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Creative nonfiction may be structured like traditional fiction narratives, as is true of Fenton Johnson's story of love and loss, Geography of the Heart, [9] and Virginia Holman's Rescuing Patty Hearst. [10] When book-length works of creative nonfiction follow a story-like arc, they are sometimes called narrative nonfiction.
Creative nonfiction: factual narrative presented in the form of a story so as to entertain the reader. Personal narrative: a prose relating personal experience and opinion to a factual narrative. Essay: a short literary composition, often reflecting the author's outlook or point of view. Position paper
In this utterly engrossing, game-changing work of narrative nonfiction, a New York Magazine contributor profiles a trio of everyday women, shining a light on their darkest desires and how men (and ...
Novella – a written, fictional, prose narrative normally longer than a short story but shorter than a novel. Parable – a succinct, didactic story, in prose or verse, which illustrates one or more instructive lessons or principles. Play – a story that is told mostly through dialogue and is meant to be performed on stage.
Narrative photography is photography used to tell stories or in conjunction with stories. Narrative poetry is poetry that tells a story. Metanarrative, sometimes also known as master- or grand narrative, is a higher-level cultural narrative schema which orders and explains knowledge and experience you've had in life. Similar to metanarrative ...
Some fiction may include non-fictional elements; semi-fiction is fiction implementing a great deal of non-fiction, [8] (such as a fictional description based on a true story). Some non-fiction may include elements of unverified supposition, deduction, or imagination for the purpose of smoothing out a narrative, but the inclusion of open ...
Name Definition Example Setting as a form of symbolism or allegory: The setting is both the time and geographic location within a narrative or within a work of fiction; sometimes, storytellers use the setting as a way to represent deeper ideas, reflect characters' emotions, or encourage the audience to make certain connections that add complexity to how the story may be interpreted.
He argued that the non-fiction novel should be devoid of first-person narration and, ideally, free of any mention of the novelist. [citation needed] He was immediately intrigued after reading the story of the Clutter murders in The New York Times, and used the events surrounding the crime as a basis for In Cold Blood (1965). He spent years ...