an essay or article is which type of nonfiction

10 Types of Nonfiction Books and Genres

Zining Mok  |  January 25, 2022  |  3 Comments

From journalism to instruction manuals, travel guides to historical CNF, nonfiction is one of the broadest and most versatile categories of writing. Indeed, we encounter many types of nonfiction genres in our everyday lives, including newspapers, social media, letters, reports, instruction manuals, and travel guides.

Rather than listing the numerous types of nonfiction in its broadest definition, this article will narrow our focus to creative nonfiction. Briefly defined, creative nonfiction is a genre of nonfiction that uses literary techniques more commonly used in poetry and fiction. This includes such techniques as dialogue, plot, and imagery. More to the point, the writer Lee Gutkind describes creative nonfiction as “true stories, well told.” If you’re interested in self-help, how-to-writing, and similar nonfiction writing forms, try Googling “prescriptive nonfiction” or “expository nonfiction.”

This article explores types of creative nonfiction—”true stories, well told.”

In this article, we will explore ten types of creative nonfiction genres, as well as the overlap between these genres and other types of nonfiction books we are more familiar with, such as historical nonfiction and autobiography. By the end of this article, you’ll also have a series of different types of nonfiction books to add to your reading list!

What are the types of nonfiction? Let’s examine common forms of the genre in detail.

One of the most common types of creative nonfiction, memoirs tell a story of the writer’s own life. Unlike autobiographies, however, memoirs do not need to be exhaustive. To understand the key similarities and differences between autobiographies and memoirs, check out this article on memoir-writing. It also offers a step-by-step guide to writing your own memoir, which is certainly one of the most accessible forms in creative nonfiction!

One of the most common types of creative nonfiction, memoir tells a story of the writer’s own life.

Memoirs are driven by narrative, and often connect the writer’s personal story to larger human themes, such as grief, family, and youth. To see what this means in action, check out Helen Macdonald’s H is for Hawk , which chronicles the year Macdonald spent training a northern goshawk following her father’s death. Other memoirs include William Finnegan’s Barbarian Days: A Surfing Life , Carmen Maria Machado’s In the Dream House , Kiese Laymon’s Heavy: An American Memoir , and Tara Westover’s Educated .

Memoirs, however, can also be essay-length. A great example is David Sedaris’ “ The Youth in Asia .” Structured around Sedaris and his family’s memories of pets, this humorous essay is ultimately a story about grief, mortality and loss. This essay is excerpted from the memoir Me Talk Pretty One Day , and a recorded version can be found here . Other great examples of memoiristic essays include Alexander Chee’s “ Portrait of My Father ,” Megan Stielstra’s “ Here is My Heart ,” and Roxane Gay’s “ What We Hunger For. ” Memoiristic essays are often collected into essay collections, and can be a great way to approach writing your first book! Inspired? Check out this step-by-step guide to writing narrative essays !

2. Personal Essay

Like the memoir, the personal essay draws from the writer’s personal life and perspective, and often creates an intimate experience for the reader. However, personal essays are less narrative-driven. Instead, the action is often more internal and driven by thought. Great examples of thought-driven essays include Leslie Jamison’s “ The Empathy Exams ,” Tressie McMillan Cottom’s “ I Was Pregnant and in Crisis ,” and Yiyun Li’s “ To Speak Is to Blunder ,” an exploration of what it meant for the author to renounce her mother tongue. In this way, personal essays often deal with questions that have no easy answer. For the reader, the pleasure comes in witnessing the writer attempt to grapple with difficult conversations in a meaningful way. This is very much in line with the etymology of “essay,” which means “to try.”

Personal essays are less narrative-driven. Instead, the action is often more internal and driven by thought.

While memoirs gesture to larger human themes, personal essays draw direct connections between personal experience and societal stories. In fact, in many personal essays, personal experience is used as evidence for these societal stories. Often, personal essays engage the use of “braiding” – a structure that alternates between a personal story and a larger story – to illustrate the connections between the personal and the societal. Examples include: Eula Biss’ “ No Man’s Land ” and Clare Elena Boerigter’s “ Itasca, Alight ,” an essay that reflects on her experience as a wildfire-fighter. For book-length examples, check out Rebecca Solnit’s The Faraway Nearby , D.J. Waldie’s Holy Land: A Suburban Memoir , and Esmé Weijun Wang’s The Collected Schizophrenias .

3. Travel Writing

There are many different types of nonfiction travel writing, ranging from travel guides to blogs, journalism, and memoirs. Regardless of what form it takes, good travel writing helps your readers to imagine and experience an unfamiliar place. Travel writers thus use evocative prose that engages the senses with the details of a world you may not otherwise encounter. Classic examples include Jan Morris’ A mong the Cities and Ilija Trojanow’s Along the Ganges .

Good travel writing helps your readers to imagine and experience an unfamiliar place.

Sometimes, the adventure of travel is less important than the internal journey that the writer experiences. A great example of such a travel writing and memoir hybrid is Running in the Family . Twenty-five years after leaving for Canada, the writer Michael Ondaatje returns to his native Sri Lanka to sort out his family’s past. The book chronicles family stories, and a major plot point is Ondaatje’s seeking of reconciliation with a father he barely knew. Other books that fall into this category include Cheryl Strayed’s Wild: From Lost to Found on the Pacific Crest Trail , Pico Iyer’s The Lady and the Monk , and Elizabeth Gilbert’s Eat, Pray, Love .

There is yet another type of travel writing, one influenced by the flaneur tradition of writers who observe society by walking around without a particular destination in mind. Examples include Robert MacFarlane’s The Old Ways: A Journey On Foot , Rebecca Solnit’s Wanderlust , and Roger Deakin’s Waterlog: a Swimmer’s Journey Through Britain , which puts a new spin on the flaneur genre in its use of swimming, rather than walking.

To get into travel writing yourself, check out our course Fundamental of Travel Writing with Jennifer Billock!

4. Literary Journalism

Sometimes called “immersion journalism,” “narrative journalism,” or “new journalism,” literary journalism is a type of nonfiction that combines reporting with techniques and strategies associated with creative writing, such as character development. Literary journalists often write in a third-person limited or first person point of view. The goal of such works is not simply to deliver facts, but to spark a larger conversation among its readers. Examples include Barbara Ehrenreich’s Nickel and Dimed , Michael Lewis’ The Big Short: Inside the Doomsday Machine , and Anne Fadiman’s The Spirit Catches You and You Fall Down .

Literary journalism is a type of nonfiction that combines reporting with techniques and strategies associated with creative writing, such as character development.

Literary journalism is a type of nonfiction that really came to the forefront in the 1960s with the New Journalism movement. Books that are a part of this tradition include Joan Didion’s Slouching Towards Bethlehem , Tom Wolfe’s The Electric Kool-Aid Acid Test , and Truman Capote’s In Cold Blood , described by the author as a “nonfiction novel.”

5. Features

A feature is a form of journalistic writing that is longer than a news story, whose primary goal is to keep the reader up-to-date on the facts of a story. Features can either offer a more in-depth cover, or provide a different perspective of a developing story. Importantly, features do not have to cover breaking news. This type of writing often considers a variety of angles and is more immersive. There is more room for the writer to play creatively in terms of style and structure.

A feature is a form of journalistic writing that is longer than a news story, whose primary goal is to keep the reader up-to-date on the facts of a story.

A feature can be, but is not always, a form of literary journalism. There is a spectrum of feature pieces, including news features, profiles, trend reports, immersive features, and more “creative” features that draw on the author’s personal experiences. Thus, features are published on a greater variety of platforms that range from newspapers to literary magazines. Check out Adam Gopnik’s “ The World’s Weirdest Library ,” Rebecca Brill’s “ The World Association of Ugly People ,” and Zadie Smith’s “Meet Justin Bieber!” which can be found in her book Feel Free ,

6. Cultural Criticism

This is a type of nonfiction that examines and comments on a cultural aspect or product. Importantly, “culture” here does not differentiate between what we traditionally think of as “highbrow” or “lowbrow.” In fact, one of the goals of cultural criticism is to expand the definition of what constitutes “culture.” Thus, underlying cultural criticism is a resistance of elitist definitions of what culture is and who gets to define it.

This is a type of nonfiction that examines and comments on a cultural aspect or product.

Cultural criticism often employs a more zoomed-out perspective to connect everyday phenomena with larger cultural contexts. This is not to say that cultural criticism is necessarily written in general and impersonal language. In fact, many cultural critics employ personal experience as entrances into larger cultural conversations. Jia Tolentino’s “ Athleisure, Barre, and Kale: the Tyranny of the Ideal Woman ,” Eula Biss’ On Immunity , Wayne Koestenbaum’s My 1980s and Other Essays , and Wendy Rawlings’ “ Let’s Talk About Shredded Romaine Lettuce ” are great examples of this type of nonfiction prose.

7. Ekphrastic Essays

Ekphrasis, which comes from the Greek word for “description,” traditionally describes poems written about a work of visual art. In the contemporary literature landscape, however, ekphrasis can be written in both prose and poetry and about all forms of art.

Ekphrasis is writing, in poetry or prose, about another work of art.

There are many different approaches to writing ekphrastic essays. These may include writing about a work of art critically, writing about your experience, or even taking the more imaginative approach of speculating about the elements in a work of art. In “ Find Your Beach ,” for instance, Zadie Smith weaves the description of a beer ad with commentary on the culture of individualism in New York City. In “ What We Hunger For ,” Roxane Gay braids her discussion of female strength in The Hunger Games with her personal experiences. In “The Blue of Distance,” a series of three essays collected in A Field Guide to Getting Lost , Rebecca Solnit builds on the idea of distance and intimacy through meditating on various works of art.

8. Lyric Essay

The term “lyric essay” was coined in 1997 by John D’Agata and Deborah Tall, editors at the literary journal Seneca Review . “The lyric essay,” write D’Agata and Tall, “partakes of the poem in its density and shapeliness, its distillation of ideas and musicality of language. It partakes of the essay in its weight, in its overt desire to engage with facts, melding its allegiance to the actual with its passion for imaginative form.”

The lyric essay uses a type of nonfiction prose that is more poetic and compressed.

A relatively new genre, the lyric essay uses a type of nonfiction prose that is more poetic and compressed. Thus, it is often described as a hybrid of nonfiction and poetry. While it is difficult to pin down what a lyric essay is, the following are some characteristics of this genre:

• An emphasis on language and figurative elements, rather than on argument.
• An emphasis on exploration and experience, rather than reportage. While many lyric essays are research-heavy, they often draw on research in more suggestive ways, leaving gaps strategically to allow the reader to make connections
• A tendency to meditate. While lyric essays often draw on research and personal experience, they are less interested in crafting a linear narrative or plot, and more interested in meditative modes of writing.

Examples of lyric essays include Claudia Rankine’s Citizen: An American Lyric , Maggie Nelson’s Bluets , Amy Leach’s Things That Are , and Kathryn Nuernberger’s The Witch of Eye . For a more in-depth exploration of this form, check out this guide on the lyric essay .

9. Hermit Crabs & Other Borrowed Forms

Coined in 2003 by Brenda Miller and Suzanne Paola in their book Tell it Slant: Writing and Shaping Creative Nonfiction , the hermit crab adds a delightful variety to the types of nonfiction prose in contemporary creative nonfiction. The hermit crab is an essay that repurposes forms from everyday life – forms that we don’t generally regard as “literary” – as forms for creative nonfiction. For example, a hermit crab might use the forms of a how-to-manual, recipe, FAQs, or even a crossword puzzle.

The hermit crab is an essay that repurposes forms from everyday life—forms that we don’t generally regard as “literary”—as forms for creative nonfiction.

Often, such essays deal with topics that are tender or thorny (hence the reference to the soft-bodied hermit crab, which scavenge for shells to dwell in). In the writing process, the language and conventions of the form you’re borrowing can help to provide emotional distance between the writer and the content. An example is Dinty W. Moore’s “ Son of Mr. Green Jeans ,” an essay that uses the glossary form to write about the writer’s relationship to his father (it is also an abecedarian, which means that it is alphabetically arranged). Other examples are Randon Billings Noble’s “ The Heart as a Torn Muscle ” and Kristen Arnett’s short story “ Gator Butchering for Beginners .” For more inspiration, check out T he Shell Game: Writers Play with Borrowed Forms , an anthology put together by Kim Adrian.

In addition to hermit crabs, essayists also often borrow forms from poetry. Examples include Brenda Miller’s “Pantoum for 1979” and Elizabeth Bradfield’s Toward Antarctica , which uses the haibun form. For inspiration, check out a list of poetic forms in this guide .

10. Flash Nonfiction

Flash nonfiction refers to essays that range from a few hundred to 2,000 words, though most publications cap the word count at 1,000. Flash nonfiction emphasizes compression and precision. It often plays with the limits of how much you can gesture to, or how much plot you can develop within the space of a few hundred words.

Flash nonfiction emphasizes compression and precision.

Writing a micro-essay is a great way to start writing, experiment with new techniques, and capture everyday moments. For inspiration, check out Ross Gay’s The Book of Delights , the literary journal Brevity , and The Rose Metal Press Field Guide to Writing Flash Nonfiction , an anthology edited by Dinty W. Moore.

Explore Different Types of Nonfiction Genres at Writers.com

With so many genres and forms at your disposal, there are infinite types of nonfiction stories you can tell. If you’re looking for additional feedback, as well as additional instruction on how to write a memoir, check out our schedule of nonfiction classes . Until then, pick a type of nonfiction and start writing!

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Defining Nonfiction Writing

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• An Introduction to Punctuation
• 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

Etymology : From the Latin, "not" + "shaping, feigning"

Pronunciation : non-FIX-shun

Nonfiction is a blanket term for  prose accounts of real people, places, objects, or events. This can serve as an umbrella encompassing everything from Creative Nonfiction and Literary Nonfiction to  Advanced Composition ,  Expository Writing , and Journalism .

Types of nonfiction include articles , autobiographies , biographies , essays , memoirs , nature writing , profiles , reports , sports writing , and travel writing .

Observations

• "I see no reason why the word [ artist ] should always be confined to writers of fiction and poetry while the rest of us are lumped together under that despicable term 'Nonfiction'— as if we were some sort of remainder. I do not feel like a Non-something; I feel quite specific. I wish I could think of a name in place of 'Nonfiction.' In the hope of finding an antonym , I looked up 'Fiction' in Webster and found it defined as opposed to 'Fact, Truth, and Reality.' I thought for a while of adopting FTR, standing for Fact, Truth, and Reality, as my new term." (Barbara Tuchman, "The Historian as Artist," 1966)
• "It's always seemed odd to me that nonfiction is defined, not by what it is , but by what it is not . It is not fiction. But then again, it is also not poetry, or technical writing or libretto. It's like defining classical music as nonjazz ." (Philip Gerard, Creative Nonfiction . Story Press, 1996)
• "Many writers and editors add 'creative' to 'nonfiction' to mollify this sense of being strange and other, and to remind readers that creative nonfiction writers are more than recorders or appliers of reason and objectivity. Certainly, many readers and writers of creative nonfiction recognize that the genre can share many elements of fiction." (Jocelyn Bartkevicius, "The Landscape of Creative Nonfiction," 1999)
• "If nonfiction is where you do your best writing or your best teaching of writing, don't be buffaloed into the idea that it's an inferior species. The only important distinction is between good writing and bad writing." (William Zinsser, On Writing Well , 2006)
• The Common Core State Standards (US) and Nonfiction "One central concern is that the Core reduces how much literature English teachers can teach. Because of its emphasis on analysis of information and reasoning, the Core requires that 50 percent of all reading assignments in elementary schools consist of nonfiction texts . That requirement has sparked outrage that masterpieces by Shakespeare or Steinbeck are being dropped for informational texts like 'Recommended Levels of Insulation' by the Environmental Protection Agency." ("The Common Core Backlash." The Week , June 6, 2014)
• Creative Nonfiction
• Genres in Literature
• Great Summer Creative Writing Programs for High School Students
• Examples of Images in Poetry, Fiction, and Nonfiction
• Point of View in Grammar and Composition
• What Is Prose?
• AP English Exam: 101 Key Terms
• What You Should Know About Travel Writing
• A Guide to All Types of Narration, With Examples
• What Is a Synopsis and How Do You Write One?
• Interior Monologues
• Book Report: Definition, Guidelines, and Advice
• What Are the Different Types and Characteristics of Essays?
• How to Find Trustworthy Sources
• How to Write a Great Book Report

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Last updated on Apr 21, 2021

Nonfiction: 24 Genres and Types of Fact-Based Books

Many readers think of nonfiction as a genre in itself. But take a look through your local bookstore and you’ll see dozens of sections devoted to fact-based books, while fiction titles are sorted into just a few broadly defined genres like ‘Fantasy/Sci-Fi’ and ‘General Fiction’!

To give nonfiction books the recognition they deserve and help authors choose the right category for their work, here’s a list of the 24 most common genres of nonfiction along with their identifying features. 

Expository nonfiction

Expository nonfiction aims to inform the reader about its subject —  providing an explanation for it, be it a historical event, natural phenomenon, fashion trend, or anything else. 

1. History 

History books are not to be mistaken with textbooks. Rather than cherry-picking details to be memorized about a person, an event, or an era, these nonfiction titles are more like cross-sections in time. They provide readers with as much of the social and political contexts of events as possible with the use of rich primary and secondary sources, so as to better understand their causes and their legacies. 

Guns, Germs, and Steel by Jared Diamond Tapping into geological, agricultural, and biological evidence, Diamond challenges perception of genetic differences and contextualizes the history of human development using various external, environmental conditions.

Leningrad: The Epic Siege of World War II, 1941-1944 by Anna Reid The Eastern Front of WWII is not as well-discussed as the Western one, though it's just as important. To balance the viewpoints out a little, Anna Reid explores life in Leningrad (now St Petersburg) during one of the longest, costliest, and deadliest military blockades in history. 

2. Philosophy 

This is where the big questions get asked. While ‘philosophy’ conjures up the image of impenetrable books written by Nietzche and Confucius for the enjoyment of beard-stroking academics, that isn’t the be-all-and-end-all of this genre! Contemporary authors have taken care to make their writings more accessible without sacrificing depth of analysis.

Think: A Compelling Introduction to Philosophy by Simon Blackburn An introduction to life’s grandest topics (ethics, freedom, self — all that jazz) as told through the prism of history’s greatest philosophers. Suitable for curious readers who don’t know their Aristotles from their Kants.

How to Think Like a Roman Emperor by Donald Robertson The author smuggles in a history of the great philosopher king by presenting it as a self-help guide. By showing his readers how Marcus Aurelius’s beliefs can apply to modern life, Robertson appeals to readers who wouldn’t otherwise pick up a copy of Meditations from the library.

A Grammar of the Multitude by Paolo Virno See how philosophy has evolved in today’s international world through Paolo Virno's perspective. He advocates for the understanding of people as "multitudes" (courtesy of Dutch Enlightenment thinker, Spinoza). It's recommended that readers go into this book with some previous knowledge on classic philosophical paradigms. 

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3. Religion and Spirituality

Books about religion and spirituality can take many forms. Some are theory-based, some are written from personal experience, and some are structured like a self-help book, with the end goal of helping readers find their spiritual home. Oftentimes, each book focuses on a particular belief system — there are even Christian publishers who are solely dedicated to publishing books about their religion. 

📚 Examples 

Waking the Buddha by Clark Strand An interesting cross between a historical research and a personal spiritual exploration, this book details the rise and continued influence of the Soka Gakkai, an international Buddhist organization that works towards egalitarianism and social justice.

The Power of Now by Ekchert Tolle This self-help-style book brings readers closer to spiritual enlightenment by acknowledging how our mind focuses on the past and the future rather than the present. It's the first step on the path toward mindful connection with the joys of the moment. 

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Science books, or  “Science & Maths” books — as Amazon would categorize them — can get quite technical. Most of the time, they’re reporting on scientists’ academic research. And so, science books tend to be well-organized and follow academic conventions like referencing and indexing . But while they sound dry, the intriguing questions that they address can always be presented in ways that keep readers coming. In any case, readers can always choose to scan over the complex mathematical proofs, or authors can put all that into the appendix.  

A Brief History of Time by Stephen Hawking See the concept of time through the logical and characteristically witty eyes of this world-renowned scientist. It doesn’t make for the breeziest read, but it will give readers a very in-depth understanding of this arbitrary but ever-present concept. 

Origins: Fourteen Billion Years of Cosmic Evolution by Neil deGrasse Tyson and Donald Goldsmith Neil deGrasse Tyson takes readers on a tour of the universe's transformations through the years, introducing concepts of moons’ orbits and expanding stars along they way. All of this is a sturdy stepping stone to the complex realm of cosmology. 

5. Popular Science 

Is this type of nonfiction just academic science books but repackaged for laypeople? Why yes indeed. Popular science books take complex research and processes and get rid of most of the jargon, so that your average Joe can pick them up and learn something new about our universe. They’re almost like Vox videos, but that you read instead of watch. 

A Short History of Nearly Everything by Bill Bryson Bill Bryson isn’t a scientist or an anthropologist, but he’s brought together knowledge from various disciplines to create this digestible, comprehensive exploration of the universe and the human race. 

Astrophysics for People in a Hurry by Neil deGrasse Tyson Tyson’s expertise as a science communicator shines through with this armchair-expert version of astrophysics, which he claims can be read on noisy buses and trains without much headache. 

6. Politics and Social Sciences 

With the ongoing social and political tumult across the world, there has been a rise in both the reading and writing of this kind of book. Some political and social science books are based more on anecdotal evidence, others are on par with academic papers in terms of depth of research. Either way, they usually pick out a specific feature or structure in society to analyze with a critical eye. 

Why Nations Fail by Daron Acemoglu and James Robinson Discover why some nations are stuck in poverty traps with these economists. Using empirical data, they compellingly demonstrate the importance of inclusive institutions in fostering growth. Their writing continues to inspire development theories and strategies worldwide.  

Why I’m No Longer Talking to White People Race by Reni Eddo-Lodge It started with a blog post which the author wrote to express her frustration toward the domination of white people in discussions about racism. It became a tour-de-force work on the experiences and realities of deep-rooted racial discrimination in society. 

A book of essays is a collection of themed pieces of writing written by an author, or multiple authors, who often has some sort of authority on or personal experience with the subject matter. While they sound incredibly serious, they don’t require as much research as the types of nonfiction we’ve mentioned above. They’re often quite introspective and personal, like op-ed pieces or magazine articles. In fact, many essay books are made up of articles that were previously published in newspapers or magazines.

Notes of a Native Son by James Baldwin A collection of articles published in Harper’s Magazine , Partisan Review , and The New Leader , in which Baldwin discusses representations of Black people in the media, as well as his experiences as a Black man in Europe. 

The Good Immigrant , edited by Nikesh Shukla 21 writers of color come together to talk about their lives in the UK, and how they're sometimes made to question their sense of belonging despite being born and raised there. 

8. Self-Help 

Out of all the non-fiction genres out there, this is probably the most popular one. The name itself is explanatory: a self-help book provides you with some guidance and actions through which you can solve personal problems. Self-help books can be research-based, or they can be reflective — like an extended blog post. Note, though, that while the latter kind may read somewhat like a memoir in style, if you choose to write a self-help book , you must explicitly advise the reader. 

Outliers by Malcolm Gladwell What makes a person successful? Gladwell argues that it’s hardly just luck — even prodigies aren’t guaranteed recognition. Pulling from various examples and sociological studies, he identifies several factors, beyond genetics, that anyone can optimize to boost their chances. 

The Subtle Art of Not Giving a F*ck by Mark Manson Sometimes what you need is for someone to give it to you straight. That’s when conversational, hilarious, blog-style books like this become handy. Mark Manson’s self-help book is all about accepting what you’re given and not allowing expectations ruin your happiness. 

9. Business and Economics 

While this a broad category that may include volumes with a journalistic flavor, business books tend to be guides to entrepreneurship and management. It’s a medium for those who've had experience in the workplace or the market to share their tips and tricks (and also a good tool for authors to bag guest-speaking events). In this sense, this kind of book is like self-help, but specifically for entrepreneurs and business managers. 

Profit First by Mike Michalowicz Master the art of financial management through real-life case studies and a four-principle system with which can be applied to any business. It's straightfoward and has enough examples to demonstrate its success. 

The Big Short by Michael Lewis Lewis makes the mess of the financial crisis of 2008 that little bit easier to wrap your head around in this darkly humorous book. He follows the stories of ordinary people who fell victim to the American financial sector, revealing the precariousness of this ever-expanding industry. 

10. Health and Wellness

There's no shortage of health and wellness books out there — what do we care about if not a long and healthy life, right? These books cover many different topics, from diets to sleeping habits, from stress management to dealing with anxiety. Most are written by researchers and doctors, who have the technical knowhow to offer sound insight and advice. 

Lifespan by David Sinclair Drawing from his knowledge as a geneticist, Sinclair gives readers the scoop on the ever-popular topic of aging. He assures us that for a long, healthy, and happy life, we should enjoy our chocolate and wine (in moderation, of course).

This Is Your Brain on Food by Uma Naidoo Food provides more than just nutrients for sustenance and growth — what you eat also impacts your mood and mental health. Dr. Uma Naidoo is a psychiatrist, nutritionist, and a professional chef, so you can trust she knows what she’s talking about. 

11. Crafts and Hobbies 

Once upon a time, before Google became the omniscient engine that held the answer to all our questions, people relied on craft books to teach them how to pick up a new hobby. Origami, crochet, calligraphy, gardening — you name it, there’s a book about it. Nowadays, books like these appeal to the audience not solely because of the skills but also the author. Authors are usually someone with an online presence and authority when it comes to the craft, and their book's tone and interior design usually reflect a bit of their personality. 

By Hand by Nicole Miyuki Santo Beautifully designed with plenty of samples with which readers could practice their own calligraphy, Santo’s guide is a meditative exercise book. It’s also a great avenue for her followers on Instagram to come closer to her art by practicing it themselves.  

Alterknit Stitch by Andrea Rangel For knitters who have already nailed down the basics and want to experiment with new patterns, this is the book to get. It demonstrates ways to have fun with this cozy hobby by defying the conventions of knitting. 

12. Travel Guides

Again, the internet seems to have taken over from books when it comes to helping travelers and tourists discover new places. Still, travel guides are a lot more comprehensive, keeping everything you might need to know about budgeting, languages, places to visit (or avoid), and much more, in one place. Ebooks are the perfect format for these guides — they’re easy for travelers to refer to on the go, and they’re not as costly to update to include the latest information. 

The Lonely Planet series This collection has been growing since the 1970s, and it now holds plenty of books with various focuses. There are guides solely on helpful phrases in foreign languages, and then there are regional, country-level, and city guides, all made with contributions from locals. 

The Time Out series While also written by locals, these books focus only on cities (mainly in Europe and the US). As with the magazine of the same name, the content of the books is all about local haunts and hidden shops that tourists may not be aware of. 

13. Cookbooks

Cookbooks make up another type of nonfiction that’s evermore popular, and not just because we’re cooking more and more at home nowadays. They’re increasingly beautiful, and to write a cookbook is to have a vision in mind about what kind of mouth-watering photos (or illustrations!) it would offer alongside easy-to-follow instructions. They also tend to have cohesive themes, i.e. desserts for vegans, at-home experimental fine-dining, or worldly culinary adventures from your kitchen.

In Bibi’s Kitchen by Hawa Hassan and Julia Turshen Grandmothers from eight different Eastern African countries show readers both hearth and heart through the familial stories associated with their food. Beyond the loving taste of traditional homecooked dishes, readers will also get to learn about life in the villages of Africa. 

Ottolenghi Simple by Yotam Ottolenghi Israeli-English chef Yotam Ottolenghi is the owner of several branches of restaurants, bakeries and food shops in London, but you can get a taste of his cuisine with this collection of 130 Middle Eastern recipes that can be made within 30 minutes. Who says simple cooking couldn't be adventurous?

Midnight Chicken: & Other Recipes Worth Living For by Ella Risbridger A slightly different take on cookbooks, Midnight Chicken is a manifesto for an joyful life, built on homemade food. Her recipes are simple and homely, just like the illustrations of her book, so that anyone can make them even after a long and tiring day.

14. Parenting and Family 

Parenting is anything but easy, and since Supernanny is not always on air, a little help from experts and those who've had experience dealing with children is the next best thing. From understanding with the psychology of young minds to finding the best environments and ways to nurture them, parenting books with sound academic backing provide useful insights and advice to help readers become better guardians and caregivers. 

Peaceful Parent, Happy Kids by Laura Markham Based on the latest research on brain development and clinical tests, Markham emphasizes the importance of the emotional connection between parent and child in development. When parents understand their own emotions, they can raise their children with empathy, set healthy boundaries, and communicate with clarity. 

Unequal Childhoods by Annette Lareau Beyond the home, there's a complex world which parents don’t have control of. Annette Lareau sociologically examines the social and political contexts in which children would be exposed to (if they live in America) and how childrearing can be affected by it.

15. Children’s Nonfiction 

 Explaining the world to children, even on a limited scale, can be incredibly difficult, as it’s hard to keep their attention. Luckily, a bit of assistance from an illustrator can do wonders. As a result, many children’s nonfiction books are in the style of picture books and chapter books. Topics covered include short historical accounts and biographies, or stories that explain scientific phenomena and how they are studied. For a more detailed breakdown of children’s nonfiction, check out editor Melissa Stewart’s system of classification .

The Little Leaders series by Vashti Harrison Read about exceptional men and women of various ethnic backgrounds throughout history, and enjoy their adorable portraits in this series. There’s hardly a better way to help children embrace differences than through nonfiction books about diversity such as this.

There Are Bugs Everywhere by Britta Teckentrup Open young minds up to the natural world through this colorful elementary guide to the insect world. Answering questions about where insects live or how they find and store food with engaging drawings, it’s a great educational tool for parents and teachers. 

16. Educational Guides 

Many educational guides as the YA version of nonfiction books. These are targeted at final-year high-schoolers and young college students, with the aim providing them some guidance as they reach that strange age where independence is desperately craved but also a bit scary. Unlike popular YA fiction , this is still definitely a niche, yet, as rising study-with-me YouTubers would show you, there is potential for growth. Other than that, there are also learning guides for older audiences as well. 

The Uni-Verse by Jack Edwards Sharing his experience in preparing for and being at university, Edwards hopes to ensure readers that they, too, could emerge from univeristy happy and successful. From how to take lecture notes to how to get along with your roommates, this guide is full of helpful advice for anyone who’s feeling a bit overwhelmed. 

Beginners by Tom Vanderbilt Education doesn’t have to be limited to the classroom, as Tom Vanderbilt shows us in this call-to-action for life-long learning. As testament to the value of learning as an adult, he tells the stories behind his journey with five skills: playing chess, singing, surfing, drawing, and juggling. 

17. Textbooks 

We’ve all had our fair share of poring over these books: each comprehensively puts together information about a specific subject (and sometimes even the subject of teaching itself). The content of textbooks also include questions that stimulate learners, encouraging them to reflect on certain matters. As they are meant to accompany a curriculum, textbooks have to be written with a good overarching grasp of the subject and solid understanding of pedagogy. Given all this work, textbook writers deserve more appreciation than they get!

Oxford’s Very Short Introduction series by Oxford University Press This popular series offers a short and concise introduction to just about every topic out there. Breaking big concepts and lesson outcomes into bitesize definitions, they make great overviews or quick refreshers before an exam.

Letting Go of Literary Whiteness by Carlin Borsheim-Black and Sophia Tatiana Sarigianides This textbook is made not for students but for teachers. Based on experiences and examples from their own classrooms, the authors supply advice, and real-life scenarios in which they apply, on how to be anti-racist in schools. 

18. Language Books 

Language books can be general guides as to how to learn any language, or they can go into the nitty-gritty of a particular language. Some of them aren’t even about learning to use and communicate in a language; instead, they take a dive into the origins and inner workings of these complex systems. Regardless, because of the complexity of the subject, these nonfiction titles require expert knowledge from the part of the author. 

Through the Language Glass by Guy Deutscher Linguist Guy Deutscher (a perfect name for the profession) makes the case for the connection between language and culture in this volume, opening up a whole new perspective on language learning beyond the practicalities. 

How to Speak Any Language Fluently by Alex Rawlings This book does what it says on the tin: it gives you the tools to pick up any language you want. Rawling's advice is as fun as it is helpful, so everyone can learn their language of choice with extra enjoyment! 

Many of them are memoirs of comedians and talk show hosts, others are written by celebrated essayists and journalists. The celebrity profiles of authors in the genre explains humorous nonfiction's popularity. While form may vary, most of these titles are penned as social commentaries that candidly talk about issues that are often overlooked.

Assassination Vacation by Sarah Vowell A witty exploration of the legacies of presidential assassinations in America, which notes how they’ve been used for political and commercial purposes that ridiculously undermine their historical importance. It’s history and politics, but with a healthy dose of sharp humor. 

Hyperbole and a Half by Allie Brosh Bill Gates says it’s “funny as hell” , and that’s all the advertising it needs. Taking the unconventional form of meme-worthy comic strips accompanied by texts to provide context, Brosh’s memoir is a candid reflection on both hilarious and bleak moments she's been through. 

20. Arts Books

The arts section is a fun mix — to name a few, there are photography collections, art catalogues, books on theory and critique, and volumes that teach artistic endeavors. With nuggets of wisdom from industry experts and often great attention paid to design details these books really are like pieces of artwork themselves. 

The World of Art series by Thames & Hudson This collection offers a variety of art styles and their hallmark pieces from across time and space. You could pick any one of them and feast your eyes on not only the art itself, but the wonderful interior design — courtesy of Adam Hay .

Women Artists by Flavia Frigeri In a now seminal feminist art history text written in the 70s, Linda Nochlin raised a provocative question: “Why have there been no great women artists?” Well, this addition to the Art Essentials series answers the question by showcasing 50 women artists throughout history, proving that the problem lies not in the lack of female artists, but in the failure to give them the recognition they deserve. 

Narrative nonfiction 

While narrative nonfiction books are still factual, they're written in the style of a story. As such a book's chapters have a flow — a story structure , if you will — rather than being systematically organized by topic. 

21. Memoirs and autobiographies

Memoirs and autobiographies are books about the writer’s life. The former covers a shorter time period, focusing on a particularly noteworthy moment, such as experience in a certain industry, or an unconventional childhood. It’s thus often written by younger authors. The latter follows a longer timeline, going through a whole life, like a personal history. As such, while anyone, with or without a public presence, can write a memoir , autobiographies are always penned by well-known figures. Autobiographies are also often used by politicians and activists to share their journey and views.

Gone: A Girl, a Violin, a Life Unstrung by Min Kym Prodigal violinist Min Kym was the youngest pupil at the Purcell School of Music, though her life wasn't a bed of roses. While struggling with the theft of a 17th-century Stradivarius in her possession (which made national headlines in the UK in 2010), she came to realize with incredible clarity that she had lost much more on the journey to meet the expectations of her teachers, her parents, and the world. And all of it was beautifully recorded in this memoir. 

A River in Darkness by Masaji Ishikawa Masaji Ishikawa's life in Japan is just like any ordinary person’s life, but to have gotten there, he’d undergone the challenges of escaping the totalitarian state of North Korea. His experience with this totalitarian state and his subsequent escape makes for a memoir readers can't put down. 

Long Walk to Freedom by Nelson Mandela The man at the heart of one of the biggest, most publicised international movement against racial discrimination and for political freedom shares his journey from being an activist to his 27 years in prison in this autobiography. 

22. Biographies

Take note, biographies are different from auto biographies in a very crucial way, even though both are basically life stories. While autobiographies are written by authors about themselves , biographies are written by an author about somebody else . If the subject is alive, their consent should be acquired for ethical purposes (though this isn’t always done). A biography could also be penned long after its subject’s death, presented as a history book that’s focused solely on the life and circumstances of one person. Many of these have gone on to inspire award-winning movies and musicals.

Washington: A Life by Ron Chernow Ron Chernow is truly the master of biographies, and any of his titles would be a great example of his brilliance as a writer and researcher. This Pulitzer Prize winner on America’s founding father is recommended for its nuanced portrait of a legendary figure. Chernow took four years to research and an additional two to complete the manuscript — it was no easy project!

A Beautiful Mind by Sylvia Nasar Perhaps more famous for its movie adaptation starring Russell Crowe and Jennifer Connelly, Sylvia Nasar’s biography provides a window into the turbulent life of schizophrenic mathematician and economist John Nash. While it challenged ethical practices by not consulting with Nash even though he was alive, the book was still very well-received. 

23. Travel Literature 

Some call them travelogues, others call them travel memoirs — either way, travel literature books straddle the line between informing on the many cultures of the world and self-reflection. Books that fall into this genre are usually quite poetic and insightful (unlike practical travel guides). They’re all about personal journeys that are meditative and eye-opening, and can be about a specific place or a series of places. 

Full Tilt: Ireland to India with a Bike by Dervla Murphy In 1963, Dervla Murphy kept a daily diary of her trek “across frozen Europe and through Persia and Afghanistan, over the Himalayas to Pakistan and into India.” After the trip, she published the diary and invited readers to join her on this remarkable feat, whether from their couch or as they start their own journey.

Notes from a Small Island by Bill Bryson Focusing on the place and not the journey, Bill Bryson documents his “farewell tour” of the UK as he prepared to return to America after almost two decades of living across the pond. Mixing cultural insights with a healthy dose of humor, he wraps his travel notes in social commentary to both satirize and praise the idiosyncrasies of the British. 

24. Journalism

Follow investigative journalists as they uncover ugly truths. Other than doing justice by in-depth and sometimes even dangerous investigations, this type of nonfiction also enthralls readers with the twists and turns of real events and details of actual underground operations, conspiracies, and court dramas, to name a few. 

All the President’s Men by Bob Woodward and Carl Bernstein Journalists Woodward and Bernstein's reports in The Washington Post won them a Pulitzer Prize and led to President Nixon’s impeachment. In this book, they recollect the process behind their famous exposé on Watergate.

Catch and Kill by Ronan Farrow On his trail to investigate Harvey Weinstein’s alleged sexual assaults, Farrow discovered a systematic mechanism which favors offenders with big pockets and silences the voice of victims. His book is thus an exposé on the journalism industry itself.

Voilà! Those are 24 of the most popular types of nonfiction along with some typical exmaples. And keep in mind that as more and more titles get released, the genres will expand beyond this list. It goes to show how expansive this side of the publishing world can be. If you’re writing , publishing, or marketing a nonfiction book , hopefully this list has clarified the purpose, styles, and formats of each genre so that you can find the perfect fit for your own work.

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What Is Nonfiction: Definition and Examples

Sarah Oakley

Table of Contents

What is nonfiction, is nonfiction a genre, what is a nonfiction book example, how prowritingaid can help you write nonfiction.

Nonfiction writing has become one of the most popular genres of books published today. Most nonfiction books are about modern day problems, science, or details of actual events and lives.

If you’re looking for informative writing made up of factual details rather than fiction, nonfiction is a great option. It serves to develop your knowledge about different topics, and it helps you learn about real events.

In this article, we’ll explain what nonfiction is, what to expect from the nonfiction genre, and some examples of nonfiction books.

If you’re considering writing a book, and you can’t decide between fiction or nonfiction , it helps to know exactly what nonfiction is first.

Similarly, if you want to indulge in some self-development, and you decide to read some books, you’ll need to know what to look for in a nonfiction book to ensure you’re reading factual content.

Nonfiction Definition

To define the word nonfiction, we can break it down into two parts. “Non” is a prefix that means the absence of something. “Fiction” means writing that features ideas and elements purely from the author’s imagination.

Therefore, when you put those two definitions together, it suggests nonfiction is the absence of writing that comes from someone’s imagination. To put it in a better way, nonfiction is about facts and evidence rather than imaginary events and characters who don’t exist. 

Nonfiction Meaning

As nonfiction writing sounds like the opposite of fiction writing, you might think nonfiction is all true and objective, but that’s not the case. While nonfiction writing contains factual elements, such as real people, concepts, and events, it’s not always objectively true accounts.

A lot of nonfiction writing is opinionated or biased discussions about the subject of the writing.

For example, you might be a football expert, and you want to write a book about the top goal scorers of 2022. Your piece could be objective and discuss exactly who scored the most goals in 2022, or you could add some opinions and discuss who scored the best goals or who performed the best on the pitch.

Opinions make nonfiction books more unique to the author, as it sounds more authentic and human because we all have our own thoughts and feelings about things.

Adding opinions can also make nonfiction books more interesting for readers, as you can be more controversial or use exaggeration to increase reader engagement. Many readers like to pick up books that challenge their thoughts about certain topics.

Be confident about grammar

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

Nonfiction is a genre, but it’s more of an umbrella term for several reference and factual genres. When you’re in the nonfiction section of a bookstore or library, you’ll find the books in categories based on the overall theme or topic of the book.

There are several categories of nonfiction:

Biographies, autobiographies, and memoirs

Travel writing and travel guides

Academic journals

Philosophical and modern social science

Journalism and news media

Self-help books

How-to guides

Humorous books

Reference books

Historical, academic, reference, philosophical, and social science books often focus on factual representations of information about specific subjects, events, and key ideas. The tone of these books is often more formal, though there are some informal examples available.

Biography , memoir, travel writing, humor, and self-help books are creative nonfiction. This means they’re based on true events and stories, but the writer uses a lot more creative freedom to tell stories and pass on information about what they have learned from life.

Readers often criticize journalism and news media for not being objectively truthful when telling people about events. However, almost all journalism is biased or opinionated in one way or another. Therefore, it’s good to read from multiple different sources for your news updates.

If you want to read nonfiction to get an idea of what it’s like, we’ve got several examples of great nonfiction books for you to check out.

Historical : The Making of the Atomic Bomb by Richard Rhodes

Biography : This Much is True by Miriam Margolyes

Travel Writing : Blue Highways: A Journey into America by William Least Heat-Moon

Philosophical : The Alignment Problem: How Can Machines Learn Human Values? By Brian Christian

Self-Help : Why Has Nobody Told Me This Before? By Dr. Julie Smith

Humor : What If?: Serious Scientific Answers to Absurd Hypothetical Questions by Randall Munroe

If you want to write nonfiction, you can use ProWritingAid to ensure you avoid publishing a manuscript full of grammatical errors. Whether you’re looking for a second pair of eyes catching quick fixes as you write, or a full analysis of your manuscript once it’s written, ProWritingAid has you covered.

You can use the Realtime checker to see suggested improvements to your writing as you’re working. If you use the in-tool learning features as well, you’ll see fewer suggestions as you write because it’ll essentially train you to become a better writer.

If you’re more of a full-blown analysis editor, try using the Readability report to see suggestions highlighting where you can improve your writing to ensure more readers can understand what you’re saying. Readability is important if you want to reach more readers who have different levels of reading comprehension.

Another great report you can use for nonfiction writing is the Transitions report. Transitions are the words that show cause and effect within your writing. If you want your reader to follow your points and arguments, you need to include plenty of transitions to improve the flow of your writing.

Now that you know what nonfiction means and how ProWritingAid can help you produce a great nonfiction book, try nonfiction writing , and see how fun it is to share your knowledge and opinions with the world. Just don’t forget to check your work is factual and relevant.

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English CWNM. Nonfiction Writing for Magazines

Instructor: Maggie Doherty TBD | Location: TBD Enrollment: Limited to 12 students

This course will focus on the genres of nonfiction writing commonly published in magazines: the feature, the profile, the personal essay, and longform arts criticism. We will read and discuss examples of such pieces from magazines large (Harper’s, The New Yorker) and small (n+1, The Drift); our examples will be drawn from the last several years. We will discuss both the process of writing such pieces—research, reporting, drafting, editing—and the techniques required to write informative, engaging, elegant nonfiction. In addition to short writing exercises performed in class and outside of class, each student will write one long piece in the genre of their choosing over the course of the semester, workshopping the piece twice, at different stages of completion. Although some attention will be paid to pitching and placing work in magazines, the focus of the course will be on the writing process itself.

English CNYA. Creative Nonfiction Workshop: Young Adult Writing

Instructor:  Melissa Cundieff Thursday, 3:00-5:45pm | Location: TBD Enrollment: Limited to 12 students Course Site

In this workshop-based class, students will consider themes that intersect with the Young Adult genre: gender and sexuality, romantic and platonic relationships and love/heartbreak, family, divorce and parental relationships, disability, neurodivergence, drug use, the evolution/fracturing of childhood innocence, environmentalism, among others. Students will write true stories about their lived lives with these themes as well as intended audience (ages 12-18) specifically in mind. For visual artists, illustrating one’s work/essays is something that I invite but of course do not require. We will read work by Sarah Prager, Robin Ha, ND Stevenson, Laurie Hals Anderson, Dashka Slater,  and Jason Reynolds. Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7) Supplemental Application Information:  Applications for this class should include a 2-3 page (double-spaced if prose, single-spaced if poetry) creating writing sample of any genre (nonfiction, fiction, poetry), or combination of genres. Additionally, I ask that students submit a 250-word reflection on their particular relationship with creative writing and why this course appeals to them. This class is open to students of all writing levels and experience.

English CMMU. Creative Nonfiction Workshop: Using Music

Instructor: Melissa Cundieff Tuesday, 12:00-2:45pm | Location: TBD Enrollment: Limited to 12 students Course Site

In this workshop-based class, students will think deeply about how music is often at the center of their experiences, may it be as a song, an album, an artist, their own relationship with an instrument, etc. This class will entail writing true stories about one's life in which the personal and music orbit and/or entangle each other. This will include some journalism and criticism, but above all it will ask you to describe how and why music matters to your lived life. We will read work by Hayao Miyazaki, Jia Tolentino, Kaveh Akbar, Oliver Sacks, Susan Sontag, Adrian Matejka, among many others, (as well as invite and talk with guest speaker(s)). This class is open to all levels. Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7) Supplemental Application Information:  Applications for this class should include a 2-3 page (double-spaced if prose, single-spaced if poetry) creating writing sample of any genre (nonfiction, fiction, poetry), or combination of genres. Additionally, I ask that students submit a 250-word reflection on their particular relationship with creative writing and why this course appeals to them. This class is open to students of all writing levels and experience.

English CIHR. Reading and Writing the Personal Essay: Workshop

Instructor:  Michael Pollan Monday, 3:00-5:45 pm | Location: TBD Enrollment: Limited to 12 students Course Site

There are few literary forms quite as flexible as the personal essay. The word comes from the French verb essai, “to attempt,” hinting at the provisional or experimental mood of the genre. The conceit of the personal essay is that it captures the individual’s act of thinking on the fly, typically in response to a prompt or occasion. The form offers the rare freedom to combine any number of narrative tools, including memoir, reportage, history, political argument, anecdote, and reflection. In this writing workshop, we will read essays beginning with Montaigne, who more or less invented the form, and then on to a varied selection of his descendants, including George Orwell, E.B. White, James Baldwin, Susan Sontag, Joan Didion, David Foster Wallace and Rebecca Solnit. We will draft and revise essays of our own in a variety of lengths and types including one longer work of ambition. A central aim of the course will be to help you develop a voice on the page and learn how to deploy the first person—not merely for the purpose of self-expression but as a tool for telling a story, conducting an inquiry or pressing an argument.

Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7)

Supplemental Application Information:  To apply, submit a brief sample of your writing in the first person along with a letter detailing your writing experience and reasons for wanting to take this course.

English CNFJ. Narrative Journalism

Instructor:  Darcy Frey Fall 2024: Thursday, 3:00-5:45 pm | Location: TBD Enrollment: Limited to 12 students. Course Site Spring 2025: TBD

In this hands-on writing workshop, we will study the art of narrative journalism in many different forms: Profile writing, investigative reportage, magazine features. How can a work of journalism be fashioned to tell a captivating story? How can the writer of nonfiction narratives employ the scene-by-scene construction usually found in fiction? How can facts become the building blocks of literature? Students will work on several short assignments to practice the nuts-and-bolts of reporting, then write a longer magazine feature to be workshopped in class and revised at the end of the term. We will take instruction and inspiration from the published work of literary journalists such as Joan Didion, John McPhee, Adrian Nicole LeBlanc, and John Jeremiah Sullivan. This is a workshop-style class intended for undergraduate and graduate students at all levels of experience. No previous experience in English Department courses is required.

Apply via Submittable  (deadline: 11:59pm ET on Sunday, April 7)

Supplemental Application Information:   Please write a substantive letter of introduction describing who you are as writer at the moment and where you hope to take your writing; what experience you may have had with journalism or narrative nonfiction; what excites you about narrative journalism in particular; and what you consider to be your strengths and weaknesses as a writer. Additionally, please submit 3-5 pages of journalism or narrative nonfiction or, if you have not yet written much nonfiction, an equal number of pages of narrative fiction.

English CMFG. Past Selves and Future Ghosts

Instructor:  Melissa Cundieff Spring 2024: Please login to the course catalog at my.harvard.edu for meetings times & location Enrollment: Limited to 12 students Course Site Spring 2025: TBD As memoirist and author Melissa Febos puts it: “The narrator is never you, and the sooner we can start thinking of ourselves on the page that way, the better for our work. That character on the page is just this shaving off of the person that was within a very particular context, intermingled with bits of perspective from all the time since — it’s a very specific little cocktail of pieces of the self and memory and art … it’s a very weird thing. And then it’s frozen in the pages.” With each essay and work of nonfiction we produce in this workshop-based class, the character we portray, the narrator we locate, is never stagnant, instead we are developing a persona, wrought from the experience of our vast selves and our vast experiences. To that end, in this course, you will use the tools and stylistic elements of creative nonfiction, namely fragmentation, narrative, scene, point of view, speculation, and research to remix and retell all aspects of your experience and selfhood in a multiplicity of ways. I will ask that you focus on a particular time period or connected events, and through the course of the semester, you will reimagine and reify these events using different modes and techniques as modeled in the published and various works we read. We will also read, in their entireties, Melissa Febos's  Body Work: The Radical Work of Personal Narrative,  as well as Hanif Abdurraqib’s  They   Can’t Kill Us Until They Kill Us , which will aid our discussions and help us to better understand the difference between persona(s) and the many versions of self that inhabit us. Supplemental Application Information:  Applications for this class should include a 2-3 page (double-spaced if prose, single-spaced if poetry) creating writing sample of any genre (nonfiction, fiction, poetry), or combination of genres. Additionally, I ask that students submit a 250-word reflection on their particular relationship with creative writing and why this course appeals to them. This class is open to students of all writing levels and experience.

English CMDR. Creative Nonfiction: Departure and Return: "Home" as Doorway to Difference and Identity

Instructor: Melissa Cundieff Please login to the course catalog at my.harvard.edu for meetings times & location Enrollment: Limited to 12 students Course Site

In this workshop-based class, students will be asked to investigate something that directly or indirectly connects everyone: what it means to leave a place, or one's home, or one's land, and to return to it, willingly or unwillingly. This idea is inherently open-ended because physical spaces are, of course, not our only means of departure and/or return-- but also our politics, our genders, our relationships with power, and our very bodies. Revolution, too, surrounds us, on both larger and private scales, as does looking back on what once was, what caused that initial departure. Students will approach "home" as both a literal place and a figurative mindscape. We will read essays by Barbara Ehrenreich, Ocean Vuong, Natasha Sajé, Elena Passarello, Hanif Abdurraqib, Alice Wong, and Eric L. Muller, among others. Supplemental Application Information:  Applications for this class should include a 2-3 page (double-spaced if prose, single-spaced if poetry) creating writing sample of any genre (nonfiction, fiction, poetry), or combination of genres. Additionally, I ask that students submit a 250-word reflection on their particular relationship with creative writing and why this course appeals to them. This class is open to students of all writing levels and experience. Apply via Submittable  (deadline: 11:59pm ET on Saturday, November 4)

English CGOT. The Other

Instructor:  Rachel Kaadzi Ghansah Thursday, 12:00-2:45 pm | Location: TBD Enrollment: Limited to 12 students Course Site

In this class, we will consider how literary non-fiction articulates or imagines difference, disdain, conflict, and dislike. We will also discuss the more technical and stylistic elements present in strong non-fiction, like reflection, observation, retrospection, scene-setting, description, complexity, and strong characterization. As we read and write, we will put these theoretical concerns into practice and play by writing two or three profiles about people you do not like, a place you don’t care for, an idea you oppose, or an object whose value eludes you. Your writing might be about someone who haunts you without your permission or whatever else gets under your skin, but ideally, your subject makes you uncomfortable, troubles you, and confounds you. We will interrogate how writers earn their opinion. And while it might be strange to think of literature as often having political aims, it would be ignorant to imagine that it does not. Non-fiction forces us to extend our understanding of point of view not just to be how the story unfolds itself technically–immersive reporting, transparent eyeball, third person limited, or third person omniscient--but also to identify who is telling this story and why. Some examples of the writing that we will read are Guy Debord,  Lucille Clifton, C.L.R. James, Pascale Casanova, W.G. Sebald, Jayne Cortez, AbouMaliq Simone, Greg Tate, Annie Ernaux, Edward Said, Mark Twain, Jacqueline Rose, Toni Morrison, Julia Kristeva, and Ryszard Kapuscinski. Supplemental Application Information:   Please submit a brief letter explaining why you're interested to take this class. Apply via Submittable  (deadline: 11:59pm ET on Saturday, November 4)

English CMCC. Covid, Grief, and Afterimage

Instructor: Melissa Cundieff Wednesday, 3:00-5:45 pm | Location: Barker 269 Enrollment: Limited to 12 students Course Site In this workshop-based course we will write about our personal lived experiences with loss and grief born from the Covid-19 pandemic, as well as how grief and grieving became a collective experience that is ongoing and persistent, like an afterimage or haunting. As part of our examination, we will consider intersections with other global, historical experiences and depictions of loss, including the murder of George Floyd and the AIDS epidemic. Readings will include essays by Leslie Jamison, Arundhati Roy, Susan Sontag, Eve Tuck and C. Ree, Matt Levin, and Alice Wong, among others. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26) Supplemental Application Information:  Applications for this class should include a 3-5 page (double-spaced if prose, single-spaced if poetry) creating writing sample of any genre (nonfiction, fiction, poetry), or combination of genres. Additionally, I ask that students submit a 250 word reflection on their particular relationship with creative writing and why this course appeals to them. This class is open to students of all writing levels and experience.

Instructor: Melissa Cundieff Wednesday, 12:00-2:45 pm | Location: Barker 316 Enrollment: Limited to 12 students Course Site As memoirist and author Melissa Febos puts it: “The narrator is never you, and the sooner we can start thinking of ourselves on the page that way, the better for our work. That character on the page is just this shaving off of the person that was within a very particular context, intermingled with bits of perspective from all the time since — it’s a very specific little cocktail of pieces of the self and memory and art … it’s a very weird thing. And then it’s frozen in the pages.” With each essay and work of nonfiction we produce in this workshop-based class, the character we portray, the narrator we locate, is never stagnant, instead we are developing a persona, wrought from the experience of our vast selves and our vast experiences. To that end, in this course, you will use the tools and stylistic elements of creative nonfiction, namely fragmentation, narrative, scene, point of view, speculation, and research to remix and retell all aspects of your experience and selfhood in a multiplicity of ways. I will ask that you focus on a particular time period or connected events, and through the course of the semester, you will reimagine and reify these events using different modes and techniques as modeled in the published and various works we read. We will also read, in their entireties, Melissa Febos's  Body Work: The Radical Work of Personal Narrative,  as well as Hanif Abdurraqib’s  They   Can’t Kill Us Until They Kill Us , which will aid our discussions and help us to better understand the difference between persona(s) and the many versions of self that inhabit us. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26) Supplemental Application Information:  Applications for this class should include a 3-5 page (double-spaced if prose, single-spaced if poetry) creating writing sample of any genre (nonfiction, fiction, poetry), or combination of genres. Additionally, I ask that students submit a 250 word reflection on their particular relationship with creative writing and why this course appeals to them. This class is open to students of all writing levels and experience.

English CRGS. The Surrounds: Writing Interiority and Outsiderness

Instructor:  Rachel Kaadzi Ghansah Thursday, 12:00-2:45 pm | Location: Lamont 401 Enrollment: Limited to 12 students Course Site

The essayist, the writer of non-fiction, has historically been an oracle of opinions that most often go unsaid. They do not traditionally reinforce a sense of insular collectivity, instead they often steer us towards a radical understanding of the moment that they write from. The best essayists unearth and organize messages from those most at the margins: the ignored, the exiled, the criminal, and the destitute. So, by writing about these people, the essayist is fated, most nobly or just as ignobly, to write about the ills and aftermaths of their nation’s worse actions. It is an obligation and also a very heavy burden.

In this class we will examine how the essay and many essayists have functioned as geographers of spaces that have long been forgotten. And we read a series of non-fiction pieces that trouble the question of interiority, belonging, the other, and outsiderness. And we will attempt to do a brief but comprehensive review of the essay as it functions as a barometer of the author’s times. This will be accomplished by reading the work of such writers as: Herodotus, William Hazlitt, Doris Lessing, Audre Lorde, Gay Talese, Binyavanga Wainaina, Jennifer Clement, V.S. Naipaul, Sei Shonagon, George Orwell, Ha Jin, Margo Jefferson, Simone White, and Joan Didion. This reading and discussion will inform our own writing practice as we write essays.

Everyone who is interested in this class should feel free to apply.

Supplemental Application Information:   Please submit a brief letter explaining why you're interested to take this class. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26)

English CNFD. Creative Nonfiction

Instructor: Maggie Doherty Tuesday, 12:00-2:45 pm | Location: Sever 205 Enrollment: Limited to 12 students Course Site This course is an overview of the creative nonfiction genre and the many different types of writing that are included within it: memoir, criticism, nature writing, travel writing, and more. Our readings will be both historical and contemporary: writers will include Virginia Woolf, James Baldwin, Joan Didion, Audre Lorde, Hilton Als, and Carmen Maria Machado. During the first half of the semester, we will read two pieces closely; we will use our class discussions to analyze how these writers use pacing, character, voice, tone, and structure to tell their stories. Students will complete short, informal writing assignments during this part of the semester, based on the genre of work we’re discussing that week. During the second half of the semester, each student will draft and workshop a longer piece of creative nonfiction in the genre(s) of their choosing, which they will revise by the end of the semester. Students will be expected to provide detailed feedback on the work of their peers. This course is open to writers at all levels; no previous experience in creative writing is required. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26) Supplemental Application Information:  Please write a letter of introduction (1-2 pages) giving a sense of who you are, your writing experience, and your current goals for your writing. You may also include writers or nonfiction works that you admire, as well as any themes or genres you'd like to experiment with in the course. Please also include a 3-5-page writing sample, ideally of some kind of creative writing (nonfiction is preferred, but fiction would also be acceptable). If you don't have a creative sample, you may submit a sample of your academic writing.

English CACD. The Art of Criticism

Instructor: Maggie Doherty Wednesday, 12:00-2:45pm | Location: TBD Enrollment: Limited to 12 students Course Site

This course will consider critical writing about art–literary, visual, cinematic, musical, etc.—as an art in its own right. We will read and discuss criticism from a wide variety of publications, paying attention to the ways outlets and audience shape critical work. The majority of our readings will be from the last few years and will include pieces by Joan Acocella, Andrea Long Chu, Jason Farago, and Carina del Valle Schorske. Students will write several short writing assignments (500-1000 words), including a straight review, during the first half of the semester and share them with peers. During the second half of the semester, each student will write and workshop a longer piece of criticism about a work of art or an artist of their choosing. Students will be expected to read and provide detailed feedback on the work of their peers. Students will revise their longer pieces based on workshop feedback and submit them for the final assignment of the class. Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7) Supplemental Application Information:  Please write a letter of introduction (1-2 pages) giving a sense of who you are, your writing experience, and your current goals for your writing. Please also describe your relationship to the art forms and/or genres you're interested in engaging in the course. You may also list any writers or publications whose criticism you enjoy reading. Please also include a 3-5-page writing sample of any kind of prose writing. This could be an academic paper or it could be creative fiction or nonfiction.

English CNFR. Creative Nonfiction: Workshop

Instructor: Darcy Frey Fall 2024: Wednesday, 3:00-5:45 pm | Location: TBD Enrollment: Limited to 12 students. Course Site Spring 2025: TBD

Whether it takes the form of literary journalism, essay, memoir, or environmental writing, creative nonfiction is a powerful genre that allows writers to break free from the constraints commonly associated with nonfiction prose and reach for the breadth of thought and feeling usually accomplished only in fiction: the narration of a vivid story, the probing of a complex character, the argument of an idea, or the evocation of a place. Students will work on several short assignments to hone their mastery of the craft, then write a longer piece that will be workshopped in class and revised at the end of the term. We will take instruction and inspiration from published authors such as Joan Didion, James Baldwin, Ariel Levy, Alexander Chee, and Virginia Woolf. This is a workshop-style class intended for undergraduate and graduate students at all levels of experience. No previous experience in English Department courses is required. Apply via Submittable  (deadline: 11:59pm ET on Sunday, April 7)

Supplemental Application Information:   Please write a substantive letter of introduction describing who you are as writer at the moment and where you hope to take your writing; what experience you may have had with creative/literary nonfiction; what excites you about nonfiction in particular; and what you consider to be your strengths and weaknesses as a writer. Additionally, please submit 3-5 pages of creative/literary nonfiction (essay, memoir, narrative journalism, etc, but NOT academic writing) or, if you have not yet written much nonfiction, an equal number of pages of narrative fiction.

English CLPG. Art of Sportswriting

Instructor: Louisa Thomas Spring 2024: Tuesday, 9:00-11:45am | Location: TBD Enrollment: Limited to 12 students Course Site Spring 2025: TBD

In newsrooms, the sports section is sometimes referred to as the “toy department” -- frivolous and unserious, unlike the stuff of politics, business, and war. In this course, we will take the toys seriously. After all, for millions of people, sports and other so-called trivial pursuits (video games, chess, children’s games, and so on) are a source of endless fascination. For us, they will be a source of stories about human achievements and frustrations. These stories can involve economic, social, and political issues. They can draw upon history, statistics, psychology, and philosophy. They can be reported or ruminative, formally experimental or straightforward, richly descriptive or tense and spare. They can be fun. Over the course of the semester, students will read and discuss exemplary profiles, essays, articles, and blog posts, while also writing and discussing their own. While much (but not all) of the reading will come from the world of sports, no interest in or knowledge about sports is required; our focus will be on writing for a broad audience.  Supplemental Application Information:  To apply, please write a letter describing why you want to take the course and what you hope to get out of it. Include a few examples of websites or magazines you like to read, and tell me briefly about one pursuit -- football, chess, basketball, ballet, Othello, crosswords, soccer, whatever -- that interests you and why.

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The Best Nonfiction Books of 2024 (So Far)

Always books. Never boring.

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We’re a quarter of the way through the year, if you can believe it, which makes it a good time to look back at the state of books so far in 2024. Goodreads has just released a list of 51 Nonfiction Hits of 2024 (So Far), separated into Essays, Memoirs, History & Biography, Science, and General Nonfiction. These are the books that have been added by Goodreads users to their Read and Want to Read shelves the most, as well as gathering a lot of positive reviews.

Here are a few of the best and buzziest nonfiction books of 2024 so far:

There’s Always This Year: On Basketball and Ascension by Hanif Abdurraqib

You Get What You Pay For: Essays by Morgan Parker

Like Love: Essays and Conversations by Maggie Nelson

Thunder Song: Essays by Sasha taqwšəblu LaPointe

I Finally Bought Some Jordans: Essays by Michael Arceneaux

Grief Is for People by Sloane Crosley

The House of Hidden Meanings by RuPaul

This American Ex-Wife by Lyz Lenz

Sociopath: A Memoir by Patric Gagne

Legacy: A Black Physician Reckons with Racism in Medicine by Uché Blackstock

History & Biography

The Demon of Unrest: A Saga of Hubris, Heartbreak, and Heroism at the Dawn of the Civil War by Erik Larson

Not Your China Doll: The Wild and Shimmering Life of Anna May Wong by Katie Gee Salisbury

A History of the World in Twelve Shipwrecks by David Gibbins

Science, Technology & Health 

Not the End of the World: How We Can Be the First Generation to Build a Sustainable Planet by Hannah Ritchie

Filterworld: How Algorithms Flattened Culture by Kyle Chayka

Burn Book: A Tech Love Story by Kara Swisher

General Nonfiction

The Age of Magical Overthinking: Notes on Modern Irrationality by Amanda Montell

Why We Read: On Bookworms, Libraries, and Just One More Page Before Lights Out by Shannon Reed

To see all 51 of the Nonfiction Hits of 2024 (So Far), check out the full list on Goodreads .

Find more news and stories of interest from the book world in  Breaking in Books .

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• The Bestselling Books of the Week, According to All the Lists
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• The 2024 PEN/Faulkner Award for Fiction Winner Has Been Announced
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What is the difference between a solar eclipse and a lunar eclipse?

It almost time! Millions of Americans across the country Monday are preparing to witness the once-in-a-lifetime total solar eclipse as it passes over portions of Mexico, the United States and Canada.

It's a sight to behold and people have now long been eagerly awaiting what will be their only chance until 2044 to witness totality, whereby the moon will completely block the sun's disc, ushering in uncharacteristic darkness.

That being said, many are curious on what makes the solar eclipse special and how is it different from a lunar eclipse.

The total solar eclipse is today: Get the latest forecast and everything you need to know

What is an eclipse?

An eclipse occurs when any celestial object like a moon or a planet passes between two other bodies, obscuring the view of objects like the sun, according to NASA .

What is a solar eclipse?

A total solar eclipse occurs when the moon comes in between the Earth and the sun, blocking its light from reaching our planet, leading to a period of darkness lasting several minutes. The resulting "totality," whereby observers can see the outermost layer of the sun's atmosphere, known as the corona, presents a spectacular sight for viewers and confuses animals – causing nocturnal creatures to stir and bird and insects to fall silent.

Partial eclipses, when some part of the sun remains visible, are the most common, making total eclipses a rare sight.

What is a lunar eclipse?

A total lunar eclipse occurs when the moon and the sun are on exact opposite sides of Earth. When this happens, Earth blocks the sunlight that normally reaches the moon. Instead of that sunlight hitting the moon’s surface, Earth's shadow falls on it.

Lunar eclipses are often also referred to the "blood moon" because when the Earth's shadow covers the moon, it often produces a red color. The coloration happens because a bit of reddish sunlight still reaches the moon's surface, even though it's in Earth's shadow.

Difference between lunar eclipse and solar eclipse

The major difference between the two eclipses is in the positioning of the sun, the moon and the Earth and the longevity of the phenomenon, according to NASA.

A lunar eclipse can last for a few hours, while a solar eclipse lasts only a few minutes. Solar eclipses also rarely occur, while lunar eclipses are comparatively more frequent. While at least two partial lunar eclipses happen every year, total lunar eclipses are still rare, says NASA.

Another major difference between the two is that for lunar eclipses, no special glasses or gizmos are needed to view the spectacle and one can directly stare at the moon. However, for solar eclipses, it is pertinent to wear proper viewing glasses and take the necessary safety precautions because the powerful rays of the sun can burn and damage your retinas.

Contributing: Eric Lagatta, Doyle Rice, USA TODAY

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Here Are the Most Targeted Books of 2023

Amid a nationwide surge in book bans, memoirs and novels that deal with the experiences of L.G.B.T.Q. people or explore race received the most challenges.

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By Elizabeth A. Harris

The most challenged books in the United States in 2023 continued to focus on the experiences of L.G.B.T.Q. people or explore themes of race, according to a report released Monday by the American Library Association.

Amid an explosion of books bans across the country, the association counted more than 4,200 challenged titles , which is the most in a single year since it began tracking this information more than two decades ago. In the years leading up 2021, when the increase really took off, the average number of titles challenged in a given year was about 275, according to the library association.

“More and more, we’re seeing challenges that say, simply, This book has a gay character, or, This book deals with L.G.B.T.Q. themes, even if it has no sexuality in it,” said Deborah Caldwell-Stone, the director of the American Library Association’s office for intellectual freedom. “We’re seeing those naked attacks on simply the visibility of and knowledge about L.G.B.T.Q. lives and experiences.”

Traditionally, books were challenged when individual parents raised concerns about a specific book their child had encountered in school, and libraries have long had processes in place so that parents could prevent their children from borrowing books they consider inappropriate.

But organized groups have led the charge in this escalation, challenging large batches of titles and circulating lists online — sometimes including dozens or even hundreds of books — to encourage parents and others to seek them out at their local libraries en masse.

Parents and organizers who have pushed to remove certain titles say they are trying to protect children from stumbling on books that are explicit or inappropriate for their age.

Increasingly, Caldwell-Stone said, these challenges are taking place not only in school libraries but in public libraries as well. According to the library association’s report, 54 percent of the challenges they tracked took place in public libraries.

The report also highlighted efforts to counter book challenges. Some local elections and initiatives have come out against those trying to restrict access to books, federal legislators have held hearings on the subject and those who oppose restricting access to certain books have had some legal victories.

Here are the 10 most challenged books of 2023, along with the reasons they were targeted. Several, including “Gender Queer,” “The Bluest Eye” and “All Boys Aren’t Blue,” have been among the most frequently challenged in previous years.

1. “Gender Queer,” by Maia Kobabe

An illustrated memoir by Kobabe, who is nonbinary, was challenged because it contained L.G.B.T.Q. content and was called sexually explicit.

2. “All Boys Aren’t Blue,” by George M. Johnson

This memoir about the joys and challenges of growing up Black and queer was challenged because of L.G.B.T.Q. content and because it was considered sexually explicit.

3. “This Book is Gay,” by Juno Dawson

A nonfiction book that explores growing as an L.G.B.T.Q. person and includes topics like sex and stereotypes, this was challenged because it included L.G.B.T.Q. content, which was considered sexually explicit.

4. “The Perks of Being a Wallflower,” by Stephen Chbosky

This best-selling book for young adults is about a high school freshman in the suburbs in the 1990s. It was challenged for its L.G.B.T.Q. content, as well as its inclusion of profanity, drugs and rape.

5. “Flamer,” by Mike Curato

“Flamer,” a graphic novel for young adults that draws on the author’s own experience, is about a child at Boy Scout camp who is coming to terms with being gay. It was challenged for L.G.B.T.Q. content and for being sexually explicit.

6. “The Bluest Eye,” by Toni Morrison

This was Morrison’s 1970 debut, and follows a Black girl who wishes for blue eyes so she will fit the standards of conventional white beauty. The book also address racism and sexual abuse. It was challenged for its inclusion of rape and incest and because its content was seen as promoting equity, diversity and inclusion.

Tie: “Me and Earl and the Dying Girl,” by Jesse Andrews

A best seller about high school students, this novel was challenged because of profanity and because it was deemed sexually explicit.

Tie: “Tricks,” by Ellen Hopkins

This novel, about teenagers who fall into prostitution, was challenged for being sexually explicit and including drugs, rape and L.G.B.T.Q. content.

9. “Let’s Talk About It,” by Erika Moen and Matthew Nolan

A graphic novel about sex and relationships, this was challenged for being sexually explicit and including L.G.B.T.Q. content.

10. “Sold,” by Patricia McCormick

This National Book Award finalist is about a 13-year-old girl who is sold into prostitution. It was challenged because it was considered sexually explicit and included depictions of rape.

An earlier version of this article misstated a title of one of the targeted books. It is “This Book Is Gay,” not “The Book Is Gay.”

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  More about Elizabeth A. Harris

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Amid a surge in book bans, the most challenged books in the United States in 2023 continued to focus on the experiences of L.G.B.T.Q. people or explore themes of race.

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