what are the basic characteristics of creative writing

What Is Creative Writing? (Ultimate Guide + 20 Examples)

Creative writing begins with a blank page and the courage to fill it with the stories only you can tell.

I face this intimidating blank page daily–and I have for the better part of 20+ years.

In this guide, you’ll learn all the ins and outs of creative writing with tons of examples.

What Is Creative Writing (Long Description)?

Creative Writing is the art of using words to express ideas and emotions in imaginative ways. It encompasses various forms including novels, poetry, and plays, focusing on narrative craft, character development, and the use of literary tropes.

Bright, colorful creative writer's desk with notebook and typewriter -- What Is Creative Writing

Table of Contents

Let’s expand on that definition a bit.

Creative writing is an art form that transcends traditional literature boundaries.

It includes professional, journalistic, academic, and technical writing. This type of writing emphasizes narrative craft, character development, and literary tropes. It also explores poetry and poetics traditions.

In essence, creative writing lets you express ideas and emotions uniquely and imaginatively.

It’s about the freedom to invent worlds, characters, and stories. These creations evoke a spectrum of emotions in readers.

Creative writing covers fiction, poetry, and everything in between.

It allows writers to express inner thoughts and feelings. Often, it reflects human experiences through a fabricated lens.

Types of Creative Writing

There are many types of creative writing that we need to explain.

Some of the most common types:

Short stories
Screenplays
Flash fiction
Creative Nonfiction

Short Stories (The Brief Escape)

Short stories are like narrative treasures.

They are compact but impactful, telling a full story within a limited word count. These tales often focus on a single character or a crucial moment.

Short stories are known for their brevity.

They deliver emotion and insight in a concise yet powerful package. This format is ideal for exploring diverse genres, themes, and characters. It leaves a lasting impression on readers.

Example: Emma discovers an old photo of her smiling grandmother. It’s a rarity. Through flashbacks, Emma learns about her grandmother’s wartime love story. She comes to understand her grandmother’s resilience and the value of joy.

Novels (The Long Journey)

Novels are extensive explorations of character, plot, and setting.

They span thousands of words, giving writers the space to create entire worlds. Novels can weave complex stories across various themes and timelines.

The length of a novel allows for deep narrative and character development.

Readers get an immersive experience.

Example: Across the Divide tells of two siblings separated in childhood. They grow up in different cultures. Their reunion highlights the strength of family bonds, despite distance and differences.

Poetry (The Soul’s Language)

Poetry expresses ideas and emotions through rhythm, sound, and word beauty.

It distills emotions and thoughts into verses. Poetry often uses metaphors, similes, and figurative language to reach the reader’s heart and mind.

Poetry ranges from structured forms, like sonnets, to free verse.

The latter breaks away from traditional formats for more expressive thought.

Example: Whispers of Dawn is a poem collection capturing morning’s quiet moments. “First Light” personifies dawn as a painter. It brings colors of hope and renewal to the world.

Plays (The Dramatic Dialogue)

Plays are meant for performance. They bring characters and conflicts to life through dialogue and action.

This format uniquely explores human relationships and societal issues.

Playwrights face the challenge of conveying setting, emotion, and plot through dialogue and directions.

Example: Echoes of Tomorrow is set in a dystopian future. Memories can be bought and sold. It follows siblings on a quest to retrieve their stolen memories. They learn the cost of living in a world where the past has a price.

Screenplays (Cinema’s Blueprint)

Screenplays outline narratives for films and TV shows.

They require an understanding of visual storytelling, pacing, and dialogue. Screenplays must fit film production constraints.

Example: The Last Light is a screenplay for a sci-fi film. Humanity’s survivors on a dying Earth seek a new planet. The story focuses on spacecraft Argo’s crew as they face mission challenges and internal dynamics.

Memoirs (The Personal Journey)

Memoirs provide insight into an author’s life, focusing on personal experiences and emotional journeys.

They differ from autobiographies by concentrating on specific themes or events.

Memoirs invite readers into the author’s world.

They share lessons learned and hardships overcome.

Example: Under the Mango Tree is a memoir by Maria Gomez. It shares her childhood memories in rural Colombia. The mango tree in their yard symbolizes home, growth, and nostalgia. Maria reflects on her journey to a new life in America.

Flash Fiction (The Quick Twist)

Flash fiction tells stories in under 1,000 words.

It’s about crafting compelling narratives concisely. Each word in flash fiction must count, often leading to a twist.

This format captures life’s vivid moments, delivering quick, impactful insights.

Example: The Last Message features an astronaut’s final Earth message as her spacecraft drifts away. In 500 words, it explores isolation, hope, and the desire to connect against all odds.

Creative Nonfiction (The Factual Tale)

Creative nonfiction combines factual accuracy with creative storytelling.

This genre covers real events, people, and places with a twist. It uses descriptive language and narrative arcs to make true stories engaging.

Creative nonfiction includes biographies, essays, and travelogues.

Example: Echoes of Everest follows the author’s Mount Everest climb. It mixes factual details with personal reflections and the history of past climbers. The narrative captures the climb’s beauty and challenges, offering an immersive experience.

Fantasy (The World Beyond)

Fantasy transports readers to magical and mythical worlds.

It explores themes like good vs. evil and heroism in unreal settings. Fantasy requires careful world-building to create believable yet fantastic realms.

Example: The Crystal of Azmar tells of a young girl destined to save her world from darkness. She learns she’s the last sorceress in a forgotten lineage. Her journey involves mastering powers, forming alliances, and uncovering ancient kingdom myths.

Science Fiction (The Future Imagined)

Science fiction delves into futuristic and scientific themes.

It questions the impact of advancements on society and individuals.

Science fiction ranges from speculative to hard sci-fi, focusing on plausible futures.

Example: When the Stars Whisper is set in a future where humanity communicates with distant galaxies. It centers on a scientist who finds an alien message. This discovery prompts a deep look at humanity’s universe role and interstellar communication.

Watch this great video that explores the question, “What is creative writing?” and “How to get started?”:

What Are the 5 Cs of Creative Writing?

The 5 Cs of creative writing are fundamental pillars.

They guide writers to produce compelling and impactful work. These principles—Clarity, Coherence, Conciseness, Creativity, and Consistency—help craft stories that engage and entertain.

They also resonate deeply with readers. Let’s explore each of these critical components.

Clarity makes your writing understandable and accessible.

It involves choosing the right words and constructing clear sentences. Your narrative should be easy to follow.

In creative writing, clarity means conveying complex ideas in a digestible and enjoyable way.

Coherence ensures your writing flows logically.

It’s crucial for maintaining the reader’s interest. Characters should develop believably, and plots should progress logically. This makes the narrative feel cohesive.

Conciseness

Conciseness is about expressing ideas succinctly.

It’s being economical with words and avoiding redundancy. This principle helps maintain pace and tension, engaging readers throughout the story.

Creativity is the heart of creative writing.

It allows writers to invent new worlds and create memorable characters. Creativity involves originality and imagination. It’s seeing the world in unique ways and sharing that vision.

Consistency

Consistency maintains a uniform tone, style, and voice.

It means being faithful to the world you’ve created. Characters should act true to their development. This builds trust with readers, making your story immersive and believable.

Is Creative Writing Easy?

Creative writing is both rewarding and challenging.

Crafting stories from your imagination involves more than just words on a page. It requires discipline and a deep understanding of language and narrative structure.

Exploring complex characters and themes is also key.

Refining and revising your work is crucial for developing your voice.

The ease of creative writing varies. Some find the freedom of expression liberating.

Others struggle with writer’s block or plot development challenges. However, practice and feedback make creative writing more fulfilling.

What Does a Creative Writer Do?

A creative writer weaves narratives that entertain, enlighten, and inspire.

Writers explore both the world they create and the emotions they wish to evoke. Their tasks are diverse, involving more than just writing.

Creative writers develop ideas, research, and plan their stories.

They create characters and outline plots with attention to detail. Drafting and revising their work is a significant part of their process. They strive for the 5 Cs of compelling writing.

Writers engage with the literary community, seeking feedback and participating in workshops.

They may navigate the publishing world with agents and editors.

Creative writers are storytellers, craftsmen, and artists. They bring narratives to life, enriching our lives and expanding our imaginations.

How to Get Started With Creative Writing?

Embarking on a creative writing journey can feel like standing at the edge of a vast and mysterious forest.

The path is not always clear, but the adventure is calling.

Here’s how to take your first steps into the world of creative writing:

Find a time of day when your mind is most alert and creative.
Create a comfortable writing space free from distractions.
Use prompts to spark your imagination. They can be as simple as a word, a phrase, or an image.
Try writing for 15-20 minutes on a prompt without editing yourself. Let the ideas flow freely.
Reading is fuel for your writing. Explore various genres and styles.
Pay attention to how your favorite authors construct their sentences, develop characters, and build their worlds.
Don’t pressure yourself to write a novel right away. Begin with short stories or poems.
Small projects can help you hone your skills and boost your confidence.
Look for writing groups in your area or online. These communities offer support, feedback, and motivation.
Participating in workshops or classes can also provide valuable insights into your writing.
Understand that your first draft is just the beginning. Revising your work is where the real magic happens.
Be open to feedback and willing to rework your pieces.
Carry a notebook or digital recorder to jot down ideas, observations, and snippets of conversations.
These notes can be gold mines for future writing projects.

Final Thoughts: What Is Creative Writing?

Creative writing is an invitation to explore the unknown, to give voice to the silenced, and to celebrate the human spirit in all its forms.

Check out these creative writing tools (that I highly recommend):

What is Creative Writing? A Key Piece of the Writer’s Toolbox

Not all writing is the same and there’s a type of writing that has the ability to transport, teach, and inspire others like no other.

Creative writing stands out due to its unique approach and focus on imagination. Here’s how to get started and grow as you explore the broad and beautiful world of creative writing!

What is Creative Writing?

Creative writing is a form of writing that extends beyond the bounds of regular professional, journalistic, academic, or technical forms of literature. It is characterized by its emphasis on narrative craft, character development, and the use of literary tropes or poetic techniques to express ideas in an original and imaginative way.

Creative writing can take on various forms such as:

short stories
screenplays

It’s a way for writers to express their thoughts, feelings, and ideas in a creative, often symbolic, way . It’s about using the power of words to transport readers into a world created by the writer.

5 Key Characteristics of Creative Writing

Creative writing is marked by several defining characteristics, each working to create a distinct form of expression:

1. Imagination and Creativity: Creative writing is all about harnessing your creativity and imagination to create an engaging and compelling piece of work. It allows writers to explore different scenarios, characters, and worlds that may not exist in reality.

2. Emotional Engagement: Creative writing often evokes strong emotions in the reader. It aims to make the reader feel something — whether it’s happiness, sorrow, excitement, or fear.

3. Originality: Creative writing values originality. It’s about presenting familiar things in new ways or exploring ideas that are less conventional.

4. Use of Literary Devices: Creative writing frequently employs literary devices such as metaphors, similes, personification, and others to enrich the text and convey meanings in a more subtle, layered manner.

5. Focus on Aesthetics: The beauty of language and the way words flow together is important in creative writing. The aim is to create a piece that’s not just interesting to read, but also beautiful to hear when read aloud.

Remember, creative writing is not just about producing a work of art. It’s also a means of self-expression and a way to share your perspective with the world. Whether you’re considering it as a hobby or contemplating a career in it, understanding the nature and characteristics of creative writing can help you hone your skills and create more engaging pieces .

For more insights into creative writing, check out our articles on creative writing jobs and what you can do with a creative writing degree and is a degree in creative writing worth it .

Styles of Creative Writing

To fully understand creative writing , you must be aware of the various styles involved. Creative writing explores a multitude of genres, each with its own unique characteristics and techniques.

Poetry is a form of creative writing that uses expressive language to evoke emotions and ideas. Poets often employ rhythm, rhyme, and other poetic devices to create pieces that are deeply personal and impactful. Poems can vary greatly in length, style, and subject matter, making this a versatile and dynamic form of creative writing.

Short Stories

Short stories are another common style of creative writing. These are brief narratives that typically revolve around a single event or idea. Despite their length, short stories can provide a powerful punch, using precise language and tight narrative structures to convey a complete story in a limited space.

Novels represent a longer form of narrative creative writing. They usually involve complex plots, multiple characters, and various themes. Writing a novel requires a significant investment of time and effort; however, the result can be a rich and immersive reading experience.

Screenplays

Screenplays are written works intended for the screen, be it television, film, or online platforms. They require a specific format, incorporating dialogue and visual descriptions to guide the production process. Screenwriters must also consider the practical aspects of filmmaking, making this an intricate and specialized form of creative writing.

If you’re interested in this style, understanding creative writing jobs and what you can do with a creative writing degree can provide useful insights.

Writing for the theater is another specialized form of creative writing. Plays, like screenplays, combine dialogue and action, but they also require an understanding of the unique dynamics of the theatrical stage. Playwrights must think about the live audience and the physical space of the theater when crafting their works.

Each of these styles offers unique opportunities for creativity and expression. Whether you’re drawn to the concise power of poetry, the detailed storytelling of novels, or the visual language of screenplays and plays, there’s a form of creative writing that will suit your artistic voice. The key is to explore, experiment, and find the style that resonates with you.

For those looking to spark their creativity, our article on creative writing prompts offers a wealth of ideas to get you started.

Importance of Creative Writing

Understanding what is creative writing involves recognizing its value and significance. Engaging in creative writing can provide numerous benefits – let’s take a closer look.

Developing Creativity and Imagination

Creative writing serves as a fertile ground for nurturing creativity and imagination. It encourages you to think outside the box, explore different perspectives, and create unique and original content. This leads to improved problem-solving skills and a broader worldview , both of which can be beneficial in various aspects of life.

Through creative writing, one can build entire worlds, create characters, and weave complex narratives, all of which are products of a creative mind and vivid imagination. This can be especially beneficial for those seeking creative writing jobs and what you can do with a creative writing degree .

Enhancing Communication Skills

Creative writing can also play a crucial role in honing communication skills. It demands clarity, precision, and a strong command of language. This helps to improve your vocabulary, grammar, and syntax, making it easier to express thoughts and ideas effectively .

Moreover, creative writing encourages empathy as you often need to portray a variety of characters from different backgrounds and perspectives. This leads to a better understanding of people and improved interpersonal communication skills.

Exploring Emotions and Ideas

One of the most profound aspects of creative writing is its ability to provide a safe space for exploring emotions and ideas. It serves as an outlet for thoughts and feelings , allowing you to express yourself in ways that might not be possible in everyday conversation.

Writing can be therapeutic, helping you process complex emotions, navigate difficult life events, and gain insight into your own experiences and perceptions. It can also be a means of self-discovery , helping you to understand yourself and the world around you better.

So, whether you’re a seasoned writer or just starting out, the benefits of creative writing are vast and varied. For those interested in developing their creative writing skills, check out our articles on creative writing prompts and how to teach creative writing . If you’re considering a career in this field, you might find our article on is a degree in creative writing worth it helpful.

4 Steps to Start Creative Writing

Creative writing can seem daunting to beginners, but with the right approach, anyone can start their journey into this creative field. Here are some steps to help you start creative writing .

1. Finding Inspiration

The first step in creative writing is finding inspiration . Inspiration can come from anywhere and anything. Observe the world around you, listen to conversations, explore different cultures, and delve into various topics of interest.

Reading widely can also be a significant source of inspiration. Read different types of books, articles, and blogs. Discover what resonates with you and sparks your imagination.

For structured creative prompts, visit our list of creative writing prompts to get your creative juices flowing.

Editor’s Note : When something excites or interests you, stop and take note – it could be the inspiration for your next creative writing piece.

2. Planning Your Piece

Once you have an idea, the next step is to plan your piece . Start by outlining:

the main points

Remember, this can serve as a roadmap to guide your writing process. A plan doesn’t have to be rigid. It’s a flexible guideline that can be adjusted as you delve deeper into your writing. The primary purpose is to provide direction and prevent writer’s block.

3. Writing Your First Draft

After planning your piece, you can start writing your first draft . This is where you give life to your ideas and breathe life into your characters.

Don’t worry about making it perfect in the first go. The first draft is about getting your ideas down on paper . You can always refine and polish your work later. And if you don’t have a great place to write that first draft, consider a journal for writing .

4. Editing and Revising Your Work

The final step in the creative writing process is editing and revising your work . This is where you fine-tune your piece, correct grammatical errors, and improve sentence structure and flow.

Editing is also an opportunity to enhance your storytelling . You can add more descriptive details, develop your characters further, and make sure your plot is engaging and coherent.

Remember, writing is a craft that improves with practice . Don’t be discouraged if your first few pieces don’t meet your expectations. Keep writing, keep learning, and most importantly, enjoy the creative process.

For more insights on creative writing, check out our articles on how to teach creative writing or creative writing activities for kids.

Tips to Improve Creative Writing Skills

Understanding what is creative writing is the first step. But how can one improve their creative writing skills? Here are some tips that can help.

Read Widely

Reading is a vital part of becoming a better writer. By immersing oneself in a variety of genres, styles, and authors, one can gain a richer understanding of language and storytelling techniques . Different authors have unique voices and methods of telling stories, which can serve as inspiration for your own work. So, read widely and frequently!

Practice Regularly

Like any skill, creative writing improves with practice. Consistently writing — whether it be daily, weekly, or monthly — helps develop your writing style and voice . Using creative writing prompts can be a fun way to stimulate your imagination and get the words flowing.

Attend Writing Workshops and Courses

Formal education such as workshops and courses can offer structured learning and expert guidance. These can provide invaluable insights into the world of creative writing, from understanding plot development to character creation. If you’re wondering is a degree in creative writing worth it, these classes can also give you a taste of what studying creative writing at a higher level might look like .

Joining Writing Groups and Communities

Being part of a writing community can provide motivation, constructive feedback, and a sense of camaraderie. These groups often hold regular meetings where members share their work and give each other feedback. Plus, it’s a great way to connect with others who share your passion for writing.

Seeking Feedback on Your Work

Feedback is a crucial part of improving as a writer. It offers a fresh perspective on your work, highlighting areas of strength and opportunities for improvement. Whether it’s from a writing group, a mentor, or even friends and family, constructive criticism can help refine your writing .

Start Creative Writing Today!

Remember, becoming a proficient writer takes time and patience. So, don’t be discouraged by initial challenges. Keep writing, keep learning, and most importantly, keep enjoying the process. Who knows, your passion for creative writing might even lead to creative writing jobs and what you can do with a creative writing degree .

Happy writing!

Brooks Manley

what are the basic characteristics of creative writing

Creative Primer is a resource on all things journaling, creativity, and productivity. We’ll help you produce better ideas, get more done, and live a more effective life.

My name is Brooks. I do a ton of journaling, like to think I’m a creative (jury’s out), and spend a lot of time thinking about productivity. I hope these resources and product recommendations serve you well. Reach out if you ever want to chat or let me know about a journal I need to check out!

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Inspiring Ink: Expert Tips on How to Teach Creative Writing

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Elements of Creative Writing

J.D. Schraffenberger, University of Northern Iowa

Rachel Morgan, University of Northern Iowa

Grant Tracey, University of Northern Iowa

ISBN 13: 9780915996179

Publisher: University of Northern Iowa

Language: English

Formats Available

Conditions of use.

Learn more about reviews.

Reviewed by Robert Moreira, Lecturer III, University of Texas Rio Grande Valley on 3/21/24

Unlike Starkey's CREATIVE WRITING: FOUR GENRES IN BRIEF, this textbook does not include a section on drama. read more

Comprehensiveness rating: 4 see less

Unlike Starkey's CREATIVE WRITING: FOUR GENRES IN BRIEF, this textbook does not include a section on drama.

Content Accuracy rating: 5

As far as I can tell, content is accurate, error free and unbiased.

Relevance/Longevity rating: 5

The book is relevant and up-to-date.

Clarity rating: 5

The text is clear and easy to understand.

Consistency rating: 5

I would agree that the text is consistent in terms of terminology and framework.

Modularity rating: 5

Text is modular, yes, but I would like to see the addition of a section on dramatic writing.

Organization/Structure/Flow rating: 5

Topics are presented in logical, clear fashion.

Interface rating: 5

Navigation is good.

Grammatical Errors rating: 5

No grammatical issues that I could see.

Cultural Relevance rating: 3

I'd like to see more diverse creative writing examples.

As I stated above, textbook is good except that it does not include a section on dramatic writing.

Introduction
Chapter One: One Great Way to Write a Short Story
Chapter Two: Plotting
Chapter Three: Counterpointed Plotting
Chapter Four: Show and Tell
Chapter Five: Characterization and Method Writing
Chapter Six: Character and Dialouge
Chapter Seven: Setting, Stillness, and Voice
Chapter Eight: Point of View
Chapter Nine: Learning the Unwritten Rules
Chapter One: A Poetry State of Mind
Chapter Two: The Architecture of a Poem
Chapter Three: Sound
Chapter Four: Inspiration and Risk
Chapter Five: Endings and Beginnings
Chapter Six: Figurative Language
Chapter Seven: Forms, Forms, Forms
Chapter Eight: Go to the Image
Chapter Nine: The Difficult Simplicity of Short Poems and Killing Darlings

Creative Nonfiction

Chapter One: Creative Nonfiction and the Essay
Chapter Two: Truth and Memory, Truth in Memory
Chapter Three: Research and History
Chapter Four: Writing Environments
Chapter Five: Notes on Style
Chapter Seven: Imagery and the Senses
Chapter Eight: Writing the Body
Chapter Nine: Forms

Back Matter

Contributors
North American Review Staff

Ancillary Material

University of Northern Iowa

About the Book

This free and open access textbook introduces new writers to some basic elements of the craft of creative writing in the genres of fiction, poetry, and creative nonfiction. The authors—Rachel Morgan, Jeremy Schraffenberger, and Grant Tracey—are editors of the North American Review, the oldest and one of the most well-regarded literary magazines in the United States. They’ve selected nearly all of the readings and examples (more than 60) from writing that has appeared in NAR pages over the years. Because they had a hand in publishing these pieces originally, their perspective as editors permeates this book. As such, they hope that even seasoned writers might gain insight into the aesthetics of the magazine as they analyze and discuss some reasons this work is so remarkable—and therefore teachable. This project was supported by NAR staff and funded via the UNI Textbook Equity Mini-Grant Program.

About the Contributors

J.D. Schraffenberger is a professor of English at the University of Northern Iowa. He is the author of two books of poems, Saint Joe's Passion and The Waxen Poor , and co-author with Martín Espada and Lauren Schmidt of The Necessary Poetics of Atheism . His other work has appeared in Best of Brevity , Best Creative Nonfiction , Notre Dame Review , Poetry East , Prairie Schooner , and elsewhere.

Rachel Morgan is an instructor of English at the University of Northern Iowa. She is the author of the chapbook Honey & Blood , Blood & Honey . Her work is included in the anthology Fracture: Essays, Poems, and Stories on Fracking in American and has appeared in the Journal of American Medical Association , Boulevard , Prairie Schooner , and elsewhere.

Grant Tracey author of three novels in the Hayden Fuller Mysteries ; the chapbook Winsome featuring cab driver Eddie Sands; and the story collection Final Stanzas , is fiction editor of the North American Review and an English professor at the University of Northern Iowa, where he teaches film, modern drama, and creative writing. Nominated four times for a Pushcart Prize, he has published nearly fifty short stories and three previous collections. He has acted in over forty community theater productions and has published critical work on Samuel Fuller and James Cagney. He lives in Cedar Falls, Iowa.

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Principles of Creative Writing: An Ultimate Guide

Explore the art of storytelling with our blog on the Principles of Creative Writing. Uncover the key techniques that transform words into captivating narratives. From character development to plot intricacies, we'll guide you through the fundamental principles that breathe life into your writing, helping you craft compelling and imaginative stories.

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Table of Contents

1) Understanding Creative Writing Principles

2) Principles of Creative Writing

a) Imagination knows no bounds

b) Crafting compelling characters

c) Plot twists and turns

d) Setting the stage

e) Point of View (POV) and voice

f) Dialogue - The voice of your characters

g) Conflict and tension

h) Show, don't tell

i) Editing and revising with precision

j) The power of theme and symbolism

k) Pacing and rhythm

l) Emotionally resonant writing

m) Atmosphere and mood

3) Conclusion

Understanding Creative Writing Principles

Before we move on to the Principles for Creative Writers, let’s first understand the concept of Creative Writing. Creative Writing is an exploration of human expression, a channel through which Writers communicate their unique perspectives, experiences, and stories.

This form of writing encompasses various genres, such as fiction, poetry, drama, and more. Unlike Technical or Academic Writing, Creative Writing is driven by the desire to evoke emotions, engage readers, and transport them to alternate worlds.

Take your academic writing to the next level – join our Academic Writing Masterclass and unlock the art of effective writing and communication!

Principles of Creative Writing

Now that you know the meaning of Creative Writing, let’s explore its principles.

Principle 1: Imagination k nows n o b ounds

Your imagination is a treasure trove of ideas waiting to be explored. To cultivate your creative imagination:

a) Allow yourself to think without limitations.

b) Let thoughts collide and see where they lead.

c) Keep a journal to jot down fleeting ideas and use them as springboards for your writing.

Break free from conventional thought patterns—experiment with "what if" scenarios – twist familiar elements into something new. Blend genres, combine unrelated concepts, or put your characters in unexpected situations .

Principle 2: Crafting c ompelling c haracters

Characters are the heart of your story. Develop characters with distinct personalities, motivations, strengths, and flaws. Delve into their backgrounds, understanding their past experiences and how they shape their choices. Consider their beliefs, fears, desires, and relationships with others in the story .

Readers connect with characters they can relate to. Make your characters multifaceted by giving them relatable qualities. Flaws make characters human, so don't hesitate to bestow imperfections upon them. Your readers will find themselves emotionally invested in their journeys as they face challenges and grow.

Principle 3: Plot t wists and t urns

A well-crafted story thrives on plot twists and turns. These unexpected shifts keep readers engaged, encouraging them to explore the unknown alongside your characters. The art of plot twists lies in weaving surprises that challenge characters' assumptions and drive the story in unexpected directions.

Develop logical and unforeseen twists, leaving your audience eager to discover what happens next. Experiment with various narrative structures. Choose the structure that best serves your story's theme and tone.

Principle 4: Setting the s tage

Transport readers into your story's world by vividly describing its physical elements – sights, sounds, smells, and textures. The setting isn't merely a backdrop; it's a living, breathing entity that influences the mood and atmosphere of your narrative. Create an immersive experience that makes readers feel like they're living the story alongside your characters. Make the setting integral to your storytelling, whether a bustling urban landscape or serene countryside.

Principle 5: Point of View (POV) and v oice

Point of View (POV) and voice are essential tools that shape how your story is perceived. POV determines the perspective through which readers experience the narrative – whether through a character's eyes (first person), an external observer (third person limited), or an all-knowing narrator (third person omniscient). Each POV offers a distinct vantage point, influencing what readers know and how they connect with the characters.

On the other hand, voice is the unique style and tone of your writing that reflects the narrator's personality and worldview. Skilful manipulation of POV and voice deepens readers' immersion and connection with the story .

Principle 6: Dialogue - The v oice of y our c haracters

Dialogue is a powerful tool for revealing character relationships and advancing the plot. It's the medium through which characters reveal their personalities, motivations, and conflicts. Make your dialogue sound natural by paying attention to speech patterns, interruptions, and nuances.

Each character should possess a distinctive voice, reflecting their background, emotions, and quirks. Effective dialogue moves the plot forward, adds depth to relationships, and provides insight into characters' inner worlds.

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Principle 7: Conflict and t ension

Conflict drives your story forward. Whether internal (within a character's mind) or external (between characters or forces), conflicts create stakes and keep readers invested. Make conflicts meaningful by connecting them to your characters' goals and desires. Tension, on the other hand, keeps readers engaged by evoking curiosity and emotional investment.

Principle 8: Show, d on't t ell

"Show, don't tell" is a principle that encourages subtlety and reader engagement. Instead of directly stating emotions or information, show them through actions, behaviours, and sensory details. Allow readers to draw their own conclusions, fostering a deeper connection to the narrative.

For example, instead of stating, "She was sad," show her wiping away a tear and gazing out the rain-soaked window. This approach not only immerses readers in the story but also invites them to interpret and empathise with the characters' experiences.

Principle 9: Editing and r evising with p recision

Your first draft is just the beginning. Editing and revising refine your work into its best version. Editing is not just about correcting grammar; it's about refining your prose to convey your message with clarity and impact. Read your work critically, checking for consistency in tone, pacing, and character development. Trim unnecessary elements and tighten sentences to eliminate any ambiguity. Embrace the art of revision to sculpt your rough draft into a polished masterpiece.

Principle 10: The p ower of t heme and s ymbolism

Themes and symbolism add meaning to your writing, inviting readers to explore more profound insights. A theme is your story's central idea or message, while symbolism uses objects, actions, or concepts to represent abstract ideas. By infusing your narrative with meaningful themes and symbolism, you create a tapestry of thought-provoking connections that engage readers on both intellectual and emotional levels.

Principle 11: Pacing and r hythm

The rhythm of your writing affects how readers engage with your story. Experiment with sentence lengths and structures to create a natural flow that guides readers seamlessly through the narrative. Vary pacing to match the intensity of the scenes; fast-paced action should have short, punchy sentences, while contemplative moments can benefit from longer, more introspective prose. Mastering rhythm and flow keep readers entranced from start to finish.

Principle 12: Emotionally r esonant w riting

The goal of Creative Writing is to evoke emotions in your readers. Develop empathy for your characters and encourage readers to feel alongside them. Tap into your own experiences and emotions to connect with readers on a human level. Emotionally charged writing doesn't just entertain; it leaves a mark on readers' hearts, reminding them of shared experiences and universal truths.

Principle 13: Atmosphere and m ood

The atmosphere and mood of a story set the tone for readers' experiences. Through careful selection of words, sentence structures, and descriptive details, you can shape the emotional ambience of your narrative. Whether you're writing an exciting thriller, a magical fantasy, or a serious drama, infuse your writing with an atmosphere that wraps readers in the emotions you want them to feel.

Conclusion

The Principles of Creative Writing provide a roadmap for crafting stories that captivate and inspire. These principles allow you to transform your writing from ordinary to extraordinary easily. As you work on becoming a Creative Writer, remember that practice is key. Each principle mentioned here is like a tool in your Writer's toolbox, waiting to be improved and used effectively.

Elevate your writing skills with our Creative Writing Training . Join today to unleash your creativity!

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WRITING SKILLS

Creative Writing

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Writing Skills:

A - Z List of Writing Skills

The Essentials of Writing

Common Mistakes in Writing
Introduction to Grammar
Improving Your Grammar
Active and Passive Voice
Punctuation
Clarity in Writing
Writing Concisely
Coherence in Writing
Gender Neutral Language
Figurative Language
When to Use Capital Letters
Using Plain English
Writing in UK and US English
Understanding (and Avoiding) Clichés
The Importance of Structure
Know Your Audience
Know Your Medium
Formal and Informal Writing Styles
Note-Taking from Reading
Note-Taking for Verbal Exchanges
Top Tips for Writing Fiction
Writer's Voice
Writing for Children
Writing for Pleasure
Writing for the Internet
Journalistic Writing
Technical Writing
Academic Writing
Editing and Proofreading

Writing Specific Documents

Writing a CV or Résumé
Writing a Covering Letter
Writing a Personal Statement
Writing Reviews
Using LinkedIn Effectively
Business Writing
Study Skills
Writing Your Dissertation or Thesis

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Creative writing is loosely defined as more or less any form of original writing: anything that involves creativity and ‘making things up’. It can therefore be defined simply as writing that falls outside the usual bounds of journalistic, academic, technical or professional writing.

Creative writing is generally considered to encompass all fiction writing, as well as poetry, and many people also include writing plays and screenplays.

The focus of creative writing is generally, but not invariably, on the narrative arc and character development. It is therefore very different from writing such as journalistic writing , which may aim to tell stories, but is focused on facts.

Elements of Creative Writing

There are many different forms of creative writing, and they all have their own features. However, many types of creative writing also share some common features. These include:

1. A strong plot or narrative arc

The plot, also known as the ‘narrative arc’, is the unique ‘story’ of your writing. It describes what happens to your characters.

It is fair to say that this is a feature of all creative writing, and is effectively what distinguishes it from other forms of writing. Without a story, you are simply providing facts. There is a place for that—but it is not creative writing.

A plot does not have to cover a long period of time, or even have a clear ending. If you consider many short stories, they are very much a snapshot in time. You enter the characters’ lives at a particular point, and often leave them shortly afterwards. You do not necessarily know what happens next. Some of the most frightening stories are those where your imagination fills in the gaps (a good example of this is Daphne Du Maurier’s short story The Birds , later made into a film by Alfred Hitchcock).

Even a poem has a story (see box).

Narrative arc in poetry

It is possible to suggest that much poetry, especially more modern poetry is not a ‘story’, but is about feelings and emotions. However, that does not mean that it has no narrative arc.

Consider Robert Frost’s poem The Road Not Taken, which ends

“Two roads diverged in a wood, and I— / I took the one less traveled by, / And that has made all the difference.”

Most people are only aware of these last few couplets. However, the poem has four verses, setting out the poet’s situation (standing in a wood, having to choose between two possible roads), and his feelings about that. He then looks ahead to the future, and how he will one day look back on this and recognise the importance of the moment.

The road is undoubtedly metaphorical. However, there is still a clear plot and story to the poem.

2. Character development

The second feature of creative writing is the creation of characters, and their development over the course of the writing.

In this context, ‘development’ can describe either changes in the character themselves, or a change in the reader’s understanding of the character.

For example, in Charles Dickens’ A Christmas Carol , Ebenezer Scrooge, the main character, undergoes an epiphany in the course of the book, and his character completely changes.

However, by contrast, in Daphne Du Maurier’s Rebecca , the unnamed heroine—and by extension, the reader—learns more and more about her husband’s former wife over the course of the book, and comes to appreciate that all is not what it seemed on the surface.

3. A characteristic use of language

One of the features that distinguishes creative writing is the wide diversity of language use.

Creative writers often, if not always, provide visual descriptions of locations and people. This is because their readers need to be able to imagine the characters and scenes—and providing more descriptions makes this process easier.

Writers like J.R.R. Tolkien spent years creating imaginary worlds. They wanted their readers to share their vision of these worlds in as much detail as possible.

Creative writing also often features a more vivid use of language. Metaphors, similes, adjectives and adverbs abound. Unlike business writing, it is not a matter of ‘more concise often equals better’. In creative writing, more can definitely be more.

4. An underlying theme or message

Some people suggest that every piece of creative writing has an underlying theme or message.

It is certainly true that there can be some very strong underlying themes, especially in certain types of writing. For example, many fantasy novels are very much ‘good vs. evil’, usually with a strong undertone of ‘coming of age’ of characters. Journeys within books are often metaphors for a character’s own journey of development, with a sense of ‘homecoming’ or ‘journey’s end’ towards the end of the story.

This idea of an underlying theme is interesting, because it is arguable that it is not always intentional.

In other words, it is not clear whether writers sit down and decide on this underlying theme, or whether it develops with the writing. It certainly does not seem to be necessary to have a clear ‘message’ in mind in writing—and certainly not a moral one. However, there is also something intensely human about wanting to draw lessons from experience.

The real question is: does the writer do this, or is this part of what happens during the reading process?

5. An emotional appeal

Creative writing has to appeal to our emotions. Otherwise, we might as well read non-fiction.

Writers have to create this emotional appeal, but it is often part of the other aspects of a piece of creative writing. For example, writers develop strong characters, with an appealing story arc. Readers empathise with those characters, and care what happens to them. If the writer does not create interesting characters, the reader loses interest.

It therefore seems likely that the most important aspect of creating emotional appeal is that you, the writer, care about your characters and what happens to them.

After all, if you don’t care, why would anyone else?

Developing Creative Writing Skills

Creative writing is a skill like any other form of writing. It therefore follows that you can develop that skill.

However, it can be much harder to do that than with many other forms of writing. It is, for example, harder to get external opinions about your writing without going on a course (see box).

Creative writing courses and teaching

Many universities and schools offer courses in creative writing. Some of these may be general, and others may have a more specific focus, such as writing for films or screen.

If you want to pursue an interest in creative writing, but you are struggling to get started, one of these courses may be right for you.

However, as with any other course, it is worth doing your research to ensure that you will get value for money.

You can also find plenty of advice and creative writing exercises online, some of which are free. It may be worth trying some of these first, to see if they are sufficient to get you started.

A final thought

Writing is a very personal process.

Nobody can tell you how writing ‘should’ be for you, especially creative writing. Everyone works differently, and the process of developing characters and stories is different for every writer.

Probably the best advice is simply to start writing, keeping in mind the elements listed here, and then seek feedback from those around you.

Continue to: Top Tips for Writing Fiction Storytelling in Business

See also: Writing for Children Writing for Pleasure Common Mistakes in Writing

Writers' Treasure

Effective writing advice for aspiring writers

Creative Writing 101

Creative writing is any form of writing which is written with the creativity of mind: fiction writing, poetry writing, creative nonfiction writing and more. The purpose is to express something, whether it be feelings, thoughts, or emotions.

Rather than only giving information or inciting the reader to make an action beneficial to the writer, creative writing is written to entertain or educate someone, to spread awareness about something or someone, or to express one’s thoughts.

There are two kinds of creative writing: good and bad, effective and ineffective. Bad, ineffective creative writing cannot make any impression on the reader. It won’t achieve its purpose.

So whether you’re a novelist, a poet, a short-story writer, an essayist, a biographer or an aspiring beginner, you want to improve your craft. The question is: how?

When you write great fiction, poetry, or nonfiction, amazing things can happen. Readers can’t put it down. The work you wrote becomes a bestseller. It becomes famous. But you have to reach to that level… first .

The best way to increase your proficiency in creative writing is to write, write compulsively, but it doesn’t mean write whatever you want. There are certain things you should know first… it helps to start with the right foot.

To do exactly that, here we have a beginners’ guide from Writers’ Treasure on the subject:

An Introduction to Creative Writing
How to Get Started in Creative Writing in Just Three Steps
Creative Writing vs. Technical Writing
Fiction Writing 101: The Elements of Stories
Poetry Writing: Forms and Terms Galore
Creative Non-Fiction: What is it?
Tips and Tricks to Improve Your Creative Writing
Common Mistakes Made by Creative Writers

For novelists: do you want to write compelling opening chapters?

Are you an aspiring novelist? Will your novel see the light of day? For that, you will need to make the first chapter of your story as compelling as possible. Otherwise, readers won’t even pick up your novel. That chapter can be the make-or-break point that decides whether your novel is published or not. It’s because good editors know how you write from the first three pages… or sometimes even from the opening lines.

To solve this problem, I created a five-part tutorial on Writing Compelling Opening Chapters . It outlines why you need to write a compelling opening chapter, my personal favourite way of beginning it, what should be told and shown in it, general dos and don’ts, and what you need to do after having written it. Check it out for more.

Need more writing tips?

Sometimes you reach that stage when you outgrow the beginner stage of writing but feel that you’re not yet an expert. If I just described you, no worries– Writers’ Treasure’s writing tips are here. Whether you want to make your writing more readable, more irresistible, more professional, we’ve got you covered. So check out our writing tips , and be on your way to fast track your success.

I offer writing, editing and proofreading , as well as website creation services. I’ve been in this field for seven years, and I know the tools of the trade. I’ve seen the directions where the writing industry is going, the changes, the new platforms. Get your work done through me, and get fast and efficient service. Get a quote .

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The Basic Characteristics of Effective Writing

Why Good Grammar Alone Does Not Make a Good Writer

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An Introduction to Punctuation
Ph.D., Rhetoric and English, University of Georgia
M.A., Modern English and American Literature, University of Leicester
B.A., English, State University of New York

Experiences in school leave some people with the impression that good writing simply means writing that contains no bad mistakes—that is, no errors of grammar , punctuation or spelling . However, good writing is much more than just correct writing. Good writing responds to the interests and needs of its intended audience and at the same time, reflects the writer's personality and individuality (the author's voice).

Good writing is often as much the result of practice and hard work as it is talent. You may be encouraged to know that the ability to write well is not necessarily a gift that some people are born with, nor a privilege extended to only a few. If you're willing to put in the effort, you can improve your writing.

Rules for Professional and Academic Writing

When writing term papers or essays for school, or should you go on to a career as a professional writer—be it as a technical writer, journalist, copywriter, or speechwriter—if follow you these established rules for effective writing, you should be able to excel, or at least perform competently for any given assignment:

Good writing has a clearly defined purpose .
It makes a definite point .
It supports that point with specific information.
The information is clearly connected and arranged .
The words are appropriate, and the sentences are concise , emphatic , and correct .

Use Good Grammar, Spelling, and Punctuation

While having a grasp on proper grammar, spelling, and punctuation won't make you a good writer, these basics are more essential to academic and professional writing than most other genres (although advertising is often a curious hybrid of creative and non-fiction writing).

Your Part in a Conversation

The trick to creating academic or professional writing that someone will actually want to read is to balance the aforementioned essentials with your own voice. Think of your writing, no matter how academic as your part in a conversation . Your job is to explain the information you're trying to convey in a way that's clear and easily understood. (Sometimes, it helps to imagine you're talking rather than writing.)

Creative and Nonfiction Writing

Of course, if there were only one kind of writing, it would be easier to come up with an overarching set of conventions to define what good writing is, however, non-fiction alone encompasses a wide array of genres and formats and what works for one doesn't necessarily fly with another. Now, when you add poetry , fiction (in its myriad genres and subgenres), personal essays , playwriting, blogging, podcasting, and screenwriting (to name but a few) to the mix, it's almost impossible to come up with a one-size-fits-all umbrella that covers what makes writing good—or bad.

Separating Good Writing From Bad

One of the main reasons it's so hard to separate good writing from bad writing when it comes to disciplines such as fiction, poetry, or plays, is that the definition of what's "good" is often subjective, and that subjectivity is a matter of personal taste. People generally know what they like and what they don't like—but that doesn't necessarily mean the writing we don't like is "bad" writing.

Whale of a Tale

Let's just choose one famous piece of literature as an example: Herman Melville's 1851 novel "Moby Dick," a cautionary allegory of obsession and revenge that pits man against nature. While there's no arguing that the novel is considered a classic of American literature and is filled with its fair share of fascinating characters, Melville's narrative clocks in at over 200,000 words and nearly 600 pages (depending on the edition). When you consider that the average novel runs between 60,000 and 90,000 words, in terms of length alone, Melville's tale of the whale is a whopper.

But Not for Everyone

Unfortunately for many reading the book, the experience is much akin to being a sailor during a whaling-era sea voyage in which you went for days on end going through the routine, tedious, mundane, redundant tasks required to keep the ship going, with the exciting parts of the journey few and far between. Unless you're fascinated by page after page relating to all things whaling, reading "Moby Dick" can be a chore. Does that make it a "bad" book? Obviously not, it's just not a good book for everyone.

Famous Writers on Writing

Most professional writers—those gifted people who make writing look easy—will be the first ones to tell you that often it's not easy at all, nor is there a right way or wrong way to go about it:

Ernest Hemingway: "There is no rule on how to write. Sometimes it comes easily and perfectly: sometimes it's like drilling rock and then blasting it out with charges."

Stephen King: “If you want to be a writer, you must do two things above all others: read a lot and write a lot. There’s no way around these two things that I’m aware of, no shortcut.”

Paddy Chayefsky: "If I have anything to say to young writers, it's stop thinking of writing as art. Think of it as work. It's hard physical work. You keep saying, 'No, that's wrong, I can do it better.' "

Isaac Bashevis Singer: "One is never happy. If a writer is too happy with his writing, something is wrong with him. A real writer always feels as if he hasn't done enough. This is the reason he has the ambition to rewrite, to publish things, and so on. The bad writers are very happy with what they do. They always seem surprised about how good they are. I would say that a real writer sees that he missed a lot of opportunities."

Sinclair Lewis: "Writing is just work—there's no secret. If you dictate or use a pen or type or write with your toes—it's still just work."

Ray Bradbury: "Any man who keeps working is not a failure. He may not be a great writer, but if he applies the old-fashioned virtues of hard, constant labor, he’ll eventually make some kind of career for himself as writer."

Harlan Ellison: "People on the outside think there’s something magical about writing, that you go up in the attic at midnight and cast the bones and come down in the morning with a story, but it isn’t like that. You sit in back of the typewriter and you work, and that’s all there is to it."

Writing Rarely Comes Easily

As you can see, writing rarely comes easily to anyone—even the most accomplished writers. Don't lose heart. If you want to be a better writer, you're going to have to put in the work. Not everything you write is going to be great or even good, but the more you write the better your skills will become. Learning the basics and continuing to practice will help you gain confidence.

Master the Basics, and Learn to Enjoy It

Eventually, you'll not only be a better writer—you might actually enjoy writing. Just as a musician cannot deliver an inspired performance without first learning the rudiments of the craft and studying technique, once you've mastered the basics of writing, you'll be ready to let inspiration and imagination take you almost anywhere you wish to go.

Guides for Students and Instructors in English 101
What Makes Someone a Good Writer?
F.L. Lucas Offers Principles for Effective Writing
14 Ways to Write Better in High School
Characteristics of a Good Editor
Writers on Reading
What Does It Mean to Be a Writer?
12 Writers Discuss Writing
The Writer's Voice in Literature and Rhetoric
Defining Nonfiction Writing
What Literature Can Teach Us
Doris Lessing
6 Traits of Writing
Reasons Writers Write
Best Practices for the Most Effective Use of Paragraphs
What Is Style in Writing?

Whether you’ve been struck with a moment of inspiration or you’ve carried a story inside you for years, you’re here because you want to start writing fiction. From developing flesh-and-bone characters to worlds as real as our own, good fiction is hard to write, and getting the first words onto the blank page can be daunting.

Daunting, but not impossible. Although writing good fiction takes time, with a few fiction writing tips and your first sentences written, you’ll find that it’s much easier to get your words on the page.

Let’s break down fiction to its essential elements. We’ll investigate the individual components of fiction writing—and how, when they sit down to write, writers turn words into worlds. Then, we’ll turn to instructor Jack Smith and his thoughts on combining these elements into great works of fiction. But first, what are the elements of fiction writing?

Introduction to Fiction Writing: The Six Elements of Fiction

Before we delve into any writing tips, let’s review the essentials of creative writing in fiction. Whether you’re writing flash fiction , short stories, or epic trilogies, most fiction stories require these six components:

Plot: the “what happens” of your story.
Characters: whose lives are we watching?
Setting: the world that the story is set in.
Point of View: from whose eyes do we see the story unfold?
Theme: the “deeper meaning” of the story, or what the story represents.
Style: how you use words to tell the story.

It’s important to recognize that all of these elements are intertwined. You can’t build the setting without writing it through a certain point of view; you can’t develop important themes with arbitrary characters, etc. We’ll get into the relationship between these elements later, but for now, let’s explore how to use each element to write fiction.

1. Fiction Writing Tip: Developing Fictional Plots

Plot is the series of causes and effects that produce the story as a whole. Because A, then B, then C—ultimately leading to the story’s climax , the result of all the story’s events and character’s decisions.

If you don’t know where to start your story, but you have a few story ideas, then start with the conflict . Some novels take their time to introduce characters or explain the world of the piece, but if the conflict that drives the story doesn’t show up within the first 15 pages, then the story loses direction quickly.

That’s not to say you have to be explicit about the conflict. In Harry Potter, Voldemort isn’t introduced as the main antagonist until later in the first book; the series’ conflict begins with the Dursley family hiding Harry from his magical talents. Let the conflict unfold naturally in the story, but start with the story’s impetus, then go from there.

2. Fiction Writing Tip: Creating Characters

Think far back to 9th grade English, and you might remember the basic types of story conflicts: man vs. nature, man vs. man, and man vs. self. The conflicts that occur within stories happen to its characters—there can be no story without its people. Sometimes, your story needs to start there: in the middle of a conversation, a disrupted routine, or simply with what makes your characters special.

There are many ways to craft characters with depth and complexity. These include writing backstory, giving characters goals and fatal flaws, and making your characters contend with complicated themes and ideas. This guide on character development will help you sort out the traits your characters need, and how to interweave those traits into the story.

3. Fiction Writing Tip: Give Life to Living Worlds

Whether your story is set on Earth or a land far, far away, your setting lives in the same way your characters do. In the same way that we read to get inside the heads of other people, we also read to escape to a world outside of our own. Consider starting the story with what makes your world live: a pulsing city, the whispered susurrus of orchards, hills that roil with unsolved mysteries, etc. Tell us where the conflict is happening, and the story will follow.

4. Fiction Writing Tip: Play With Narrative Point of View

Point of view refers to the “cameraman” of the story—the vantage point we are viewing the story through. Maybe you’re stuck starting your story because you’re trying to write it in the wrong person. There are four POVs that authors work with:

First person—the story is told from the “I” perspective, and that “I” is the protagonist.
First person peripheral—the story is told from the “I” perspective, but the “I” is not the protagonist, but someone adjacent to the protagonist. (Think: Nick Carraway, narrator of The Great Gatsby. )
Second person—the story is told from the “you” perspective. This point of view is rare, but when done effectively, it can create a sense of eeriness or a personalized piece.
Third person limited—the story is told from the “he/she/they” perspective. The narrator is not directly involved in the lives of the characters; additionally, the narrator usually writes from the perspective of one or two characters.
Third person omniscient—the story is told from the “he/she/they” perspective. The narrator is not directly involved in the lives of the characters; additionally, the narrator knows what is happening in each character’s heads and in the world at large.

If you can’t find the right words to begin your piece, consider switching up the pronouns you use and the perspective you write from. You might find that the story flows onto the page from a different point of view.

5. Fiction Writing Tip: Use the Story to Investigate Themes

Generally, the themes of the story aren’t explored until after the aforementioned elements are established, and writers don’t always know the themes of their own work until after the work is written. Still, it might help to consider the broader implications of the story you want to write. How does the conflict or story extend into a bigger picture?

Let’s revisit Harry Potter’s opening scenes. When we revisit the Dursleys preventing Harry from knowing about his true nature, several themes are established: the meaning of family, the importance of identity, and the idea of fate can all be explored here. Themes often develop organically, but it doesn’t hurt to consider the message of your story from the start.

6. Fiction Writing Tip: Experiment With Words

Style is the last of the six fiction elements, but certainly as important as the others. The words you use to tell your story, the way you structure your sentences, how you alternate between characters, and the sounds of the words you use all contribute to the mood of the work itself.

If you’re struggling to get past the first sentence, try rewriting it. Write it in 10 words or write it in 200 words; write a single word sentence; experiment with metaphors, alliteration, or onomatopoeia . Then, once you’ve found the right words, build from there, and let your first sentence guide the style and mood of the narrative.

Now, let’s take a deeper look at the craft of fiction writing. The above elements are great starting points, but to learn how to start writing fiction, we need to examine the craft of combining these elements.

Primer on the Elements of Fiction Writing

First, before we get into the craft of fiction writing, it’s important to understand the elements of fiction. You don’t need to understand everything about the craft of fiction before you start keying in ideas or planning your novel. But this primer will be something you can consult if you need clarification on any term (e.g., point of view) as you learn how to start writing fiction.

The Elements of Fiction Writing

A standard novel runs between 80,000 to 100,000 words. A short novel, going by the National Novel Writing Month , is at least 50,000. To begin with, don’t think about length—think about development. Length will come. It is true that some works lend themselves more to novellas, but if that’s the case, you don’t want to pad them to make a longer work. If you write a plot summary—that’s one option on getting started writing fiction—you will be able to get a fairly good idea about your project as to whether it lends itself to a full-blown novel.

For now, let’s think about the various elements of fiction—the building blocks.

Writing Fiction: Your Protagonist

Readers want an interesting protagonist , or main character. One that seems real, that deals with the various things in life we all deal with. If the writer makes life too simple, and doesn’t reflect the kinds of problems we all face, most readers are going to lose interest.

Don’t cheat it. Make the work honest. Do as much as you can to develop a character who is fully developed, fully real—many-sided. Complex. In Aspects of the Novel , E.M Forster called this character a “round” characte r. This character is capable of surprising us. Don’t be afraid to make your protagonist, or any of your characters, a bit contradictory. Most of us are somewhat contradictory at one time or another. The deeper you see into your protagonist, the more complex, the more believable they will be.

If a character has no depth, is merely “flat,” as Forster terms it, then we can sum this character up in a sentence: “George hates his ex-wife.” This is much too limited. Find out why. What is it that causes George to hate his ex-wife? Is it because of something she did or didn’t do? Is it because of a basic personality clash? Is it because George can’t stand a certain type of person, and he didn’t realize, until too late, that his ex-wife was really that kind of person? Imagine some moments of illumination, and you will have a much richer character than one who just hates his ex-wife.

And so… to sum up: think about fleshing out your protagonist as much as you can. Consider personality, character (or moral makeup), inclinations, proclivities, likes, dislikes, etc. What makes this character happy? What makes this character sad or frustrated? What motivates your character? Readers don’t want to know only what —they want to know why .

Usually, readers want a sympathetic character, one they can root for. Or if not that, one that is interesting in different ways. You might not find the protagonist of The Girl on the Train totally sympathetic, but she’s interesting! She’s compelling.

Here’s an article I wrote on what makes a good protagonist.

Also on clichéd characters.

Now, we’re ready for a key question: what is your protagonist’s main goal in this story? And secondly, who or what will stand in the way of your character achieving this goal?

There are two kinds of conflicts: internal and external. In some cases, characters may not be opposing an external antagonist, but be self-conflicted. Once you decide on your character’s goal, you can more easily determine the nature of the obstacles that your protagonist must overcome. There must be conflict, of course, and stories must involve movement. Things go from Phase A to Phase B to Phase C, and so on. Overall, the protagonist begins here and ends there. She isn’t the same at the end of the story as she was in the beginning. There is a character arc.

I spoke of character arc. Now let’s move on to plot, the mechanism governing the overall logic of the story. What causes the protagonist to change? What key events lead up to the final resolution?

But before we go there, let’s stop a moment and think about point of view, the lens through which the story is told.

Writing Fiction: Point of View as Lens

Is this the right protagonist for this story? Is this character the one who has the most at stake? Does this character have real potential for change? Remember, you must have change or movement—in terms of character growth—in your story. Your character should not be quite the same at the end as in the beginning. Otherwise, it’s more of a sketch.

Such a story used to be called “slice of life.” For example, what if a man thinks his job can’t get any worse—and it doesn’t? He started with a great dislike for the job, for the people he works with, just for the pay. His hate factor is 9 on a scale of 10. He doesn’t learn anything about himself either. He just realizes he’s got to get out of there. The reader knew that from page 1.

Choose a character who has a chance of undergoing change of some kind. The more complex the change, the better. Characters that change are dynamic characters , according to E. M. Forster. Characters that remain the same are static characters. Be sure your protagonist is dynamic.

Okay, an exception: Let’s say your character resists change—that can involve some sort of movement—the resisting of change.

Here’s another thing to look at on protagonists—a blog I wrote: https://elizabethspanncraig.com/writing-tips-2/creating-strong-characters-typical-challenges/

Writing Fiction: Point of View and Person

Usually when we think of point of view, we have in mind the choice of person: first, second, and third. First person provides intimacy. As readers we’re allowed into the I-narrator’s mind and heart. A story told from the first person can sometimes be highly confessional, frank, bold. Think of some of the great first-person narrators like Huck Finn and Holden Caulfield. With first person we can also create narrators that are not completely reliable, leading to dramatic irony : we as readers believe one thing while the narrator believes another. This creates some interesting tension, but be careful to make your protagonist likable, sympathetic. Or at least empathetic, someone we can relate to.

What if a novel is told in first person from the point of view of a mob hit man? As author of such a tale, you probably wouldn’t want your reader to root for this character, but you could at least make the character human and believable. With first person, your reader would be constantly in the mind of this character, so you’d need to find a way to deal with this sympathy question. First person is a good choice for many works of fiction, as long as one doesn’t confuse the I-narrator with themselves. It may be a temptation, especially in the case of fiction based on one’s own life—not that it wouldn’t be in third person narrations. But perhaps even more with a first person story: that character is me . But it’s not—it’s a fictional character.

Check out my article on writing autobiographical fiction, which appeared in The Writer magazine. https://www.writermag.com/2018/07/31/filtering-fact-through-fiction/

Third person provides more distance. With third person, you have a choice between three forms: omniscient, limited omniscient, and objective or dramatic. If you get outside of your protagonist’s mind and enter other characters’ minds, you are being omniscient or godlike. If you limit your access to your protagonist’s mind only, this is limited omniscience. Let’s consider these two forms of third-person narrators before moving on to the objective or dramatic POV.

The omniscient form is rather risky, but it is certainly used, and it can certainly serve a worthwhile function. With this form, the author knows everything that has occurred, is occurring, or will occur in a given place, or in given places, for all the characters in the story. The author can provide historical background, look into the future, and even speculate on characters and make judgments. This point of view, writers tend to feel today, is more the method of nineteenth-century fiction, and not for today. It seems like too heavy an authorial footprint. Not handled well—and it is difficult to handle well—the characters seem to be pawns of an all-knowing author.

Today’s omniscience tends to take the form of multiple points of view, sometimes alternating, sometimes in sections. An author is behind it all, but the author is effaced, not making an appearance. BUT there are notable examples of well-handled authorial omniscience–read Nobel-prize winning Jose Saramago’s Blindness as a good example.

For more help, here’s an article I wrote on the omniscient point of view for The Writer : https://www.writermag.com/improve-your-writing/fiction/omniscient-pov/

The limited omniscient form is typical of much of today’s fiction. You stick to your protagonist’s mind. You see others from the outside. Even so, you do have to be careful that you don’t get out of this point of view from time to time, and bring in things the character can’t see or observe—unless you want to stand outside this character, and therein lies the omniscience, however limited it is.

But anyway, note the difference between: “George’s smiles were very welcoming” and “George felt like his smiles were very welcoming”—see the difference? In the case of the first, we’re seeing George from the outside; in the case of the second, from the inside. It’s safer to stay within your protagonist’s perspective as much as possible and not describe them from the outside. Doing so comes off like a point-of-view shift. Yet it’s true that in some stories, the narrator will describe what the character is wearing, tell us what his hopes and dreams are, mention things he doesn’t know right now but will later—and perhaps, in rather quirky stories, the narrator will even say something like “Our hero…” This can work, and has, if you create an interesting narrative voice. But it’s certainly a risk.

The dramatic or objective point of view is one you’ll probably use from time to time, but not throughout your whole novel. Hemingway’s “Hills like White Elephants” is handled with this point of view. Mostly, with maybe one exception, all we know is what the characters say and do, as in a play. Using this point of view from time to time in a longer work can certainly create interest. You can intensify a scene sometimes with this point of view. An interesting back and forth can be accomplished, especially if the dialogue is clipped.

I’ve saved the second-person point of view for the last. I would advise you not to use this point of view for an entire work. In his short novel Bright Lights, Big City , Jay McInerney famously uses this point of view, and with some force, but it’s hard to pull off. In lesser hands, it can get old. You also cause the reader to become the character. Does the reader want to become this character? One problem with this point of view is it may seem overly arty, an attempt at sophistication. I think it’s best to choose either first or third.

Here’s an article I wrote on use of second person for The Writer magazine. Check it out if you’re interested. https://www.writermag.com/2016/11/02/second-person-pov/

Writing Fiction: Protagonist and Plot and Structure

We come now to plot, keeping in mind character. You might consider the traditional five-stage structure : exposition, rising action, crisis and climax, falling action, and resolution. Not every plot works this way, but it’s a tried-and-true structure. Certainly a number of pieces of literature you read will begin in media re s—that is, in the middle of things. Instead of beginning with standard exposition, or explanation of the condition of the protagonist’s life at the story’s starting point, the author will begin with a scene. But even so, as in Jerzy Kosiński’s famous novella Being There , which begins with a scene, we’ll still pick up the present state of the character’s life before we see something that complicates it or changes the existing equilibrium. This so-called complication can be something apparently good—like winning the lottery—or something decidedly bad—like losing a huge amount of money at the gaming tables. One thing is true in both cases: whatever has happened will cause the character to change. And so now you have to fill in the events that bring this about.

How do you do that? One way is to write a chapter outline to prevent false starts. But some writers don’t like plotting in this fashion, but want to discover as they write. If you do plot your novel in advance, do realize that as you write, you will discover a lot of things about your character that you didn’t have in mind when you first set pen to paper. Or fingers to keyboard. And so, while it’s a good idea to do some planning, do keep your options open.

Let’s think some more about plot. To have a workable plot, you need a sequence of actions or events that give the story an overall movement. This includes two elements which we’ll take up later: foreshadowing and echoing (things that prepare us for something in the future and things that remind us of what has already happened). These two elements knit a story together.

Think carefully about character motivations. Some things may happen to your character; some things your character may decide to do, however wisely or unwisely. In the revision stage, if not earlier, ask yourself: What motivates my character to act in one way or another? And ask yourself: What is the overall logic of this story? What caused my character to change? What were the various forces, whether inner or outer, that caused this change? Can I describe my character’s overall arc, from A to Z? Try to do that. Write a short paragraph. Then try to write down your summary in one sentence, called a log line in film script writing, but also a useful technique in fiction writing as well. If you write by the discovery method, you probably won’t want to do this in the midst of the drafting, but at least in the revision stage, you should consider doing so.

With a novel you may have a subplot or two. Assuming you will, you’ll need to decide how the plot and the subplot relate. Are they related enough to make one story? If you think the subplot is crucial for the telling of your tale, try to say why—in a paragraph, then in a sentence.

Here’s an article I wrote on structure for The Writer : https://www.writermag.com/improve-your-writing/revision-grammar/find-novels-structure/

Writing Fiction: Setting

Let’s move on to setting . Your novel has to take place somewhere. Where is it? Is it someplace that is particularly striking and calls for a lot of solid description? If it’s a wilderness area where your character is lost, give your reader a strong sense for the place. If it’s a factory job, and much of the story takes place at the worksite, again readers will want to feel they’re there with your character, putting in the hours. If it’s an apartment and the apartment itself isn’t related to the problems your character is having, then there’s no need to provide that much detail. Exception: If your protagonist concentrates on certain things in the apartment and begins to associate certain things about the apartment with their misery, now there’s reason to get concrete. Take a look, when you have a chance, at the short story “The Yellow Wall-Paper.” It’s not an apartment—it’s a house—but clearly the setting itself becomes important when it becomes important to the character. She reads the wallpaper as a statement about her own condition.

Here’s the URL for ”The Yellow Wall-Paper”: https://www.nlm.nih.gov/theliteratureofprescription/exhibitionAssets/digitalDocs/The-Yellow-Wall-Paper.pdf

Sometimes setting is pretty important; sometimes it’s much less important. When it doesn’t serve a purpose to describe it, don’t, other than to give the reader a sense for where the story takes place. If you provide very many details, even in a longer work like a novel, the reader will think that these details have some significance in terms of character, plot, or theme—or all three. And if they don’t, why are they there? If setting details are important, be selective. Provide a dominant impression. More on description below.

If you’re interested, here’s a blog on setting I wrote for Writers.com: https://writers.com/what-is-the-setting-of-a-story

Writing Fiction: Theme and Idea

Most literary works have a theme or idea. It’s possible to decide on this theme before you write, as you plan out your novel. But be careful here. If the theme seems imposed on the work, the novel will lose a lot of force. It will seem—and it may well be—engineered by the author much like a nonfiction piece, and lose the felt experience of the characters.

Theme must emerge from the work naturally, or at least appear to do so. Once you have a draft, you can certainly build ideas that are apparent in the work, and you can even do this while you’re generating your first draft. But watch out for overdoing it. Let the characters (what they do, what they say) and the plot (the whole storyline with its logical connections) contribute on their own to the theme. Also you can depend on metaphors, similes, and analogies to point to the theme—as long as these are not heavy-handed. Avoid authorial intrusion, authorial impositions of any kind. If you do end up creating a simile, metaphor, or analogy through rational thinking, make sure it sounds natural. That’s not easy, of course.

Writing Fiction: Handling Scenes

Keep a few things in mind about writing scenes. Not every event deserves a whole scene, maybe only a half-scene, a short interaction between characters. Scenes need to do two things: reveal character and advance plot. If a scene seems to stall out and lack interest, in the revision mode you might try using narrative summary instead (see below).

Good fiction is strongly dramatic, calling for scenes, many of them scenes with dialogue and action. Scenes need to involve conflict of some kind. If everyone is happy, that’s probably going to be a dull scene. Some scenes will be narrative, without dialogue. You need some interesting action to make these work.

Let’s consider scenes with dialogue.

The best dialogue is speech that sounds natural, and yet isn’t. Everything about fiction is an artifice, including speech. But try to make it sound real. The best way to do this is to “hear” the voices in your head and transcribe them. Take dictation. If you can do this, whole conversations will seem very real, believable. If you force what each character has to say, and plan it out too much, it will certainly sound planned out, and not real at all. Not that in the revision mode you can’t doctor up the speech here and there, but still, make sure it comes off as natural sounding.

Some things to think about when writing dialogue: people usually speak in fragments, interrupt each other, engage in pauses, follow up a question with a comment that takes the conversation off course (non sequiturs). Note these aspects of dialogue in the fiction you read.

Also, note how writers intersperse action with dialogue, setting details, and character thoughts. As far as the latter goes, though, if you’ll recall, I spoke of the dramatic point of view, which doesn’t get into a character’s mind but depends instead on what characters do and say, as in a play. You may try this point of view out in some scenes to make them really move.

One technique is to use indirect dialogue, or summary of what a character said, not in the character’s own words. For instance: Bill made it clear that he wasn’t going to the city after all. If anybody thought that, they were wrong .

Now and then you’ll come upon dialogue that doesn’t use the standard double quotes, but perhaps a single quote (this is British), or dashes, or no punctuation at all. The latter two methods create some distance from the speech. If you want to give your work a surreal quality, this certainly adds to it. It also makes it seem more interior.

One way to kill good dialogue is to make characters too obviously expository devices—that is, functioning to provide background or explanations of certain important story facts. Certainly characters can serve as expository devices, but don’t be too heavy-handed about this. Don’t force it like the following:

“We always used to go to the beach, you recall? You recall how first we would have breakfast, then take a long walk on the beach, and then we would change into our swimsuits, and spend an hour in the water. And you recall how we usually followed that with a picnic lunch, maybe an hour later.”

This sounds like the character is saying all this to fill the reader in on backstory. You’d need a motive for the utterance of all of these details—maybe sharing a memory?

But the above sounds stilted, doesn’t it?

One final word about dialogue. Watch out for dialogue tags that tell but don’t show . Here’s an example:

“Do you think that’s the case,” said Ted, hoping to hear some good news. “Not necessarily,” responded Laura, in a barky voice. “I just wish life wasn’t so difficult,” replied Ted.

If you’re going to use a tag at all—and many times you don’t need to—use “said.” Dialogue tags like the above examples can really kill the dialogue.

Writing Fiction: Writing Solid Prose

Narrative summary : As I’ve stated above, not everything will be a scene. You’ll need to write narrative summary now and then. Narrative summary telescopes time, covering a day, a week, a month, a year, or even longer. Often it will be followed up by a scene, whether a narrative scene or one with dialogue. Narrative summary can also relate how things generally went over a given period. You can write strong narrative summary if you make it specific and concrete—and dramatic. Also, if we hear the voice of the writer, it can be interesting—if the voice is compelling enough.

Exposition : It’s the first stage of the 5-stage plot structure, where things are set up prior to some sort of complication, but more generally, it’s a prose form which tells or informs. You use exposition when you get inside your character, dealing with his or her thoughts and emotions, memories, plans, dreams. This can be difficult to do well because it can come off too much like authorial “telling” instead of “showing,” and readers want to feel like they’re experiencing the world of the protagonist, not being told about this world. Still, it’s important to get inside characters, and exposition is often the right tool, along with narrative summary, if the character is remembering a sequence of events from the past.

Description : Description is a word picture, providing specific and concrete details to allow the reader to see, not just be told. Concreteness is putting the reader in the world of the five senses, what we call imagery . Some writers provide a lot of details, some only a few—just enough that the reader can imagine the rest. Consider choosing details that create a dominant impression—whether it’s a character or a place. Similes, metaphors, and analogies help readers see people and places and can make thoughts and ideas (the reflections of your character or characters) more interesting. Not that you should always make your reader see. To do so might cause an overload of images.

Check out these two articles: https://www.writermag.com/improve-your-writing/fiction/the-definitive-guide-to-show-dont-tell/ https://www.writermag.com/improve-your-writing/fiction/figurative-language-in-fiction/

Writing Fiction: Research

Some novels require research. Obviously historical novels do, but others do, too, like Sci Fi novels. Almost any novel can call for a little research. Here’s a short article I wrote for The Writer magazine on handling research materials. It’s in no way an in-depth commentary on research–but it will serve as an introduction. https://www.writermag.com/improve-your-writing/fiction/research-in-fiction/

For a blog on novel writing, check this link at Writers.com: https://writers.com/novel-writing-tips

For more articles I’ve published in The Writer , go here: https://www.writermag.com/author/jack-smith/

How to Start Writing Fiction: Take a Writing Class!

To write a story or even write a book, fiction writers need these tools first and foremost. Although there’s no comprehensive guide on how to write fiction for beginners, working with these elements of fiction will help your story bloom.

All six elements synergize to make a work of fiction, and like most works of art, the sum of these elements is greater than the individual parts. Still, you might find that you struggle with one of these elements, like maybe you’re great at writing characters but not very good with exploring setting. If this is the case, then use your strengths: use characters to explore the setting, or use style to explore themes, etc.

Getting the first draft written is the hardest part, but it deserves to be written. Once you’ve got a working draft of a story or novel and you need an extra set of eyes, the Writers.com community is here to give feedback: take a look at our upcoming courses on fiction writing, and check out our talented writing community .

Good luck, and happy writing!

I have had a story in my mind for over 15 years. I just haven’t had an idea how to start , putting it down on print just seems too confusing. After reading this article I’m even more confused but also more determined to give it a try. It has given me answers to some of my questions. Thank you !

You’ve got this, Earl!

Just reading this as I have decided to attempt a fiction work. I am terrible at writing outside of research papers and such. I have about 50 single spaced pages “written” and an entire outline. These tips are great because where I struggle it seems is drawing the reader in. My private proof reader tells me it is to much like an explanation and not enough of a story, but working on it.

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2.2: Elements of Creative Nonfiction

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Heather Ringo & Athena Kashyap
City College of San Francisco via ASCCC Open Educational Resources Initiative

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The main elements of creative nonfiction are setting, descriptive imagery, figurative language , plot , and character . The overarching element or requirement that distinguishes creative nonfiction from any other genre of writing is that while other literary genres can spring from the imagination, creative nonfiction is, by definition, true. As you complete the assigned readings in this chapter, keep track of the following elements as they arise in your readings: see if you can identify each of them. Learning these elements now will form a solid foundation for the rest of the class.

Each story has a setting. The setting is the place where the story takes place. Usually, an effective story establishes its setting early in the story: otherwise readers will have a difficult time visualizing the action of the story. Below is an example of how a writer might establish setting in a way which immerses the reader: by showing rather than telling.

Which of the above lakes would you want to visit? Which one paints a more immersive picture, making you feel like you are there? When writing a story, our initial instinct is usually to make a list of chronological moments: first I did this, then I did this, then I did that, it was neat-o. That might be factual, but it does not engage the reader or invite them into your world. It bores the reader. Ever been stuck listening to someone tell a story that seems like it will never end? It probably was someone telling you a story rather than using the five senses to immerse you . In the example above, the writer uses visual (sight), auditory (sound), olfactory (smell), tactile (touch), or gustatory (taste) imagery to help the reader picture the setting in their mind. By the final draft, the entire story should be compelling and richly detailed. While it's fine to have an outline or first draft that recounts the events of the story, the final draft should include dialogue, immersive description, plot twists, and metaphors to capture your reader's attention as you write.

an aquamarine alpine lake surrounded by trees with a snow-capped mountain in the background

"Eibsee Lake" by barnyz , 2 August 2011, published on Flickr CC BY-NC-ND 2.0

Descriptive Imagery

You have probably encountered descriptive imagery before. Basically, it is the way the writer paints the scene, or image, in the mind of the reader. It usually involves descriptions of one or more of the five senses: sight, sound, smell, touch, or taste. For example, how would you describe a lemon to a person who has never seen one before?

activity: describe a lemon

"Lemon" by André Karwath (2005) is licensed CC BY-SA 2.5

Imagine you are describing a lemon to someone who has never seen one before. How would you describe it using all five senses?

One might describe a lemon as yellow, sour-smelling and tasting, and with a smooth, bumpy skin. They might describe the sound of the lemon as a thump on the table if it is dropped, or squelching if it is squished underfoot. By painting a picture in the reader's mind, it immerses them in the story so that they feel they are actually there.

Figurative Language

As a counterpart to descriptive imagery, figurative language is using language in a surprising way to describe a literary moment. Figurative language can take the form of metaphor, such as saying "the lemon tree was heavy with innumerable miniature suns." Since the lemons are not actually suns, this is figurative. Figurative language can also take the form of simile: "aunt Becky's attitude was as sour as a lemon." By comparing an abstract concept (attitude) to an object (lemon), it imparts a feeling/meaning in a more interesting way.

Plot is one of the basic elements of every story: put simply, plot refers to the actual events that take place within the bounds of your narrative. Using our rhetorical situation vocabulary, we can identify “plot” as the primary subject of a descriptive personal narrative. Three related elements to consider are scope, sequence, and pacing.

The term scope refers to the boundaries of plot. Where and when does the story begin and end? What is its focus? What background information and details does the story require? I often think about narrative scope as the edges of a photograph: a photo, whether of a vast landscape or a microscopic organism, has boundaries. Those boundaries inform the viewer’s perception.

The way we determine scope varies based on rhetorical situation, but I can say generally that many developing writers struggle with a scope that is too broad: writers often find it challenging to zero in on the events that drive a story and prune out extraneous information.

Consider, as an example, how you might respond if your friend asked what you did last weekend. If you began with, “I woke up on Saturday morning, rolled over, checked my phone, fell back asleep, woke up, pulled my feet out from under the covers, put my feet on the floor, stood up, stretched…” then your friend might have stopped listening by the time you get to the really good stuff. Your scope is too broad, so you’re including details that distract or bore your reader. Instead, focus on the most exciting or meaningful moment(s) of your day: "I woke up face-down to the crunch of shattered glass underneath me. When I wobbled to my feet I realized I was in a large, marble room with large windows overlooking the flashing neon lights of the Las Vegas strip. I had no idea how I got there!" Readers can expect this story will focus on how the storyteller arrived in Las Vegas, and it is much more interesting than including every single detail of the day.

The sequence of your plot—the order of the events—will determine your reader’s experience. There are an infinite number of ways you might structure your story, and the shape of your story is worth deep consideration. Although the traditional forms for a narrative sequence are not your only options, let’s take a look at a few tried-and-true shapes your plot might take.

Freytag's Pyramid is in the public domain

Freytag's Pyramid: Chronological

A. Exposition : Here, you’re setting the scene, introducing characters, and preparing the reader for the journey.

B. Rising action : In this part, things start to happen. You (or your characters) encounter conflict, set out on a journey, meet people, etc.

C. Climax : This is the peak of the action, the main showdown, the central event toward which your story has been building.

D. Falling action : Now things start to wind down. You (or your characters) come away from the climactic experience changed—at the very least, you are wiser for having had that experience.

E. Resolution : Also known as dénouement, this is where all the loose ends get tied up. The central conflict has been resolved, and everything is back to normal, but perhaps a bit different.

In Medias Res

While Freytag's Pyramid tends to follow a linear or chronological structure, a story that begins in medias res begins in the middle of the action. In fact, the Latin translation for this term most literally means "in the middle of things." This is a more exciting way to start a story in that it grabs the readers' attention quickly.

There I was floating in the middle of the ocean, the sharks with laser beams attached to their heads circling hungrily, the red lights bouncing off of the floating disco ball upon which I clung to for dear life, when I thought back to the events which led to this horrifying situation...

The best In Medias Res beginnings make the reader go "WHAT THE HECK IS GOING ON HERE?" and want to continue reading. They will usually follow the following inversion of Freytag's Pyramid:

C. Climax : This is the peak of the action, the main showdown, the central event of the story where the conflict comes to a head. A. Exposition : Here, you’re setting the scene, introducing characters, and preparing the reader for the journey.

B. Rising action : In this part, things start to happen. You (or your characters) encounter conflict, set out on a journey, meet people, etc. C. Climax : the story briefly returns to the moment where it started, though usually not in a way which is redundant (not the exact same writing or details)

Nonlinear Narrative

A nonlinear narrative may be told in a series of flashbacks or vignettes. It might jump back and forth in time. Stories about trauma are often told in this fashion. If using this plot form, be sure to make clear to readers how/why the jumps in time are occurring. A writer might clarify jumps in time by adding time-stamps or dates or by using symbolic images to connect different vignettes.

While scope determines the boundaries of plot, and sequencing determines where the plot goes, pacing determines how quickly readers move through the story. In short, it is the amount of time you dedicate to describing each event in the story.

I include pacing with sequence because a change to one often influences the other. Put simply, pacing refers to the speed and fluidity with which a reader moves through your story. You can play with pacing by moving more quickly through events, or even by experimenting with sentence and paragraph length. Consider how the “flow” of the following examples differ:

A major requirement of any story is the use of characters. Characters bring life to the story. Keep in mind that while human characters are most frequently featured in stories, sometimes there are non-human characters in a story such as animals or even the environment itself. Consider, for example, the ways in which the desert itself might be considered a character in "Bajadas" by Francisco Cantú.

Characterization

Whether a story is fiction or nonfiction, writers should spend some time thinking about characterization: the development of characters through actions, descriptions, and dialogue. Your audience will be more engaged with and sympathetic toward your narrative if they can vividly imagine the characters as real people.

Like setting description, characterization relies on specificity. Consider the following contrast in character descriptions:

How does the “cry-smile” detail enhance the characterization of the speaker’s parent?

To break it down to process, characterization can be accomplished in two ways:

Directly , through specific description of the character—What kind of clothes do they wear? What do they look, smell, sound like?—or,
Indirectly , through the behaviors, speech, and thoughts of the character—What kind of language, dialect, or register do they use? What is the tone, inflection, and timbre of their voice? How does their manner of speaking reflect their attitude toward the listener? How do their actions reflect their traits? What’s on their mind that they won’t share with the world?

Thinking through these questions will help you get a better understanding of each character (often including yourself!). You do not need to include all the details, but they should inform your description, dialogue, and narration.

Point of View

The position from which your story is told will help shape your reader’s experience, the language your narrator and characters use, and even the plot itself. You might recognize this from Dear White People Volume 1 or Arrested Development Season 4, both Netflix TV series. Typically, each episode in these seasons explores similar plot events, but from a different character’s perspective. Because of their unique vantage points, characters can tell different stories about the same realities.

This is, of course, true for our lives more generally. In addition to our differences in knowledge and experiences, we also interpret and understand events differently. In our writing, narrative position is informed by point-of-view and the emotional valences I refer to here as tone and mood.

point-of-view (POV): the perspective from which a story is told.

This is a grammatical phenomenon—i.e., it decides pronoun use—but, more importantly, it impacts tone, mood, scope, voice, and plot.

Although point-of-view will influence tone and mood, we can also consider what feelings we want to convey and inspire independently as part of our narrative position.

tone: the emotional register of the story’s language.

What emotional state does the narrator of the story (not the author, but the speaker) seem to be in? What emotions are you trying to imbue in your writing?

mood: the emotional register a reader experiences.

What emotions do you want your reader to experience? Are they the same feelings you experienced at the time?

A Non-Comprehensive Breakdown of POV

Typically, you will tell your story from the first-person point-of-view, but personal narratives can also be told from a different perspective; I recommend “Comatose Dreams” to illustrate this at work. As you’re developing and revising your writing, try to inhabit different authorial positions: What would change if you used the third person POV instead of first person? What different meanings would your reader find if you told this story with a different tone—bitter instead of nostalgic, proud rather than embarrassed, sarcastic rather than genuine?

Furthermore, there are many rhetorical situations that call for different POVs. (For instance, you may have noticed that this book uses the second-person very frequently.) So, as you evaluate which POV will be most effective for your current rhetorical situation, bear in mind that the same choice might inform your future writing.

dialogue: communication between two or more characters. For example...

"Hate to break it to you, but your story is boring."

"What? Why do you say that?" he stuttered as his face reddened.

"Because you did not include any dialogue," she laughed.

Think of the different conversations you’ve had today, with family, friends, or even classmates. Within each of those conversations, there were likely pre-established relationships that determined how you talked to each other: each is its own rhetorical situation. A dialogue with your friends, for example, may be far different from one with your family. These relationships can influence tone of voice, word choice (such as using slang, jargon, or lingo), what details we share, and even what language we speak.

Good dialogue often demonstrates the traits of a character or the relationship of characters. From reading or listening to how people talk to one another, we often infer the relationships they have. We can tell if they’re having an argument or conflict, if one is experiencing some internal conflict or trauma, if they’re friendly acquaintances or cold strangers, even how their emotional or professional attributes align or create opposition.

Often, dialogue does more than just one thing, which makes it a challenging tool to master. When dialogue isn’t doing more than one thing, it can feel flat or expositional, like a bad movie or TV show where everyone is saying their feelings or explaining what just happened. For example, there is a difference between “No thanks, I’m not hungry” and “I’ve told you, I’m not hungry.” The latter shows frustration, and hints at a previous conversation. Exposition can have a place in dialogue, but we should use it deliberately, with an awareness of how natural or unnatural it may sound. We should be aware how dialogue impacts the pacing of the narrative. Dialogue can be musical and create tempo, with either quick back and forth, or long drawn out pauses between two characters. Rhythm of a dialogue can also tell us about the characters’ relationship and emotions.

Contributors and Attributions

Adapted from "Chapter 2: Telling a Story" from EmpoWord by Shane Abrams, Chapter 2, licensed CC BY NC 4.0 by Portland State University

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7 Elements of Fiction: ProWritingAid's Expert Guide

Hannah Yang

Elements of fiction: definition, the 7 elements of fiction, examples of the most famous elements of fiction in literature, elements of fiction: conclusion.

We live in a world full of stories. Novels, short stories, myths, and even plays are all forms of fiction.

All works of fiction are built using the same blocks. So what exactly are those building blocks, and how do they work?

This article will explain the seven elements of fiction and show you examples of what they look like in famous novels.

There are seven elements of fiction that can be found in any story, regardless of the form the narrative takes. These elements are character , plot , setting , theme , point of view , conflict , and tone.

All seven elements work together to create a coherent story. When you’re writing a story, these are the fundamental building blocks you should use.

You can approach the seven elements in any order. For example, you can start with tone—you might know you want to write a funny story, or a scary story. Or you can start with setting—you might decide you want to set the story in your own hometown.

Eventually though, you’ll need all seven elements to make your story complete.

Here’s an in-depth guide to the seven elements of fiction that every fiction writer and reader should know.

Element 1: Character

Characters are the players within a story. They can be human beings, animals, aliens, or even sentient objects. As long as they make decisions within the story, they’re characters.

Most stories have a main character , or multiple main characters. Some have antagonists who prevent the main characters from achieving their goals. There are also side characters , romantic interests, and many other roles that fictional characters can take in a story.

In a well-written story, each character has a distinct appearance, personality, and motivation. They should be rounded characters who drive the story forward by pursuing their individual goals rather than flat characters who behave like cardboard cut-outs.

Element 2: Plot

Plot refers to the events that happen within the story. It includes every major turning point that the characters experience.

In general, every story has a beginning , middle, and end.

The beginning is the exposition, where the key events of the story are set into action. The middle is the rising action, where progressive complications raise the stakes. And finally, the end is the resolution, where the story gets wrapped up.

Element 3: Setting

Setting is a broad term for the world the story takes place in.

On a macro level, setting might include the country the characters live in and the climate of that country. On a micro level, setting can include the room the characters are standing in, the time of day a scene takes place, or even the day-to-day weather.

Settings can sometimes take on symbolic meanings. For example, the never-ending winter in Narnia in C.S. Lewis’s The Lion, The Witch and the Wardrobe represents the tyranny of the White Witch’s rule.

Setting includes time as well as place. A story might take place over the span of a single night, like in A Christmas Carol by Charles Dickens, or an entire lifetime, like in A Man Called Ove by Fredrik Backman.

You can use ProWritingAid’s Sensory Report to make sure you’re using all five sense to describe the setting in your story. The more sensory descriptions you use, the more your setting will come to life.

Element 4: Theme

Theme refers to the philosophical questions your story explores.

Often, theme is revealed in the lesson the protagonist needs to learn. For example, one of the themes of Shelley’s science fiction book Frankenstein is that scientists shouldn’t use their powers to create new beings without considering the consequences.

Theme can also be revealed through the core conflict between the protagonist and the antagonist.

For example, in the Harry Potter series by J.K. Rowling, the antagonist, Voldemort, doesn’t love anybody, while the protagonist, Harry, is protected by the love of his family and friends. Thus, the power of love is a major theme in the series.

Element 5: Point of View

Point of view (POV) is the perspective from which a story is told.

In English class, you might have learned about the four basic POVs:

First person (“I”)

Second person (“you”)

Limited third person (“he, she, they” in one character’s head)

Omniscient third person (“he, she, they” from an all-seeing perspective)

POV is closely intertwined with form and structure. For example, if your story takes the form of advice offered to someone else, second person makes sense. On the other hand, if your story takes the form of a diary entry, first person makes sense.

Element 6: Conflict

Conflict is what prevents the protagonist from achieving their goals. All fiction writing requires conflict because otherwise there would be no story, just a happy ending.

For example, imagine your protagonist’s goal is to get back home as quickly as possible. The conflict can be as small as a late bus that delays their return, or as large as an earthquake that tears their hometown apart.

There are seven types of conflict: character vs character , character vs self , character vs society , character vs fate , character vs nature , and character vs technology .

Conflict is important because it’s what makes the story interesting. There would be no story if everyone could easily achieve everything they wanted. Adding meaningful obstacles for the characters to overcome is key for creating a compelling story.

Element 7: Tone

Tone helps the author evoke emotion.

When you’re reading or writing, ask yourself: What feeling is this story meant to evoke in the reader? Fear? Amusement? Thoughtfulness? Dread?

Tone is closely related to genre. If you’re writing a thriller, you might want to go for a scary and suspenseful tone. If you’re writing a romantic comedy, you might lean toward a lighter and more humorous tone.

Stories can vary their tones on a scene level. Even a thriller should have lighthearted scenes, and romantic comedies should have serious scenes.

(SPOILER ALERT: There are minor spoilers ahead for The Hunger Games by Suzanne Collins and The Great Gatsby by F. Scott Fitzgerald.)

Let’s look at the seven elements of fiction in The Hunger Games by Suzanne Collins, a young adult (YA) dystopian novel.

Character : The protagonist is Katniss Everdeen, who competes in the Hunger Games. Other major characters include her love interest Peeta Mellark, her younger sister Primrose Everdeen, and the other contestants in the Hunger Games.

Plot : The plot kicks off when Katniss volunteers for the Hunger Games to protect her sister. The rest of the plot follows Katniss training for and competing in the Games.

Setting : The setting is the nation of Panem. Specific settings include District 12, the impoverished district where Katniss grew up; the glittering Capitol, where the rich citizens live in blissful ignorance; and the arena, where the Games take place.

Theme : The themes of the story include power and oppression, suffering as entertainment, and inequality.

Point of View : Katniss is the first-person narrator.

Conflict : The primary conflict is character vs character when Katniss and the other tributes battle one another. Other forms of conflict are present as well, such as the character vs society conflict when Katniss confronts the dystopian society she lives in.

Tone : The writing style of the book is fast-paced and suspenseful, often evoking fear and excitement, as Katniss tells the reader about the life-and-death situations she’s experiencing.

Now let’s look at the seven elements of fiction in The Great Gatsby by F. Scott Fitzgerald, a classic work of literary fiction.

Character : The protagonist is Jay Gatsby, the Great Gatsby himself. Other key characters include his friend Nick Carraway, his love interest Daisy Buchanan, and Daisy’s husband Tom Buchanan.

Plot : The plot follows Jay Gatsby as he throws lavish parties in an attempt to win back Daisy, the love of his life. Over the course of the story, he courts her and nearly convinces her to leave her husband for him, but ultimately loses his life as a result of his efforts.

Setting : The setting is New York in the 1920s during the Jazz Age. Specific settings include West Egg, East Egg, the valley of ashes, and New York City.

Theme : The themes of the story include the American Dream, love and marriage, and dissatisfaction with life in spite of wealth and status.

Point of View : The book is written in the first person from Nick’s point of view. This POV is sometimes called first-person witness, since the narrator isn’t the same person as the protagonist.

Conflict : The primary conflict is character vs self conflict as Gatsby tries to achieve the American Dream and prove to Daisy he’s a great man. There’s also character vs character conflict between Gatsby and the other characters.

Tone : The tone of the book is serious and reflective while Nick reflects on Gatsby’s story and relays it to the reader.

Now you know the key elements that make a story work! Here’s a quick recap:

Point of view

What do these elements look like in your favorite stories? Let us know in the comments.

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Hannah Yang is a speculative fiction writer who writes about all things strange and surreal. Her work has appeared in Analog Science Fiction, Apex Magazine, The Dark, and elsewhere, and two of her stories have been finalists for the Locus Award. Her favorite hobbies include watercolor painting, playing guitar, and rock climbing. You can follow her work on hannahyang.com, or subscribe to her newsletter for publication updates.

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