Part 12: Nonfiction

Part 12: Nonfiction

Stewart, M. (n.d.). Understanding-and Teaching-the Five Kinds of Nonfiction. Retrieved from https://www.slj.com/?detailStory=understanding-teaching-five-kinds-nonfiction

As already discussed in Genres vs. Formats, nonfiction is a true genre within YA. Under this umbrella fall a number of formats, as nonfiction is often described as anything that is not within the genre of fiction. Carter and Abrahamson define it as not synonymous with information books, but instead as “the category encompassing information books.” While it encompasses endless types and formats, it is important for the Library Media Specialist to be able to evaluate its value for recommendation to students.

First and foremost nonfiction should be accurate in its factual presentation. Both the writer(s), publisher, and sources should be valid and qualified. Because the librarian can not always go into the research needed to fact check, it is necessary to have go-to resources such as trusted reviewers to follow up on this criterion before using nonfiction with children and young adults.

The nature of the work itself should also be evaluated for appropriateness with students. The educator should examine whether the scope is overly broad, or conversely, narrow; whether the level is appropriate, and whether the work is organized in such a way that it can be effectively navigated. The role of visual images, illustrations and photographs should be taken into consideration, also noted by Carter and Abrahamsom, who acknowledge the attraction such images have to students, and suggest their use in enhancing booktalks. An example of “age appropriate” images may be considered in the case of the It’s Perfectly Normal Series; while these books have been challenged for detailed anatomical illustrations, they are just that--drawings, not full-color photographs--clearly intended to be less intimidating and better received by young audiences.

Nonfiction formats also frequently used with students include narrative and expository nonfiction, autobiography, memoir and biography, as these are all mandated teachings by state standards. The best literary nonfiction draws the reader into the story and imparts nonfiction knowledge without being overly didactic. Having said that, I was intrigued by the observations of Carter and Abrahamson that teen readers are drawn to sensational topics, as I have found this to be very true. They add a criterion for evaluation here that such topics, while they should certainly be available to students, should be handled in a fact-driven,  non-sensational way, focusing on the purpose of informing, not forming emotional responses. 

I was also interested in their findings that more recommended readings in schools focus on fiction over nonfiction, and the idea that this should not be the case; further, that while students should have access to desirable books such as the ever-popular Ripley's Believe It Or Not! and the Guinness World Records books, they should be guided to an understanding that these are not appropriate to research or fully understand a topic, and guided to deeper reading and more sophisticated titles. Overall I felt convicted to give nonfiction more of my time and attention with students, and not just the few titles sometimes included in mixed-genre book lists. Instead I will be spending more time reading through lists such as the Texas Topaz and YALSA’s Nonfiction Award nominees and winners.