From rags-to-riches-to-rags tell-alls to personal health sagas to literary journalism everyone seems to want to try their hand at creative nonfiction. Now, Lee Gutkind, the go-to expert for all things creative nonfiction, taps into one of the fastest-growing genres with this new writing guide. Frank and to-the-point, with depth and clarity, Gutkind describes and illustrates each and every aspect of the genre, from defining a concept and establishing a writing process to the final product. Offering new ways of understanding genre and invaluable tools for writers to learn and experiment with, You Can't Make This Stuff Up allows writers of all skill levels to thoroughly expand and stylize their work.

An account of the emergence of creative nonfiction, written by the “godfather� of the genre   In the 1970s, Lee Gutkind, a leather-clad hippie motorcyclist and former public relations writer, fought his way into the academy. Then he took on his colleagues. His goal: to make creative nonfiction an accepted academic discipline, one as vital as poetry, drama, and fiction. In this book Gutkind tells the true story of how creative nonfiction became a leading genre for both readers and writers.   Creative nonfiction—true stories enriched by relevant ideas, insights, and intimacies—offered liberation to writers, allowing them to push their work in freewheeling directions. The genre also opened doors to outsiders—doctors, lawyers, construction workers—who felt they had stories to tell about their lives and experiences.   Gutkind documents the evolution of the genre, discussing the lives and work of such practitioners as Joan Didion, Tom Wolfe, Norman Mailer, James Baldwin, Zora Neale Hurston, Rachel Carson, Upton Sinclair, Janet Malcolm, and Vivian Gornick. Gutkind also highlights the ethics of writing creative nonfiction, including how writers handle the distinctions between fact and fiction.   Gutkind’s book narrates the story not just of a genre but of the person who brought it to the forefront of the literary and journalistic world.

A complete guide to the art and craft of creative nonfiction--from one of its pioneer practitioners
The challenge of creative nonfiction is to write the truth in a style that is as accurate and informative as reportage, yet as personal, provocative, and dramatic as fiction. In this one-of-a-kind guide, award-winning author, essayist, teacher, and editor Lee Gutkind gives you concise, pointed advice on every aspect of writing and selling your work, including:
* Guidelines for choosing provocative--and salable--topics
* Smart research techniques--including advice on conducting penetrating interviews and using electronic research tools
* Tips for focusing and structuring a piece for maximum effectiveness
* Advice on working successfully with editors and literary agents

Creative nonfiction, also known as narrative nonfiction, liberated journalism by inviting writers to dramatize, interpret, speculate, and even re-create their subjects. Lee Gutkind collects twenty-five essays that flourished in this new turf, all originally published in the groundbreaking journal he founded, Creative Nonfiction, now in its tenth anniversary year.

Many of the writers here are crossing genres from poetry to fiction to nonfiction. Annie Dillard provides the introduction, while Gutkind discusses the creative and ethical parameters of this new genre. The selections themselves are broad and fascinating. Lauren Slater is a therapist in the institution where she was once a patient. John Edgar Wideman reacts passionately to the unjust murder of Emmett Till. Charles Simic contemplates raucous gatherings at his Uncle Boris's apartment, while John McPhee creates a rare, personal, album quilt of his own life. Terry Tempest Williams speaks on the decline of the prairie dog, and Madison Smartt Bell invades Haiti. "

As founding editor of Creative Nonfiction and architect of the genre, Lee Gutkind played a crucial role in establishing literary, narrative nonfiction in the marketplace and in the academy. A longstanding advocate of New Journalism, he has reported on a wide range of issues-robots and artificial intelligence, mental illness, organ transplants, veterinarians and animals, baseball, motorcycle enthusiasts-and explored them all with his unique voice and approach. In My Last Eight Thousand Days, Gutkind turns his notepad and tape recorder inward, using his skills as an immersion journalist to perform a deep dive on himself. Here, he offers a memoir of his life as a journalist, editor, husband, father, and Pittsburgh native, not only recounting his many triumphs, but also exposing his missteps and challenges. The overarching concern that frames these brave, often confessional stories, is his obsession and fascination with aging: how aging provoked anxieties and unearthed long-rooted tensions, and how he came to accept, even enjoy, his mental and physical decline. Gutkind documents the realities of aging with the characteristically blunt, melancholic wit and authenticity that drive the quiet force of all his work.

One in four American adults will endure the trials of a mental health condition this year, and more than half will experience one in their lifetime. Yet the stigma of mental illness remains, leading many to face their difficulties in shame and silence. In this collection, ten writers confront the stigma of mental illness head-on, bravely telling stories of devastating depressions, persistent traumas, overwhelming compulsions, and more.

Anyone still asking, "What is creative nonfiction?" will find the answer in this collection of artfully crafted, true stories. Selected by Lee Gutkind, the "godfather behind creative nonfiction," and the staff of Creative Nonfiction, these stories-ranging from immersion journalism to intensely personal essays-illustrate the genre's power and potential. Edwidge Danticat recalls her Uncle Moise's love of a certain four-letter word and finds in his abandonment of the word near the end of his life the true meaning of exile. In "Literary Murder," Julianna Baggott traces her roots as a novelist to her family's "strange, desperate (sometimes conniving and glorious) past" and writes about her decision, in The Madam, to kill off a character based on her grandfather. And Sean Rowe explains why, if you must get arrested, Selma, Alabama, is the place to do it. This exciting and expansive array of works and voices is sure to impress and delight.

Dubbed-some would say drubbed-the "godfather behind creative nonfiction" by Vanity Fair, Lee Gutkind takes the opportunity of these essays, and the rich material of his own life, to define, defend, and further expand the genre he has done so much to shape. The result is an explosive and hilarious memoir of Gutkind's colorful life as a motorcyclist, a medical insider, a sailor, a college professor, an over-aged insecure father, and a literary whipping boy. In Forever Fat Gutkind battles his weight, his ex-wives, his father, his rabbi, his psychiatrist, and his critics in a lifelong cross-country, cross-cultural search for stability and identity. And from Gutkind's battles, the reader emerges a winner, treated to a sometimes poignant, sometimes harrowing, sometimes uproarious, and always engrossing story of the simultaneous awakening of a man and his mission, and of the constant struggle, in literature and in life, to sort out memory and imagination. Here, enacted in technicolor terms, is the universal, symbolic truth that no matter how far you travel, over how many years, you will never completely shed the weighty baggage of adolescence. Yet, as Gutkind proves again and again, he has learned to describe his burden with an ever-lightening brilliance.

In the High Bay at the Robotics Institute at Carnegie Mellon, Segways scoot across the floor chasing soccer balls while other robots hunt for treasure. Nursebots, developed to care for hospital patients, mingle with a robotic Lara Croft lookalike. Lee Gutkind immersed himself in this frenzied subculture and, in Almost Human, introduces us to Zoe, Groundhog, Grace, and Sandstorm robots designed to help, or in some cases replace, humans as well as to the colorful cast of researchers attempting to create language to talk not only to machines but also to one another across their disciplines."

From Lee Gutkind, the "Godfather behind creative narrative nonfiction" (Vanity Fair), and the staff of the landmark literary journal Creative Nonfiction comes this fresh collection of fact-based personal narratives, mined from literary blogs, 'zines, and other fringe publications. In "My Glove: A Biography," Stefan Fatsis, author of Word Freak and a Wall Street Journal reporter, traces the history of his baseball glove "the one thing I would be devastated to lose, my last, best connection to the baseball that defined my life as a kid" as he relinquishes it to the glove designer at Rawlings for an overhaul. Heidi Julavits, editor of The Believer, imagines a future in which book-related fatalities "Death of the intellect is one thing, but actual death is quite another" revolutionize the writer's market. This new volume of The Best Creative Nonfiction continues to engage and delight with exceptional work from writers old and new."

Although organ transplantation is the preeminent medical miracle of the last quarter of a century, Many Sleepless Nights is the first book to go beyond the headlines and describe the patients who have embraced this last chance to hold on to life, the intricate medical procedures that can save them, the surgeons and nurses who work in this emotionally charged world, and the ethics which complicate this miracle high-tech therapy. Lee Gutkind was granted unconditional access to the world's largest transplant center - the University of Pittsburgh's Presbyterian-University and Children's hospitals, where there is an organ transplant every eight hours, 365 days per year. For four years he immersed himself in the frantic night-and-day world of transplantation, living side by side with transplant candidates and recipients, jetting though the night with organ procurement teams, monitoring patients with surgeons and nurses, observing in the operating room, participating in the ethical and psychosocial evaluations of prospective patients which help to determine who will receive scarce organs. During his four years at Presbyterian and Children's Hospitals, Gutkind established close relationships with many patients, and his portrayal of them, living and sometimes dying under unbelievable stress, is a moving and dramatic statement about the capacity of human beings to endure. Many Sleepless Nights also outlines the history of organ transplantation and tells the story of the large and complex medical teams behind the operation. It captures the tension of the search for viable organs; the pressure decisions about which patients, among many, will receive them; and the surgery itself.Its vivid portrayal of the transplant pioneer Thomas Starzl - a man obsessed with saving lives - shows how a major innovator in American medicine functions during days and nights of extreme pressure.

The high bay at the Robotics Institute at Carnegie Mellon University is alive and hyper night and day with the likes of Hyperion, which traversed the Antarctic, and Zoe, the world s first robot scientist, now back home. Robot Segways learn to play soccer, while other robots go on treasure hunts or are destined for hospitals and museums. Dozens of cavorting mechanical creatures, along with tangles of wire, tools, and computer innards are scattered haphazardly. All of these zipping and zooming gizmos are controlled by disheveled young men sitting on the floor, folding chairs, or tool cases, or huddled over laptops squinting into displays with manic intensity. Award-winning author Lee Gutkind immersed himself in this frenzied subculture, following these young roboticists and their bold conceptual machines from Pittsburgh to NASA and to the most barren and arid desert on earth. He makes intelligible their discoveries and stumbling points in this lively behind-the-scenes work."