In this episode we'll speak with Greenleaf Senior Editor Jessica Choi about the ways nonfiction authors can utilize stories in their writing.

1.17 – Why is it important for nonfiction authors to integrate stories into nonfiction?

• I’d like to make the distinction between creative nonfiction and nonfiction that has story in it.
• Creative nonfiction is where you apply literary technique or elements of fiction to tell a true story. You start with something true, and give it a wider relevance through storytelling.
• Traditional nonfiction is typically educational or actionable, and adding stories can transform facts and data into something that’s lived, or relatable to the reader.
• Information or data may not always move someone to take action, but a story can.
• We’re hardwired as humans for stories. The way you present the facts can be the difference between a good book and a great book.
• When a story is told well, we don’t always remember where we heard it, but we think about it and even act on it for a long time.

9:06 – As an editor, do you take a different approach with the use of story in nonfiction versus fiction?

• Whether we're working on fiction or nonfiction, it’s important to stay focused on the big picture. What is an author trying to achieve, or what do you want readers to get out of the book?
• Nonfiction, like fiction, has a narrative arc. You’re walking a reader through a progression of thoughts, and you have to consider the best time to say something.
• One of the challenges and exciting parts of being an editor is seeing a manuscript in its raw form, and my job is to help the author utilize the right details to achieve that narrative arc.
• There’s an artful way to integrate story into nonfiction without being condescending or too simplistic.

14:10 – What’s the distinction between using story in nonfiction and a business parable?

• A business parable is a made up story that communications emotional truths about work or business. It teaches lessons or shows someone how to reach a goal. It’s a narrative that plays out a real idea through a fictitious story, and it has to take on a more blatant literary approach.
• A nonfiction book is more information-driven, and an author can bring in stories to enhance those concepts rather than the story driving the book like in a business parable.
• In a parable there is one storyline that tracks through the book, while nonfiction can weave in separate stories to illustrate points.
• A lot of people don’t like the idea of outlines, but I have my authors think of it in terms of a roadmap that can work for you in whatever form works for your brain. It allows you (and your editor) to see the logical progression of ideas, and it can change as you move forward writing. With an outline, you always know where you’re headed.

20:20 – Are there parameters writers should keep in mind when using real life examples for stories in a book?

• No matter how small in size a story might be, keep in mind that you do need someone’s permission to tell their story. Even if it sounds like you’re saying nice things, you’ll need to make sure that details are non-identifying if the person hasn’t signed a release.
• If someone can read your LinkedIn, they can figure out where you worked before and even who you worked with.
• As editors, we’re your advocates and try to protect you from what might be risky. We’ll ask how important some details are and, if needed, try to blend a few different people to disinclude identifying information about specific people or organizations.
• Keep in mind that trade secrets or personal details can’t be revealed, but often what you’re really trying to do is share your experience and what you gained. If you focus on that, you don’t have to worry about getting into the legal side of things.
• When in doubt, ask permission.

24:20 – What would you say to nonfiction authors who don’t feel like they have the skills to weave story into nonfiction?

• Don’t worry and become intimidated by the details. Think about what the emotional core of your book is, what you want to communicate.
• From there you can figure out how to make it relevant for your readers. This, and an outline, can help you weed out the details that don’t connect to the bigger picture.
• Once you think of stories that might help, consider whether they’d enhance the main point and move the book along or if they distract from your main point.
• Editors can help you choose the right details and eliminate what’s not needed.
• Don’t stick in stories because you heard it’s a good thing to do, either. It’s important to know who your audience is and be purposeful and genuine.

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About Jessica

Jessica Choi is Senior Editor at Greenleaf Book Group. She specializes in bringing out the best in authors, planning and shaping content, and developing great books, brands, and ideas. With over nine years of experience as both a senior editor and managing editor, she has produced books, manuals, training publications, web-based products, and online courses for leading educational and technology publishers, including The University of Texas Press, Alpha Omega Publications, and Coriolis Technology Press. Jessica holds an MFA in Creative Writing from San Francisco State University. Her more recent writings have appeared in the Austin American-Statesman and the live stage production, Listen to Your Mother.