LEE GUTKIND

And there are two types of stories. One type is one's own story. The other type is telling the stories of others. Thanks to this genre, writers of nonfiction can now use the tools of the reporter, the points of view and ear for dialog of a novelist, and the passion and wordplay of the poet.

Bloggers intent on self-expression which renders no service to readers don't get read.

Creative nonfiction writers do not make things up; they make ideas and information that already exist more interesting and often more accessible.

Journalists in newspapers and in many magazines are not permitted to be subjective and tell their readers what they think. Journalists have got to follow a very strict formulaic line, and here we come, these non-fiction writers, these former journalists who are using all the techniques that journalists are pretty much not allowed to use.

As a child, I had no interest in science whatsoever - then I started writing and recognized how relevant it was. My first book about science and medicine captured the world of organ transplantation in 1989 from the points of view of all of the participants - scientists, surgeons, social workers, organ recipients and even donor families.

It is easy to make stuff up - and easy to dig up information and repeat it or report it to others. But to find a real life story with real people in real life situations is quite difficult and time-consuming. Yet, the rewards are worth the effort.

When I talk with my students, I introduce a process of work I call the three R's: First comes research, then real world exploration, and finally, and perhaps most important, a fact-checking review of all that has been written.

This is the first lesson for writers - or anyone - who conducts interviews: If you want someone to talk, you've got to know how to listen. And good listening is a surprisingly active process. The interviewee is your focus of attention; you are there to hear what he says and thinks, exclusively.

Maybe I have a one-track mind, but the best writers and thinkers are focusing on nonfiction these days; this is the genre where a writer can make a mark and change an aspect of the world - much more so than in fiction.

Creative non-fiction is such a liberating genre because it allows the non-fiction writer, whether he or she be journalist or essayist, to use all of the techniques of the fiction writer and all of the ideas, creative approaches, that fiction writers get a chance to use, but they have to use it in a true story.

I am a writer and editor with a passion for true storytelling. To me, science matters, research matters and knowledge matters, whatever the field.

Nonfiction means that our stories are as true and accurate as possible. Readers expect - demand - diligence.

As a child, I had no interest in science whatsoever - then I started writing and recognized how relevant it was. My first book about science and medicine captured the world of organ transplantation in 1989 from the points of view of all of the participants - scientists, surgeons, social workers, organ recipients and even donor families.

Creative non-fiction is such a liberating genre because it allows the non-fiction writer, whether he or she be journalist or essayist, to use all of the techniques of the fiction writer and all of the ideas, creative approaches, that fiction writers get a chance to use, but they have to use it in a true story.

I discovered that I, a writer of what is known as creative nonfiction, could do the research and bridge the gap in my books and lectures through true storytelling. This is not 'dumbing down' or writing for eighth graders. It is writing for readers across cultures, age barriers, social and political landscapes.

It is easy to make stuff up - and easy to dig up information and repeat it or report it to others. But to find a real life story with real people in real life situations is quite difficult and time-consuming. Yet, the rewards are worth the effort.

Journalists in newspapers and in many magazines are not permitted to be subjective and tell their readers what they think. Journalists have got to follow a very strict formulaic line, and here we come, these non-fiction writers, these former journalists who are using all the techniques that journalists are pretty much not allowed to use.

The challenge in fiction is to write a terrific story. The challenge in journalism is to communicate solid, objective information. The challenge in creative non-fiction is to do it both and to do it well.

The people who are writing online and the people in my genre of creative non-fiction exert a great deal more freedom that journalists are allowed to exert in their day-to-day work.

This is the first lesson for writers - or anyone - who conducts interviews: If you want someone to talk, you've got to know how to listen. And good listening is a surprisingly active process. The interviewee is your focus of attention; you are there to hear what he says and thinks, exclusively.

To reconstruct stories and scenes, nonfiction writers must conduct vigorous and responsible research. In fact, narrative requires more research than traditional reportage, for writers cannot simply tell what they learn and know; rather, they must show it.

When I talk with my students, I introduce a process of work I call the three R's: First comes research, then real world exploration, and finally, and perhaps most important, a fact-checking review of all that has been written.

Years ago, I met once a week, 9 A.M. sharp, with a therapist whom I will call Dr. Mason. We would settle in well-worn chairs, Dr. Mason, a slender, balding middle-ager in blazer and striped tie, and me, an anxious academic in Levi's and tweeds.

The myth of objectivity made nonfiction increasingly unread. In feature articles, we could be playful in the opening and clever in the end but in the middle it was back to the boring basics.

Maybe I have a one-track mind, but the best writers and thinkers are focusing on nonfiction these days; this is the genre where a writer can make a mark and change an aspect of the world - much more so than in fiction.

Blogging has helped create an expanded awareness of the creative nonfiction genre, generally. But I suspect many bloggers continue to be unaware that they are (or have the potential to be) "literary" or "artful."

The word 'creative' refers simply to the use of literary craft in presenting nonfiction—that is, factually accurate prose about real people and events—in a compelling, vivid manner. To put it another way, creative nonfiction writers do not make things up; they make ideas and information that already exist more interesting and, often, more accessible.

The seeds of genius are in many blogs, but bloggers lack the interest in or understanding of the difference between blogging and fully-formed literary efforts.

Most writers want to share their essay or book much too quickly. Those who accept the pain of hard work and revising are those who get published.

And there are two types of stories. One type is one's own story. The other type is telling the stories of others. Thanks to this genre, writers of nonfiction can now use the tools of the reporter, the points of view and ear for dialog of a novelist, and the passion and wordplay of the poet.

Storytelling, a primitive art, is as old as the beginning of mankind. People want to receive what's out there in the form of stories, not just facts, opinion, analysis.

The problem with reality TV is that creative writers are not involved; TV folks are, and some journalists who will only mine the surface of subjects. Hard work necessary for discovering and delineating the intimacies of the subjects they capture is mostly avoided.

Bloggers intent on self-expression which renders no service to readers don't get read.

As TV embedded itself into the national consciousness, it got us to remember how more than just the facts transmits truth and reality - and in fun, engaging ways. TV also showed us how telling our stories, confronting our own truths makes us and the people with whom we're sharing feel less lonely and alienated.

Creative nonfiction writers do not make things up; they make ideas and information that already exist more interesting and often more accessible.