CHAPTER 4

THE EMERGENT LITERATURE

GENERAL OBJECTIVES

1. Trace the history of emergent literature and explore its genres.

2. Determine new emerging genres of literature and discuss the elements
and characteristics of these genres.
3. Examine unique characteristics of new emerging genres of literature and
discuss its issues and challenges.

LESSON 1. NATURE, SCOPE AND ORIGIN OF EMERGENT LITERATURE

WHAT TO EXPECT?

1. Restate the nature, scope and origin of emergent literature.

2. Summarize the genesis of emergent literature.
3. Explain the importance and value of the literary pieces produced by
different authors in the emergent literature.

Emergent literature mainly refers to the new genres of scholarly discourse,

such as online collaborative spaces, academic blogs, websites and e-prints.
Specifically, it is about the growth, over the past thirty-odd years, of the
American-style comic book and its loosely named offshoot, the graphic novel. In
the English-reading world, the graphic novel in particular has become comicsʹ
passport to recognition as a form of literature.
In postcolonial studies, the term "Emerging Literature" refers to a
contemporary body of texts that is gaining momentum in the global literary
landscape Grassin, J.M., et al. (1996). By opposition, "emergent literature" is
rather a concept used in the theory of literature.
 Basketball is like this for Walt Whitman. He watches these Indian boys
as if they were the last bodies on earth. Every body is brown!
Walt Whitman shakes because he believes in God.
Walt Whitman dreams of the Indian boy who will defend him,
trapping him in the corner, all flailing arms and legs
and legendary stomach muscles....

There is no place like this. Walt Whitman smiles.

Walt Whitman shakes. This game belongs to him.

These whimsical lines from Sherman Alexie's poem "Defending Walt

Whitman" (1996) dramatize the predicament faced not only by Native American
writers, but also by all US writers who belong to emergent literary traditions. As a
Spokane/Coeur d'Alene Indian, Alexie is playing a game in which he is the
underdog and Whitman the favorite: Whitman dominates the landscape of US
poetry; his powerful shots "strike[s] the rim so hard that it sparks" (; the "game
belongs to him".
The poem imagines "Indian boys" who must defend against Whitman, who
must prevent him from scoring by blocking his shots. Yet it also imagines other
Indians, those who are Whitman's teammates: "Somebody throws a crazy pass,"
Alexie writes, "and Walt Whitman catches it with quick hands". These Indians
work with Whitman; they defend him against those who oppose him.
The poem pays homage to Whitman by adopting his free verse idiom and
by describing the game from his perspective. At the same time, however, it
shows us a Whitman who is out of place, who is awed by the "twentieth-century
warriors" surrounding him, whose "beard is ludicrous on the reservation" , who
"stands/ at center court while the Indian boys run from basket to basket" , who
"cannot tell the difference between/ offense and defense". The poem's title is a
pun, simultaneously with Whitman and against him. The poem celebrates
Whitman, even as it seeks to contain him within the context of "a reservation
summer basketball court" .
 The Chinese American novelist Maxine Hong Kingston achieves a similar
effect when she gives the protagonist of her novel Tripmaster Monkey: His Fake
Book (1989) the name "Wittman Ah Sing." Both tipping her hat to the great poet
of American individualism and gently mocking him, Kingston's novel depicts a
young poet-playwright who wants to be another Whitman—a Great American
Artist—but finds that first he must disengage himself from the subordinate place
that US culture has made for him on the basis of his ethnicity.
Alexie and Kingston thus dramatize the problem faced by all US minority
cultures: how to transform themselves from marginalized cultures, often regarded
as "foreign" or "un-American," into emergent cultures capable of challenging and
reshaping the US mainstream. My conception of cultural emergence here draws
upon Raymond Williams's analysis of the dynamics of modern culture, an
analysis that has served as the foundation for minority discourse theory in the
1990s.
Following Antonio Gramsci, Williams characterizes culture as a constant
struggle for dominance in which a hegemonic mainstream seeks to defuse the
challenges posed by both residual and emergent cultural forms. According to
Williams, residual culture consists of those practices that are based on the
"residue of... some previous social and cultural institution or formation," but
continue to play a role in the present, while emergent culture serves as the site or
set of sites where "new meanings and values, new practices, new relationships
and kinds of relationships are continually being created" .
Both residual and emergent cultural forms can only be recognized and
indeed conceived in relation to the dominant: each represents a form of
negotiation between the margin and the center over the right to control
meanings, values, and practices.

For the historian of twentieth-century US ethnic literatures, this conception

of the emergent offers a dynamic model of the interaction of literary cultures, a
model that focuses our attention on the fact about literature.
REFERENCE

Writing creative nonfiction. (n.d.).

https://davehood59.wordpress.com/2010/02/17/writing-creative-
nonfiction
LESSON 2. THE CREATIVE NONFICTION AND GENRES OF EMERGENT
LITERATURE

WHAT TO EXPECT?

1. Explore the different elements, types and genres of fiction.

2. Examine the guidelines in writing creative nonfiction.
3. Compare and contrast the literary devices from one another.
4. Present literary pieces under the said classification of literature.

A. Creative Nonfiction
It involves writing about personal experience, real people, or events. It
is writing about fact, rather than fiction. The writer can write about anything,
such as a personal experience, current events, or issues in the public eye.
The writer can also inject personal thoughts, feelings, or opinions into the
writing. Often, the writer uses the first person “I.” Popular types of creative
nonfiction include the personal essay, memoir, autobiography, literary
journalistic essay, travel writing, and food writing. Creative nonfiction is also
known as “Literary Journalism.”
This article identifies the techniques of creative nonfiction, defines the
various types of creative nonfiction, provides some guidelines, and lists
several popular books and several resources to help the aspiring writing learn
the art and craft of writing creative nonfiction
.
How to Write Creative Nonfiction
The creative nonfiction writer produces a personal essay, memoir,
travel piece, and so forth, with a variety of techniques, writing tools, and
methods. He/she is required to use the elements of nonfiction, literary devices
of fiction, and what Lee Gutkind called “the 5 Rs of Creative nonfiction.”  The
following is a brief explanation of each:
Elements of Creative Nonfiction
The creative nonfiction writer often incorporates several elements of
nonfiction when writing a memoir, personal essay, travel writing, and so on.
The following is a brief explanation of the most common elements of
nonfiction:
 Fact. The writing must be based on fact, rather than fiction. It
cannot be made up.
 Extensive research. The piece of writing is based on primary
research, such as an interview or personal experience, and often
secondary research, such as gathering information from books,
magazines, and newspapers.
 Reportage/reporting. The writer must be able to document events
or  personal experiences.
 Personal experience and personal opinion. Often, the writer
includes personal experience, feelings, thoughts, and opinions. For
instance, when writing a personal essay or memoir.
 Explanation/Exposition. The writer is required to explain the
personal experience or topic to the reader.
 Essay format. Creative nonfiction is often written in essay format.
Example: Personal Essay, Literary Journalistic essay, brief essay.

Literary Elements
Creative nonfiction is the literature of fact. Yet, the creative
nonfiction writer utilizes many of the literary devices of fiction writing.  The
following is a list of the most common literary devices that writers
incorporate into their nonfiction writing:
 Storytelling/narration. The writer needs to be able to tell
his/her story. A good story includes an inciting incident, a goal,
challenges and obstacles, a turning point, and resolution of the
story.
  Character. The nonfiction piece often requires a main
character. Example: If a writer is creating his/her memoir, then
the writer is the central character.
 Setting and scene. The writer creates scenes that are action-
oriented; include dialogue; and contain vivid descriptions.
 Plot and plot structure. These are the main events that make
up the story. In a personal essay, there might be only one event.
In a memoir, there are often several significant events.
 Figurative language. The writer often uses simile and
metaphor to create an interesting piece of creative nonfiction.
 Imagery. The writer constructs “word pictures” using sensory
language. Imagery can be figurative or literal.
 Point of view. Often the writer uses the first person “I.”
 Dialogue. These are the conversations spoken between
people. It is an important component of creative nonfiction.
 Theme. There is a central idea that is weaved through the
essay or work. Often, the theme reveals a universal truth.

The 5’Rs of Creative Nonfiction

Lee Gutkind, who is a writer, professor, and expert on creative
nonfiction, wrote an essay called “The Five R’s of Creative Nonfiction.” In
this essay, he identified five essential elements of creative nonfiction.
These include:
1. Creative nonfiction has a “real life” aspect. The writer
constructs a personal essay, memoir, and so forth, that is based
on personal experience.  He also writes about real people and
true events.
2. Creative nonfiction is based on the writer engaging in
personal “reflection” about what he/she is writing
about. After gathering information, the writer needs to analyze
and assess what he/she has collected. He then must evaluate it
 and expression his thoughts, views, opinions. Personal opinion
is permissible and encouraged.
3. Creative nonfiction requires that the writer complete
research. The writer needs to conduct research to learn about
the topic. The writer also needs to complete research to
discover what has been written about the topic. Even if a writer
is crafting a personal essay, he will need to complete secondary
research, such as reviewing a personal journal, or primary
research, such as interviewing a friend or family member, to
ensure that the information is truthful and factual.
4. The fourth aspect of creative nonfiction is reading. Reading
while conducting research is not sufficient. The writer must read
the work of the masters of his profession.
5. The final element of creative nonfiction is writing. Writing
creative nonfiction is both an art and craft. The art of creative
nonfiction requires that the writer uses his talents, instincts,
creative abilities, and imagination to write memorable creative
nonfiction. The craft of creative nonfiction requires that the writer
learn and deploy the style and techniques of creative nonfiction
in his/her work.

Types of Creative Nonfiction

Creative nonfiction is about fact and truth.  The truth can be about a
personal experience, event, or issue in the public eye. There are many
categories or genres to choose from, such as the personal essay, memoir,
and autobiography.  The following is a list of the most popular types of
creative nonfiction:
 Personal Essay. The writer crafts and essay that is based on
personal experience or a single event, which results in significant
personal meaning or a lesson learned. The writer uses the first
person “I.”
  Memoir. The writer constructs a true story about a time or period in
his/life, one that had significant personal meaning and a universal
truth. The writer composes the story using the first person “I.”
 Literary journalism essay. The writer crafts an essay about an
issue or topic using literary devices, such as the elements of fiction
and figurative language.
 Autobiography. The writer composes his/her life story, from birth
to the present, using the first person “I.”
 Travel Writing. The writer crafts articles or essays about travel
using literary devices.
 Food writing. The writer crafts stories about food and cuisine using
literary devices.
 Profiles. The writer constructs biographies or essays on real
people using literary devices.

Guidelines for Writing Creative Nonfiction

Not only must the aspiring writer of creative nonfiction learn the
techniques, but he/she also requires a good understanding of the guidelines.
The following are 12 guidelines for writing any type of creative nonfiction:
1. Research the topic. Both primary (interview, personal experience,
or participant observation) and secondary research (books,
magazines, newspaper, Web)
2. Never invent or change facts.  An invented story is fiction.
3. Provide accurate information. Write honestly and truthfully.
Information should be verifiable.
4. Provide concrete evidence. Use facts, examples, and quotations.
5. Use humour to make an important point.
6. Show the reader what happened, don’t tell them what
happened. To do this, dramatize thestory.
7. Narrate the story. A story has an inciting incident, goal, conflict,
challenges, obstacles, climax, and resolution.
 8. Write about the interesting and extraordinary. Write about
personal experiences, interesting people,  extraordinary events, or
provide a unique perspective on everyday life.
9. Organize the information. Two common techniques are
chronological or logical order.
10. Use literary devices to tell the story. Choose language that
stimulates and entertains the reader, such as simile, metaphor,
imagery.
11. Introduce the essay or other work with a hook. Its purpose is to
grab the readers’ attention and compel them to reader further.
Popular hooks include a quotation, question, or thought-provoking
fact.
12. End the creative nonfiction piece with a final, important
point. Otherwise the reader will think, “So what!” “What was the
point? It was an interesting story, but how does it apply to me or my
life?”

B. Genres of Emergent Literature

The following genres became quite popular over the past years. Many
of them emerged some time ago and now attract more attention due to their
relevance. Some of them evolved from older genres, such as postmodernism,
others are just results of somebody’s creativity.

1. Hyperpoetry
Hyperpoetry is a form of digital poetry that uses links using
hypertext mark-up. It is a very visual form, and is related to hypertext
fiction and visual arts. The links mean that a hypertext poem has no set
order, the poem moving or being generated in response to the links that
the reader/user chooses. It can either involve set words, phrases, lines,
etc. that are presented in variable order but sit on the page much as
traditional poetry does, or it can contain parts of the poem that move and
 / or mutate. It is usually found online, though CD-ROM and diskette
versions exist. The earliest examples date to no later than the mid
1980s.
This genre, also called cyberpoetry as well as other names, has
many definitions and, like hyperfiction, is difficult to categorize.  Much
poetry on the web is basically just traditional work uploaded.  True
hyperpoetry refers to works of verse (although not necessarily in lines
and stanzas) which could not be presented without the
computer. Hyperpoetry includes verse with links to sub-poems or
footnotes, poetry “generators,” poetry with movement or images. 
Hyperpoetry is usually highly steeped in the visual and sometimes
involves parts that are read in varying orders. Holopoetry refers to 3-
dimensional visual art that combines words with images using
holographic techniques.  (Because they cannot be clearly shared via the
web, links to holopoems are not included here.)  Some readers of HP
relate hyperpoetry to concrete poetry (in which meaning is conveyed
partly by the shape formed by the letters and words), prose poetry, hip-
hop, performance art, and other types of “hybrid” arts.

2. Chick Literature/ Chick Lit

Chick lit is a genre which addresses issues of modern
womanhood, often humorously and light heartedly. Although it
sometimes includes romantic elements, chick lit is generally not
considered a direct subcategory of the romance novel genre, because
the heroine's relationship with her family or friends is often just as
important as her romantic relationships.
This is manufactured upon the readers’ demand, being in a
permanent process of readjustment. It is written to sell and to make
profit, literature having no more the status of art, but of business.
Its protagonists are based on stereotypes and are easily spottable
without too much effort from the reader. They are invulnerable and have
 the possibility of transformation. Thus, characters have a mythical value,
a fact which gives literature of consumption an immense power of
fascinating the readers. This type of literature follows the reader’s
boulomaic, desire states. It is not the cultivated reader they are
appealing to but a savage one, who searches for a sensational dream
life and illusions of prosperity:

3. Graphic Novel
Graphic novel is an evolving term with no strict meaning. Simply
put, is a novel conveyed in pictures. It is referred to as a kind of comic
book that narrates long and complex stories intended for mature
readers. The term graphic novel employs a broad sense that
encompasses both non-fiction works and fictional stories.
Because a graphic novel’s description is often debatable, its
origins are open to interpretation. The dawn of comic books traces back
a long tradition of collecting comic strips into a book form. These longer
forms of comic books are not considered as graphic novels but they are
known to be the early steps that helped in their development.
In 1978, Will Eisner published“ A Contract with God and other
Testament Stories” graphic novel, a mature and complex work that
focuses on the lives of ordinary people in the real world. Eisner labelled
his book “graphic novel” to distinguish it from traditional comic books,
thus popularizing the term. Since its usage, the moniker has been
applied to various works to make it fit for modern use.
What makes a graphic novel different from a traditional comic
book? Here are helpful details that can help you distinguish them.
 Graphic novels possess certain characteristics that discern it
from the typical comic book.
 Graphic novels are sometimes referred to as long comic books
and or illustrated novels.
  Graphic novels have longer narratives compared to the 22-24
paged comic books.
 A graphic novel features a complete story from start to end
contrary to the traditional cliffhanger endings of custom comic
books. However, it could also be part of a series.
 There are 6 types of graphic novels; superhero stories, human
interest story, manga, adaptations or spin offs, satire, and non-
fiction.
 Graphic novels are abbreviated as GN (graphic novel, to
indicate that the title is not a periodical) and OGN (original
graphic novel, to point out that the graphic novel is entirely a
new story).
 Graphic novels are bound in a longer and more durable format
compared to that of a typical comic magazine but use the same
materials and methods.
 Graphic novels are square bound with card stock covers; some
may come in hard covered volumes.
 Graphic novels tell their stories using sequential art with the use
of either experimental or traditional comics design.
 Graphic novels have higher production values and are generally
sold in bookstores and specialty comic book shop rather than at
newsstands.
 A graphic novel is published in independent schedules.
 Graphic novels are more academically accepted compared to
comic books. They can be used as literary references.

4. Illustrated Novel
Novel is a long narrative work of fiction with some realism. It is
often in prose form and is published as a single book. The word ‘novel’
has been derived from the Italian word ‘novella’ which means “new”.
Similar to a short story, a novel has some features like a representation
 of characters, dialogues, setting, plot, climax, conflict, and resolution.
However, it does not require all the elements to be a good
novel.Nevertheless, Illustration is derived from the Latin term
“Illustrationem,” which means "vivid representation."
In other words, an illustrated novel can refer to any book with the
occasional picture in it and said to be usually 50 percent illustrations and
50 percent text. The story from an illustrated novel cannot be fully
comprehended without interpreting the images.

5. Text-Talk Novel
We have become a society of prolific writers. Every week we write
thousands of words. Love affairs start and end in writing. Friendships are
cultivated in writing. Plans are made, news is broken, arguments are
picked, ideas are planted. Writing is the new talking or should we say,
typing is the new talking.

Our lives are filled with texts, emails and instant messages which
transform our conversations into a mass of print and, depending on who
you believe, are either butchering or bolstering our relationships.
It is strange, therefore, that novelists—who deal in dialogue and
social drama—are on the whole not paying more attention to this new
method of communication. Twentieth-century authors were fascinated by
the way technology affected how we interact. Just think of Evelyn
Waugh’s 1934 novel A Handful of Dust in which the telephone looms
large, both as a plot devise and as a means of revolutionizing literary
discourse.
In our century, however, digital exchanges are typically consigned
to teen-fiction and chick lit. If “serious” writers do include them, they can
feel like dutifully inserted add-ons. What is it about electronic utterances,
then, that makes them so troublesome for novelists? Why are they a
 problem to be solved? It is important to distinguish here between emails
and instant messages.
In all key respects, emails are the same as letters, which have
appeared in centuries’ worth of epistolary fiction. Although emails are a
quicker form of correspondence, in the eighteenth century post was very
frequent, particularly in London where it arrived several times a day
(in Sense and Sensibility, letters are forever whizzing back and forth).
More important than comparable delivery speed, however, is the
fact that both letters and emails set the scene for their reader and knit
together disparate occurrences into a coherent plot. They are filled with
context and detail and possess narrative shape—much like fiction itself.
Instant messages, on the other hand, are a different animal
altogether. Unlike emails, they are not self-contained, but snippets of
certain moments of certain days, resembling snatches of speech.

6. Manga
Contrary to what most people in the West think, manga (both the
singular and plural form are the same) have NOTHING to do with
pornography. Some manga are pornographic, but that's just a small
percentage of manga. Manga, in Japanese, means "flowing words" or
"Undisciplined words". It is an ancient art that has been used for
centuries as a form of entertainment. It's basically Japanese comic
books, which can be easily translated to English. However, just saying
manga are comics from Japan is wrong.
First of all, in the US and in Europe, most comics are addressed
to young children between the ages of 9 and 13. That is not the case of
manga. There are 6-7 major types of manga, each having its own
audience. Kodomo manga is for children. Shonen manga is for boys
ages 12-18, Shoujo manga is for girls age 12-18. Josei manga is for
adult ladies above the age of 20, mainly working women. Seinen manga
 is for young men between the ages of 18 and 30, and Hentai manga is
pornographic, adult manga.
As you can see, saying "comics from Japan" is wrong. Another
difference between manga and Western comics is that each comics
volume has its own plot, while manga volumes all follow the same plot.
The artwork is VERY different. Manga has its own particular artwork,
especially when it comes to human faces, particularly the eyes, chin,
nose, mouth, forehead... Manga is also read from RIGHT to LEFT. (Yes,
even the English ones).
In Japan, 40% of all book & magazine sales are manga. That's a
huge number, considering the Japanese read A LOT. In 1998, about 3
billion manga volumes were printed in Japan, I'm sure that number is
higher now. Many manga have been translated to English and are sold
everywhere.

7. Digi-fiction
Digital -fiction is fiction that is written for and read from a
computer and can be web- or app-based (for tablets and smartphones)
or accessed via CD-ROMs. Digital fictions are different to e-books,
however. Rather than existing as a digital version of a print novel, digital
fictions are what are known as “born digital” – that is, they would lose
something of their aesthetic and/or structural form and meaning if they
were removed from the digital medium. For example, they may contain
hyperlinks, moving images, mini-games or sound effects.
Further, unlike e-books in which the reader moves from one page
to another in a linear fashion, in many digital fictions, the reader has a
role in constructing the narrative, either by selecting hyperlinks or by
controlling a character’s journey through the story world. Digital fictions
therefore require that the reader interacts with the narrative throughout
the reading experience and include texts such as hypertext fictions,
Flash fictions and some video games. You can find analyses of various
 different kinds of digital fictions in our most recent publication Analyzing
Digital Fiction.

8. Doodle Fiction
Doodle fiction has hand-scribed font and images are incorporated
in place of traditional typed font. The drawings enhance the story and
they often add humorous elements that keep readers engaged
Others would also define it as a literary presentation where the
author incorporates doodle drawings and hand-written graphics in place
of traditional font. Drawings enhance the story, often adding humorous
elements that would be missing if the illustrations were omitted.

1. Flash Fiction
The typical definition of flash fiction is a short fiction story of
under 1500 words, usually under 1000 words.The term is often used to
describe short works or short casual works as well. There are also
terms that define more specific word counts under 100 words, like
drabble (which are 100 words) or six-word-stories (6 words).
While flash fiction is written in pretty much any genre, popular
genres include: romance, thrillers, horror, sci-fi, and fan-fiction. Notable
flash fiction include fables like Aesop’s Fables and classics from writers
like Walt Whitman. Flash fiction stories tend to be published in
anthologies, journals, and collections.
I have written flash fics online for years with hundreds of flash
fiction works shared on sites like commaful as well as various journals.
Stories are also fun because they can be faster to write and written
more frequently. Some writers on the popular Commaful site have told
me that they write daily flash fictions to test creativity and build the daily
habit of writing.
Many readers also enjoy reading flash fictions because flash
fiction stories are so easy to get into and take little time commitment.
 Most novels and stories require readers to put books on a TBR (to be
read) list because they can’t immediately read the story, but flash
fictions are so fast and easy that people read the stories on the spot
and can immediately share feedback and even dream up new ideas.

2. Six-word Flash Fiction

Just six words, two commas and a full stop. In literary circles
however, widely regarded as a small and perfectly formed work of
fiction whose interpretation has fascinated experts for years. Is this a
sad story (an infant death), or maybe a humorous one (baby's feet
were much bigger than anticipated)?
Of course it's the brevity of this piece which is precisely what
makes it so fascinating, the fact that it inspires readers to ponder and
fill in the gaps, each person having their own particular idea of the back
story. Interpretations and literary value aside however, this six-word
tale (often attributed to Ernest Hemingway but actual author uncertain)
is often cited as an extreme example of a literary genre now known
as flash fiction.
One of the most famous examples of flash fiction is the "baby
shoes" six-word story: "For sale: baby shoes, never worn." The story is
often misattributed to Ernest Hemingway, but Garson O'Toole at Quote
Investigator has done extensive work to trace its true origin.
The baby shoes story has spawned many websites and
publications devoted to six-word stories. Readers and writers have
been captivated by the depth of emotion created by just these six
words. It is so sad to imagine why those baby shoes were never
needed, and even sadder to imagine the stoic person who picked
themselves up from loss and got down to the practical work of taking
out a classified ad to sell the shoes.
For carefully curated six-word stories,
try Narrative magazine. Narrative is selective about the work they
 publish, so you'll find only a handful of six-word stories there every
year, but all of them resonate. For six-word nonfiction, Smith
Magazine is well known for its six-word memoir collections, most
notably, Not Quite What I Was Planning.

3. Blog
A blog (a shortened version of “weblog”) is an online journal or
informational website displaying information in the reverse
chronological order, with the latest posts appearing first, at the top. It is
a platform where a writer or a group of writers share their views on an
individual subject.

What is the purpose of a blog?

There are many reasons to start a blog for personal use and
only a handful of strong ones for business blogging. Blogging for
business, projects, or anything else that might bring you money has a
very straightforward purpose – to rank your website higher in Google
SERPs, a.k.a. increase your visibility.

As a business, you rely on consumers to keep buying your

products and services. As a new business, you rely on blogging to help
you get to potential consumers and grab their attention. Without
blogging, your website would remain invisible, whereas running a blog
makes you searchable and competitive.
So, the main purpose of a blog is to connect you to the relevant
audience. Another one is to boost your traffic and send quality leads to
your website.
The more frequent and better your blog posts are, the higher the
chances for your website to get discovered and visited by your target
audience. This means that a blog is an effective lead generation tool.
Add a great call to action (CTA) to your content, and it will convert your
 website traffic into high-quality leads. A blog also allows you to
showcase your niche authority and build a brand.
When you use your niche knowledge for creating informative
and engaging posts, it builds trust with your audience. Great blogging
makes your business look more credible, which is especially important
if your brand is still young and fairly unknown. It ensures presence
online and niche authority at the same time.

Blog structure
The appearance of blogs has changed over time, and these
days blogs include a wide variety of items and widgets. However, most
blogs still include some standard features and structure.
Here are common features that a typical blog will include:
 Header with the menu or navigation bar.
 Main content area with highlighted or latest blog posts.
 Sidebar with social profiles, favorite content, or call-to-action.
 Footer with relevant links like a disclaimer, privacy policy,
contact page, etc.

REFERENCE

Writing creative nonfiction. (n.d.).

https://davehood59.wordpress.com/2010/02/17/writing-creative-
nonfiction/
LESSON 3. CHALLENGES FACED BY THE EMERGENT LITERATURE

WHAT TO EXPECT?
1. Discuss the challenges faced by emergent literature.
2. Compare and contrast the challenges of emerging literature with that of
popular literature.
3. Relate the challenges presented on their first-hand experiences.
4. Develop possible resolution to such challenges.

In the previous lesson, we have deliberated the challenges affecting the

literary configurations of popular literature. Asstated, there is an encountered
hurdle in terms of the stability on promotion and distribution of books, not
mentioning the expensive cost of producing the printed materials .
Furthermore, the decreasing appreciation of classic poetic works is highly
expected to happen. Also, it was discussed that despite the big tendency of
greater income, an endless fear of an instant fall down of a certain literary work’s
popularity can severely affect an author’s economic status.
Unfortunately, due to the numerous genres arising in popular literature
many works has a tendency to be disregarded by the target patronizers. One
major factor for such debris is that some genres in popular literature are not that
favored by the attention of the public.

Nonetheless, the challenges faced by emergent literature are:

1. It is more and more difficult to make today's media-savvy new
generations to acquire a taste in reading classic literature, given the
powerful influence of movies, the Internet, and mentioned
circumstances.
2. It is not easy to concentrate on the details of the text.
3. Google search doesn’t show relevant results.
4. There a difficulty in sorting out of information.
5. It’s hard to manage a proper balance of ideas and point of views.
 6. Even if you pay the utmost attention to sorting and analyzing the
content relevant to your field and topic of study, but fail to make the
needed formatting, you will not gain points you hope for.

REFERENCE

Sterling, B. (2020). Eighteen challenges in contemporary literature.

https://www.wired.com/2009/05/eighteen-challenges-in-contemporary-
literature/