Creative Nonfiction: How Creative (Um. . . UNTRUTHFUL) Can You Get?

As the popularity of creative nonfiction increases, the genre brings up an interesting debate: is every word supposed to be true? If events are recorded in a memoir, were they supposed to happen just that way? If a writer is investigating a true crime, is it okay for her to make up dialogue between the criminals if she gets really close to what was probably said?  Recently, I read the book: You Can't Make This Stuff Up by Lee Gutkind, who is the editor and founder of Creative Nonfiction magazine. The book discusses what creative nonfiction is, provides popular examples done well, and instructs writers how to create a nonfiction piece.

Creative nonfiction is a nonfiction story that is told with fiction elements: dialogue, setting details, scenes, characterization (of real people), and so on.That's where the creative part is supposed to come in--not in the facts--but in HOW the facts are revealed.

Part one of Lee's book would be interesting to anyone who loves to read and discuss what they read. The author writes about some of the most infamous cases of writers who claimed to write a true, nonfiction account of their lives; when in all actuality, it was false—sometimes the entire story made up.

The account most people know about is James Frey and his book, A Million Little Pieces, since Oprah chose it as one of her book club selections. Because of her recommendation, two million copies of his book sold, and Frey became a household name. Then it was discovered that most of his story was completely untrue. He did more than make up some dialogue or create a composite character for simplicity sake--Frey lied.

This is one of the extreme examples that Gutkind discusses in his book during the ethics section; but there are actually more writers (more than I realized!) that fudge the truth just a bit. But still, they claim that they write creative nonfiction. For example, David Sedaris admits that because he writes humor based on his life, that sometimes he must exaggerate or make up dialogue to get a laugh. Some of the funny lines in Naked? Completely fabricated!

John Berendt made up dialogue and rearranged the story chronology in Midnight in the Garden of Good and Evil!  Several people from Frank McCourt's home town claim that he didn't exactly tell the whole truth in Angela's Ashes, and they state they've found over 100 discrepancies.

A good example

On his blog and in his book, Gutkind writes that he can accept some "exaggerating an event or situation, or compressing time periods, or creating composite characters" and that it "may possibly help a nonfiction writer make his or her point more effectively—although I believe this is only rarely truly necessary."

It’s a crucial decision for writers to make if they are going to tackle the genre: are they going to tell the truth without embellishments?

Personally, I was disappointed when reading this section of Lee's book--so many writers don't stick to the 100 percent truth. But then I thought: maybe it's really difficult to do this--I don't write much in this genre, so maybe I don't know. I have written some essays, and I have included dialogue, and I think I have the dialogue right; but it's as I remember it--so who knows for sure?

How do you feel about this issue? How much of a creative nonfiction piece is it okay to "make up"? If you write memoir or creative nonfiction, do you create dialogue or make up characters, etc, to smooth transitions? As a reader, how do you trust the writer?

I started thinking that perhaps books should say on the cover: Based On a True Story--just like many movies do. . .

Margo L. Dill is the author of Finding My Place: One Girl's Strength at Vicksburg, and she edits, blogs, writes, and teaches for WOW! Women On Writing. To view her upcoming classes in spring and summer (writing for children/teens, writing short fiction, writing a children's/YA novel), please visit the WOW! classroom: http://www.wow-womenonwriting.com/WOWclasses.html

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7 comments Creative Nonfiction, Lee Gutkind, Margo L. Dill, memoirs, Rebecca Skloot, The Immortal Life of Henrietta Lacks, writing instruction

The Immortal Life of Henrietta Lacks Book Review

I'd never heard of Henrietta Lacks, pictured on the book cover, before I picked up Rebecca Skloot's wonderful book. Chances are, you haven't either. But you may have heard of HeLa cells or at the very least, information about medical research to find a polio vaccine or cure for cancer. In The Immortal Life of Henrietta Lacks, you finally meet the women behind HeLa cells, “the first immortal cells ever grown in a laboratory,” as well as her family and key medical researchers.


The author first learned of HeLa when she was 16, and she soon grew fascinated by the story of Henrietta, an African-American woman, and her cells from a cervical cancer tumor. These cells have not only helped develop the polio vaccine and made important discoveries in fighting cancer, they've also led to advancements in gene mapping and in vitro fertilization.


What fascinated Skloot even more than HeLa cells and their contribution to scientific research is the story of Henrietta and her family. She was a poor Southern tobacco farmer who went to Johns Hopkins Hospital in Baltimore, Maryland in the 1950s with cervical cancer. Doctors took a sample of her tumor without her knowledge or her family’s consent before she died.


The HeLa cells are still alive today and have multiplied into weighing more than 50 million metric tons—“as much as the Empire State Building.” Her family knew nothing about her cells being alive and helping modern medicine until the 1970s when doctors called her husband and children for research without informed consent.


By the time Skloot met Henrietta’s family members in the late 1990s and started interviewing them for her book, many of them, including her grown children, trusted no one, especially Caucasian reporters who wanted to know about Henrietta’s cancer cells. But because Skloot cared so much about Henrietta's story and knew it like her own, Henrietta's relatives started to trust her and share important information with her.

Besides introducing readers to Henrietta Lacks, her husband, and her children, Skloot skillfully informs readers about cell research and medical discoveries. Skloot also writes about the ethical issues, court cases, and laws surrounding these cells and other cell lines from patients, who didn’t realize that doctors were using them for research and making money from them. She takes a complex issue and writes about it so anyone can understand the science, medicine, and law. But more importantly, she intersperses the often heartbreaking personal story of Henrietta among the scientific fact.

The most captivating chapters of this book are the real stories of the Lacks family’s struggles. For example, Skloot befriends Henrietta’s daughter Deborah, who was preschool age when her mother died. Deborah was on a quest for almost 30 years to find out what happened to her mother. All Deborah wanted was for her mother to get the recognition she deserved.


In one especially touching scene, Skloot writes about Henrietta Lacks Day on October 11, 1996 in Atlanta during a conference at the Morehouse School of Medicine. Dr. Roland Pattillo organized the first ever HeLa Cancer Control Symposium; and Deborah , her father, and her siblings attended.

Deborah spoke to the conference attendees and said, “When Dr. Pattillo called me, it all became real. For years, it seem to be a dream. . .Can this about our mother be true?. . .No one from the medical field took the time.”


If you are interested in biology and medical research, you won’t want to miss this book. But even more, if you are interested in human stories and how we are all connected to one another, then read this book and share it with others.

Review by Margo L. Dill, http://margodill.com/blog/, Follow me on Twitter: http://www.twitter.com/Margo_L_Dill

Rebecca Skloot photo credit: Manda Townsend

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3 comments book review, Margo L. Dill, Random House, Rebecca Skloot, The Immortal Life of Henrietta Lacks