Ernest Hemingway wrote an author’s note for his nonfiction book The Green Hills of Africa:

Unlike many novels, none of the characters or incidents in this book is imaginary. . . . The writer has attempted to write an absolutely true book to see whether the shape of a country and the pattern of a month’s action can, if truly presented, compete with a work of the imagination.

Lots of people have great true stories to tell about personal tragedies, struggles, and triumphs, or they’ve witnessed firsthand historic events, or they’ve had more than passing acquaintanceships with famous politicians, sports stars, artists, actors, or musicians. These stories really happened: “none of the characters or incidents . . . is imaginary.”

Readers love true stories—even if the truth exists only to a certain degree and gets stretched some (or a lot). A fair statement is that, if a story is pitched to readers as “based on a true story,” it’s likely that about half of it is imagined. If it’s pitched as “inspired by a true story,” then probably as much as 90 percent of it is imagined.

Regardless of whether you’re trying to adhere strictly to what really happened or you’re wanting to capture an audience with a story based on or inspired by actual events, you need to know how to make the story “real.” That is, you need to know how to create for the reader a powerful sense of verisimilitude.

One key is the meticulous selection and accumulation of authenticating details and authentic or authentic-sounding dialogue.

The class is composed of seven two-week sessions, but self-pacing within the fourteen-week timeframe is fine. A writing assignment is due each session, and the instructor will provide detailed feedback and answer any questions you may have.

There are no textbooks to buy. All course materials are provided.