Writing Creative Nonfiction (Course Guidebook)

by Professor Tilar J. Mazzeo

Professor Tilar J. Mazzeo teaches British and European literature at Colby College, where she is the Clara C. Piper Professor of English. She is a New York Times best-selling author.

Genres: Writing, Nonfiction, Audiobook, Reference, Education, Self Help

166 pages, Paperback

First published January 1, 2012

Reviews

[Morgan Blackledge · Rating 4 out of 5]

I’m currently taking a course in writing nonfiction.

The course is part of my doctoral degree.

By the way.

I just turned 54 and I’m still in school.

And by the other way.

Im going to do another degree after I’m finished with this one.

I want my last day of school to be the last day of my life.

So…

Yeah.

There’s that.

I also work full time.

So there’s that too.

Im a licensed marital family therapist (LMFT).

And I currently serve as the clinical director of a busy dual diagnosis program in Malibu.

And trust and believe when I tell you this.

That is like a full-time fucking job.

Like 60 hours a week.

People calling you on weekends and shit.

It’s a lot.

My doctoral work is focused on trauma and addiction.

And let me also tell you this.

Working in the field while you’re training is like the only way to fly.

I love being a clinician/scholar and I have no intention to quit doing all that.

But as you are already probably gathering.

It’s kind of a lot to juggle.

And (and…) I have another thing that I want to add to that shit pile (shit mountain 🏔).

And it’s not something that I have been very open about.

But it’s a burning desire that just won’t fucking go away.

So I’m officially coming out about it to all y’all.

I want to write a book.

There.

I said it.

I don’t know how or when.

But I think about it every night before I go to sleep.

I can see it when I close my eyes.

At present it just looks like a glowing blank white book shaped rectangle.

But I see it, and I hold it in my hands literally every night before I go to sleep.

NOTE: I do all this in my imagination - so it’s literally the case that I’m imagining all of this - do with that what you will - but still.

That’s not some kind of exercise that I read about.

It’s not some kind of gimmick, like “visualize your way to your first book”.

I don’t even do it intentionally.

I just can’t get to sleep because I’m so fucking worried about life.

And then this glowing book shaped rectangle appears in my third eye.

And I hold it in my hands.

And then somehow, my guts get untangled.

And the core of my mind starts to relax.

And I can drift off.

So I kept all this a secret.

I haven’t even told my wife about that (glowing book shaped thing) yet.

Mostly because I’m terrified.

And I just don’t know how I’m gonna do it.

And I’m scared that I won’t.

Because I probably won’t.

From where I’m sitting (i’m literally sitting right now), it will be a fucking miracle (and I don’t believe in those) if I can even start (let alone finish) writing a book.

Like when the fuck am I supposed to do that?

But I can’t fucking shake it.

So….

Anyway.

That was probably a little too much to share.

Particularly in a book review about a Great Courses thing.

But I am coming out of the closet.

And I guess I’m learning when and how and who to share all this with.

So I guess I’m practicing with whoever the fuck is reading this thing.

Sorry about it.

Anyway.

I listened to these lectures as a supplement to the (actual) course I’m taking.

And it’s really good.

I learned a lot.

After listening to it.

I feel more (a) motivated, (b) prepared and (c) in touch with the reality of what the nonfiction writing endeavor actually is, and what it will take to see it through to the finish.

OK there was my trauma dump.

I’m gonna close my eyes and hit send (or rather done) on this review.

Thanks for the therapy session 🙏🏻

5/5 ⭐️’s

[Tracey · Rating 1 out of 5]

I was willing to give the lecturer slack in the category of presentation - it was borderline awful, but she's not a professional reader, and if the course was worthwhile I'd make allowances. However, her writing examples are also borderline awful - and when she produces "the schooner plied the waterway" as a metaphor because cashmere is three-ply and therefore the boat was weaving its way along the shore... no. I'm sorry, no.

verb (used with object), plied, plying.
1. to work with or at diligently; employ busily; use: to ply the needle.
2. to carry on, practice, or pursue busily or steadily: to ply a trade.
3. to treat with or apply to (something) repeatedly (often followed by with): to ply a fire with fresh fuel.
...7. to pass over or along (a river, stream, etc.) steadily or on a regular basis:
boats that ply the Mississippi.
verb (used without object), plied, plying.
8. to run or travel regularly over a fixed course or between certain places, as a boat, bus, etc.

ETA: I had made a note elsewhere of one of the first clues I had that this wasn't going to go well (aside from the less-than-excellent writing examples: the lecturer quotes a philosophical cliche. Well, no, she mangles a philosophical cliche, and in doing so completely mangles the meaning. I do not have her exact words (Audible), but a close paraphrase is "If a tree falls in the forest and no one’s there did it happen … ?"

... What?

Got my money back (yay Audible), and I don't think I'll be looking into any of her "creative non-fiction" books.

[Jack Hansen · Rating 4 out of 5]

Tilar J J. Mazzeo proclaims something I know, writing is hard. She repeats how difficult it is and then proceeds to instruct me and attendees of her lectures on the concepts of good writing. Some of these concepts are difficult to grasp and consistently apply.

Writing becomes the active process that gnaws at my inclination to passively watch TV or surf the internet, my habits. Writing is work. Mazzeo does not even own a television, even though she likes movies and TV shows. TV interferes with her job of writing. Well, that tells me something about my approach to any writing endeavors. Writing is more of an afterthought hobby to me and not my job. If I want to be taken seriously about anything I write, I must adjust my approach to it.

I want it to be enjoyable but many worthwhile efforts produce joy after sweat and tears. I wish to write something that people regard as a delight, even if the conclusion is sad or horrible.

Tedious research is necessary to write the nonfiction that has not already been written. I write two fictions and experience the time and dedication writing requires. Fiction allows me to be master of the story. This is not easy but it is easier to have such control over all elements compared to writing nonfiction which demands truth and accuracy. If I betray the rule of truth and accuracy, my future in nonfiction, along with my integrity, is doomed.

I read and listen to many books on writing from the Great Courses' Audiobooks and other lecture series as well as "How To" books by published authors and teachers. Writing Creative Nonfiction covers advanced tools for writing a proper book, pitch, or letter for those who desire to become writers worthy of publication. Mazzeo refers to a Travel Book written so well that it becomes a movie, Under the Tuscan Sun.

This course teaches about creating lively, interesting nonfiction from character description, relevancy, consistency of pace and direction so that the work flows to a thoughtful conclusion. Examples of techniques show, not tell, how to write versions of each chapter's subject.

In the end Mazzeo explains what to do about writing, "Write." I am guilty of procrastination on writing and many other difficult tasks in my life. Writers are, too, the author shares. She makes this task less daunting by telling me to just write and the techniques I learn come sooner or later but they never transpire if I do not write.

[Barbara (The Bibliophage) · Rating 4 out of 5]

Originally published on my book blog, TheBibliophage.com.

Writing Creative Nonfiction is an audiobook course taught by Tilar J.J. Mazzeo. As such, I understand this review won’t interest everyone. But for me, a part-time, casual writer and author with a bachelor’s degree in business, it was a terrific foundation in nonfiction writing. I respect Professor Mazzeo’s credibility as an instructor, since she’s a Ph.D. who teaches at Colby College and authored well-regarded nonfiction books.

Mazzeo structures her lessons logically, in a way that works on audiobook. They’re part example, part theory, and part explaining the exercises. Just what I’d expect. The lessons move from how to find a story all the way to information about the publishing world and a writerly life. But this isn’t designed as an inspirational course. It’s grounded in specific, practical nonfiction writing skills.

Published by The Great Courses, a PDF summarizing the lessons, exercises, and bibliography accompanies the audiobook. It’s a valuable addition.

My conclusions
I took some time to complete this 12-hour course, committing to finish the exercises as I went. (Although I confess, I’m slightly behind even as I write this review.) The flow from topic to topic worked for me, and also encouraged me to incorporate functional improvements into my current work in progress.

Mazzeo shares interesting examples from her own books, particularly a few challenges she faced in story arc and character development. Obviously, these are key issues. But for me, the most valuable lessons were on rhetorical devices and dialogue. I tend to rely on metaphor, and can now employ new descriptive strategies. I’m also a newbie at crafting dialogue, so the tactics Mazzeo teaches offer me essential skills.

Because of what I’ve learned in this course, I’m also reading differently. It’s easier to clearly see a writer’s craft, as well as places the writing could be improved.

I’m just a few books into my self-directed creative writing course, which is a compilation of various books and a few audios. This is one I’ll probably revisit as I pursue my own creative nonfiction ideas. I recommend it to anyone interested in writing either fiction or nonfiction.

Pair with On Writing by Stephen King or Zen in the Art of Writing by Ray Bradbury.

[George · Rating 4 out of 5]

An interesting course aimed at people starting out with their non-fiction writing journey. As someone interested in this field (teaching science communication) I appreciated the need for being creative in the telling of a non-fiction story. The presenter did well providing exercises to help explore the concepts and skills she presented. There was a good balance of writing (over-arching narrative, characters), technical skills (making interesting sentences, dialogue) and nuts and bolts of the work (researching, getting into the groove of writing, pitching your book). It definitely got me to think about my non-fiction book that I hope to write one day :)

[Titus Hjelm · Rating 2 out of 5]

This is rather different from the creative non-fiction books usually available (Lee Gutkind, etc.). More than half of the lectures are rather technical lessons about storytelling technique, using fiction as example. Unfortunately, this is what makes it a less than ideal audiobook. Big ideas work in audio, tiny details not so much (there is the additional print material of course). Mazzeo has a sparkly voice, but clearly reads from notes, which makes the too perfect inflection tiresome at times. I've only listened to one other Great Course audio (which was different), but perhaps this is the norm rather than the exception.

[Gebo · Rating 4 out of 5]

This is a really in-depth course about writing non-fiction for beginners.

That said, it really didn't offer me that much in the way of helpful advice about writing; however, I rated it a four-star because I believe that to be more my fault than the author's. I've written extensively in many forms, even professionally and academically. So, I don't know what I really expected.

I did have my beliefs about being a professional author reified, but I was already pretty sure of that as I know several authors and all of them have a day job too.

[Andy · Rating 2 out of 5]

One thing that irked me is that this is a work of non-fiction but the author doesn't use the tools for crafting good non-fiction that she recommends. For example:
-build a narrative arc--nothing of the sort;
-show don't tell--she tells us stuff, including "don't tell"
Still, those are good rules, so if you've never heard any of this before, it could be a good introduction.

I am still looking for a good book on writing non-fiction. I don't think there is any formula. In the meantime, I think one would be better off reading and re-reading great non-fiction like Michael Lewis.

[Brendan Monroe · Rating 4 out of 5]

It's not the best trip that The Great Courses has taken me on, but Writing Creative Nonfiction offers valuable insight nonetheless. Whether you dabble in fiction, nonfiction, or take writing quite seriously, this course has something to offer.

[Jeremy · Rating 3 out of 5]

Once I got over my irritation with the condescending tone of the lecturer, I enjoyed this. She really covers everything from start to finish, including how to pitch your non-fiction project to an agent or editor and how to give proper critiques as a reader.

[Feng Ouyang · Rating 4 out of 5]

Traditionally, creative writing has been associated with fiction, where imagination is used to craft characters and narratives. In recent decades, however, creative nonfiction has gained increasing attention in the literary world. In fact, since 1994 there has even been a magazine devoted entirely to the genre, titled "Creative Nonfiction."

"Writing Creative Nonfiction" is a Great Courses series taught by English professor and best-selling author Tilar Mazzeo. The course blends instruction on general writing skills and processes with the unique challenges of nonfiction, where creativity must coexist with factual accuracy. It is well-suited to writing beginners as well as literary enthusiasts interested in better understanding the craft.

Much of the course focuses on general writing skills applicable across genres. Students learn to construct powerful sentences using rhetorical devices, select verbs with precision, and adhere to the principle of "show, not tell." Paragraphs are strengthened through pacing—alternating long and short sentences to build momentum and create climactic moments. Narrative strategies also play a central role: creating suspense, leaving narrative gaps to engage the reader’s imagination, and shaping perspective and arc to carry readers through the story with clarity and impact.

Mazzeo also discusses the broader writing process, from conducting research to pitching projects to agents and publishers, soliciting feedback, and completing revisions. She highlights the habits and strategies of effective writers, offering practical insights into the writer’s lifestyle.

Where the course becomes most distinct is in its exploration of nonfiction’s unique features. Central to this is what Mazzeo calls the "nonfiction contract"—the commitment to grounding narratives in fact. Yet within that boundary lies ample room for creativity. Writers can choose distinctive perspectives, focus on selected details or scenes for emotional resonance, and employ indirect or ambiguous quotations to suggest a character’s state of mind. Extensive research enriches the material available, expanding the possibilities for compelling storytelling.

The course is both informative and engaging, a testament to Mazzeo’s careful design. Each lesson includes an introduction, a summary, and homework assignments to reinforce learning. She regularly invites participants to analyze samples, consider alternatives, and reflect on differences in effect. Drawing from her own writing experiences—including passages from her published works—she grounds instruction in concrete examples. Her explanations of literary concepts are clear and accessible for beginners, while still hinting at deeper complexities that encourage ongoing study.

One limitation is that Mazzeo could have clarified her scope at the outset. When she refers to creative nonfiction, she primarily means biographies and literary journalism. Other nonfiction genres, such as persuasive writing, academic work, and essays, fall outside the course’s coverage. This distinction would help set expectations more accurately.

Overall, "Writing Creative Nonfiction" serves as an excellent introduction not only to creative nonfiction but also to creative writing more broadly. It will benefit aspiring authors, but it is equally valuable for avid readers who want to deepen their appreciation of literary works. By understanding the craft behind the writing, readers can engage with literature in more meaningful ways. This is a thoughtfully designed and widely appealing course.

[Mark · Rating 4 out of 5]

If you want some good tips on creative non-fiction that is about a person, company, place or event (historical or descriptive) this has a lot going for it. If you're writing instructional type books, I'd say it has less. I wasn't after either yet I found a lot of good in it.

The delivery was reasonable, maybe good in most ways, but she had one habit that was a surprisingly big distraction to me. She adds a short, and completely unnecessary confirmation question after many statements. Examples in my words would be:
* That makes the character more interesting, doesn't it?
* That will keep the contract with the reader, won't it?
* You'll want to focus on this aspect, won't you?
* It's distracting to restate the issue as a question every time, isn't it?

It's too bad because her voice to me was pleasing, yet as the book progressed, the frequent confirmation questions yanked me away from the concept she was trying to highlight.

I did gain a fair bit from this, and if you are writing creative non-fiction that is meant to convey history or interesting aspects of something, I do recommend it. Maybe less-so for instructional type non-fiction.

[Scott Winterroth · Rating 4 out of 5]

I should have done some of my own research before I purchased but the term creative nonfiction threw me off a bit.

Not necessarily how to apply creative writing to business non-fiction or self-help, which was my goal.

I'm learning about the industry so It's good information and some of it does apply, but it's more if you're writing a memoir or historical story. The lecturer does provide some good points all around.

[Betty · Rating 5 out of 5]

Ms. Mazzeo provided very good instruction and thought about writing. I listened to the book and thought about assignments, now I need to sit and actually do them. Coincidentally, I came across writing I did on Inauguration day in 2017. I will take that piece and apply the wisdom and experience imparted by Ms. Mazzeo.

I am looking forward to reading her book on Coco Chanel.

In addition, I'm inspired to listen to more of the Great Courses in this series

[Veronica Wellington · Rating 5 out of 5]

This professor did a great job of keeping the lectures interesting, and making sure the point to each lesson was clearly explained. She provided great examples, and has helped me think of more creative ways to improve my writing. I recommend it to anyone who wants a little help in writing creatively, whether fiction or nonfiction.

[John · Rating 2 out of 5]

Not my favorite course...this one isn't as applicable as I thought it would ultimately be. And the approach is odd as well, since many of Mazzeo's examples are from fiction.

It gives a solid framework--yet I don't find the examples or lessons all the compelling. It's not a phenomenal boon to anyone's repertoire , ultimately.

[Bill Sleeman · Rating 3 out of 5]

Good tips here and some valuable reminders of what not to do. The audio portion got a little long but doing both side-by-side (book at home; audio in the car) served to reinforce some of the lessons.

[Don · Rating 5 out of 5]

I can’t imagine anyone not giving these lectures on Writing Creative Nonfiction five stars. My writing would not be where it is today if it were not for Tilar Mazzeo’s lectures and influence on my writing life.

Thank you Tilar Mazzeo!

[Brenton Swafford · Rating 5 out of 5]

This book was great! I learned a lot about writing books, and even began to notice some of the mistakes that I make when writing. If I ever write a book, it will be greatly influenced by what I learned in this book!

[Ashik Uzzaman · Rating 3 out of 5]

This book is very theoretical but good. You just have to have enough patience to go through all the ideas.

[StationWagon Stripes · Rating 5 out of 5]

I loved this useful book from the Great Courses. It is full of useful hints, tips, ideas and guidance on getting into writing creative non fiction.

[Kiki · Rating 5 out of 5]

An excellent course to help you with your writing, whether you’re writing creative nonfiction or even fiction. The techniques she describes are sound.

[Mary Foxe · Rating 4 out of 5]

Skimmed.

[Susan · Rating 5 out of 5]

An excellent read concerning how to write a great memoir or biography.

[Carl Amouzou · Rating 2 out of 5]

Lots of information, but just couldn’t get into the way it was presented.

[Tsun Tsun · Rating 4 out of 5]

Not the purple prose slander 😭

[Simon Says Hellooo · Rating 4 out of 5]

This book was well written. I read it to be able to write better for a nonfiction class I'm taking. I'm not a big fan of nonfiction but I thought creative nonfiction could be interesting. It was!

[Armando Puerto · Rating 5 out of 5]

Writing Creative Nonfiction — Tilar Mazzeo

Purpose

Mazzeo’s guide trains writers to craft nonfiction that is accurate, engaging, and literary. It teaches how to balance truth with storytelling, using both journalistic discipline and artistic technique. The book is essentially a toolkit for making reality read like narrative, without distorting facts.


---

Structure

1. Foundations of Creative Nonfiction

What it is: Fact-based writing that borrows the techniques of literature (scene, dialogue, character).

Core principle: “Make it true, but make it sing.” Accuracy and artistry are not enemies.

Forms covered: Memoir, literary journalism, personal essay, travel and nature writing.


2. Narrative Architecture

Story spine: Exposition → Conflict/tension → Resolution or reflection.

Voice: Finding a distinctive, authentic narrator that guides the reader.

Pacing: Alternating between scene (immersive detail) and summary (condensed info).

Point of View: First person common, but third-person reportage also legitimate.


3. Ethics and Responsibility

Veracity: No invention of facts. Composite characters or false dialogue betray trust.

Shaping vs. distorting: Writers may choose which facts to emphasize, but must not fabricate.

Contract with the reader: Promise of truth must be honored.



---

4. Rhetorical & Literary Devices (35% focus)

Mazzeo insists nonfiction must use form and rhetoric to be memorable. Devices are not decoration — they guide attention, persuade, and make truth stick.

Sound & Rhythm:

Alliteration: (“silent streets shimmered”) makes phrases punchy, easier to recall.

Assonance/Consonance: Subtle musicality, creating cohesion in long passages.

Repetition & Parallelism: Reinforces key points, establishes cadence.


Figurative Language:

Metaphor & Simile: Translate abstract ideas into concrete images (“grief like wet sand”).

Personification: Gives life to landscapes, objects, or institutions.

Symbolism: Elevates anecdotal detail into thematic resonance.


Imagery & Sensory Detail:

Sight, sound, touch, taste, smell as anchors of credibility and immersion.

Specific > generic (“a chipped porcelain mug” vs. “a cup”).


Contrast & Juxtaposition:

Setting opposites side by side to create tension and energy.

Useful for essays with argumentation or reflection.


Sentence Craft:

Short, declarative lines for impact; long, winding ones for reflection.

Varied cadence prevents monotony.



Mazzeo frames these as tools of persuasion: they make nonfiction resonate at the same level as poetry or fiction while staying tethered to fact.


---

5. Practical Process

Research: Primary sources, interviews, archives.

Drafting: Begin with scenes, then layer reflection and context.

Revision: Cut clutter, sharpen images, verify accuracy.

Voice check: Ensure tone matches intent (intimate, investigative, lyrical, etc.).



---

Bottom Line

Mazzeo’s book is a manual for truth told beautifully. Creative nonfiction succeeds when it combines rigor (facts, research, honesty) with rhetorical artistry (rhythm, imagery, metaphor, soundplay). The ultimate aim: nonfiction that informs like journalism, persuades like rhetoric, and endures like literature.

[Ryan Rench · Rating 3 out of 5]

Professor Tilar Mazzeo had written a few creative nonfiction books and describes her process in twenty-four 30-minute presentations. Her definition of creative nonfiction is a history book with the creative flare and drive of a novel. Her “contract” throughout was a great premise: always, always, always tell the truth. Never embellish. Never give one detail that is not verified in research and documented carefully.
Since creative nonfiction books are true stories, this premise impacted me. It is easy for a writer to add details that come only from his imagination, but this “creative nonfiction contract” always ensures that everything that is written is true. For example, a character’s dialogue had to come from written diaries or eye witness accounts. If the author could not document the quote, he must not write it as dialogue. Rather than put exact words in John’s mouth, the author could say, “John talked about the weather with his wife.”
This and other points were helpful in learning about this new (to me) craft. The professor impressed me as being somewhat precocious, but her emphasis on truth in research were nonetheless helpful to me. I learned a lot from listening to this course, and recommend it as a starting point for anyone who might want to write something like a biography or other true account from history.

[Einar Nielsen · Rating 4 out of 5]

I listened to all of these lectures in a little over a weeks time. Made part of my daily routine to go for a walk and in the same time listen to two or three of them. I was really surprised how much I learned from this nonfiction course even though my interest is mainly in fiction. I think I can recommend this to everyone that enjoys writing. Sure there are a few lectures that only concern nonfiction but you can skip them if you want. Me I enjoyed them as well. Who know maybe I will write a book like this some day. But I found that Mazzeo had grate tips, some I had heard before and some were new. In either case I enjoyed the lectures very much.