This innovative book teaches students how to write informative and engaging nonfiction that emphasizes voice and creativity and incorporates observation, research, memory, and point of view. Writing True serves as a valuable core textbook or a supplement for any creative writing or composition course with an emphasis on creative nonfiction. A solid pedagogical approach shows students how to be true to capturing the real world with integrity and creativity. The first part of the book, "Writing Creative Nonfiction," offers ten chapters of practical guidance, skill-building exercises, and ideas to help writers develop their creativity. Students can also use the section about writer's notebooks to learn how to move from a draft through revision to the final piece. The second part of the book, "Reading Creative Nonfiction," contains an anthology divided into Memoir, Personal Essay, Portrait, Essay of Place, and Literary Journalism. Selections include works by Nora Ephron, Tracy Kidder, Eric Liu, David Sedaris, and other well-known masters of the creative nonfiction genre. The anthology also includes a section entitled "Stories of Craft," with four prominent writers, including John Irving and Sue Miller, describing the challenges and rewards of writing creative nonfiction. Chapters in the first part of the book can be used in different sequences along with the reading anthology, depending on the course. Class testers have used this book in a wide variety of classes. The exercises in the unique Ways In feature conclude each chapter of Part I, "Writing Creative Nonfiction," and give students ways to test what they are learning and practice chapter ideas and strategies. The authors emphasize the use of a journal or daybook as a key tool for creative nonfiction writers who discover their themes by writing first and figuring out why afterwards. The anthology section includes a variety of readings that capture the real world through straight narratives, segmented essays, multi-genre works, all-dialogue essays, and lyric meditations. The authors explain how to read a draft—one's own and others'—and how to give and receive feedback on works-in-progress. Even experienced creative writing students can learn to be more adept responders. The glossary, "Twenty Ways to Talk About Creative Nonfiction," helps both new and experienced writers establish the common vocabulary essential in workshop settings. Tips and examples on a variety of research techniques help writers seamlessly incorporate notes from readings, firsthand experiences, interviews and other relevant resources into their writing. In their coverage on using visuals and combining genres, the authors provide guidance on how to incorporate humor and images as well as other genres such as collage and graphic memoir. The authors cover the difficult, controversial ethical questions involved in writing creative nonfiction, such as: "Where is the line between fact and fiction? What are the ethics of creative nonfiction? How can we best handle writing about people we know?" A useful appendix, "Publishing Creative Nonfiction Writing," motivates students toward getting their work into print.