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For a text to be considered creative nonfiction, it must be factually accurate, and written with attention to literary style and technique. Lee Gutkind, founder of the magazine Creative Nonfiction, writes, "Ultimately, the primary goal of the creative nonfiction writer is to communicate information, just like a reporter, but to shape it in a way that reads like fiction."
The genre of semi-fiction includes works that mix elements of both fiction and nonfiction. A semi-fictional work may be the retelling of a true story with only the names changed; at the other end of the spectrum, it may present fictional events with a semi-fictional protagonist, as in Jerry Seinfeld.
The first edition of The Norton Anthology of English Literature, printed in 1962, comprised two volumes.Also printed in 1962 was a single-volume derivative edition, called The Norton Anthology of English Literature: Major Authors Edition, which contained reprintings with some additions and changes including 28 of the major authors appearing in the original edition.
The Norton Anthology of Poetry; The Norton Anthology of Short Fiction; The Norton Anthology of Theory and Criticism; The Norton Anthology of Western Literature; The Norton Anthology of Western Music; The Norton Anthology of World Literature; The Norton Anthology of World Religions; The Norton Reader: An Anthology of Nonfiction
The following outline is provided as an overview of and topical guide to fiction: Fiction – narrative which is made up by the author. Literary work, it also includes theatrical, cinematic, documental, and musical work. In contrast to this is non-fiction, which deals exclusively in factual events (for example, biographies, histories).
Non-fiction is the perfect book genre to open your mind and ease yourself back into reading. And with such a broad category of books, there's something for everyone.
In Fact offers the best twenty-five stories that were published in Creative Nonfiction ' s first ten years of existence. Culled from the 300 pieces published in the journal themselves chosen from over 10,000 manuscripts, the stories reprinted in In Fact showcase the possibilities of the emergent genre of creative nonfiction in pieces by already famous authors and those likely to become famous.
The tasks that developmental editors face in fiction are fairly different from those faced by editors working with nonfiction. [17] Adam O'Connor Rodriguez, senior editor at Hawthorn books, splits the tasks of developmental fiction editing into three main parts: structure, narrative, and language.