Drawing on the storytelling techniques of fiction to write about realevents, creative nonfiction is a flourishing literary movement. This article examineshow attention to the craft of creative nonfiction is potentially useful to ethnography. Ipresent a few practical tools that may help ethnographers seeking to shape the materi-als of fieldwork: story, situation, persona, character, scene, and summary. I also ponderhow to include background material without dense expository lumps. To show thesetools in action, I offer a segment of my own ethnographic writing set in the Himalayanfoothill region of Northwest India and present short selections from the writings ofanthropologists who have reached wide interdisciplinary and popular audiences
This paper compares and contrasts ethnographic writing to ethnographic film-making as different ways...
Ethnography, as text, is the main outcome of fieldwork. It is also the most important way in which a...
The purpose of this chapter is to explore what can happen when screen production creative practice r...
In this article, I analyse the ways in which ethnographers are sampling and constructing stories, ho...
The chapter will discuss the relation between writing and ethnography from two radically different p...
Being a good ethnographer means, amongst other things, not forgetting the future reade...
This article seeks to identify writing practices that indicate the presence of a border between ethn...
Ethnographic writing that exchanges narrative and exploration for the exposition of theoretical find...
Ethnography, as text, is the main outcome of fieldwork. It is also the most important way in which a...
Being a good ethnographer means, amongst other things, not forgetting the future reader during the w...
What is it like to have lived with bulimia for most of your life? To have a mother who is retarded? ...
This is the final version. Available from Anthropology Ireland via the DOI in this record. In this a...
Peer Reviewedhttp://deepblue.lib.umich.edu/bitstream/2027.42/74973/1/ahu.2007.32.2.145.pd
Abstract: Writing is critical to two main anthropological goals: to communicate useful knowledge abo...
Writing is key in anthropology, as one of its main modes of communication. Teaching, research, publi...
This paper compares and contrasts ethnographic writing to ethnographic film-making as different ways...
Ethnography, as text, is the main outcome of fieldwork. It is also the most important way in which a...
The purpose of this chapter is to explore what can happen when screen production creative practice r...
In this article, I analyse the ways in which ethnographers are sampling and constructing stories, ho...
The chapter will discuss the relation between writing and ethnography from two radically different p...
Being a good ethnographer means, amongst other things, not forgetting the future reade...
This article seeks to identify writing practices that indicate the presence of a border between ethn...
Ethnographic writing that exchanges narrative and exploration for the exposition of theoretical find...
Ethnography, as text, is the main outcome of fieldwork. It is also the most important way in which a...
Being a good ethnographer means, amongst other things, not forgetting the future reader during the w...
What is it like to have lived with bulimia for most of your life? To have a mother who is retarded? ...
This is the final version. Available from Anthropology Ireland via the DOI in this record. In this a...
Peer Reviewedhttp://deepblue.lib.umich.edu/bitstream/2027.42/74973/1/ahu.2007.32.2.145.pd
Abstract: Writing is critical to two main anthropological goals: to communicate useful knowledge abo...
Writing is key in anthropology, as one of its main modes of communication. Teaching, research, publi...
This paper compares and contrasts ethnographic writing to ethnographic film-making as different ways...
Ethnography, as text, is the main outcome of fieldwork. It is also the most important way in which a...
The purpose of this chapter is to explore what can happen when screen production creative practice r...