lesson
• An experience that led to a renewed faith
• A strange or unexpected encounter
• An experience of how technology is more trouble than it's worth
• An experience that left you disillusioned
• A frightening or dangerous experience
• A memorable journey
• An encounter with someone you were in awe of or afraid of
• An occasion when you experienced rejection
• Your first visit to the countryside (or to a large city)
• The circumstances that led to the breakup of a friendship
• An experience that showed that you should be careful of what you wish for
• A significant or comic misunderstanding
• An experience that showed how appearances can be deceiving
• An account of a difficult decision that you had to make
• An event that marked a turning point in your life
• An experience that changed your viewpoint on a controversial issue
• A memorable encounter with someone in authority
• An act of heroism or cowardice
• An imaginary encounter with a real person
• A rebellious act
• A brush with greatness or death
• A time that you took a stand on an important issue
• An experience that altered your view of someone
• A trip that you would like to take
• A vacation trip from your childhood
• An account of a visit to a fictional place or time
• Your first time away from home
• Two different versions of the same event
• A day when everything went right or wrong
• An experience that made you laugh until you cried
• The experience of being lost
• Surviving a natural disaster
• An important discovery
• An eyewitness account of an important event
• An experience that helped you grow up
• A description of your secret place
• An account of what it would be like to live as a particular animal
• Your dream job and what it would be like
• An invention you'd like to create
• A time when you realized your parents were right
• An account of your earliest memory
• Your reaction when you heard the best news of your life
• A description of the one thing you can't live without

Other Types of Essays

Narrative essays are one of the major essay types. Others include:

• Argumentative: In argumentative essays , the writer makes the case for a specific opinion on a topic, using research and analysis to persuade the reader.
• Descriptive: This kind of writing relies on detail to describe or define a person, place, thing, or experience. Writing may be either objective or subjective.
• Expository: Like argumentative essays, expository writing requires research and analysis in order to expound upon a subject. Unlike argumentative essays, the intention is not to change the readers' opinion but to inform the readers.
• Angelli, Elizabeth; Baker, Jack; and Brizee, Allen. " Essay Writing ." Perdue.edu. 9 February 2018.
• Beck, Kate. " Instructions to Write a Narrative Essay. " SeattlePI.com.
• Santa Barbara City College staff. "Structure of a Personal Narrative Essay." SBCC.edu.
• How to Write a Personal Narrative
• 501 Topic Suggestions for Writing Essays and Speeches
• What Is Expository Writing?
• Writing an Opinion Essay
• How to Use Anecdotes to Nail Your Next Speech
• Tips on How to Write an Argumentative Essay
• How to Write a Great Process Essay
• How to Write a Good Thesis Statement
• 50 Argumentative Essay Topics
• Essay Assignment: Descriptive and Informative Profile
• 100 Persuasive Essay Topics
• Write an Attention-Grabbing Opening Sentence for an Essay
• The Ultimate Guide to the 5-Paragraph Essay
• Overused and Tired Words
• How to Start an Essay: 13 Engaging Strategies
• How to Write a Response Paper

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How to Create A Narrative Plot Structure for Nonfiction

By   Boni Wagner-Stafford

July 17, 2018

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As a non-fiction author, you may not know that consciously creating a narrative nonfiction plot structure is key to delivering a good read. You will bore your readers to death if you repeat fact after fact. You want to organize all your research and information into a coherent and compelling whole. Basically, you need to tell a story.

How do you create a narrative plot for nonfiction?

What nonfiction plot structure do you follow? Depending on where you look or who you talk to, you may hear about three-act, four-act, and five-act structures. You might find debates about how many plot points must weave through your manuscript. For our purposes, we’ll keep it simple and talk about the classic or three-act narrative plot structure.

Three act narrative plot structure

Whether you’re writing in the nonfiction sub-genres of memoir , journalistic, business or self-help, you will still want to create a narrative plot. Every story, including a true story, has a beginning, a middle, and an end. This is the basic tenet of the three-act narrative plot structure. We know these three acts as the set-up, the confrontation, and the resolution.

During the setup, you’re setting the scene.

• You introduce the protagonist who is the main character or champion of your main idea. In business nonfiction, for example, you are likely to be your own protagonist.
• You’ll introduce the protagonist’s world and what makes them tick.
• Then you’ll describe the event that sets everything else in motion.
• Next, describe the protagonist’s decision to react to that event, which is essentially the decision to embark on their journey. This is usually the first plot point.

The Confrontation

The confrontation part of the story is normally the longest part, comprising fully half of the manuscript. This is where the protagonist sets out on their journey and encounters obstacles along the way.

• You introduce other main characters, including the main antagonist who isn’t always a person. (Your antagonist could be, for example, societal beliefs, outdated technology, even a broken justice system.)
• You may describe the problem you’ve encountered and that you are about to solve, or explain how to address challenging customer demands.
• There will be some kind of major conflict about midway through: a big obstacle or setback that the protagonist experiences. You draw battle lines and the action, or intensity, increases. The protagonist’s decision to deal with this conflict is the second major plot point.

The Resolution

The final act – that of resolution – takes up the last quarter or so of the story.

• Here’s the climax, where the protagonist and antagonist face off.
• After things have calmed down, you tie up the loose ends and release the tension.
• You also emphasize the theme of the story and the lesson learned.

In nonfiction, you’re writing about events and circumstances in real life. They don’t always happen in such a clean, formulaic way. It’s perfectly fine to use the above formula as a guide and make it work for the story you’re telling. There are, of course, other ways to approach your narrative plot structure.

Other Ways to Think About Beginning, Middle, End

It’s common to think telling a story through the beginning, middle, and end approach means following a chronology of sorts, which doesn’t always work. In fact, sometimes moving things around a bit makes for a more engaging narrative. The beginning is not always the beginning of time, rather the beginning of your story. Here’s where you can get creative.

Manipulate Time

Say, for instance, that you want to tell the story of someone accused of a crime they didn’t commit fighting for justice. Following the chronological three-act narrative plot, the crime itself will come somewhere in the middle of the book. However, your readers may have lost interest by then, wading through the person’s childhood and events that may seem irrelevant.

You want to draw your readers in as soon as you can, so start the book with the person’s wrongful arrest. There will have been events that have led up to this moment and the reason authorities accused this person of the crime, though. The solution is to manipulate time. You can use flashbacks, for instance, to describe the crime itself, the reason your protagonist was in the wrong place at the wrong time, the police investigation, and so on. Your story will still have a beginning, a middle, and an end, but not in a chronological order.

Circular Structure

Another option is to use a circular structure. Here you start with the climatic event that concludes the story. In our example, you may start your book with the day that the person is finally exonerated of the crime. It’s similar to the inverted pyramid structure of a newspaper article, where you start with the most important pieces.

However, unlike a newspaper article, you don’t give all the information right away. You want the reader to keep on reading to find out how things have led to this point and what the lesson is. So, you hold back. You start with the climactic event but you don’t elaborate too much. Then you use flashbacks to go back to the beginning. You always move the story forward, through the middle and on to the climax. After the climax, you tie up the loose ends.

Multiple Narratives

Often there are two or more narratives in non-fiction that are equally important. For example, let’s say you are writing about an issue like immigration. You want to reveal how different events in different countries have led to people’s need to leave their homes. Each country or each cause of immigration will have a different narrative plot.

So what do you do in such a case? Think about the movies of Robert Altman: he tells several parallel stories that may intertwine. Every parallel story has a beginning and a middle. At the end, they all flow together.

You can use a similar technique in your book: telling each separate story, maybe interweaving them and moving them towards the climax: immigration today. Then you picture the way forward to bring the story to a conclusion.

Why, What, How

Here’s another way to think about beginning, middle, and end in a nonfiction book. It’s one of my favourites. And that’s the “why, what, and how” narrative plot.

Let’s use a business book for this example.

• Your beginning may be the ‘why’: why there is a problem, why they should care about the solution you’re about to present.
• Your middle would be the ‘what’: lay out what your solution is.
• And the end could be your ‘how’: all your instructions to the reader regarding how they can implement your solution to experience nirvana for themselves.

Plot Your Narrative Plot Structure

To help you structure your book, it’s always useful to draw a diagram or write a summary in point form. Identify the main events or points from your research and see how they’re related. Is there one overarching story? Or are there different ones that you’ll need to interweave? Does it make more sense to tell the story in chronological order? Or would the story be more compelling if you started at the middle, or the end, of the timeline? The choice is yours. Just remember that whatever narrative plot structure you choose, you’ll want a logical order so your readers can follow and enjoy.

What’s your approach to creating your nonfiction narrative plot structure? We’d love to hear it!

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50 Engaging Narrative Essay Topics for High Schoolers

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What’s Covered:

Narrative essays vs. analytical essays, how to pick the right narrative essay topic, elements of a strong narrative essay, engaging narrative essay topics for high schoolers, where to get your narrative essay edited for free.

Narrative essays are an extensive form of writing that gives readers the opportunity to follow along as a person goes through a journey or sets of experiences. Rather than providing analytic insight, narrative essays simply share a story and offer a first-person account. These essays may seem easy to write at first, but it takes a certain finesse to write a narrative essay that is interesting, cohesive, and well-researched. Whether you’re looking for a unique topic to write about, or just want some new inspiration, CollegeVine is here to help! These 50 narrative essay topics are engaging, unique and will have you writing in no time.

A narrative essay is a great way to express your personal experiences and opinions, but it is important to remember that this type of essay is different from an analytical paper. In a narrative essay, you do not need to provide background information or explain your thoughts and feelings; instead, you simply tell a story. It’s important to avoid too much telling in your writing; instead, use creative details and vivid imagery to make readers feel as if they are actually right there with you.

Where You Will Encounter Narrative Essays

This type of essay is typically encountered in high school, where students may be required to write personal statements to prepare for their Common App essay . Narrative essays are also commonly seen in AP Language and Composition. Therefore, it’s important you are aware of the style because you are bound to have a narrative essay assignment.  

Of course, before you start writing, it is important to pick the right essay topic. There are many factors involved in the process of picking the perfect narrative essay topic for your story.

You should always choose a topic that you are passionate about, since writing on something you care about will make the process much easier. Not only will it be more interesting to create your paper around something that truly interests you, but it will also allow you to fully express yourself in your essay. You also want to be sure that the topic has enough material to work with. If your chosen topic is too short, you will not have enough content to write a complete paper. For example, if you are writing about your experience getting lost at the mall, make sure that you have enough information to work with to craft an engaging narrative. 

The best topic for an engaging narrative essay is one that focuses on showing versus telling, has a clear structure, and provides a dialogue. These elements come together to form an engaging narrative essay. Regardless of what subject you pick, any topic may be turned into a fascinating, A+ worthy narrative using the tips below.

Show, Don’t Tell

To write a good narrative essay, it’s important to show, not tell. Instead of simply informing your audience, show them what you mean. For example, instead of saying “I was nervous,” you could say “My heart began to race and my stomach filled with butterflies.” Also make sure to use sensory details, such as sights, sounds and tastes, and include a personal reflection at the end of your narrative. 

Begin with a Strong Opening Line

A good narrative essay will begin with an attention-grabbing opening line. But make sure to avoid common clichés, such as “It was the best of times, it was the worst of times.” Instead, come up with something original and specific to you and your situation. For example: “My pre-calc teacher was obsessed with circles. I mean, he even used circular note cards.” Or, “It all started the day my mom brought home a guinea pig.”

Follows a Three-Act Structure

A strong narrative essay follows the same three-act structure as other essays. But in order to make it interesting, you’ll need to come up with a creative way to break things down into sections. For example, using the guinea pig example from above, you could write the following:

• Act 1 – Introduction: The day my mom brought home a guinea pig.
• Act 2 – Conflict: The day I had to say goodbye to my beloved pet.
• Act 3 – Conclusion: Looking back at how much I miss him now that he’s gone.

Conclude with Personal Reflection

To conclude your narrative essay, you’ll want to explain what this specific experience taught you or how you’ve changed. For example, upon realizing that her pre-calc teacher was obsessed with circles, the writer of the previous example begins to notice circular shapes everywhere. Another way to conclude your narrative essay is by touching on how this experience impacted you emotionally. For example, after losing his guinea pig, the writer explains how much he missed it.

Use Dialogue

Include a conversation in your essay to make it come alive. For example, instead of simply saying that you met a new friend, talk about how you introduced yourselves or what they were wearing when you met them.

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The following list of 50 narrative essay topics is divided into categories. This will make it easier to find a topic that fits your writing style.

1. What is a childhood song that still sticks with you today?

2. Your first day of Kindergarten

3. Talk about a time when you’re siblings looked up to you

4. Describe the best birthday party you’ve ever had

5. Talk about the best day you ever spent with a childhood friend

6. Explain your first childhood hobby

7. Describe your first halloween costume

8. A family vacation gone wrong

9. Your first family reunion

10. Describe a tradition that is unique to your family

11. Describe your family to a person who’s never met them before

12. What frustrates you most about your family

13. If you could only keep one memory of your family, what would it be and why?

14. Describe a time your family embarrassed you in public

15. The most beautiful place in the world

16. Your favorite season and why

17. If you were a part of nature, what element would you be? Why?

18. When you go outside, which of your senses are you most thankful to have?

19. Describe the first time you witnessed a tornado 

20. Write a poem about your favorite season

21. Describe yourself as one of the four seasons

22. Describe a time in which you felt connected with nature

23. Describe the first time you played an instrument and how you felt

24. What major event would be much worse if music was removed, and why?

25. If you could only listen to one song for the rest of your life, what would it be and why?

26. What would a life without music look like?

27. If you could master one instrument, what would it be and why?

Relationships

28. What if you had never met your best friend?

29. Describe a time when you fixed a broken relationship

30. Talk about a movie that defined a relationship for you

31. Describe your first date

32. Describe the first time you made a friend

33. Describe your relationship with your parents

Self Reflection

34. Have you ever fooled someone? If so, describe what happened and how you felt about it

35. What is the worst thing you’ve done to someone else?

36. Write about the difference between how things seem and how they really are. 

37. Have you ever been embarrassed in some way? If so, describe the situation and how it affected you as well as those around you

38. Have you ever witnessed something really beautiful? Describe it

39. Is your glass half empty or half full?

Overcoming Adversity 

40. Have you ever been very afraid of something but tried your hardest to appear fearless? If so, describe that experience

41. When have you ever succeeded when you thought you might fail

42. What are your secret survival strategies?

43. Describe the last time you were stressed and why?

44. Describe a time when you were discriminated against

45. The most memorable class you’ve had and why

46. Your favorite study abroad memory

47. Describe your kindergarten classroom

48. Describe your first teacher

49. The first time you experienced detention

50. Your first field trip

Hopefully these topics will get you thinking about a personal experience that could make for a thoughtful and engaging narrative essay. Remember, a strong narrative essay must contain relatable details and a clear flow that keeps the reader entertained and engaged to read all the way to the end.

If you need some additional guidance on your narrative essay, use CollegeVine’s free peer review essay tool to get feedback for free!

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