We all dream of that day we read a review that says, “I couldn’t put this book down”. We want our readers to be eager to turn the pages; but how do we achieve that?
By using tension. That’s how.
Tension is not an easy technique to learn as a new writer, but it is essential for a long and fulfilling writing career. In this article, I will explain what tension is, why it is important to a story, and how to create it on the pages of your next work in progress.
What Is Tension?
Tension building is a phrase used in creative writing circles when discussing the conflict that is explored in the novel by the main characters.
It is essential to know that to create tension, you must first give your readers something to be afraid for; but be aware, being afraid of something is not the same as being afraid for something.
Being afraid of something is to fear something that may harm you; being afraid for something means to be worried that it might be harmed in some way. The it being something your character cares deeply for, or desires.
Think of this in the context of your novel. You want your reader to be worried that something could get in the way of what your character truly desires. You want readers to be fearful that something will get in the way of the protagonist's ultimate happiness.
Tension Vs Suspense
Although many will see these two terms as being interchangeable, they often work hand in hand, but they are not the same.
Tension happens as your reader anticipates conflict (that thing that is stopping your character getting what they really want) impacting the thing your protagonist desires the most.
Suspense grows steadily throughout the course of a novel while the conflict remains unresolved.
You can’t have tension, or even suspense, without a central conflict.
Why Is Tension Important In A Story?
We now know that conflict (that thing stopping your character getting what they want) leads to tension (that thing that makes us care about the character resolving the conflict) which in turn leads to suspense (as we keep that resolution of the conflict from them).
This results in your reader feeling a compulsive need to keep turning the pages.
Tension is also about tapping into the emotion of your character and creating a presumed emotional impact if they don’t get what they truly desire. You are creating an emotional connection between your protagonist and your reader, encouraging emotional investment.
So, why is tension important? Essentially, without it, you will have a dull book that your reader does not feel emotionally invested in or compelled to finish.
Which Genres Rely on Tension?
I don’t believe there is a single genre that does not use and embrace tension.
Thrillers, mystery, suspense and even horror are easy to identify as those that rely on strong tension on the page, but the truth is, you can (and should) create and build tension in any genre.
Take romance for example, and Romeo and Juliet. The tension in that story is created by telling the reader that it matters little how much the pair love each other, as their love is forbidden. Shakespeare created a central conflict so strong that it in turn created tension on the page for the reader.
How To Create Tension In Writing
There is no hard and fast rule when it comes to building tension on the page – but there are 8 simple steps you can follow to make sure you have your reader begging for just one more page before bed.
Character Led Conflict
To create tension in your novel, first your readers need to care about the protagonist. It's essential that you have well developed characters that your readers find themselves rooting for.
You need to find the one thing your character wants the most in life.
Then, find a way to keep it from them.
The key here is to make sure this is specific to this character. To their life. It must be something that will emotionally affect them if they don’t achieve it; but here is the kicker, your reader needs to care too.
Your reader needs to want your character to achieve their goal as much as they do. So, dig deep and find out what they really want, and just what they are prepared to do to get it.
Conflicting Characters With Opposing Goals
The best way to keep something from your character, is to create someone (or something) to keep them from their goal. Your reader wants to see your character's personality develop as they fight to achieve their goal, so put someone in their path with opposing goals or give them something to fight against. This rising conflict will increase tension and keep the reader engaged.
If you want your reader to be a page turning cheerleader, give they something to cheer for.
Raise The Stakes – Then Raise Them Again!
What does your character stand to lose if they don’t achieve their goal? How will it change them, affect them, harm them? How close can you get them to their goal before taking it away again?
You want your reader to want to jump into the book and fight for your protagonist.
For narrative suspense and tension, you want your character to try and fail multiple times. Many authors use the rule of three, although it’s not a ‘rule’. In essence, have your character fail twice, each time raising the stakes, before they eventually succeed.
Creating tension and suspense does not mean that every single chapter needs to be fast moving.
Fast paced chapters, urgent, sharp and to the point, will create forward momentum and a sense of urgency; but slower paced chapters can be gentle, giving your character a chance to reflect on what they want and why.
Slower paced chapters can also be packed with the emotion you need to get your reader to care. Play with pace; it can make or break a successful novel.
Create Curiosity In Your Reader
One of the best ways to create and sustain tension as your story progresses is to keep your reader asking questions and engaged at all times. It’s essential to keep your reader curious, so have them asking enough questions in those quiet moments to keep them turning the pages.
Internal And External Conflict
Internal conflict is just as important to tension as external conflict. Although we mention creating something or someone to keep your main character from their goal a lot, often the most difficult conflict to overcome is the one in your own head.
How is your character stopping themselves from getting what they want? Fighting external sources is a great way to create fast paced chapters, but those quiet moments are when the internal struggle of your character will show itself. What do they need to change within themselves to achieve happiness?
Master The Sub Plot
Sub plots are your friends! Embrace them.
You don’t want your characters to live in a one-dimensional world. External factors and other people’s lives will affect your characters journey. How can you use the sub plot(s) to raise the stakes? Tension coming from multiple sources will create a sense that the world is closing in, adding to a sense of urgency and emotion on the page. You can even add a plot twist or two to keep the reader interested.
The Ticking Time Bomb
From some of the earliest books we read as readers, to some of the most successful novels ever published, we see authors using the ‘ticking time bombs’ to add tension.
Take Cinderella for example; there was literally a clock ticking down to her reveal. Another more contemporary example might be that of Dan Brown in his Robert Langdon books; working against the clock to solve the mystery before anyone else is hurt.
Introducing a time limit/deadline injects your story with stress - having your characters work against the clock (either towards an actual or an imposed deadline) will force your protagonist to make snap decisions, heightening anxiety and conflict.
Top Tips For Creating Tension
Now, we know what tension is, we know the difference between tension and suspense, and we know that conflict is key; but how exactly do you implement that in written form?
Use All Your Senses
Your characters should be fully formed, well rounded people, so don’t forget that they have more than one sense. Don’t just see; touch, taste, hear, and smell your surroundings. Immerse your character and you will immerse the reader. Have them feel ‘that icy breath’ on their neck, or the ‘quickening of my heart, a stampede through the African plains of my chest’. Don’t just tell them how to feel, make them feel it.
Use Short Sentences
Play with sentence length, structure, and cadence. Placing short sentences together will force a quickened pace of reading. Use the cadence of your sentences to emphasise sudden events, or wistful moments. If you want the reader to feel a quick heartbeat, try mimicking the rhythm of a heartbeat with the words on the page.
Consider Your Language
Think about the words you use and when. Use panic heavy conjunctions to emphasise pace and speed. Panic conjunctions such as ‘suddenly’ are often overused, but you could try ‘abruptly’, or ‘unexpectedly’ or even ‘without warning’.
If you want the reader to see, feel and hear your character, make sure the language matches the action.
Use Your Surroundings
The weather can be, and is often, used to help create tension, suspense, and emotion on the page. Pathetic fallacy is where we attribute emotions or feelings to weather patterns.
For example, ‘the flowers danced in the breeze’ - now we know that flowers don’t dance, but this description allows the reader to know that this scene is a serene one.
Whereas, with ‘the wind whispered its secrets through the trees’ - we know that wind doesn’t whisper, but this sense of foreboding creates tension on the page.
Frequently Asked Questions
How Do Writers Create Tension And Suspense?
There is no hard and fast rule– but there are 8 simple steps you can follow to make sure you are creating tension and suspense.
Create character led conflict
Characters with opposing goals
Raise the stakes
Perfect your pacing
Create curiosity
Balance internal and external conflict
Master the sub plot
Consider a ticking timebomb
How Do You Create Tension On The Page And In Dialogue?
Here are some of mytop tips for increasing tension on the page and in dialogue:
Be clever with your use of short sentences, sentence structure and cadence
Use all your senses
Consider your language carefully - try using panic conjunctions and pathetic fallacy
Use interruptions during dialogue
Narrate tense moments in between dialogue
What Are The Four Types Of Tension?
Tension in fiction can generally be grouped into one of these four categories:
Tension of the task
Tension of relationships
Tension of surprise
Tension of mystery
What Is The Difference Between Tension And Suspense?
Tension happens as your reader anticipates conflict - that thing that is stopping your character getting what they really want - impacting the thing your protagonist desires the most.
Suspense grows steadily throughout course of a novel while the conflict remains unresolved.
Creating Tension
Mastering the skill of tension requires practise, but once mastered, you will have a loyal following of readers always eager to come back and read more. It’s all about balance, nuance and detail. Give your reader just enough time to breathe before you set them off running again, and always give them something to run towards.
Despite having been branded as an ‘emerging’ market for the last ten years, new adult fiction remains shrouded in heated debate.
Whilst it has acquired cult status among readers and authors alike, there are a great many publishers who are reluctant to acknowledge it as an established category. The question is -why?
To answer this question for you, I will define new adult fiction, include some examples, and suggest tips for writing it.
Most importantly, I will explain how you might want to tackle these controversies in your submissions.
What Is New Adult Fiction?
New adult fiction books (NA) are narratives that explore the transition from late adolescence to early adulthood. They're considered the next step after young adult fiction and they're typically aimed towards readers aged 18-25.
It's less a genre and more a subcategory of either YA or adult fiction.
The protagonists in NA titles, much like their demographic, are new to “adulting” and don’t yet feel like functional adults.
The topics frequently explored in these stories are:
Moving away from home for the first time
Starting higher education
Deeper exploration of sexual experiences, identity and gender
Establishing careers
Figuring out relationships – familial, platonic and romantic
NA helps maturing readers, who are new to adulthood, find their footing… at least this is what many believe it's for. Naturally, there's some speculation.
The Controversy Of New Adult Fiction
When NA first came onto the scene in around 2009 – thanks to a competition run by St Martin Press - the response was essentially YA fiction but notched up a gear. This included the sexual content.
It wasn’t long until the new adult genre was characterised as thinly veiled erotica that took place at university. This in itself is no bad thing; people can read and write what they want. The hitch is that the refrain that NA titles are just YA romance novels with more sex still plagues the category today and this has made it hard to market and sensibly shelve in bookshops.
Deirdre Power, an assistant editor at Usborne, said ‘while there’s a really valid reason for children’s books to be divided into age categories, you can’t generally say the same for adult fiction.’ Once eighteen, readers are simply trusted to make their own decisions.
In fact, the popularity of Sally Rooney’s Normal People, featuring university aged characters, demonstrates that adult readers are not typically dissuaded from reading titles with younger protagonists.
They may be dissuaded, however, if a book's marketed for a specific age range. This means positioning a book away from a mass of readers who would have otherwise bought it. This is why NA can be vague as a marketing ploy. After all, does anyone ever really feel like an adult?
However, new adult books have not gone away, and the sexual content they sometimes contain is becoming less of a concern. Laura Bennett at the Liverpool Literary Agency said ‘in my experience, I’ve found that publishers are trying to be more sex positive. I think Tik Tok has a huge part to play in this.’ As a result, she’s found that publishers are increasingly asking for titles with “crossover potential” … which is essentially jargon for new adult.
Laura speculated that the perpetual grey area could be attributed to a wider issue with age ranges in the YA market. ‘YA has become such a huge bracket. Is it 12-18yr olds or is it 16-18yr olds? Children are always going to read older than they are. But equally, I wouldn’t want my 10yr old reading upper YA because it’s in the 12+ section’. If there was consistent delineation, it would help with marketing and shelving. ‘We have to nurture mature readers, while still protecting younger readers. There needs to be that balance. If you insert new adult into the opposite end of that scale, it gives us the opportunity to say “Yes, this is for older readers, but it is still fairly safe”’.
This begs the question though… what actually sets YA and NA apart?
New Adult Vs Young Adult Fiction
Young adult fiction titles are books written for readers aged 13 - 18. With teenaged protagonists, they explore the challenges of adolescence or coming of age.
New Adult Fiction differs in 5 key areas:
Target audience – NA’s target audience is both older and broader. It's targeted at 18-25 year olds, though many believe it's 18-30.
Word count – Whereas YA is usually around 60,000 words, NA titles can be anything up to 120,000. NA authors can get into politics, themes and worldbuilding a lot more.
Content – NA titles can provide more detail with their ‘adult’ content. This includes more swearing, violence, sex and drugs.
Voice – NA protagonists have a different set of priorities and concerns than their younger counterparts. They're older but not on an equal footing with adults that possess well-established careers, families, and lifestyles.
Themes - NA focuses on three areas of identity: romance, career and worldview. There are more mature themes with more complexity than in YA. YA often focuses on the external, whereas NA focuses on the internal.
Examples Of New Adult Titles
A Court of Thorns and Roses by Sarah J Maas – After killing a faerie, 19-year-old Feyre is held hostage. This popular Beauty and the Beast adaptation is darker, sexier and grittier than YA.
Fangirl by Rainbow Rowell – When identical twins Cath and Wren head to college, they must each find their place, dealing with independence and social anxiety.
Black Buck by Mateo Askaripour – 22-year-old Darren ditches his job as a barista and becomes a salesman who'll do anything to get ahead. This explores the challenges of racism in the workforce, establishing a first career and balancing life.
The Incendiaries by R O Kwon – Will starts at Edwards College and turns his back on religion, then he and his friend get involved with a cult. This explores worldview, grief and self-identity.
Exciting Times by Naoise Dolan – 22-year-old Ava moves to Hong Kong and strikes a relationship with British banker Julian. Things get complicated, however, when she meets Edith.
If We Were Villains by M L Rio - Seven young actors study Shakespeare at an elite college, until one of them is found dead. This is a dark ‘campus novel’ exploring morality and social identity.
Tips For Writing New Adult Fiction
Audience
The biggest mistake NA authors make is oversimplifying things by writing too young for an adult audience and too graphically for YA.
Be clear about who you're writing for and ensure your protagonist embodies this in both mindset and maturity – the rest will fall into place.
Themes
The circumstances of your story should sync with your character. Your themes need to feel reflective of where they are in life.
Genre
Given publishers’ hesitancy acknowledging the term ‘new adult’ you may want to consider using other buzz words in your query letter.
I'd recommend using the phrase ‘XX with crossover appeal’. If the setting's firmly academic, then you may want to label your title as a ‘campus novel’.
Frequently Asked Questions
What Is The Difference Between New Adult And Adult Fiction?
The new adult category is considered a subsection of adult fiction. New adult readers are typically aged 18-25 and adult fiction is aimed at anyone over the age of 18.
What Is The Difference Between Young Adult And New Adult Fiction?
YA fiction titles are written for young adults/readers aged 13 - 18, with similarly aged protagonists, and they explore the challenges of coming of age. New adult titles are aimed at 18–25-year-olds, and have older protagonists facing the new demands of legal agency and responsibility.
Writing NA Fiction
The increase in ‘crossover appeal’ on editors’ wish lists speaks for itself. New adult is far more than sexy romance.
It's a robust category that offers authors the chance to tackle important topics that are pertinent to early adulthood.
Not unlike the readers these books aim to represent, the NA market is in a period of transition.
The question of when it can go from ‘emerging’ to ‘emerged’, feels almost synonymous with, ‘when do humans go from ‘adulting’ to fully-grown adult?’
The fact is, no one knows, but it seems somewhat inevitable.
As a reader, perhaps you have enjoyed the use of epigraphs before, but never quite understood why an author has chosen to use them.
Or maybe as a writer, you have considered using epigraphs, but have resisted because you are not sure about how best to implement them.
In this article, we will include an epigraph definition, look at some epigraph examples, and provide some tips on using epigraphs effectively. Hopefully by the end of this guide, you'll be able to use epigraphs to improve your writing and make it stand out from the rest.
So, to begin, let’s discuss what the word epigraph actually means.
What Is An Epigraph?
In short, an epigraph is a short (typically fictional) quotation, saying, or poem that is used as an extract in an author’s book in order to gently guide the reader into the story's world. Some authors will use a one-off epigraph at the start of the book, just after the title page, and others will include an epigraph at the very beginning of each chapter heading. In other examples, authors used epigraphs at the end of their books as part of, or solely as, an epilogue. Epigraphs are contained in quotation marks and it's vital that they are attributed to the correct person.
In some instances, an epigraph will be a simple one-line quote or saying and in other examples it could be several lines of poetry or prose from a literary work. It is totally down to the writers’ discretion how many lines, or how many epigraphs they decide to use.
So now that we understand what an epigraph is, it’s important to establish its purpose in writing and why you might consider using one (or many of them) in your book.
What Is The Purpose Of An Epigraph?
The purpose of an epigraph is to help set the tone, themes, and subjects that will later materialise in the story.
An epigraph can help the reader gain a sense of what is to come and help an author to establish context very early on in the book.
Epigraphs are often thought-provoking and they create intrigue and interest at the beginning of a text/chapter. They're also used to foreshadow mood /an exciting event, or make a satirical statement.
To fully appreciate the purpose and effectiveness of literary epigraphs, it is useful to consider some published examples. Below are some examples of texts that have used epigraphs successfully.
Examples Of Epigraphs
To Kill A Mockingbird By Harper Lee
Lawyers, I suppose, were children once.
This is possibly one of the most famous examples of an epigraph being used to create intrigue and establish the context for the complex and emotional story that would later unfold. It is wonderfully simple yet extremely clever.
Life After Life By Kate Atkinson
What if we had the chance to it again and again, until we finally did get it right? Wouldn’t that be wonderful?
Edward Beresford – Todd
Atkinson uses three epigraphs at the beginning of this novel, but what makes this quote unusual is that it is actually made by one of the main characters of the book.
It is also a wonderfully apt quote, perfect to set up the main theme of the novel, which is reliving a life - and by using a quote from a character, we can appreciate his importance in the story.
Watership Down By Richard Adams
CHORUS: Why do you cry out thus, unless at some vision of horror?
CASSANDRA: The house reeks of death and dripping blood
CHORUS: How so? ‘Tis but the odor of the altar sacrifice
CASSANDRA: The stench is like a breath from the tomb.
Aeschylus, Agamemnan
Watership Down is an excellent example of epigraphs being used at the beginning of each chapter - and this quote from chapter one really sets the theme for the reader. By using continuous quotes and extracts throughout the novel, Adams is able to hint at the terror and threat that is awaiting his characters and can continue to create a sense of intrigue and danger throughout the book.
The Circle By Dave Eggers
There wasn’t any limit, no boundary at all, to future. And it would be so a man wouldn’t have room to store his happiness.
East of Eden by John Steinbeck
By using this quote at the beginning of his novel, Eggers is able to set the theme of his futuristic and utopian setting. This quote helps to pose a question with the reader, hinting that perhaps the safe and happy world that is being presented, isn’t all it seems.
The Double Life of Daisy Hemmings By Joanna Nadin
Is insincerity such a terrible thing? I think not. It is merely a method by which we can multiply our personalities.
The Picture of Dorian Gray by Oscar Wilde
Again, this quote is thought-provoking and helps to set up the main theme of book, which is people changing. It is extremely apt and sets the context for the story that unfolds perfectly.
How To Use An Epigraph In Your Book
In this section, we are going to explore how best to use and decide on your own epigraph for your book.
Consider using texts, extracts and quotes that have themes that best overlap with yours.
Ensure that you have permission to use the text/quotes or extracts. Remember, copyright restrictions may be in place (this is usually the author's lifetime, plus seventy years) but it is always best to check with the writer’s estate or agency to be sure.
Consider whether you want to foreshadow an event or mood and if so, try to use an epigraph that can help with this.
You might want to use an epigraph to develop or hint at a character development, in which case you need to find one that best fits those needs.
Take time to read through examples and consider how epigraphs might best suit your work. Could a small quote at the beginning set up the scene? Or would continuous epigraphs at each chapter help shape the theme and build intrigue throughout the novel? Decide what best suits you.
It’s important to remember that most authors are drawn to quotes and texts instinctively and just ‘know’ that they belong in the novel. It makes sense that a piece of writing that has influenced you, or a poem that means a lot to you, will also connect to the story you have written. If your gut instinct feels that it's right, it often is! Just ensure you are allowed to use it!
Let’s now consider some frequently asked questions regarding the use of epigraphs.
Frequently Asked Questions
What Is An Example Of An Epigraph?
An epigraph is a short quotation, saying, or poem that is used in novels. These (often fictional) quotations can either be included at the start of the book or at the beginning of each chapter. An example is the epigraph, “lawyers, I suppose, were children once”, used in To Kill A Mockingbird by Harper Lee.
Why Are Epigraphs Used?
An epigraph helps to set the theme, tone or the subject that will materialise later in the story. It can foreshadow what will come and build intrigue and suspense.
Where Should I Use An Epigraph?
This is a totally personal preference. Many authors prefer to have their epigraphs at the beginning of the novel. Others will use epigraphs at the beginning of each chapter, some at the end of a novel.
You need to choose the method that feels right for you and fits with your book.
How Long Should An Epigraph Be?
There are no wrong or right answers here. However, it is often suggested that epigraphs which consist of a short phrase or a few lines are best for creating intrigue and holding the reader’s interest.
What Copyright Considerations Do I Need To Consider When Using Epigraphs?
You need to check that you have legal permission to use any text, quotes, or extracts. Remember copyright restrictions are often in place (usually the author's lifetime, plus seventy years) unless the text is in the public domain. If you're unsure about the copyright, check with the writer's estate or agency.
Choosing An Epigraph
Throughout this guide we have explored epigraphs in much detail and considered their use and how they can be most effective in writing. There is little doubt that for many writers, epigraphs are a great way of setting the theme and tone of a novel and helping a reader get a sense of what might be unveiled later in the book.
The key thing to remember, is that the use of epigraphs is a totally personal one. Take time to explore quotes and extracts that might work for your text. Ensure that you have the correct permissions. Consider whether your epigraph is having the effect you want it to have.
But most of all, have fun with it and follow your heart. Epigraphs are often selected because they connect to the author in some way and because of this, they will connect to the reader. The most effective epigraphs are the ones that aren’t forced but feel like they belong to the writing.
When I think of falling action, I think of all of the scenes in Gladiator that come after Maximus Decimus finally has his revenge on the new emperor (warning Gladiator spoilers ahead!)
Maximus stabbing the emperor is the undoubtable climax- his long sought revenged is finally reached. Many important things happen after this; we still see his inevitable demise and a number of important scenes follow; yet these scenes are no longer part of the story's climax.
The scenes that follow, despite being dramatic in their own right, are slower and more satisfying, they lead us to the conclusion of the story. The main climactic moment has already occurred, which means that all of those scenes that follow are part of the falling action.
A story's falling action is the action that occurs immediately after the big climax has taken place and the action shifts towards resolution instead of escalation. The action is now no longer rising, instead it is now falling and taking us (the viewer/reader) onwards to the end of the journey. In short, it is everything that comes after the important questions have been answered.
In this guide you will learn how to better identify falling action and how to write it. Once you read this article you will be able to define falling action, understand the role it plays in story structure, and know the difference between falling action and rising action.
Let’s dive in!
What Is Falling Action?
Falling action in a story is, simply put, the action that comes immediately after the important climax has taken place. Note that some films or books might seem to have multiple climaxes (like in the Lord of the Rings finale where they seem to come one after the other.) However, there is usually one important main climax, which the rising action has been leading towards.
Keep in mind, though, that exciting things can still happen after the climax (like the volcano erupting in Lord of The Rings) and those scenes are still part of the falling action. All falling action leads to the story's resolution and the tying up of loose ends of the plot.
It’s hard to talk about falling action without talking about German author Gustav Freytag, who, through the illustration of his (Freytag’s) pyramid, argued that all stories can be reduced to one basic plot structure which consists of five stages: exposition, rising action, climax, falling action and dénouement.
Let’s break these down.
1. Exposition
The story starts with exposition, which breaks down the information the reader will need in order to understand the story best.
Who is this story about? Who is the main character? Who is the antagonist? What is their world like? What are their key relationships? What are the stakes? What is the time period? What are all the relevant details?
Once this is all established and the reader is invested, the inciting incident typically occurs in the story, which then moves things on to the rising action.
2. Rising Action
When the rising action hits, the plot usually quickens and starts to (as the name suggests) rise towards the climax. The tension in rising action will typically grow from scene to scene as plot developments lead us through the story and upwards to the grand climax. No matter how complex or unique a story is, it's likely to have rising action.
3. Climax
The climax is arguably the most important part of the story, though each part of Freytag’s pyramid is significant in its own way. A climax will tackle the story's central conflict, answer its main question, and will serve as the main turning point for the story.
Typically, it’s when the hero reaches their destination, or when they finally confront the villain. As the pyramid/plot diagram suggests it is the peak of the story - the action will no longer rise, and the stakes will not get higher from here. Once the story reaches the climax, the action will head towards resolution in the form of falling action.
4. Falling Action
As discussed throughout the article, falling action refers to all the scenes/plot points that come after the climax and lead to a resolution and the final “after” snapshot. (Refer back to the first heading for a more detailed falling action definition.)
Few stories skip falling action completely, but if you're writing a series of books, especially if they're in a genre which is rife with major conflict and plot twists, you may decide to leave some loose ends. In this case, it might be that your protagonist gets closer to solving the obstacles presented by the story's main conflict, which gives readers some satisfaction, but a few unanswered questions remain. This means your readers will have some closure, but will also be eager to read the next instalment of your series.
5. Dénouement
Dénouement is often confused with falling action and to be honest it’s easy to confuse the two. Dénouement is the very last bit of the story which shows the final resolution. It’s not so much the unthreading of plot lines that the falling action is but rather dénouement is the final say on how everything has been resolved. In Lord Of The Rings, it would be showing Frodo happily back in the Shire. Dénouement can also involve a tragic resolution too where things don't work out as well as your protagonist had hoped.
Dénouement hints at what’s to come, and show us how everything has changed for the main character and secondary characters and it leads us to the story's end.
The Difference Between Falling Action And Rising Action
The key difference between rising and falling action is that rising action follows an upward trajectory where it escalates in intensity in order to reach the climax. Falling action should, like its namesake, follow a downward trajectory and aim to give the viewer/reader relief from the climax.
Let's explore the importance of falling action.
Why Is Falling Action Important?
Falling action is important because if you ended a story on a climax there would be no emotional relief for the reader/viewer. The story, whether sad or happy, would have no satisfying end or closure. You’ve spent all this time getting your reader excited and invested; you cannot then just leave them at the peak.
The main reasons to include falling action in literature are as follows:
Ties up loose ends, especially in relation to the main conflict
Falling action serves the reader's curiosity, giving them satisfaction and closure
It provides extra time for a closing statement of themes and the core message
Wraps up side-storylines, or the stories of multiple characters
It gives the story time to wind down so you can head towards your closing image with purpose and intent
Examples Of Falling Action
Falling action can take many forms (in terms of style, format, genre etc). Here are five falling action examples from literature and film:
The Hunger Games By Suzanne Collins
In The Hunger Games, the falling action is everything that comes after Katniss wins the games. The main plot has been addressed and the action moves towards the resolution. Dénouement would be the scene that shows her life long after the Hunger Games have ended.
Harry Potter And The Sorcerer’s Stone By J K Rowling
In Harry Potter and the Sorcerer’s Stone, the falling action happens once Harry faces Voldemort. The time after that spent in the infirmary, and the house cup and all that follows is falling action.
Titanic
In the film Titanic, the climax would be the Titanic sinking and Jack and Rose being stranded. Once Jack passes and Rose decides to use her last morsel of energy to get the whistle, the falling action begins. Dénouement would be the very final scene when the old lady drops the necklace into the ocean.
A Christmas Carol By Charles Dickens
In A Christmas Carol, the falling action occurs after Scrooge wakes up and realises that he is still alive, and it is still Christmas, and that there's still time to change his trajectory. Everything that comes after this with him fixing all his wrongs is part of the falling action.
Matilda By Roald Dahl
In Matilda, the climax occurs when Miss Trunchbull is vanquished. Matilda skipping grades and Miss Honey’s life returning to normal is the falling action. Miss Honey becoming Matilda’s new guardian once her family has left for Spain could be considered dénouement, as it shows us Matilda’s new normal, and what her life is likely to look for the foreseeable future.
How To Write Falling Action
The three steps to writing falling action are as follows:
Identify all of the loose ends you would like to wrap up, arrange them in order of importance and in a descending pattern, (i.e. the action should be calmer and not rising.)
Consider the pace of the overall story in order to decide how your falling action should fit and how much room it will occupy on the page. Tip: make a checklist of the storylines /plot points/ jokes you would like to see wrapped up and tidied, and then check things off once you have included them in the falling action.
Loosely plan out your story structure so that you know roughly what the falling actionwill entail.
Once you know which beats you want your falling action to hit and in which order, and once you are clear on which plot points should be concluded, then you can draft the falling action just as you would any other section of your book or screenplay.
Frequently Asked Questions
Let’s address some of the most asked questions when it comes to falling action.
What Is A Falling Action?
Falling action is everything that takes place immediately after the climax. The purpose of falling action is to bring the story from climax to a resolution. It is one of the key elements in any story which will usually include an exposition, rising action, climax, falling action and denouement.
How Do You Identify A Falling Action?
In order to identify falling action try asking yourself the main plot point of the story, then identify when that plotline is resolved (i.e. when the hero finally confronts the villain), once you are able to identify the climax you can identify the falling action. Remember the falling action will usually revolve around resolution and de-escalation of the previous action, and will follow a downward spiral.
What Is The Difference Between Dénouement And Falling Action?
Dénouement is the final part of a story which usually shows you a glimpse into the main character's new normal. Like in the case of Matilda, dénouement often gives the viewer a snapshot of what’s in store for the MC in the future (Matilda will now happily live with Miss Honey). Dénouement is usually much shorter than the falling action. It’s often a commentary on the future of the world in the book as well, similar to an epilogue, a dénouement will explain where the world you've created, and your story's characters, will go from here.
Falling Action
It’s very important for writers to focus on their falling action and to really flesh it out in the perfect way for their narrative. It isn’t something to be overlooked or skipped. When keeping in mind falling action, you can refer to Freytag’s pyramid and try to visualise the way you first expose your story and the important details.
Then imagine the line going upwards with your rising action and try to pair that with emotions- first the reader is intrigued with your exposition and details of the story, then they should be excited and nervous with your rising action, the climax should hit hard and heavy and be the peak of the storyline, then the reader should feel a sort of detangling of threads with the falling action. Falling action should bring with it a sense of closure and relief.
Do you love murder mysteries? Do you want to write your own but don't know where to start?
Well, you've come to the right place!
In this article, you will learn how to write compelling murder mystery stories that move the plot forward and keep your readers guessing until the end. We'll discuss structure, key moments, character development, and setting.
Whether you're a beginner or a seasoned pro, read on for all the tips and tricks you need to create an edge-of-your-seat murder mystery!
What Is A Murder Mystery?
A murder mystery is a fast-paced story in which a killing is committed, and the characters must solve the mystery by uncovering clues and identifying the culprit.
The murder mystery genre includes elements of suspense and detective work, making it a popular choice for readers who enjoy puzzles and trying to piece together all the clues.
While the plot of a murder mystery can be complex, the basic premise is reasonably simple: someone has been killed, and it is up to the main characters to find out who did it.
How Are Murder Mysteries Different from General Mystery Stories?
There are many types of mystery stories, from classic whodunits to modern thrillers. But what sets murder mysteries apart from other types of mystery stories?
For one thing, murder mysteries usually involve much higher stakes. After all, the victim in a murder mystery is already dead, so there's very little chance of a happy resolution.
In addition, they tend to be darker and more violent than other mystery genres. They often explore the dark side of human nature and the motivations behind why someone would kill another person.
Finally, good murder mysteries typically have a larger cast of characters than other types of mystery stories. This is because each character usually has something to hide, and the murderer is often someone who was least expected.
These elements combine to create a unique and addictive genre that will keep readers guessing and turning pages!
Next, let's look at the critical aspects of a murder mystery novel.
The Key Elements Of A Murder Mystery
1. Start With A Strong Hook To Capture Your Reader's Attention
In any good murder mystery, the crime that sets the story in motion needs to be compelling enough to hook the reader from the very first page. After all, once somebody has been murdered, it's up to the private detective (and the reader) to put together the pieces of who did it and why.
A strong hook will keep readers engaged as they try to solve the puzzle along with the detective.
To be effective, a hook should be mysterious and intriguing, making the reader want to find out more. It should also introduce the key players in the story so that readers have a sense of who they're rooting for (or against!).
2. The Protagonist Should Be Someone The Reader Can Sympathise With And Root For
In any good murder mystery, the protagonist should be someone with whom the reader can empathise. After all, it's hard to get invested in a story if you don't care about the main character!
A sympathetic protagonist gives the reader someone to identify with as they try to solve the mystery. They also provide a human element to the story, making it more relatable and realistic.
Of course, this doesn't mean that the protagonist has to be perfect. In fact, many of the best murder mysteries feature protagonists with flaws and secrets of their own!
3. Create Believable, Complex Characters For The Supporting Cast
The murder victim is only the beginning. Creating a web of complex and believable characters for the rest of the supporting cast is essential to keep readers engaged. Each character should have unique motivations, secrets, and skills that come into play as the story unfolds.
Furthermore, the relationships between these characters should be rich and multi-layered, providing clues and red herrings for the reader to follow.
4. Include A Plot Twist That The Reader Won't See Coming
A murder mystery is only as good as its plot twist. The best plot twists are entirely unexpected but still make perfect sense retrospectively.
An excellent way to achieve this is to plant false clues throughout the story that point the reader in the wrong direction. This will make the true killer's identity all the more surprising when it is finally revealed.
5. There Should Be Plenty Of Red Herrings To Keep The Reader Guessing Until The Very End
A murder mystery is not a true mystery if the reader can figure out who did it long before the end of the book.
A key element in writing a successful murder mystery is to include a red herring - a false clue that points the reader in the wrong direction.
These can take many forms, from physical evidence that appears to incriminate a character but is later revealed to be planted, to eyewitnesses who give conflicting testimony.
6. The Ending Should Be Satisfying
A vital element of murder mystery books is that the ending should be satisfying, with all loose ends tied up neatly. Of course, there are always exceptions to this rule, but generally, a well-written mystery should provide closure for its readers.
You can achieve this by providing a credible explanation for all of the clues that have been left throughout the story. This not only allows readers to see how everything fits together but also leaves them feeling satisfied that they were able to solve the mystery themselves.
Another way to create a satisfying ending is by ensuring that all of the characters get what they deserve. This means that justice is served and that everyone who played a role in the story gets their comeuppance.
Different Forms Of Murder Mysteries
Murder mystery stories are a popular genre that can be written as novels, short stories, screenplays, stage plays, or even television shows.
While each type of story has distinct benefits, they all share one common goal: to keep the audience guessing about whodunnit!
Let's take a closer look at the different murder mystery forms.
Murder Mystery Novels
The novel form of a murder mystery allows for more significant character development and a more complex plot than a short story or a screenplay, allowing the reader to delve into all the nuances of each character and their motives.
Murder Mystery Short Stories
A short story is a more concise, focused way of telling a story, with fewer characters and fewer distractions from the central mystery, while centred on the inner workings of a specific character's mind.
Murder Mystery Screenplays
A screenplay can be an excellent format for a murder mystery, allowing the author to control the pacing and tension of the story. Typically, a script for a film is best suited to fast-paced action and suspense, with an emphasis on characters and visuals. So, a murder mystery script exemplifies the strengths of the subgenre and the screenplay format simultaneously.
Murder Mystery Stage Plays
A stage play is primarily dialogue-driven, which is an excellent format for a story based on a central character interviewing others to determine the culprit.
Murder Mystery TV Shows
Serialised television has always been popular for telling murder mysteries, with shows such as CSI and Law & Order, as it allows for complex plotlines and character development in a short time frame.
Murder Mystery Examples
Knives Out By Rian Johnson (Movie)
This offbeat film, nominated for an Academy Award for Best Original Screenplay, follows the investigation into the death of a renowned crime novelist and every shocking twist and intriguing turn keeps you guessing until the end.
And Then There Were None By Agatha Christie (Novel, Movie, Stage Play)
One of the most famous murder mystery novels ever written, this story follows a group of strangers who are invited to an isolated island off the coast of England. Once there, after they are accused of various crimes and murders, they are picked off one by one by an unknown killer. As the body count mounts, the survivors realise that there is no way off the island and that they must find the killer before it's too late.
Columbo (TV Show)
If you're a fan of detective shows, you've probably seen at least one episode of Columbo. The iconic series starred Peter Falk as a wily police detective who was always one step ahead of the killer. Unlike standard whodunnits, each episode began with the audience knowing who the murderer was, but seeing Columbo piece the clues together was always a delight.
Gone Girl By Gillian Flynn (Novel, Movie)
One of the most popular murder mystery novels in recent years, Gone Girl tells the story of Nick and Amy Dunne, a married couple whose relationship is on the rocks. When Amy goes missing, Nick becomes the prime suspect in her disappearance. As the police investigation unfolds, dark secrets about their marriage are revealed, and it becomes clear that nothing is as it seems.
Hound Of The Baskervilles By Arthur Conan Doyle (Novel, Movie)
This classic story revolves around the investigation of a series of murders committed on the desolate moors of Devonshire. Sherlock Holmes is hired to solve the case, and he quickly realises that the culprit is a large, ferocious hound that has been terrorising the local villagers at the bidding of its secretive master. In the end, Holmes is able to put an end to the murders and uncover the culprit.
Mystery At Rogues' Roost By Ellery Queen (Short Story)
Rogues' Roost is a remote and isolated inn, the perfect setting for a murder mystery. When Ellery Queen arrives, he finds that the innkeeper has been killed and the other guests are all suspects. As Ellery begins to investigate, he quickly realises that each of the guests has something to hide. The question is, who is the murderer? Ellery soon discovers that the answer lies in a hidden room at Rogues' Roost, a room that holds the key to a decades-old mystery.
How To Write A Murder Mystery
Step 1: Determine Your Setting & Main Character
The first step is to determine when, where, and who. Will your story take place in a small town or a big city? On a beach or in the mountains? Is it a period piece or contemporary?
Once you've decided on the location, it's time to introduce your main character. Is she a famous detective or an amateur sleuth? A hard-boiled private investigator or an inquisitive novice? By understanding your protagonist's motivations and backstory, you'll be better equipped to write a compelling mystery.
Step 2: Who Is The Victim? What Is The Murder Or Crime Committed?
Is your victim innocent or guilty of misdeeds? Are they a good person or are they thoroughly nasty? How you paint the victim will reflect in how they're viewed by others, including your readers.
Once you've chosen your victim, it's time to get into the nitty-gritty of the crime itself. Where did it take place? When? How was the body found? These are all essential details that will help to set the scene. You should also consider what kind of weapon was used and whether any evidence was left at the crime scene.
Step 3: Create A List Of Potential Suspects, Along With Their Motives, Opportunities, And Alibis
The best murder mystery stories always have a large cast of potential suspects. After all, part of the fun is trying to figure out who did it! So, once you've decided on your victim and your crime, it's time to start brainstorming a list of possible killers. Here are a few things to keep in mind as you create your list of suspects:
Each suspect should have a motive for killing the victim. What would they stand to gain by the victim's death?
Each suspect should have an opportunity to commit the crime. Where were they when the crime took place? Do they have access to the murder weapon?
Each suspect should have some kind of connection to the victim. How do they know each other? What is their relationship like?
Each suspect should have a seemingly valid alibi for where they were when the crime was committed. Think of each character's backstory and what they might have been doing at the time.
Always make sure to think about what clues and red herrings you want to include in your story when you are thinking about your suspects!
Step 4: Create A Unique Twist On The Actual Murder
This is where you take the basic concept of the murder and make it your own. It's essential to come up with something that will surprise your readers and keep them guessing until the big reveal.
One way to do this is to change the motives for the murder. Maybe the victim was killed for insurance money, or maybe there was a love triangle gone wrong.
You can also change the way the murder is carried out. Instead of a bullet to the head, maybe the victim is poisoned or drowned.
Whatever you choose, make sure to include a feeling of improbability or impossibility to the crime. This increases the mystery and engagement!
Step 5: Create A Timeline Of Events
The last step to writing a murder mystery is to create a timeline of events. This may seem daunting, but it's not as difficult as it sounds. Here are a few tips:
Start by brainstorming a list of all the events that take place in your story, no matter how big or small. Little details matter! Once you have your list, arrange the events in chronological order. If you're unsure about the order, that's okay - you can always go back and adjust as needed.
Next, flesh out each event with more details. What happened? Who was involved? Where did it take place? When did it happen? Why did it happen? Answering these questions will help you create a more detailed and believable timeline.
Finally, don't forget to include clues and red herrings to help keep your story suspenseful and unpredictable!
Tips For Writing A Murder Mystery
Plan out your ending before you write your story.
Ensure that everyone in the story is a potential suspect (the main character included!).
Set your murder mystery story in an exciting or unique location that adds detail to your narrative.
Frequently Asked Questions
How Do You Outline A Murder Mystery?
When outlining a murder mystery, it is essential to start with the basics: who was killed, where did the murder take place, and who are the possible suspects? Once you have these crucial elements in place, you can begin to flesh out the story. For example, what was the victim's relationship with the suspects? What was the motive for the murder? What evidence is there that points to a specific suspect?
How Many Suspects Should You Have In A Mystery Novel?
In a mystery novel, the number of suspects is important. Too few suspects, and the reader may feel that the answer is obvious. Too many suspects, on the other hand, can make the ending feel contrived. The key is to find the right balance. Ultimately, the story's plot will determine the number of suspects. However, as a general rule, having at least three suspects is advisable. This will give the reader enough options to consider without making the mystery too convoluted.
Murder Mystery Writing
If you're excited to try your hand at writing murder mystery stories, start with a great hook that will capture your reader's attention. Once you have them hooked, include plenty of plot twists and red herrings to keep them guessing until the very end. And don't forget to create relatable characters that your readers will love (or love to hate!).
With these tips in mind, you're ready to write murder mysteries that will keep your readers glued to the page. Ready, set, solve!
The ‘rule of three’ is as familiar to you and I as fairy tales like Goldilocks and the Three Bears, or genies who grant three wishes, or sayings like ‘good things come in threes’.
It’s a rule we use all the time in everyday life.
But what makes three such a magic number?
And when it comes to fiction, how can we use the rule of three in writing?
In this article, we’ll cover:
What is the rule of three in writing?
Examples of the rule of three, and what it looks like in practice
Our tips and tricks for the rule of three as a writing principle
Frequently asked questions
So, what is the rule of three, and how do you use it to engage readers in your own writing?
What Is The Rule Of Three?
The ‘rule of three’ in writing is based on groups of three items being more memorable, emotionally resonant, and persuasive than simply one or two.
In literature, the scope is broad: from having the word ‘three’ in a novel’s title, to three characters’ points of view (POVs), or even just using a three-act plot structure.
We’ll delve into these later, so stay tuned.
But for now, why is the number three so established when it comes to storytelling?
To answer this question, I dug out my psychology textbooks and went trawling through the scientific research, as the overall consensus online is that three is the smallest grouping for pattern recognition in the human brain.
Frustratingly, there’s not a lot of research to back this statement up.
Cheetham’s takeaways on the rule of three in literature:
Repetition is an established memory aid.
Repetition can be used to signify importance, as in emotional intensity (and therefore significance).
Repetition is core to persuasion, especially the number three.
Cheetham posited that three reasons are more convincing than one; this is supported by a two-part study from Shu & Carlson (2014), who found that three claims were the ticket to consumer persuasion.
Cheetham went on to summarise that ‘the rule of three is not just a rule of three or four things together, but a rule of sequential repetition … in a clear and meaningful order’.
i.e. there is semantic progression, which can become more complex, or even humorous, once a pair primes us for a third list item.
So, there’s a little background on why the rule of three is used in literature, and in life more generally.
Next, we’ll take a look at some examples.
General Examples Of The Rule Of Three
Our love of triads has led to great case studies on the rule of three in action.
Let’s start with real-world examples.
Marketing
‘I’m Lovin It’
McDonald’s 2003 slogan has just three words but has lasted for 19 years (the fast-food brand’s previous record was four years).
Did anyone else not know this jingle is a Justin Timberlake song?
'Just Do It’
Another example of the power of three-word advertising slogans, Nike’s motto was inspired by the last words of a death row prisoner, and that resonance carried.
Public Service
‘Stay home. Protect the NHS. Save lives.’
The UK government’s slogan from the COVID-19 lockdowns went for shock-factor with its implications.
‘The truth, the whole truth, and nothing but the truth.’
The English common law oath is a judicial convention spanning the Western world.
Religion
The Fates: The Ancient Greek Moirai or Fates (Clotho, Lachesis, and Atropos) were said to spin the threads of birth, life, death, and ultimately, destiny.
The Holy Trinity: In Christianity, this is the Father, the Son, and the Holy Spirit (one God in three persons), invoked during the ritual of baptism.
The Three Wise Men who travelled to see the baby Jesus are another example of three figures in the Christian faith.
Proverbs
‘Omne trium perfectum’
‘Everything that comes in threes is perfect’ is a long-standing Latin declaration for the rule of three.
‘Mizaru, kikazaru, iwazaru’
‘See no evil, hear no evil, speak no evil’ is based on the Japanese pictorial maxim of the Three Wise Monkeys.
Phrases
‘Ready, set, go’: This shorter, more effective version of ‘On your marks, get set, go’ shows the power of brevity (and three words).
‘Blah, blah, blah’: For an even simpler example of a three-word phrase, this triple-single idiom has roots in a similar expression from the 1800s.
Examples Of The Rule Of Three In Writing
We’ve looked at general examples — now it’s time to examine some modern and classic examples of the rule of three in writing and the creative industries.
Fables And Fairy Tales
Circling back to Goldilocks and the Three Bears, this British fairy tale has more threes than you can poke three sticks at: three chairs, three bowls of porridge, three beds, and the eponymous three bears (who then go through the same chairs / porridge / beds shtick as Goldilocks, only to discover a pint-sized intruder in their midst).
As you can tell, repetition here is key.
With slightly less repetition, the fable The Three Little Pigsincludes not only the three pigs, but also three houses built from increasingly hardy ingredients which they use to finally outsmart the Big Bad Wolf.
For a Norwegian example, De tre Bukkene Bruse or Three Billy Goats Gruff is another well-known fairy tale that employs three goats, each bigger than the last, to trick a hungry bridge-blocking troll.
Literature
The category we’ve all been waiting for!
And for our first example, you can’t go past Dickens’ novella A Christmas Carol.
Here, the original Grinch, Ebenezer Scrooge, is visited by three spirits: the Ghost of Christmas Past, the Ghost of Christmas Present, and the Ghost of Christmas Yet to Come.
In terms of the rule of three in fiction writing, this story has the trifecta of repetition for memorability, big feelings, and of course, a dose of ghostly persuasion.
Les Trois Mousquetaires orThe Three Musketeers by French author Alexandre Dumas, which gets points for having the number three in its title, follows d'Artagnan and his three swashbuckling heroes as they duel their way through Paris and London — for honour, naturally.
A less obvious example of the rule of three at work is by another Frenchman Jules Verne in his Around the World in Eighty Days.
After travelling to India, Phineas Fogg’s group is a party of three; and when he returns to London, he’s hit with three final ordeals.
The clincher? Fogg wins the book’s titular bet with three minutes to go.
Plays
In Shakespeare’s Macbeth, three witches (‘wayward sisters’) visit the Scottish General Macbeth with the prophecy that he will become king.
As we know, this leads Macbeth down his dark, ambitious path, with tragic consequences.
Unlike Dickens’ ghosts, the three witches spell trouble and temptation for Macbeth, their fateful words finally guiding his (stabbing) hand.
A scarily meta example is one by the master of murder mystery tales herself, Agatha Christie, aptly calledRule of Three.
This triple bill of one-act plays includes Afternoon at the Seaside, The Rats and The Patient.
Not to make this about Shakespeare again, but if we’re talking plays, an oft-quoted line is his ‘Friends, romans, countrymen, lend me your ears’ from another well-known tragedy, Julius Caesar.
Film
Arguably the world’s most famous trilogy, the creator of theStar Wars films,George Lucas upped the ante by planning prequel and sequel trilogies for a total of nine films in the space opera.
This opened up the three-act structure to a new, epic scale of storytelling — not to mention intellectual property.
The romantic comedy When Harry Met Sallyis a cult 80s film with a flair for the rule of three.
The pair meet three times before becoming friends, and after the final New Year's Eve party, where — ***SPOILER ALERT*** — Harry declares his love for Sally and they kiss, they get married three months later.
Credit to Reddit for reminding me that each key character in Signs has an identifying trait or issue that rears its head three times before the end.
Television
The rule of three or ‘threefold law’ in modern-day witchcraft was front and centre in Charmed, with three key characters (even when Shannon Doherty exited the show in season three): the three Halliwell sisters, who used their magical 'power of three' to fight supernatural baddies.
I’m including Schitt’s Creek in this list because: a.) it’s brilliant; b.) Moira Rose’s iconic ‘Sunrise Bay’ triple-slap is funnier than the Three Stooges’; and c.) there is even an episode called ‘The Throuple’, where David, Stevie, and Jake take their accidental dating triangle to its comical conclusion.
For anyone who watched The Lord of the Rings: The Rings of Power’s season one finale, the three Elven rings are another recent example.
How To Use The Rule Of Three
So, now we know why three is such a magic number: because it’s effective.
But how do we use the rule of three in writing?
Here are three examples of how to use the rule of three:
Three-Act Structure
The simplest way to utilise the rule of three is with a three-act structure, which is a fancy way of saying your story should have a beginning to set things up, a middle for the confrontation of your central conflict, and an end where things are resolved.
If you want to get technical, the three acts are as follows:
The first act begins with exposition (setting the scene), an inciting incident for the protagonist, and a turning point into act two.
Next comes the rising action, which leads into the story’s midpoint, as well as a turning point into act three; this is typically where the protagonist fails.
Finally, the last act follows with a pre-climax to build tension, before the actual climax, then denouement.
Example:
The Hunger Games by Suzanne Collins has a compelling three-act structure: Katniss volunteers as tribute for the Hunger Games; the Games start; and Katniss wins and goes home (albeit to more potential danger).
Tip:
A great way to weave complexity is to include three characters, who move through your acts together but with differing points of view.
Which leads us to…
Three Point-Of-View Characters
Creating three characters who all experience the plot of your story in different ways, with differing opinions or agendas, can make for an exciting read. This is especially effective if each character gets a point of view (POV); adding a third character adds some nuance to a dual narrative.
Example:
This was done incredibly well in Tomi Adeyemi’s Children of Blood and Bone, which follows the POVs of protagonist Zelie, and siblings Amari and Inan.
Outside of the book’s fresh concept and stellar execution, what makes this interesting is that one of the POV characters is ***SPOILER ALERT*** gravely injured in the finale.
Tip:
Want even more complexity? Simply add a love triangle (and therefore conflict) between your three point-of-view characters.
Stylistic Patterns
Finally, for the craft-lovers in our midst, there are also many ways to style your prose to incorporate the rule of three in writing.
Stylistic patterns like a tricolon, hendiatris, or even something as simple as alliteration can be beneficial for your word choice.
Tricolon: This is when three words of a similar length or form are used as a means of emphasis or inspiration, frequently in political speeches.
Here’s an example from Barack Obama: ‘Our generation's task is to make these words, these rights, these values — of life, liberty and the pursuit of happiness — real’.
Hendiatris: Taking the tricolon a step further, hendiatris uses three words to communicate a core idea, again in speechwriting or marketing.
One of the biggest quotes of all time is Julius Caesar’s ‘Veni, vidi, vici’ or ‘I came, I saw, I conquered’ in Latin, after triumphing over Pontius.
Alliteration: This is when words beginning with the same letter (or sound) are used in quick succession for aesthetic effect. This often appears in lists or when three adjectives are used.
‘While I nodded, nearly napping, suddenly there came a tapping’ from Edgar Allan Poe’s The Raven nails it.
Tip:
Don’t overdo it.
Literary devices like these can easily err into the dreaded flowery or purple prose if you’re not careful, so use them wisely.
Frequently Asked Questions
What Is The Rule Of Three In Persuasive Writing?
The rule of three in persuasive writing goes back to ancient times with Rhetoric by Aristotle, a three-book treatise on persuasion.
According to the Greek philosopher, the ability to persuade relies on three factors in rhetoric: ethos, the speaker’s character and credibility; pathos, the listener’s emotional state; and logos, the actual argument when proving something is true.
What Does The Rule Of Three Do To The Reader?
The rule of three in writing is a successful literary technique because it makes stories memorable, emotionally impactful, and persuasive for readers.
Grouping things in threes leverages the power of repetition to aid memory; denote emotional intensity or importance; and ease persuasion (research by Shu & Carlson (2014) found that three positive claims is the most effective for persuasion).
Where Does The Rule Of Three Come From?
The earliest known example of the rule of three in writing is Aristotle’s Rhetoric.
The ancient Greek philosopher argued not only for three means of persuasion — ethos, pathos, and logos — but also for three genres of public speech, with such speeches involving a speaker, a topic, and a listener (sensing a pattern?).
The best part — Rhetoric was a three-book discourse.
As you’ve learnt throughout this article, the rule of three isn’t just a rule of thumb — it’s a writing principle that can make your stories more memorable, emotionally resonant, and persuasive.
Give the rule of three a try and let us know how it helped you in your own writing!
Suspense, action, and darkness are three crucial elements of a gripping thriller.
This guide will take you through the various types of thrillers out there, from psychological to political, and give you some top tips to create your own edge-of-the-seat whirlwind thriller novel.
What Is A Thriller?
Thriller novels are generally plot-driven narratives, with complex, morally grey characters, featuring suspense, action, and an exploration of the dark side of human nature.
Good thrillers are pacy and tight, leading the reader through a twisty plot and building to a breakneck speed.
What Is the Difference Between Thrillers, Mysteries and Suspense Fiction?
There are many crossover elements between thrillers, mysteries and suspense fiction. Things they are likely to all have in common include:
A focus on building tension
A fast pace
A plot revolving around crime
However, there are key differences as well. While mystery novels use a central question or investigation to move the plot forward, paying off with a reveal at the end of whodunnit, the thriller genre may not hide who the villains and antagonists are; they may even be a central focus of the plot.
A suspense novel may have a similar focus, but it is driven by character rather than action. Many, or even most, thrillers will have chases, surprise attacks, and a race against time… while suspense novels are often ‘quieter’ and focused on the interior experience of the characters.
That’s not to say that thrillers cannot have shocking revelations or complex characters!
Let’s have a look at the different types of thrillers below.
Types Of Thrillers
Psychological Thriller
Along with action adventure and crime, psychological thrillers are one of the most well-recognised thriller subgenres.
Psychological thrillers are focused on the inner lives of characters who find themselves drawn into dangerous and threatening situations, either through chance or through a personality flaw or obsession.
Her, Mira V. Shah’s upcoming domestic suspense debut, perfectly encapsulates the approach of having an obsession spiral out of control, which is so often taken in psychological thrillers.
Rani’s obsession with her neighbour Natalie’s apparently perfect life escalates until both women’s lives are inextricably intertwined, and Rani has discovered that Natalie’s life might not be quite as idyllic as it seems. The tension and conflict that the two face provides the kind of gripping narrative that thrillers do so well, as the novel builds towards its inescapable conclusion.
Supernatural Thriller
Supernatural thrillers are having a bit of a heyday recently, popularly revived as they have been by the Duffer Brothers’ wildly successful Netflix series, Stranger Things.
Drawing heavily on classic supernatural thrillers by writers such as Stephen King, Stranger Things fits well in this subgenre with its evocation of fear, tension and dread.
Supernatural thrillers often contain elements of other genres, such as science-fiction, fantasy, horror, and the gothic.
Threats in supernatural thrillers are often unknowable creatures, who cannot be reasoned with or understood from a human perspective, resulting in situations where the dread is turned up to 11 as the main characters battle forces that they can barely comprehend.
Political Thriller
The essential ingredient of a political thriller is high stakes and plot twists. Many lives are at risk. High-level political figures are personally threatened. Often the protagonist is alone or becomes so – stripped of support, they must survive and defeat the antagonist(s) based on their wits and guts.
Stacey Abrams, best known for her political career in the United States, has also written a number of books under the pseudonym Selena Montgomery. Her most recent book, however, a political thriller titled While Justice Sleeps, is her first work of fiction published under her own name.
The story follows law clerk Avery, who is plunged into a world of intrigue and conspiracies after her boss, a high-level judge, slips into a coma and leaves her in charge of his affairs. The stakes couldn’t be higher as the trail takes Avery all the way to the top, with elements of mystery and suspense coming in as she discovers the truth behind one of the judge’s most high-profile cases.
Action-Adventure Thriller
Like political thrillers, action-adventure thrillers are high-paced, high-stakes, and high drama. Expect plenty of action set pieces, like chases, fights, and explosions (and more, averted at the last possible moment).
An example of this type of thriller is The Ninja Daughter, by Tori Eldridge. Lily Wong is a Chinese-Norwegian woman whose purpose in life is to defend abused women and children.
The novel is full of thrills and action, including fight and chase scenes, with a central mystery that builds to an explosive climax.
Cleverly riffing on the noir genre, Eldridge gives us a modern twist on the ‘femme fatale’ character, and this action thriller is full of excitement and tension.
Crime Thriller
A crime thriller is a subset of the crime genre, and, along with the typical elements of a focus on crime and the subsequent investigation, has the exciting elements of a thriller, with conflict and tension fuelling the pace of the narrative. Legal thrillers are also part of the crime thriller subgenre, and they emphasise courtroom proceedings and the legal aspects of crime.
Girl Zero, A. A. Dhand’s gritty and at times bleak crime thriller, utilises the central investigative element by having his main character, D. I. Harry Virdee, hunt for the murderer of his niece.
The thriller element is brought in with the pacing, as Harry and his gangster brother have to race against time to stop a child trafficking gang.
Investigative Thriller
Although this type of thriller may seem very similar to crime thrillers, the key difference is that the character leading the investigation is not from a traditional investigative background.
While a crime thriller will typically have a protagonist who is a police officer, or attached to the police in some manner, an investigative thriller will likely have someone pursuing the truth from a more unconventional angle.
Dark Pines is the first of Will Dean’s Tuva Moodyson series, about a Deaf journalist in a small Swedish town who is drawn into a decades-old mystery when two hunters are found, murdered in a manner similar to an unsolved case from long ago.
There is plenty of tension as Tuva grapples with the various conflicting loyalties of the villagers, as well as her desire to write the story of her career and break free from the life she feels trapped by.
Spy Thriller
Twists and turns are the name of the game in spy thrillers, where the central character is often at the centre of a web of lies, deceit and cover-ups at the highest levels.
Expect plenty of thrilling chase scenes, explosive conflicts, and death-defying escapes in this type of thriller, as well as continual surprises as motivations and loyalties are uncovered.
One of John Le Carré’s best-known spy thrillers is Tinker Tailor Soldier Spy, his 1974 novel starring his recurring character George Smiley. Smiley’s job in this book is to uncover a Soviet double agent within the British intelligence service. The trail leads him through twists and turns, through which almost no one can be trusted completely.
There is plenty of elegantly executed suspense in Le Carré’s work, and a complex plot that is set against the background of a waning empire, nicely dovetailing with his ageing protagonist. Both provide additional tension as the plot is eventually untangled and the secrets Smiley has been chasing are exposed.
Historical Thriller
Historical settings might be as far back as medieval times, as in Umberto Eco’s The Name of the Rose, or as recently as a few decades ago, like the TV series Life on Mars.
These settings are often excellent for increasing tension, as modern sleuthing methods like CCTV and digital databases are non-existent, and characters may have to battle against limiting social roles as well.
A recent excellent historical novel is The Confessions of Frannie Langton, by Sara Collins. There are many thriller elements to this historical narrative, as the central character is on trial for a crime she cannot remember committing.
As the child of an enslaved woman and her enslaver, Frannie is in a difficult social position. Although she is educated, she is also subject to the limitations and prejudices of racism, which impact how likely it is that her story will be believed. The historical setting of Collins’ novel allows her to delve into the dark side of humanity, as we also expect from thrillers.
How To Write A Thriller
So, how do you go about writing a good thriller? Looking at all the different types above, we can see that there are some commonalities among them that thriller writers should know.
1. Start With A Moment Of Change
Let us join your character at a moment of change in their life: whether that be a dramatic, explosive one (they’re hanging off a building! They’re chasing a suspect! They’ve been betrayed!) or a quiet, interior one (they’ve realised they’ve been mistaken about a small but crucial detail about their job/loved one/life), a character’s life is most interesting when it takes a turn.
2. Know What’s At Stake
It’s important early on that your readers know why your character’s goal is so important to them. If your character is working to uncover the truth about a murder, what is their personal connection to it?
It simply being their job to investigate it isn’t quite enough.
Perhaps it has some personal resonance with them due to a past experience, or there is a family or community connection. Perhaps they need to prove themselves in some way. Maybe there is a time pressure – thrillers often feature characters who have to race against time to solve something.
Whatever the stakes are, make them personal in some way to your character.
3. Ensure We Care About The Characters
Some stakes are very high and quite abstract – saving a building/city/country. Giving the character a loved one who is also personally at risk in some way helps to make this threat immediate and personal and contextualises the larger threat.
Equally, your character must be vulnerable in some way. As exciting as it is to read about a dapper hero skilfully knocking out bad guys, it becomes dull if there is no sense of personal danger to the character. Giving them something they love that is at risk is a good way to make them vulnerable, and ensure that the reader cares about them, too.
4. Gradually Increase The Suspense
Continually amp up the tension by gradually increasing the threat that the character faces.
These threats can also be made more daunting if your character has few resources to work with – taking these away over the course of the narrative will enable you to ratchet up that edge-of-your-seat feeling that you want your readers to have! Keep your readers guessing.
5. Make Limitations Work For You
Whether it be something intrinsic to the setting, such as a lack of modern policing technology; something external to the character, such as social attitudes or previous attributes being withdrawn (think of those ‘you’ve gone too far, hand in your gun and your badge’ scenes); or something that rises from the characterisation itself, such as physical injuries or psychological states, limitations are key to stacking the odds against your protagonist.
6. Build Up To The Climax
Stacking the odds even higher is an excellent way to build to a climax.
Your character should encounter ever-more daunting challenges, and be gradually stripped of help and resources until they are faced with overcoming something that seems insurmountable.
Your reader won’t be able to put your story down!
7. Ensure The Ending Is Satisfying
A satisfying ending might come from a crime being solved - the perpetrators brought to justice. Or it might be a disaster averted, the day saved, the love interest suitably impressed.
It might also be a situation where justice is not served, and the outcome isn't entirely what the character wanted. The satisfaction then comes from character development and the emotional arc of the protagonist, who has gone through trials and come out changed in some way. Although they might not have won the war, a personal victory will leave your reader satisfied with the journey.
Thriller Writing Tips
These are our top tips for writing thrillers.
Plot Twists. All should not be as it first seems: perhaps friends are not to be trusted, and rivals become allies. Perhaps your character’s understanding of the world is radically changed in some way with the discovery of key information.
All Is Lost. At some point, your character should be faced with their dark night of the soul – it will seem as though their goal will never be met, their resources are gone, and their life has changed for the worse. Bringing your character back from their personal abyss makes the ending that much more satisfying.
Play With Expectations. Much of the fun of a thriller is the unexpected elements of the plot. Embrace this by playing with your readers’ expectations. It might sound far-fetched for the hero of a spy thriller to be a Scottish granny, but Christopher Brookmyre made it happen in All Fun and Games Until Somebody Loses an Eye!
Frequently Asked Questions
What Are The Key Elements Of A Thriller?
Suspense, action and darkness are key elements in a thriller. Your readers expect thrills, tension, conflict, and an exploration of the darker side of human nature.
What Is The Structure Of A Thriller?
A gripping thriller follows the classic three-act structure. In the first act, the character is introduced, and the plot is set up. The second act adds complications, and the character suffers failures but also gets closer to their goal. The third act is the final showdown – the character is faced with defeating someone or something, and they may or may not be victorious in the way they originally imagined.
What Makes A Thriller successful?
Thrillers do just that – thrill. Readers want to be gripped, enthralled, fascinated, and horrified; they want to root for the success of the protagonist against all the odds. They want exciting events, overwhelming opposition, and a narrative that draws to a satisfying conclusion.
Writing Thrillers
As we have seen in the various types of thrillers we’ve looked at, there are many thriller elements in lots of different types of narratives.
Even if you’re not setting out to write a traditional thriller, you can still utilise a lot of the genre's elements in domestic suspense, historical fiction, and crime writing.
Including the key thriller elements of suspense, action and darkness will add another dimension to any story, and provide your readers with a popular narrative style that will keep them gripped until the last page.
Upmarket fiction combines the best aspects of literary fiction and commercial fiction; is sellable and successful; attracts an intelligent, loyal readership; and agents and commissioning editors love it.
Does all this sound too good to be true?
And what on earth does ‘upmarket fiction’ mean?
Read on to find out.
In this article, I’ll explore what upmarket fiction is all about, and what agents and editors mean when they use the term.
I’ll look at the differences and similarities between upmarket fiction, commercial fiction, and literary fiction, and I’ll give you several examples – without spoilers – so you can explore the category for yourself.
Then you’ll get a set of practical steps to use if you want to write and sell upmarket fiction.
What Is Upmarket Fiction?
There are a number of categories used by agents and commissioning editors that describe the types of novels they are hoping to discover or aiming to sell, resulting in some rather general terms that can be confusing to writers, especially beginners.
These terms aren’t genres as such but are more to do with 1) the book’s readership; 2) the way language and/or storytelling are handled; and 3) how well they think a book will sell, based on others of the same type that have already been published.
You might find the term ‘book club fiction’ on the manuscript wish list of a literary agent you're interested in querying, for example, which (at least on the face of it) describes the type of audience they hope will be attracted to the book, rather than its tropes, themes and ideas.
These terms include:
Commercial fiction (relates to selling potential)
Literary fiction (relates to the use of language)
Women’s fiction (relates to potential audience)
Agents and editors sometimes use other categories, to do with how a book makes the reader feel.
For example:
Up lit fiction, which is heart-warming, and emphasises empathy
Misery memoir, a rather derogatory term for unhappy life stories
When you first set out to write a novel, these terms are probably too broad to be useful, but they can be helpful when you come to redrafting or when you want to sell your book and need to describe it to others. Personally, I find this a relief to know!
Upmarket fiction is one such category. In fact, it’s a hybrid term.
As you may have guessed from the introduction, upmarket fiction refers to a combination of commercial and literary fiction; it is strongly plotted but the language is also carefully crafted. It may include complex plotting, such as multiple viewpoints.
Upmarket fiction often appeals to readers who are in book clubs, which is why it's sometimes used interchangeably with the term book club fiction.
Sometimes, but not always, upmarket fiction involves family dynamics or family secrets, using family and its shifting meanings as a framework for storytelling and as one of the main themes.
Many examples involve life and death or mortality as a theme, too, possibly because – in order to create a strong plot – writers of upmarket fiction sometimes use crime to structure the story.
As upmarket fiction is more of a category than it is a genre, it can be broken down even further using terms like upmarket women's fiction and upmarket historical fiction. This can help readers and writers alike find the niche areas in which they want to surround themselves/write about.
So, let’s compare upmarket fiction to both commercial fiction and literary fiction, to clarify what it is and how to write it.
Upmarket Fiction Vs Commercial Fiction
Underpinning the categories I mentioned above are various assumptions – or a sort of tacit knowledge – about how a book will be written.
For example, there’s an assumption that commercial fiction will have a strong hook and gripping plot and therefore will sell well.
Commercial fiction is generally also genre fiction of some kind. It might be a romance, thriller, crime, sci fi, or fantasy, for instance, or a well-established subgenre or combination of genres, and will conform to genre tropes and expectations.
Commercial fiction is often found in supermarkets and airports as well as in bookshops. These books are likely to be real page-turners: the sort of novel you just have to keep reading to get to the end.
Writers of commercial fiction achieve this in six main ways:
A strong – and clearly articulated – premise or hook. You could sum it up in a sentence or two, like an elevator pitch or a tagline for a Hollywood movie.
High-stakes – the consequences of the plot are life and death for the main characters, or, worse, the whole world/universe will be destroyed.
Cutting away from the action at exactly the moment the main character is in the most danger.
Introducing cleverly foreshadowed twists that the reader didn’t see coming.
Using ‘traditional’ genre expectations and conventions that the reader will recognise.
Economic use of language, keeping chapters short, with no room for beautifully crafted prose or for complex characters.
Upmarket fiction is considered to sell well precisely because it contains many of these elements of commercial fiction.
In fact, upmarket fiction could be described as a kind of commercial fiction.
Upmarket fiction could include any or all of the facets above, apart from number 6.
Upmarket fiction does employ beautifully crafted prose and complex characters, but they mustn’t get in the way of the page-turner plotting. The craft, the characterisation and the strong plot are intricately interwoven.
Upmarket novels must include numbers 1 and 2 – the strong premise and the high stakes – although the stakes might be more nuanced than life and death. They might relate to a metaphorical death: social death, or the death of one kind of life and the beginning of another, for example.
Upmarket books may be less likely to include number 5 – or to stick to recognisable genre conventions – than other kinds of commercial fiction; in fact, they may well include cross-genre or multi-genre storytelling or play with the various fiction genres available.
Upmarket Fiction Vs Literary Fiction
Literary fiction focuses on the beauty of language, on its literary heritage, and on complex characterisation.
It might win prizes, but will have a smaller audience, and therefore it doesn't sell as well as commercial or genre fiction. You’ll likely only see literary novels in supermarkets or airports if they've won a big prize.
Literary fiction explores themes and ideas that are bigger than the book itself, and that may have occupied writers, artists and philosophers for centuries, such as appearance and reality; loss; mortality; free will; criminality; identity; and war and peace.
This is the biggest difference between literary and commercial fiction, as the latter doesn't delve into such themes. In terms of big themes, the two categories are polar opposites.
In literary fiction, the plot is not as important as the craft, the characters and the themes I mention above.
We might be mesmerised by the language or caught up in the ideas, but we’re not reading to find out what happens next.
Writers of literary fiction achieve this in six main ways:
Using evocative imagery and carefully considered language.
Showing the influence of other (probably canonical) writers.
Creating thoughtful and thought-provoking, sometimes ponderous, characters.
Exploring big (sometimes called ‘universal’) themes. Making the reader think.
Letting the interaction of the characters create the plot, without needing a strong page-turning hook.
Upmarket fiction might do any or all of these with a few caveats, apart from number 6; these books need a strong plot as we said above.
Arguably it does matter how long upmarket fiction takes to write, because, as it's a type of/is similar to commercial fiction, agents and editors might well expect the writer to produce a book every one to two years. (Try our article on how to write faster if you're looking for some guidance in this area.)
Therefore, the language can’t be so considered and the characters so ponderous that it slows the pace. A varied pace will keep readers engaged.
If we created a chart and used it to list the key facets of commercial fiction and literary fiction, we could tick off which of those features would also be common in upmarket fiction.
In fact, if you’re serious about writing and selling it, you might want to create a chart like that for yourself.
You could then use your chart to discover examples of novels that fall into the upmarket category, such as those I’ve argued for below, remembering that they’ll always have a clear premise, strong plot, and well-crafted prose.
Examples Of Upmarket Fiction
In this section, I'll take five examples that fit the description of ‘upmarket fiction’ and explain why they fit into this category.
The Children Of Men By P.D. James
This near-future dystopian novel is based on the premise that humans are now infertile and face extinction, causing society to fracture.
Although it probably predates the use of the term by publishing professionals (it was published in 1992), I’ve included TheChildren of Men because the novel has the strong premise and high stakes of commercial fiction and uses recognisable genre conventions, showing the influence of other writers in the genre, such as H.G. Wells and Aldous Huxley.
The characters are complex, and James uses the story to rewrite ideas about family and parenthood and to explore other ‘universal’ themes, such as hope and despair, and death and survival, making us think, but not to the extent that characterisation and theme get in the way of the plotting.
The Time Traveller’s Wife By Audrey Niffenegger
This is both a love story and a time-travelling sci-fi adventure. It’s a kind of upmarket science fiction romance.
The unpredictable time-jumping of Clare’s husband Henry gives the novel a clear framework, that both disrupts and re-establishes the narrative cohesion.
In an innovative way, time travelling also provides the premise and the resolution, meaning the writer can continue to play with storytelling conventions.
As with other examples, Niffenegger treats both family and mortality as important themes but also works them into the plot.
Everything I Never Told You By Celeste Ng
This is a murder mystery as well as a family drama.
When sixteen-year-old Lydia dies, her mother Marilyn wants someone to be held to account, and along the way, Ng explores themes such as race, prejudice, identity and the meaning of family.
The novel is pacy like a thriller but includes striking characters and complex plotting.
It’s a good example of upmarket fiction, because the use of language is evocative, moving and at times sensual, which is why I’ve included it here. For instance:
“All through the second lecture, Marilyn remembered the smell of his skin – clean and sharp, like the air after a rainstorm – and the feel of his hands at her waist, and even her palms grew warm.” (p. 38)
The Immortalists By Chloe Benjamin
In this book, a psychic claims to be able to predict the day you’ll die. The novel tells the story of four New Yorkers after they visit the psychic as children.
Again taking family as a theme, Benjamin uses multiple viewpoints, and the book reads like literary fiction, but the premise is so strong that we have to keep turning the pages.
The Seven Deaths Of Evelyn Hardcastle By Stuart Turton
This book was described in a Guardian review as ‘a gift to the marketing department’ and that neatly sums up why upmarket fiction is so sought-after!
Turton’s debut is multi-genre, and– like literary fiction– plays tribute to other writers of murder mysteries, such as Agatha Christie.
Reminiscent of Groundhog Day and Cluedo, Turton gives us well-written characters and the novel is tightly plotted; in fact, the same review described the ‘mind-boggling complexity’ of its plot.
These are some examples that I think fit the description of upmarket fiction. They all feature a strong premise that would certainly be ‘a gift to the marketing department.’
How To Write Upmarket Fiction
Here are some key practical steps to consider when writing upmarket fiction.
1. Start With You
Start with what you love to read, in terms of genre and subject matter, and with what intrigues you so much that you are willing to spend a year or more writing about it.
Starting with the aim of writing upmarket fiction is too broad to be useful – starting with yourself is much more likely to yield promising results.
2. Become A Plotting Ninja
Learn to plot.
There are lots of guides to narrative structure out there, some of which are made especially for beginners. I’ve written one myself!
They might seem formulaic– and they are before you bring your own specificity to them– but they will help you to shape your ideas.
To cite just three examples: Nigel Watts’ Teach Yourself Writing a Novel will give you the essentials; Jessica Brody’s Save the Cat Writes a Novel is helpful when establishing the link between character and story; and Harry Bingham’s How to Write a Novel has a whole section on different kinds of plots and also contains advice on marketing your book from the get-go.
3. Plan Like An Expert
You don’t have to plan in advance if you hate the idea. Plan as you go along if you like or after you have written the first draft.
But to make the readers turn the pages, the plot has to work, therefore you need to plan at some point!
Consider combining two or more genres (like historical romance, for instance) but make sure they're genres you love to read and are interested in.
Get specific by thinking in terms of subgenres. Audrey Niffenegger uses a particular kind of sci-fi – time travel – to make her plot work, for example.
Remember that you can play around with genre when writing upmarket fiction, but this is also about what you love to read and write, not what you think you should write! It will be easier to play around with it if you love what you’re doing. Have fun with it.
5. Create Complex Characters
Work on character development.
Spend time with your main and secondary characters, so they feel like well-rounded human beings with quirks and contradictions.
Write in the first person as your characters regularly even if you don’t plan to use the results in the finished novel– it helps you to get to know them.
6. Consider Using Multiple Viewpoints
Got more than one compelling character? Good! Consider using dual or multiple viewpoints to tell your story. Read examples of stories told this way before you start writing.
Try a spot of ‘method writing’. That is, write as if you were each of your main characters, telling the reader about the same event.
If you’re stuck, use an existing story as a prompt. For example, write about the day we found a body in the lake, or the day we visited a fortune teller, or the day we found out I was pregnant (when the whole of humanity was supposedly infertile), or the day we realised I could time travel.
7. Answer These Questions To Nail Your Themes
Decide which themes you will explore in advance, by considering which ‘universal’ ideas fascinate you the most. Not sure what to use? Answer these questions.
What deep conversations have you been drawn into recently? Which nonfiction books and documentaries fascinate you? Which big life experiences have taught you the most?
8. Twisted Family Values Anyone?
Consider using family dynamics and family secrets as part of your plot and as a way of connecting characters in the story.
You don’t necessarily have to use this plotting device/theme when writing upmarket fiction, but it does seem to be a fairly common trope.
9. Death Makes For High Stakes
Themes of death, dying and mortality also come up a lot in upmarket fiction and while this isn’t compulsory, it will automatically provide a way to ‘raise the stakes’; something you must do to draw the reader in.
10. Use Your Senses When You Make Your Tea/Coffee
Work on your writing style. In particular, practise sensory writing.
For example, try this: stop regularly during the day – perhaps every time you have a cup of tea or coffee. Using all the senses available to you, observe the world around you and write quick descriptions based on each one.
Tips For Writing Upmarket Fiction
Here are some quick tips for writing upmarket fiction:
Read plenty of examples of upmarket fiction to get a sense of the balance between literary fiction-type language and commercial fiction-type plotting.
Create a strong premise: can you sum the book up in a couple of sentences? Practise doing this with examples of upmarket fiction first. You don’t have to do it in advance.
Once you have the premise, use it to write a blurb. Both of these will help you to sell the book to others and to clarify your ideas for yourself.
Frequently Asked Questions
In this section, I’ll address and answer some of the most asked questions in relation to upmarket fiction.
What Are Examples Of Upmarket Fiction?
Some examples of upmarket titles include Gillian Flynn’s Gone Girl, Khaled Hosseini’s The Kite Runner, Yann Martel’s The Life of Pi, Jodi Picoult’s My Sister’s Keeper, and The Lovely Bones by Alice Seabold.
What Is The Difference Between Literary And Upmarket Fiction?
Literary fiction is preoccupied with the use of language, the craft of writing and situating itself amongst other literary works. It also involves the investigation of so-called ‘universal’ themes. Upmarket fiction uses evocative language and thought-provoking themes but is tightly plotted with a strong premise and so is considered more ‘sellable’ than literary fiction.
How Many Words Should An Upmarket Novel Be?
It’s difficult to give a precise number as full-length novels can range from around 70,000 words to 120,000 or longer – 250,000 to 350,000 would be considered very long – but there is no hard and fast rule.
That said, commercial fiction tends to be on the shorter side, literary fiction could be long or short, and upmarket fiction tends to be in the middle of the range, at around 90 – 120,000 words long.
Upmarket fiction gives agents the best of both, or all, worlds. This category of novel attracts committed, loyal readers and is likely to be favoured by book groups, so upmarket fiction is usually considered book club fiction too. It’s well-plotted and well-crafted, meaning readers get drawn in.
All of that means that upmarket fiction sells well, and often converts well on the screen. In fact, almost all of the examples of upmarket fiction I’ve given in this post have been optioned for TV or film or adapted for the stage. In other words, it has commercial appeal.
Upmarket Fiction
It’s so valuable for writers to explore the nuances of upmarket fiction, both in terms of reading it and writing it. It teaches us a lot about the perception of what sells well and what doesn’t and demonstrates what many agents and editors are looking for: a strong premise; complex characters; well-plotted, page-turner stories; and beautifully crafted prose.
I hope you enjoyed this article and will try some of these key practical steps. Let me know how you get on!
Every person in real life has personality traits — something that makes them unique, interesting, and different to others.
Yes, even you!
So when you're creating memorable characters for your story it's really important to ensure that they have traits and characteristics that make them memorable.
This doesn't mean every character in your books needs to have quirky traits, but — when it comes to character creation — it does give you the opportunity to have a lot of fun!
In this article, I'm going to discuss what character quirks are, how to write them successfully, and what to avoid. I will also be listing 80 quirks for you to consider in your next story.
Let's start...
What Are Character Quirks?
Quirks are character traits that make the people in your story memorable, relatable and different to one another. A quirky character is one who some may consider unusual, eccentric, or a bit weird.
A character's personality is fundamentally important when it comes to a story's plot, helping form a realistic and engaging narrative and strong dialogue, and providing a memorable cast.
Quirky characters may have unusual physical attributes (different coloured eyes, for instance), unique personality traits (they skip instead of walk), or peculiar habits (they put lipstick on before they eat). Either way, a quirky character generally looks or behaves in a way that differentiates them from other characters.
Imagine the Cheshire Cat without his smile, Jo March without her books and impulsivity, or Sherlock Holmes without his pipe and hat. Impossible!
Character quirks not only help a character jump off the page but without them some of the world's best books would be a lot less interesting to read.
How To Write Successful Character Quirks
To create believable characters, you need to make them stand out from one another. Each character quirk needs to be unique, relevant and recognisable.
Let's look at these points in more detail...
Be Original
Think of new quirks that you've not seen in a story before. You may want to tweak more common traits to make them weird or you could try using people in real life as inspiration.
For instance:
If you are writing about a detective, it wouldn't be very original to have him hold a magnifying glass all the time... but what if, like Inspector Gadget, his entire coat was created to help him investigate better?
If you are writing a romantic heroine, instead of making her loveable and worthy of her dream man from the onset, why not make her an interfering busybody fascinated by the love lives of others — like Austen's Emma?
And if you are creating a teen hero, instead of making a strong, valiant and heavily armed boy — why not create a female character from a poor background whose only skill is shooting a bow and arrow, like Katniss from The Hunger Games?
Having an original link or contrast between a character's purpose and their particular quirk, a unique trait that can be both their flaw and saviour, means you have an original character that can be easily described in one short sentence.
After all, you know exactly who I'm talking about if I say, 'he's a kind giant with big ears who collects dreams in jam jars.'
Make Sure The Character's Quirks Are Relevant
Don't give a character cute quirks that don't mean anything.
For example, in JoJo Moyes, Me Before You, the very chirpy protagonist, Lou Clark, wears wacky clothes (stripy tights, bright shoes, overly fluffy jumpers) while Will Traynor, the paraplegic she cares for, is very serious and dresses smartly at all times.
None of this is by accident!
The author has carefully chosen these differences as the irony is that Lou is full of life and energy but is stuck in a dead-end job and relationship, with no plans to do or go anywhere. Whereas Will (who was once very successful and adventurous) can't physically do all the things he once wanted to and has nowhere to be, but still looks the part of a successful businessman.
So they are both dressed as the person they wish to be, with neither confronting the fact they are not that person anymore/yet.
The realisation of what they both ultimately want to do with their lives is the main theme of the story — and the resolution at the end.
Use Quirks To Show A Change In Character
One of my favourite types of quirks in a character is seeing what they do under stress.
In the Netflix series Money Heist, the police inspector, Raquel Murillo, has very long hair. Every time she has to deal with the hostage takers she ties her hair up. Every time the viewer sees her do that, we know she means business.
By the end of the series, she has swapped allegiances and wears her hair down nearly all of the time.
The 'let your hair down' is often used literally in storytelling to show a woman going from being rigid and controlled, to relaxing and letting go.
In the movie Something's Gotta Give, Diana Keaton's uptight character, Erica Barry, wears high turtle neck sweaters the entire time. By the end of the movie, once she finds the courage to be herself, she pulls at the neck of her sweater and rips it off, signifying her new vulnerability and freedom.
Have Fun With Foils
If you're going to have two main characters, use character quirks to highlight their differences.
In Sapkowski's book and the Netflix TV adaptation, The Witcher, we see two visually and behaviourally different characters. The lead, Gerald of Rivia, is physically big and strong, he fights monsters for a living — he's also monosyllabic, emotionally closed and grunts a lot.
In contrast, his unwanted companion, Jaskier, is a poet, minstrel and bard who never shuts up.
The juxtaposition of both these visual and personality quirks makes for really interesting foil characters, helping to highlight each attribute the other lacks.
It also makes for many an amusing scene.
What To Avoid When Creating Character Quirks
The problem with personality traits is that if overused, and done badly, what could be a fun and memorable way to distinguish one character from another can quickly become grating for the reader and stop them from wanting to turn the page.
Some character quirks and certain words have been overdone to the point of being farcical (although, if writing satire or a genre where readers expect certain tropes, go to town with the cheese!).
For instance, not every devilishly hot leading man needs to smirk or have a crooked smile. Neither does he have to be tall, dark or handsome. What if, like Cyrano de Bergerac, he has a big nose and is worried about his appearance?
Avoid Stereotypes
Racist, sexist, ableist, or any other type of stereotypical observations are not quirks. Mental health issues and disabilities are not quirks.
For instance, it's insulting to make it a quirk that the intelligent female scientist also happens to have a big bust, or that the Asian kid is a maths wiz, or that the Italian woman moves her hands around a lot when she speaks.
Think about why you are giving certain characters a unique trait, how it fits into the plot, and try to be original with it.
Don't Overdo It!
If all your characters are ever so quirky it will detract from the story.
It's important to create unique characters, yes, but each one doesn't have to be weird and kooky. Sometimes having a fall guy, a straight and serious foil, can enhance the hero's quirkier traits.
How To Plan Your Character Quirks
Now you know what character quirks are, and how to avoid writing them badly, where do you start?
1. Think About What You're Trying To Say
Every character in your story should look and act a certain way for a reason. So imagine your cast, (create a vision board on Pinterest if it helps with physical features), and ask yourself why they look and behave the way they do.
Harry Potter's lightning scar signifies he has always had the power to beat Voldemort.
Scrooge is miserly so by the end of the story he can learn the error of his ways.
Willy Wonka's split personality — flamboyant and fun one minute, mean and cruel the next — is reflected in the way the factory is also beguiling but dangerous. Even his name sounds 'wonky'!
Ariel brushing her hair with a fork represents her ignorance about the land up above (and foreshadows the struggles she's about to have when she grows legs).
Hannibal Lecter is sophisticated and very clever, which is disarming considering he's also a cannibalistic murderer (a gentle, caring, smart murderer is much scarier than a big, tough, thug). And, again, it's no coincidence his name sounds like 'cannibal' and 'lecturer'.
2. Make A List Of Your Characters' Quirks
Use the list below, or create your own list of distinctive quirks. List kooky characteristics first, then match them with your cast... or vice versa.
Try to be original, amusing, or endearing. Don't match a quirk with a character for the sake of it, make sure it's relevant to who they are, what they are trying to achieve, or to the outcome of the story.
Ensure their name, backstory, and how they interact with the rest of the characters matches their personality and quirks.
Sometimes they can be contrasting, like the main character in Eleanor Oliphant is Completely Fine. Her surname sounds like 'elephant', making you think about 'the elephant in the room' and 'elephants never forget' — both of which are relevant to the twist at the end of the book (spoiler: she's not 'completely fine').
4. Remember Quirks Are A Reflection Of A Character's Disposition
Think about their mental state, their personality, their backstory, and their constant state of mind.
Let's look at the TV show, Friends, for example:
Ross: Nervous and awkward = clears his throat a lot.
Monica: Control issues brought upon by anxiety = an obsession with cleaning.
Phoebe: Overcoming past trauma = has turned to music and a more holistic outlook on life.
Chandler: Difficult childhood = masks his vulnerability with humour.
Rachel: Vain and self-centred = obsessed with what she looks like (which leads to a successful job in fashion).
Joe: Comes from a large and close-knit family = overly relaxed, with few inhibitions.
So what other quirks can you give your characters? The list is endless, but here are 80 to start you off...
80 Ideas For Great Character Quirks
I have compiled a list of quirks categorised into physical, behavioural and personality quirks. See how many more you can add to these!
Physical Quirks
Physical Appearance:
A birthmark
Wears braces
Very tall or very short
Tattoos or piercings
Has long, sharp nails
Keeps dying their hair a different colour
Eyes are not the same colour
Unusual hair colour
Noticeable scar
They have skin problems
They wear a different wig in each chapter
Bad breath or hygiene
The Way They Move:
Walking habits, ie limp
Always sits on the floor
Sleeps in a strange position
Refuses to rush for anything or anyone
Avoids eye contact
Always chair leans
Sits extremely straight
Always leans against the wall
Laughs behind their mouth
Claps to accentuate each word
Moves arms and hands a lot when talking
Does little dances when happy
Wiggles their hips when they walk
How They Dress:
Flashy style dresses
Wears a lot of jewellery
Always wears the friendship bracelet the other character made them
Wears clothes that are too big/too small for them
Wears glasses or unusual glasses
Exclusively wears clothes from a specific era (such as the 1940s or the 1970s)
Wears bright nail polish (even more interesting if they're a boy or non-binary)
Wears socks that don't match
Shoes are too big, or don't match, or have colourful laces
What They Sound Like:
The pitch of their voice is very high or low
Raspy voice
Monosyllabic
Talks too much
Sings when speaking
They clear their throat before speaking
Hums all the time
Says 'err' or other fillers a lot
Loud talker/quiet talker
Behavioural Quirks
Characters Who Are On The Edge:
They have some control freak tendencies
Obsessive cleaning
Always fiddling with their pocket knife
Irrational fear of something
Tying their hair up
Sleeves always rolled up
Always chewing their lip
Cracking knuckles
How They Treat Others:
Takes in stray animals
Extremely loyal
People pleaser
Unnecessarily rude
Fusses over people
Makes friends gifts
Character Habits:
Chews their nails
Twirls their hair
Uses the same word over and over
Smokes
Drinks a lot of a certain liquor
Swears a lot (creative swear words are the most fun)
Personality Quirks
Strange Behaviour:
They have an imaginary friend
They're always tired
Doesn't need to sleep
Their best friend is an animal (or plant)
Talks to themselves
Talents And Skills:
Plays a musical instrument
Has an artistic talent
Great with computers
Photographic memory
Speaks multiple languages
Can build anything
How They Are Around Food:
Likes to make home-cooked meals for their friends
Eats other people's food
Takes huge bites of their food
Only eats junk food
They give away all their food to the poor
Only eats organic food ...
As you can see, the list is endless! See how many more quirks you can add.
Frequently Asked Questions
What Are Quirks In A Character?
Quirks are unique and memorable personality traits that make a character stand out from others. They can be physical (how they look or dress), or behavioural (acting a certain way in any given situation).
They are often used to reflect a character's disposition or constant emotional state, and their tics and habits. They're frequently used as a literary technique for foreshadowing or to reflect a change in the character at the resolution stage.
What Are Some Common Character Quirks?
Winking at those they find attractive
Leaning against the wall
Clearing their throat before talking
Wearing wacky clothes
Smirking
Biting their nails
Having an unusual hairstyle
Playing a musical instrument
Having a scar
Talking too much or not enough
Time To Get Writing!
I hope you have had fun thinking up some original quirks for your characters and that you enjoy applying them to your next story.
And remember, whatever you do, make sure your characters are ones that your future readers will never forget!
Finding a literary agent is a lot like falling in love - it can take time, but once it clicks, it clicks. On her third novel, YA Romance author Anam Iqbal met her perfect literary agent (Hannah Schofield of LBA) through a one-to-one session - and never looked back.
We caught up with her about what it's like working with her perfect literary agent, and why you should never give up even when things feel tough.
JW: Tell us a little about yourself. When did you start writing?
I have always loved literature. Growing up, I devoured novels as a pastime instead of watching television with my siblings (how very Matilda of me, I know!). I spent a lot of time journaling, and writing book reviews and short stories, but it never occurred to me that I could actually write a novel. This is partly because I grew up reading books written by predominantly white authors where characters of my background didn’t really exist. The first time I came across South Asian characters in fiction was when I read the Harry Potter series and the Patil twins made an appearance. It was great to have that representation, but it still felt as though such characters would only ever be on the sidelines.
Whilst studying for my master’s degree at the University of Oxford in 2015 I would take regular trips to the local Waterstones, and I realised that the market was changing. I was seeing the names of diverse authors on bestseller lists in the UK - writers who were sharing fresh, authentic stories, and their work was being widely read. I realised that perhaps I could write a novel myself someday, from a perspective that wasn’t mainstream - and perhaps people would want to read it! It sparked a hope that never quite stopped niggling at me.
I was seeing the names of diverse authors on bestseller lists in the UK - writers who were sharing fresh, authentic stories, and their work was being widely read. I realised that perhaps I could write a novel myself someday...
JW: What were some of your first projects?
While I was still a student at Oxford, I began working on my first manuscript – a YA Fantasy novel that can be described as a loose re-telling of Aladdin. I finished writing and self-editing it in early 2018, and then began querying. I sent out a handful of emails and received no interest. In September 2018, I decided to attend the Festival of Writing in York held by Jericho Writers (The Writers’ Workshop at the time) because I’d heard you were able to pitch to agents directly there.
It was an incredible experience, where I was able to learn a lot from the various workshops and engage with agents on a face-to-face basis for the first time. I received some full manuscript requests at this stage – but no offers of representation. It was quite disheartening but the whole process made me realise that I still have a lot to learn about the craft of writing and the publishing industry.
Such feedback was my torch against the darkness of self-doubt, loneliness, and the fear of failure, which every writer experiences at some point or the other (trust me, every single one).
I decided to purchase a manuscript assessment via Jericho Writers to learn the areas where I could improve my novel. Eleanor Hawken was the editor for my YA Fantasy novel, and she gave me wonderful and encouraging feedback,even stating that she wished she could read the second book in the series right away. This was when I really started to believe in myself as a writer. It was my first time receiving feedback from a professional and it felt completely different from the encouragement one receives from friends or family.
Ultimately, I still didn’t receive any offer of representation with this novel. But such feedback was my torch against the darkness of self-doubt, loneliness, and the fear of failure, which every writer experiences at some point or the other (trust me, every single one). And perhaps without this encouragement I wouldn’t have continued to write, and thus I wouldn’t have written my next novel, which got me the offer of representation I’d always wanted.
I wrote a diverse British Gossip Girl. A YA Contemporary Romance novel, set in the heart of London, that touches upon issues such as cyberbullying, class differences, patriarchy, and Islamophobia.
JW: How did you end up securing representation with your agent?
During the lockdowns in 2020, I found myself with a lot of spare time on my hands and a burning feeling to pen the story I was constantly daydreaming about. Once I got into the flow of writing, all the rejections and doubts that had been haunting me from my previous work no longer mattered. Only the story did – the characters, their journey, the truths of their humanness. I wrote a diverse British Gossip Girl. A YA Contemporary Romance novel, set in the heart of London, that touches upon issues such as cyberbullying, class differences, patriarchy, and Islamophobia. And I could just sense that it was my best work yet, that I’d incorporated everything I’d learned about writing over the years and turned it into something truly publishable!
I’m a member of Jericho Writers and found out about the agent one-to-one sessions. I booked three sessions over the phone and received full manuscript requests from each agent! Hannah Schofield read my full manuscript within two days and offered representation. After meeting with her in person, I just knew she understood my vision as a writer and would be the perfect champion for my work. I signed on with her a week after our first meeting.
JW: Do you think that speaking to Hannah in the context of a one-to-one did more to put you at ease than if you had approached her directly looking for representation?
I was definitely nervous about the sessions. However, after speaking to the first agent, I realised how kind and compassionate they are. They understand that writing your story is hard and that pitching is nerve-wracking! All the agents were certainly straightforward about what they liked and weren’t so keen on with regards to my work, but it was always in a warm and reassuring way.
It was an incredible experience to receive direct feedback from agents, both the compliments on my work and the insightful criticisms (which really helped to improve my story). The excitement some agents showed to receive my full manuscript was incredibly uplifting. It made the process of querying more personal and enjoyable. And I believe it played a role in helping me leap out of the slushpile quicker!
If I’d emailed these agents my query, I know it would’ve taken them much longer to get back to me, and there’s always a possibility they would’ve passed on the project! Having a direct conversation enables you to build an instant connection, and it’s beneficial for both the agent and author to get a sense of whether they would be able to work together.
It was an incredible experience to receive direct feedback from agents, both the compliments on my work and the insightful criticisms (which really helped to improve my story). The excitement some agents showed to receive my full manuscript was incredibly uplifting. It made the process of querying more personal and enjoyable. And I believe it played a role in helping me leap out of the slushpile quicker!
JW: What has it been like working with your agent so far?
Hannah Schofield is an absolute dream of an agent. I love her excitement, appreciate her sensitivity and criticism, and feel incredibly grateful to have someone like her in my corner. She’s great at what she does, and I feel safe with the thought of placing my work in her capable hands.
I was nervous about the thought of having an agent pick apart my story and pinpoint all the areas they wanted me to cut out or change. However, I’ve found that editing is a collaborative process and, when you’ve got the right agent who understands the heart of the story, it’s quite enjoyable to work together with the same goal in mind.
JW: How confident would you feel in approaching publishers if you didn’t have an agent?
The truth is that the publishing industry is very competitive, and it’s incredibly hard to stand out. Securing an agent who really believes in your work is a massive help in getting your foot in the door, especially if you dream of being published with a Big Five publisher, as I do! I don’t think I’d feel comfortable going at it alone. Also, it’s important to consider that agents understand a lot about the industry that authors are simply not aware of; they are able to protect you as a writer and ensure your best interests are met.
I’m glad I didn’t secure an agent with the first two novels I worked on, because I simply wasn’t ready then.
JW: Do you have any advice for authors who are querying right now?
Persevere! I’ve written three novels now – which took a lot of time, effort and, yes, blood, sweat and tears – and I secured an agent with my third manuscript. Nothing was a waste of time or effort! Not even a bit. Every moment I took out of a busy schedule to work on my stories, every daydream I’ve had about my characters, every single word I’ve written, and every rejection I’ve experienced has led me to this. It all improved my craft as a writer, and my ability to delve deeper into the psyche of my characters and create fleshed-out worlds and narratives. I never thought I’d say this, but I honestly wouldn’t have it any other way – I’m glad I didn’t secure an agent with the first two novels I worked on, because I simply wasn’t ready then. I think the secret to making your writing dreams come true is that you refuse to give up! Keep writing, keep querying, and keep dreaming. Persevere my friends, and, even if you face numerous obstacles or the path is long and tiring and unexpected, you will get there in the end. And it will all feel worth it.
About Anam
Anam Iqbal was born in Paris and raised in London. She studied BSc Anthropology at UCL, which deepened her passion for writing about the nuances of human thought, experience, and culture. Whilst doing her master’s degree at the University of Oxford, she completed a thesis based on British South Asian culture and identity, and that provided the inspiration for her upcoming novel, which is a Young Adult Contemporary Romance. It can be described as a diverse British Gossip Girl.
Writing dystopian fiction can be a lot of fun. When the world feels bleak and hopeless, what better way to channel your frustration and anger than into a story where the world has changed completely — unrecognisably and for the worse.
But in order to create a dystopian world, first you need new and fresh ideas — which is where our writing prompts come in.
In this article, I will be sharing what dystopian literature is, and then taking a look at some fun ideas based on various dystopian genre categories.
So whether you are writing a dystopian novel, script, or short story, take a look at our 43 dystopian writing prompts and 17 ways to find inspiration, and see where these seeds of an idea take you!
What Is Dystopian Literature?
The Oxford dictionary describes the word 'dystopia' as: "An imagined state or society in which there is great suffering or injustice, typically one that is totalitarian or post-apocalyptic."
In literary terms, dystopian fiction is simply stories set in a future where our world has been drastically changed in some way.
Whichever dystopian genre you choose to write, whether fantastical or totally plausible, remember that the story must derive from a kernel of truth, and the main character needs to be suffering as a result of that change.
Examples Of Dystopian Novels
How is the future going to look in your next novel?
There are many different ways to show a changed dystopian society. In some dystopian novels, the change is small...
Perhaps it's an intimidating government regime, such as Orwell's novel, 1984, or climate change concerns, found in Atwood's Oryx And Crake.
Whereas in other dystopian novels the story may be set against a post-apocalyptic backdrop where zombies roam the streets, such as in M J Carey's The Girl With All The Gifts, or science and technology have taken over from civilisation, as found in Huxley's Brave New World.
The popular YA books series and movie franchise, The Hunger Games, explores the concept of young people saving our world and communities being split into factions, having to come together to overthrow a corrupt government.
Alternatively, you may choose to explore the idea of the human population diminishing and what that would mean for human life, such as in Bethany Clift's Last One at the Party and Christina Sweeney-Baird's The End of Men.
Regardless of how far-fetched or unbelievable your ideas are, you can still make a comment about the world we live in today through your dystopian stories.
43 Dystopian Writing Prompts
The joy of writing dystopian stories is that the ideas and possibilities are endless. You can be didactic and political, or you can send your readers on a magical, crazy adventure.
As long as your story is set in the future, in a world that is suffering or post-apocalyptic, you have yourself a dystopian novel.
Ready for some ideas to kick-start your imagination? Here we go!
How To Use Our Dystopian Writing Prompts
Because dystopia is such a broad genre, and the story possibilities are endless, I have put together 43 writing prompts categorised into 8 sub-genres.
Feel free to mix and match my ideas, add lots of your own details, or even take the line and put it into your story. However you choose to use these prompts, the important thing when writing dystopia is that you keep it fresh, exciting, and relevant to the market today.
Speculative Fiction
Speculative dystopian fiction adds a touch of magic and the impossible to a dystopian world.
In the not-too-distant future, scientists have created a pill that allows humans to fly. The only problem is that they have sold it to the wrong people.
Imagine a dystopian future where our dreams literally come true — including all our nightmares.
The government decides to eradicate money and go back to a bartering system, but some people have MAGIC to barter with.
The world has always been full of invisible people... but now everyone can see them.
World War
Every country changes after a war. What will happen in your dystopian version?
The adult human race has been wiped out because of war, only children are left. Will they survive?
A future where every country is at a nuclear standstill... which one will crack first?
Two countries at war fighting over the rightful heir to their throne discover she is actually a powerful witch.
Tim wants to avoid fighting in the Third World War, so creates a robot to take his place.
Post-Apocalyptic World
The world has ended... as we know it. What does it look like now?
Life expectancy has gone up and people are living for twice as long. But it's backfired!
1,000 years into the future and the new world looks completely different. In fact, humans have now evolved into... (?)
The world has ended and the only remaining humans are those who were cryogenically frozen. What are they about to wake up to?
Sammy has spent her whole life in just one village. It's not until she realises she's the only one left on Earth that she decides to see the world!
The only people who have survived the end of the world are the inhabitants of two small islands. Unfortunately, they hate one another.
The whole of America has been destroyed except New York City. Those left are completely unaware the rest of the country no longer exists until one person manages to escape the city walls.
The world has been divided into 4 regions - North, South, East and West - two are poor and two are rich. Every year every human on the planet has to enter the ultimate challenge to be allowed to stay alive!
Monsters & Zombie Apocalypse
It's finally happened - humans have become zombies and we have new monsters to fear. How will your story give a new twist to this fun genre?
On the first anniversary of the war that nearly ended the world, a small town pays respect to its fallen heroes... but then they all return home. Undead.
Science creates a GM meat substitute that eventually leads to people developing a hunger for human flesh.
Jeff is the only man who has survived the end of the world after a huge nuclear explosion — he and all the cockroaches that have now mutated to 100 times their size.
Thanks to a giant radiation leak every domesticated animal has become a feral predator. Ever seen how fast a cow can run when it's hungry?
Zombies have taken over the world, except... they're actually nicer than humans.
It's Halloween and the sweets are laced with a dangerous drug. The monsters in the street are no longer people dressed up.
A pandemic sweeps through an island forcing people to flee before the indigenous animals turn into monsters... including all sea creatures.
Natural Disasters
We've destroyed our planet and now it's fighting back. How does the world look now?
Global warming causes all the ice caps to melt and humans are forced to literally sink or swim in order to survive!
A meteor strike strikes the Sahara desert, uncovering a giant spaceship that has been hidden for hundreds of years.
Climate change has made the entire planet too hot to live on; only the Arctic is a safe place to live. The battle to claim the only inhabitable land has commenced.
Thanks to climate change and limited resources, humans have to choose between cannibalism or death.
The sea level is rising and the only water left on Earth is seawater.
Fires sweep through Europe, forcing everyone to flee to islands such as the UK and Ireland. The locals are torn between making room and protecting their own.
Alternate Universe
Maybe we don't know everything we thought we did about our planet and its place in the universe.
Scientists discover our world is not the only habitable planet in the universe. Russia, China and America battle it out to see who will be the first to claim this new planet as their own.
Sally discovers a portal where she is thrown into a world exactly like our own... except neither world war happened, the concept of money has been abolished, and Elvis never died.
Thanks to a new drug, a detective learns to solve crimes by going back to the past and watching the crime scenes unfold.
A woman in a coma is really happy in life until she wakes up and discovers the real world no longer exists, and she had imagined a whole life that never happened.
Corrupt Government
The world has changed and those in power are about to do something absolutely terrifying... or perhaps they already have.
The government has been secretly adding subliminal messages to TikTok to brainwash kids into joining a secret army.
Earth is about to be destroyed by a giant tsunami in five days... but the government is calling it Fake News. Can a team of kids convince the world to take cover before it's too late?
A corrupt government has come into power and convinced everyone that weekends should be abolished as it will make them more money. One union rises up and creates a civil war.
The new law states that a woman's place is in the home and that everyone with a womb must have two children before the age of 30 or they will face the death penalty. 10 years later, a group of women fight back.
A dangerous UK government comes into power, forcing every person in the UK to return to the country in which their maternal grandfathers were born, and forcing British people who live abroad to return to the UK.
Humans are slowly being replaced by identical robots and no one will believe Tom as he warns the remaining humans about it.
Artificial intelligence has taken over the art world - paintings, books and music have been created by machines for centuries - then one woman picks up a pen.
A scientist has discovered he can control the human mind - and starts by experimenting on his family.
Human body parts can now be harvested... one scientist decides to create the perfect human being.
In a quest to save the rainforest, a scientist discovers a plant that can communicate with humans and learns something that will change the world.
A man invents the perfect female robot whom he falls in love with... but the robot becomes sentient and tells him all the things that are wrong with him.
17 Ways To Find Inspiration
Watch the news. Take the latest shocking headline, think of the worst-case scenario, and develop the story around that little seed of an idea.
Look at old photographs of strange things.
Combine two or more dystopian novels and set them against a new background.
Create a modern-day version of an old classic.
Read up on world leaders from the past and imagine what would have happened if history had been different.
Create a fantastical version of things that have already happened.
Learn about the environment and how we can help the planet.
Ask friends what their worst fears are.
Base your characters on dark real-life figures from the past.
Read up on the lives of interesting historical figures.
Learn about space and predictions for the future.
Ask yourself 'what if...' and see where it takes you.
Look at the struggles minorities in our world have and think about what would happen if all of humanity suffered in that way.
Make Pinterest boards.
Read conspiracy theories.
Talk to people who fight for the rights of others.
Don't be afraid to push boundaries and ask difficult questions.
Frequently Asked Questions
What Are Examples Of Dystopian Stories?
There are many incredible dystopian stories. Examples include 1984 by George Orwell, The Hunger Games by Suzanne Collins, The Handmaid's Tale by Margaret Atwood, Brave New World by Aldous Huxley, Last One at the Party by Bethany Clift, and Station Eleven by Emily St. John Mandel.
What Are 3 Common Themes In A Dystopian Story?
Three of the most common themes in dystopian stories are the concept of control (exerted by the government, technology, religion etc), survival, and environmental destruction.
Step Into A New World Of Ideas
I hope you enjoyed these writing prompts and that they've inspired you to create a new and terrifying future world for your next novel.
And remember, whatever is happening in the world right now... it could always be worse!
Mahatma Gandhi famously said, “Live as if you were to die tomorrow. Learn as if you were to live forever.”
Many people need no encouragement to learn and will continue to do so throughout their lives.
Events can create a demand for self-help books too. While the Covid pandemic brought much misery, books in the self-help genre gave readers a greater sense of agency.
According to Nielson Book Research, there has been a rise of 20% in the sales of ‘self-improvement’ books as anxious readers have turned to popular psychology and self-help titles.
But self-help is not limited to psychological development. Books in this huge genre can also help readers fix their cars, bake cakes, or better understand their cats. The breadth is unlimited.
So, there’s a market for learning, and you have a hunger to tap into it with your own self-help book.
I’ve written several great-selling works myself and have supported countless self-help authors as they developed their own.
In this article, I’ll gather together a wealth of experience to give you everything you need to know about writing a fantastic self-help book, including:
Knowing what your book is about
Knowing your reader
Knowing your own – and the reader’s – expectations of the book
Finding your voice
Developing a structure
Knowing and fulfilling the self-help author’s role
What Is A Self-Help Book?
In 1859, Samuel Smiles wrote what is often cited as the world’s first self-help book, called, unsurprisingly, Self Help. It promoted the importance of self-development.
Its huge popularity encouraged countless writers from Mrs Beeton onwards to provide readers with the necessary instruction to solve problems or to self-improve.
And that’s what any self-help book must succeed in doing. The outcome for your reader must be that they have changed for the better.
Examples Of Self-Help Books
You’ve probably seen the successful For Dummies books.
A casual study of the long list of titles in the series demonstrates what people want to learn more about, from ‘LinkedIn Profile Optimisation’ to ‘Rugby Union Basics’. This proves that there is always someone out there who wants to learn something new.
This is both good and bad news.
Good, because there will probably be a market for your own specialist topic.
Bad, because there will be competition.
So, how to differentiate?
Let’s take a look at some great examples of self-help books and understand what makes them remarkable.
The Subtle Art of Not Giving A F**k By Mark Manson
In his ground-breaking book, Manson achieves many things in his pursuit to help his readers lead more contented lives, but here are three big takeaways for upcoming self-help authors.
First, the title draws you in. It’s instantly engaging because it’s profane. It’s risen above the thousands of other wannabes by punching us in the face. Of course, it’s got to be good beyond the front cover, so…
Second, it’s a book that’s written in a truly authentic voice. As a prolific blogger, Manson has developed a way of communicating which is clear, authoritative and authentic. We trust him because, like any good salesperson, he persuades us. He maintains his profanity throughout, but with a purpose in mind: to shake us out of our stupor. And he needs to do this because…
Third, his subject matter – anxiety – is already a familiar topic. There are thousands of books on the subject. Manson succeeds by finding a new angle. By challenging conventional wisdom, he engages his readers and differentiates his book from the competition.
Mrs Beeton's Book Of Household Management By Isabella Beeton
First published in 1861, Beeton’s book was not the first to bring together many aspects of home economics, management and cookery.
However, it succeeded by helping aspiring Victorian middle-class housewives to address two basic, human instincts: to feel confident that they could feed their families, and to successfully compete with the neighbours.
Furthermore, it furnished them with the skills and knowledge to do so.
How To Win Friends And Influence People By Dale Carnegie
Just like Mrs Beeton, Dale Carnegie addressed another essential need: to create an environment within which we are influential and liked.
What’s interesting about this book is its clear focus on the outcome and the provision of instructions. It’s a genuine ‘How-to…’
The 7 Habits Of Highly Effective People: Powerful Lessons In Personal Change By Stephen R. Covey
There’s plenty to learn from this great self-help book.
First, Covey has, like Carnegie, promised an outcome: personal change.
Second, the scope is helpfully contained: seven things can’t be hard to learn, and there’s the message that if we adopt these practices, we’ll achieve the promised outcome.
Best of all, there’s the reference to a benchmark – highly effective people are already doing these things. It’s the ‘fear of missing out’ which plays on our aspirational and competitive streaks.
Screw It, Let’s Do It: Lessons In Life and Business By Richard Branson
Amongst Richard Branson’s many publications is this slim but characteristically engaging self-help volume in which the author shares his own unique practices and behaviours.
The book is largely autobiographical. I’ll have something cautionary to say about this later, but it works here because Branson shares his wisdom.
Rejection Proof By Jia Jiang
This book promotes an innovative approach to dealing with rejection. Although his own story of self-discovery is crucial, Jiang encourages self-help by providing a methodology which is relevant to the challenges faced by his readers.
So, while the book contains some autobiographical passages, they serve the main objective which is to assist the reader in dealing with rejection in their own lives.
Goal By Eliyahu M. Goldratt And Jeff Cox
This is a genre-busting book.
It takes the topic of a project which has to be managed and, instead of offering a ‘how-to’ process, settles the subject matter into the body of a fictional novel.
Not only do the authors find a unique angle into a familiar subject, but they also turn what could have been dry material into a page-turner. In doing so, the reader osmotically acquires knowledge rather than being obviously instructed.
Who Moved My Cheese? By Dr Spencer Johnson
This short story about two mice dealing with change has sold over 28 million copies.
Why?
There are several reasons, including the authority of the author, the fast pace and short length, and the playful nature of the story.
However, one of its greatest strengths is the author’s use of a metaphor to explain something complex.
Men Are From Mars, Women Are From Venus By Dr John Gray
This classic book asks the reader to conjecture that men and women originate from different planets and approach their co-existence on Earth with wildly different attitudes to each other.
What sparkles is the originality of the proposition. Gray finds a way of articulating an age-old problem that affects both men and women: we have difficulty understanding each other. He goes on to provide a carefully considered explanation of the issues and, crucially, a language to facilitate dialogue towards happier relationships.
The book proves that a well-articulated problem is halfway towards an answer.
Can you be clear about what challenge your own readers face, and how your book offers a solution?
Save The Cat By Blake Snyder
This remarkable book provides the aspiring screenwriter with an insider’s insight into what makes a great movie script. The author is an acknowledged expert which helps the reader to trust the content. But better still, there’s so much to do!
This slim book succeeds by placing the reader at its heart. Snyder provides exercises which help them practice new ways of thinking and doing things.
By the end of the book, each reader will think it’s been written just for them.
The Prophet By Kahlil Gibran
Written in 1923, The Prophet has become one of the world’s most translated and best-selling books. Through 26 poetry fables, a fictional prophet shares his thoughts on a range of spiritual and practical matters which affect the human condition.
It’s not an instructional book, but the reader can develop and benefit from the book’s wisdom. And being poetic, it also has a lyrical quality which makes the process of reading (and re-reading) it so rewarding.
So, your own self-help book need not be a classic ‘how-to’ as long as you’ve got sufficient wisdom and experience to impart, and can do so in style.
How To Write A Self-Help Book
Self-help books cover a huge range of topics and their authors tackle their subjects in a range of diverse and creative ways.
Here are some key considerations when creating one of your own.
Identify A Clear Problem Or Opportunity That Your Book Must Address
Any successful self-help book is a solution to a problem or opportunity. Can you describe what obstacle your reader would like to overcome or an opportunity they would like to benefit from?
Only when you are clear on the answer to this question can you begin to assure yourself that your book will provide the solution.
In pitching to agents or publishers, this will be the topic that they focus on first. Even if you're self-publishing, it's important to know what kind of problems you want your book to target.
When you know the answer, it will be easier to describe what your book’s really about.
Determine A Clear Objective For The Book
Once you've got a book idea to use as a starting point, think about your goals for the book. Write them down and share them with some potential/beta readers. What outcome do you want your book to achieve?
Develop a title, sub-title and 30-word elevator pitch. (If you're querying agents, this is also a good first step for your book proposal.)
For example...
Title: ‘Men Are from Mars, Women Are from Venus’.
Sub-title: ‘A Practical Guide for Improving Communication and Getting What You Want in Your Relationships’.
Elevator pitch: ‘Tells you all you need to know about members of the opposite sex and how to deal with them for positive, happy relationships’.
Compare Your Objective With The Reader’s Objective For The Book
What problems or opportunities do your readers face? What keeps them up at night? What can’t they do? What don’t they know? What outcome do they want from the book? What role will they expect or want to play in the book: an observer, a learner or an active participant?
Compare the reader’s expectations for the book with your own.
Amend your own objective until it meets your readers', or identify a different target audience for your book.
Know What You Are Able To Share With Your Readers
It’s been said that we should write about what we know. When considering the development of a self-help book, I would go one step further.
You have the opportunity to share with your reader a combination of four important things: your knowledge, your skills, your experience and your personality.
The change in behaviour that your reader seeks won’t come from exposure to your knowledge or personality alone. They must practice new skills so that they build up their own experience. Your job is to help them do so.
If all you include in your book is what you know, you’ll create a reference book.
If all you write about is your personality, you’ll produce an autobiography.
So, by all means, share your knowledge and personality and include plenty of real-life examples, but give careful consideration to the inclusion of exercises and tasks which will develop the reader’s skills and experience and truly appeal to your target audience.
Decide How You Will Present The Material
What’s your angle? If you’re tackling a subject which is already popular, how will you approach it differently? What will make your book better or more appealing to a reader?
This is a question which will really start to matter when you’ve finished the book and are switching into sales mode and thinking about the book cover.
Knowing your angle will help you, and others, pitch your book.
What Is Your Role In The Book?
Which of the following roles will the reader most benefit from as their companion through their developmental journey?
Give serious consideration to the character you will adopt in the book.
Apart from helping your reader, it will aid you in finding a suitable authorial voice.
Practice And Settle On A Confident Authorial Voice
How will you address your reader? You may think it a trivial question, but your decision will have some significant consequences.
You could write in the first person. “I cooked my first sprout in 1967…” is fine if you’re a TV chef who readers want to emulate. It’s also great if you’re a celebrity who people want to know better. But this form of address can easily stray into the territory of autobiography where the book is about the author and less about the reader. We buy Branson’s books because we like him.
Did you see what I did in my last sentence? While using the pronoun ‘we’ creates a sense that your readers are in a classroom, it can also divide and exclude them. Not everyone likes Richard Branson but by assuming that they do, you’ve lost those readers who disagree with you. They may decide that your book isn’t for them anymore because you’ve misunderstood them and failed to accept that they are different.
So, as I’m doing here, you could settle on a second-person pronoun: you. This helps to create a closer, more personal relationship with the reader. It may also create a more explicit definition of your respective roles – teacher and student, for example.
Finally, you can play it safe with good old third person. That is, “Good old third person helps the author to play it safe.” Yes, it’s a bit robotic, but it’s an option which may suit the nature of your book and its intended readership.
Develop A Structure For The Material
To avoid staring at a blank screen for too long, plan the book’s structure.
How many chapters will there be? What will the content of each chapter be? In what order will they be best arranged? What will your chapter titles be?
This will help you to articulate what may be a complex subject area. It will also help the reader to see how their own journey of development is going to unfold.
Perhaps you can come up with a methodology which encapsulates the subject area of your book into an easy-to-remember structure.
Is there a model which visualises and simplifies the complexity of the subject matter? Are there ‘7 steps’ or a process which the reader can be encouraged to follow?
Develop A Clear ‘Reader Journey’
Think about your target reader and what you want their reading experience to be like.
Where does the reader’s personal journey begin? What will you ask them to do as they read the book? How will you guide them? How will they know that their journey has ended? Will it continue after they have finished reading? How will they embed new ways of thinking, speaking and doing things?
The reader of a self-help book should do more than merely read it – they must engage with it. They must invest something of themselves in the experience.
Whether this means that your readers understand what you’ve written and compare it to their own experience (e.g. Branson), or that they undertake exercises to practice a new skill (e.g. Snyder), your readers will be demonstrating the change in behaviour that any good self-help book is there to encourage.
Remember, your book will only help a reader when they can see it is focused on theirown journey towards a more fulfilling life, so it's important that your book appeals to them directly.
Understand Why You Are The Right Person To Write This Book
It’s easy to underestimate the responsibility that comes with writing a self-help book.
You will be asking your reader to trust your instruction in a form of personal development which may carry some risk. For example, you may encourage them to try something which affects their mental health.
Just as we would wish to assure ourselves of the qualifications of a doctor, plumber or pensions advisor, so too would we want to know that the author of a self-help book is worthy of our trust.
It may be helpful – and it will certainly be necessary – to include your credentials.
If you aren’t qualified to tell others how to think, act or speak, it isn’t the end of the world. You may still have a book inside you such as a memoir about your own journey of self-discovery.
Tips For Writing Self-Help
The writing process is often challenging, so here are some tips to guide you through the process.
Any repetition here is intended. Some things are worth saying twice.
It’s not (necessarily) about you
Some 60% of the self-help books that come my way for editing or consultation are largely autobiographical in nature. That is, they focus on the author’s own experience – the mistakes they made, the challenges they faced, and the solutions they implemented. Many infer a conclusion that the reader can succeed if they do as the author did.
Before turning personal experience into a self-help book, ask yourself, “Do I want my readers to learn how I succeeded, or how they can succeed for themselves?” Unless the book specifically addresses their needs, the reader may well ask, “How is this book relevant to my own journey of self-improvement?”
Engage the reader
Not everyone who reads a book expects to invest in the experience. A cheap novel may help a reader pass the time on a train. A self-help book requires the reader to participate. Although you may find it tiresome to develop exercises for your reader, it may well be necessary. At the very least, recognise that your reader expects you to engage and activate something inside of them that causes them to change.
Write authoritatively
You may be an acknowledged expert. Great! Draw on your experience to demonstrate your authority. But if you’re not, don’t pretend otherwise; the reader will know when you’re winging it.
Be honest with your reader. There’s telling and there’s teaching. They’re looking to you to help them learn new stuff. Whether your book’s about mental or emotional health, or re-building a 1968 MG Midget, your (hopefully practical) advice will have real-world consequences for your reader.
Don’t try to teach what you don’t fully understand yourself.
Be different
Between 1966 and 2021, there were 16,581 publications on the subject of mindfulness. How do you find a new way of entering the field? What hasn’t been tried yet? Can you create a metaphor for the subject or present it as fiction? Can you create a methodology which articulates something familiar in a more easily consumed way? Can you condense or expand the topic? Can you identify the outcomes that your readers really want to achieve by studying it? Can you teach the subject better than anyone else?
Prepare
It’s too easy to begin writing a self-help book without first giving thought to the big questions I have posed throughout this article. Don’t write any content until you’ve properly prepared. Settle on a clear objective that suits your own ambitions and those of your readers. Develop a structure. Familiarise yourself with the authorial voice you intend to use. Complement your own knowledge with research.
Frequently Asked Questions
Can Anyone Write A Self-Help Book?
There are only two essential qualifications to write a self-help book. First, you must have expertise in a subject matter about which others want to learn. Second, you must be able to write about it in a way that educates your reader. This requires clarity of expression and an engaging voice.
How Long Does It Take To Write A Self-Help Book?
It depends, but start with a plan.
List each step, including the development of the objectives and structure; a decision on your angle and authorial voice; the writing skills and time required; and the process of reviewing and editing each chapter.
Don’t forget essential or possible research, and that it's crucial that you review and edit the entire book, which may require you to rewrite or restructure it.
Against each step on your plan, place a realistic start and end date.
Keep track and update the plan when things change (as they will!).
When, or if, you attract a publisher, it may take a further six months or so before you see it in print.
How Long Should A Self-Help Book Be?
The examples I’ve described above show how varied self-help books can be in look and feel. If your book achieves its objective in 50 pages, great. If it needs 200, so be it. What’s of greatest importance is that your book must satisfy the needs of its readers…
How Do I Know Whether My Self-Help Book Is Any Good?
Your readers will tell you! When you’ve edited your book to what you think is a reasonable standard, share it with others. Family and friends will all tell you it’s great, so take it to someone who’s likely to be more honest!
Here at Jericho Writers, we provide plenty of fantastic services to help people just like you get into print.
Writing Self-Help
Writing a self-help book is a bit like writing for children: it’s way harder than you think! However, with plenty of preparation, subject matter expertise and good communication skills, anyone can do it!
Have you ever read a book that has kept you gripped throughout with its twisty or unique plot structure?
Or perhaps you have been enthralled by a character-led story, that has fully engaged you in the minds and imaginations of others?
In this expert guide, we will explore the differences between character and plot-driven stories, learn how to decide which one to use, and we'll provide some tips to ensure you are using these methods in the best way possible.
Hopefully, by the end of this guide, you will be able to recognise the difference between character and plot-led stories and be able to use these skills to make your writing even stronger.
What Is A Character-Driven Story?
In short, a character-driven story is one where the focus will be more on character development than on the plot.
In these stories, you are more likely to feel fully engaged with the character and become more focused on their personal journey.
In a character-led story, the emphasis is on the character's emotions and the reasons why they make the choices and decisions that they do.
How then, does this differ from a plot-driven story?
What Is A Plot-Driven Story?
In plot-driven writing, the story will be more focused on action, with a developed and exciting plot.
As a reader, you will be drawn into the action and the twists and turns of the changing circumstances that influence and motivate the characters.
So how do you choose between writing a character-driven story versus a plot-driven one?
Plot Driven Vs Character Driven: Choosing Between Them
The key difference between a plot-driven story and a character-driven one is that in a character-led narrative, the focus is more on the thoughts and feelings of the protagonist and the decisions that they make. Whereas, in plot-driven narratives, the action and occurrences that unfold will be the main point of focus.
When writing character-driven stories, the plot is the mechanism used to develop character, and in plot-led stories, the character is used to view and comment on the plot.
Very often the type of genre that you are writing will help you decide whether your story would work better as a plot-driven, or character-driven piece.
Many crime and thriller books tend to be plot-driven, as they are focused on the turn of events occurring around the character. Sci-fi and mystery books also tend to lean into the plot-driven space.
In literary fiction, the emphasis is often on character-driven stories which develop interesting and compelling characters.
However, it is important to remember that there are no rules to this and there are always exceptions.
Here are a few things that you might wish to consider when deciding whether your story should be plot-driven or character-driven.
What genre are you writing in?
What is your usual writing style – do you like to develop your characters in depth, or are you more drawn to the action and environment?
What are the overall messages and themes of the story? What would you like your reader to take away and learn? Something about the character’s growth? Or something about the events and actions that surround them?
What type of books do you most enjoy reading?
Plot-Driven Story Examples
Below are some examples of excellent plot-driven stories:
Gone Girl – Gillian Flynn
Gone Girl is a twisty, pacey thriller that relies on its dark and enticing plot to keep its readers on edge. Tension is built via external circumstances and the characters are very much influenced by the events around them.
The Lord Of The Rings – J R R Tolkien
The Lord of the Rings, like many fantasies, has wonderful world-building and a strong, engaging plot to keep readers engaged. Characters in this story are very much motivated and influenced by external driving forces and the imagined world they exist in.
1984 – George Orwell
1984 is another example of a book where extreme world events and external factors influence and drive the interesting characters of the story, leading them to make certain decisions and actions.
Tips For Writing A Plot-Driven Story
Focus on the external conflict. What are your characters striving for? What are they up against? What obstacles will they face?
Focus on the hooks. Where are the plot twists? How can your surprise your reader and keep them hooked?
Ensure the structure is tight and the plot points are marked out. In a plot-heavy story, you need to ensure that the story arc is carefully considered.
Character-Driven Story Examples
Here are some stories with character-driven plots:
Eleanor Oliphant Is Completely Fine – Gail Honeyman
This is a wonderful example of a book that truly focuses on a character’s development – exploring Eleanor's emotions and internal thoughts and using her moving backstory to drive the story forward.
Brick Lane – Monica Ali
Brick Lane is a wonderful character study, introducing a variety of vibrant and diverse individuals to the reader and exploring the complexity of real-life drama.
Breathing Lessons – Anne Tyler
Anne Tyler is an expert at writing character-led and emotive pieces of work. In this example, we can experience her character's emotional journey through both reflection and insight.
Tips For Writing A Character-Driven Story
Focus on the internal conflict. What is your character battling with emotionally? What are their goals? Fears? Desires?
Create a backstory to ensure that you truly understand your character and can make them more compelling and engaging to the reader.
Consider your characters’ motivations. What are they looking to achieve in the story? Will their desires be fulfilled?
Develop a strong voice. In character-led stories, we need to be able to connect strongly with the protagonist. Consider how you can make their voice distinctive and believable.
Frequently Asked Questions
What Is The Difference Between A Plot-Driven And A Character-Driven Story?
In a plot-driven story, the focus is on the action and activity surrounding the character, and a well-developed plot with external conflicts that challenge the main characters is crucial. In a character-driven story, the focus will be on the character's journey – their thoughts, feelings and emotions, and the inner conflict they are experiencing.
In short, when writing character-led stories – the plot is the device used to develop character, but in plot-led stories, the character is used to view and comment on the plot.
What Is The Relationship Between Plot And Character?
The plot is the device which moves the story forward, and the character embarks on their journey through these plot points – experiencing challenges (both external and internal) and obstacles along the way.
How Can You Tell If A Story Is Character Driven?
You can tell a story is character driven if it's mainly focused on the character’s internal conflict. You are more likely to experience character-driven writing in literary books and real-life accounts.
Writing Your Story
In summary, it is important, as a writer, to explore the nuances of both character and plot-driven stories to work out which one is the best fit for you. There are no hard and fast rules here. It may be that a character-driven story suits your need to explore the character more fully and produce internal conflict. Alternatively, you might be writing a story that relies on lots of external conflict and finely tuned action points – in this instance, a plot-driven story will possibly suit you best.
It's important to note that many stories work with a combination of character and plot-driven sections, where there's character reflection and development leading into moments of more plot-focused work. It might be that a hybrid model suits you better, and many books successfully use this method.
The best thing to do, as a writer, is to experiment and play. Get those words on the page. Plan your next scenes. How do you want your reader to feel, what journey do you want to take them on?
Ultimately, have fun working out if your story is plot-led or character-led. As long as it's a good story, that’s all that matters.
New York-based professor and writing tutor Colm O'Shea has quite a diverse portfolio; from anthologised poetry to an academic monograph and a debut novel, both published at around the same time.
After receiving anOpening Section Reviewfrom us, Colm had his first brush with indie publishing. His first novel, a speculative sci-fi titled Claiming de Wayke, was published byCrossroad Press in April 2022. We caught up with him about writing in different contexts and what querying looks like for the modern author.
JW: Tell us a little about you and your history as a writer. What were your first major writing projects?
I started writing for pleasure around age seven—short poems and stories composed on the fly in the schoolyard. Writing was an escape pod from whatever I was “supposed” to be doing, such as schoolwork. By my teens I wanted to take literature more seriously so I did a degree in English and Philosophy.
Once you make your escape pod your permanent home, your relationship with it changes. Now writing is the thing you’re “supposed” to be doing, and if you’re like me you start looking for a way to escape that. I got good at composing college essays about other people’s writing as a way of avoiding writing my own fiction or poetry – and this led to a Ph.D. thesis on the work of James Joyce’s Finnegans Wake. In that strange book, there are two brothers, Shem and Shaun. Shem is a cartoon mess of a creative writer (full of self-loathing and doubt), and Shaun is a pompous, know-it-all professor. These contrasting personalities struck me as a possible solution to my need to use writing always an escape from what I’m supposed to be doing.
Once you make your escape pod your permanent home, your relationship with it changes.
Now I split my time between being a professor—someone who teaches and writes critical analyses—and a fiction writer and poet. Creative writing is my escape from my teaching and research, and my teaching/research helps me avoid taking my fiction and poetry too seriously. I’m amused that my first two books have come at the same time, one being a sci-fi novel about a mess of a man who is full of self-doubt (with Wayke in the title) and the other being an academic monograph about Finnegans Wake. The two books complement each other: a set of oppositional twins.
JW: Your first sci-fi novel, ‘Claiming De Wayke’, was published in June 2022. Can you tell us about your journey to publication?
I wrote the novel about ten years ago. It’s set in the wake of a respiratory pandemic, and explores how some people are in a rush to return to business-as-normal while others wish to remain hiding in a virtual reality universe. I sent it out to a few agents and got the cold shoulder, and reluctantly I gave up. I told myself: Stop kidding yourself that you can write fiction.
And maybe this happens to everyone, but in the years that followed I kept seeing films and books released that reminded me of things in my own book—it felt like a series of gut punches. Then the pandemic hit, and I saw various factions squabbling over how to handle it (as happens in my novel), so I thought the time had come to revisit the manuscript. I’d been lurking on the Jericho Writers’ site for a while, consuming theirfree content, and decided to invest in their Agent Submission Pack Review(my query game was abysmal). After that review, I got requests from agents for the full MS—this was a major shot in the arm! I decided to splurge on getting an Opening Section Review, and was paired with sci-fi writer Alma Alexander. She helped me pare down flabby sections and clarify some murky exposition. To my surprise, Alma said it was such a good debut that if I didn’t find a publisher then she would publish it herself. That vote of confidence from someone (not a family member, but an actual writer) freed me from a lot of stress and self-doubt.
Their slushpile functions like Tinder: they’re sifting through endless submissions and swiping left on almost everything that doesn’t conform at a glance to a precise—but constantly changing—set of demands.
I kept submitting to agents, but now they were saying things like “This is good writing, but no one wants to read about a pandemic now that we’re in one.” I thought about how much time I had spent querying agents, as opposed to working on my writing. I don’t know what it’s like to be an agent, and I’m sure they’re good people and know their job, but from my perspective it felt like you have to be the literary equivalent of photogenic to catch their attention.
Their slushpile functions like Tinder: they’re sifting through endless submissions and swiping left on almost everything that doesn’t conform at a glance to a precise—but constantly changing—set of demands. It can feel like anything odd or misshapen, or not perfectly on trend, is ignored. And being told you’re “nearly attractive” is not comforting—it’s infuriating! I went sobbing to my editor Alma and she surprised me again by acting as a matchmaker, setting up a meeting with an indie publisher who offered me a contract. You hear about luck being a factor in success, but in my case that’s particularly true—I have a fairy godmother.
Claiming de Wayke, Colm O'Shea (Crossroad Press, 2022)
JW: How have you found the experience of working with an indie publisher?
My novel has only recently come out, and my experience is specific to one publisher, so results may vary. A major upside was the terms of my contract: I get 75% of profits. (I’ve seen traditional publishers offering 10% or less.) For a Luddite such as myself, a bonus was that I didn’t need to navigate the technical demands of getting the book formatted for Kindle or deal with printing. Also, I got to design the book cover—or to be more accurate, I was able to enlist James Guinnevan Seymour, a wonderful Irish illustrator whose work seemed to speak the language of my story, to create it with my specific input. This creative control might appeal to some writers whereas others could see it as a hassle. Finally - and this is the worst part of indie publishing from my perspective - I’m largely responsible for marketing. This is a major hole in my skillset. I’m hoping to learn more from sites like Jericho about how to market work that’s already published or about to be published in the future.
JW: Do you have any advice for writers looking to finish their books or query agents?
If you studied literature in college, then you might be at a disadvantage! I’m only half-joking—when I studied English, the focus was very much on literary theories and finding thematic elements to analyse. For some young fiction writers, this might train them to craft things for a more academic audience who are interested in reading for concepts.
I wish I’d found Jericho Writers sooner so I could have got my head around this a few decades ago.
Seeking out agents and publishers has taught me that the market is crowded, highly competitive, and, as a consequence, focused on lean, engaging, high-concept fiction. It seems to me that contemporary fiction increasingly resembles screenplay, and many agents are looking for novels that would adapt well to the screen. There are obvious exceptions, but the sprawling interiority of the 19th-century novel, and the experimentalism of 20th-century modernism, has largely been supplanted by could-be-a-film-script prose. Lucid, tantalizing pitches reign supreme in this landscape. I was probably in denial about this, and Jericho Writers helped me face it head-on.
A Tinder-like situation might not be ideal, but it doesn’t have to stop you—not if you can train yourself to think in terms of legible, intriguing pitches. I wish I’d found Jericho Writers sooner so I could have got my head around this a few decades ago. At a minimum, if your manuscript is nearly finished and you’re about to submit to agents, I’d suggest that you get someone skilled to have a careful look at your query letter. The world is full of agents itching to swipe right on you.
About Colm
Colm O’Shea teaches essay writing at Tisch School of the Arts, New York University. His poetry has been anthologized in Voice Recognition: 21 Poets for the 21st Century (Bloodaxe), and Initiate: An Oxford Anthology of New Writing (Blackwell). His first novel, Claiming De Wayke,is available from Crossroad Press, and his book on sacred/morbid geometry in Finnegans Wake, James Joyce’s Mandala, is from Routledge. Visit him at colmoshea.com
We’ve had a Cinderella who’s tormented by her stepmother and step sisters to do household chores, until her life changes upon marrying the prince. We’ve also had a Cinderella who chooses her dream of being a fashion designer over marrying the prince.
These are rather different, key plotlines to the same story of a damsel in distress.
Stories are essentially archetypes, or building blocks, upon which various plots can be structured.
Pretty much whatever story we come up with, chances are, someone’s already written it.
Does that disappoint you? Don’t fret. It doesn’t mean your story is unoriginal, only that an archetype already exists for the narrative you’re taking your story through. That isn't surprising when you consider the fact that human beings have been telling stories since the beginning of time.
When you think of a story you’d like to write, there are a few different ways it could go. Using a story type, consciously, is an excellent way to get started and stay true to and anchored in the authenticity of your plot.
In this article, we’ll not only help you understand what story types or plot lines are, but also guide you on how to use them consciously in your writing, and we’ll also look into the pros and cons of using them.
What Are The Main Story Types?
Many writers tout the brilliance of The Seven Basic Plots: Why We Tell Stories by Christopher Booker.
The book is an essential guide for beginners looking to startsomewhere and is an inspiration board for pros looking to feed their creative intellect.
Even if you have never heard of this book, you will have come across these seven story types- the master plots- simply by reading various stories.
Here are the seven main story/plot types:
Overcoming The Monster
Often, overcoming the monster isn’t literal.
It could be a psychological overcoming of inner demons. It might not even be the main plot, but rather the subplot used to worsen a situation for the character(s).
Whether the monster is literal or psychological, this plot type follows the arc of anticipation, frustration, and escape.
The characters anticipate the arrival of the monster and they dream of defeating it, only to find out, to their utter frustration, that it’s nearly impossible to do. When they try harder, things only get nightmarishly bad, before something they do clicks and they’re able to defeat or escape the monster.
Rags To Riches
Nearly every famous and inspirational person that ever wrote an autobiography or memoir has used their rags-to-riches story as the narrative in their book.
It’s one of the most relatable experiences – to be broke and then to gain success. Self-help gurus and life coaches frequently use this plotline to inspire and pump up the underdog.
The Quest
In the quest story type, the characters have a mission to complete – find an object/person or pursue an objective. And along the way, they’ll need to navigate obstacles, which is why adventure stories frequently fall under this category.
These challenges may be nearly fatal, and the characters have to overcome them in order to accomplish their objective.
Voyage And Return
In a voyage and return story, the protagonist is literally sent to a foreign place from which they will return wiser and stronger. The unfamiliarity of the foreign place induces challenges for the protagonist to tackle.
The idea here is to help the character grow into a more mature version of themselves, through varied life experiences in the new land. This type is featured in many stories.
Rebirth
This one sounds almost religious, doesn’t it? Though it is, indeed, a prevalent concept in many religions across the world, a rebirth story arc can simply be about a transformation the protagonist undergoes.
This is a narrative that focuses on the radical changes the character will have to make in order to have a good life and be happy. Even with a literal rendition of the rebirth storyline, the aim is still to get the character to change, grow and lead a better life this time around.
Comedy
Comedic plotlines are great tools for reflecting on the ways of society, no matter which century or decade, or which city or country we’re looking at.
Comedy is usually induced through subversion, exaggeration, absurdity, and confusion.
Tragedy
Tragedy is like the antithesis of the ‘overcoming the monster’ plotline. The protagonists set themselves up for an epic failure. They fail to overcome the monster, so to speak.
The main character decides that they must rise to a challenging situation, only for things to go wrong. The tragic story type is rife with emotional content and follows the arc of anticipation, frustration, and despair. Only, instead of an escape at the end, there’s pain and destruction.
Using Story Types: Pros And Cons
Story types are broad narrative categories that most stories can be pegged on. But they don't work for everyone.
If you do use them, it's important to remember that you can veer away from them as much as you like. It's your story!
Here are some of the pros and cons of using story types in your writing:
Pros
If you’re unsure what to write about, looking at story types for inspiration is a great start. They help you look at the big picture and the themes you could explore.
If you have your story type picked, then you have a general idea of the shape and the broadest arc of your story, which makes writing easier.
If you've lost momentum, and are eager to get writing again, story types can help you see if there’s a narrative you’ve not tried before.
If you've finished your book and want to pitch it to an agent, you’ll need to know the broader storyline and major themes you’ve written about. So, knowing your story type(s) is essential.
Cons
If you’re a seasoned author, story types might be a little too basic.
Story types can feel restricting if you plan your plot in detail before you write. Some aspects may feel forced and inauthentic to your protagonist. (Remember, story types are guides, feel free to make adjustments!)
Stories rarely ever contain just one narrative. Often, it’s a blend of many. Figuring out which one’s the master story type in your book can be confusing.
Examples Of Different Types Of Stories
Now that we’ve discussed what the seven types of stories can do for your writing, let’s explore a few examples.
The Pursuit Of Happyness
While Bram Stoker’s Dracula had the iconic vampire hunter Van Helsing slaying (the monster) Count Dracula, it might not always be so literal. It might not even be the main story type at play; it could be a subplot.
The memoirThe Pursuit Of Happyness is actually a single father’s rags-to-riches story, but throughout, the man tries to overcome his psychological ‘monster’ – fear of poverty and failure. His struggle to defeat his inner demons makes the story relatable and compelling.
King Richard
The 2021 film starring Will Smith, King Richard, does this rags-to-riches story of a classic underdog as humbly as possible.
It’s all too easy for this type of story to get corny, but the movie’s plot avoids this by staying true to the storyline; it focuses on Venus Williams, instead of Serena Williams, and ends at the beginning (rather than the pinnacle) of the tennis player’s stellar career.
Eat, Pray, Love
The iconic memoir Eat, Pray, Love by Elizabeth Gilbert has the subtitle ‘one woman’s search for everything’. This effectively captures the ‘quest’ story type the memoir is anchored to.
The protagonist travels around the world to shake things up and catapult herself into a more conscious life. The clarity in her writing is a reflection of how she’s anchored her story to the ‘quest’ narrative, making it a classic example of that story type.
The Midnight Library
Matt Haig’s The Midnight Library is arguably the most soulful rendition of the ‘rebirth’ story type. Metaphysically so.
Forlorn and hopeless, Nora Seed attempts suicide. In her near-death state, her soul goes into a library of all the lives she could ever live and she ultimately chooses the one that’s right for her. This rebirth narrative is candidly human and introspective.
Dark Matter
The thriller Dark Matter by Blake Crouch follows the ‘journey and return’ story type. The protagonist is content with his life, albeit wistful about not being ‘successful enough’.
He is catapulted into his worst nightmare when that wistful thinking lands him in a life where he’s a celebrated particle physicist, but his wife is not his wife and his son was never born!
This ‘journey and return’ narrative has you going on a mind-bending tour of the infinite possibilities resulting from longing and the fear of missing out.
Night
Elie Wiesel’s Night is perhaps one of the most gut-wrenching memoirs ever to be written about the Holocaust. That it is based on the ‘tragedy’ story type is a given; after all, it’s a sombre memory of the narrator Eliezer.
Though the protagonist manages to escape the concentration camp in the end, there isn’t any true relief. He emerges traumatised and grief-stricken.
The tragedy really comes through in the memoir’s rhetorical question: how do you deal with the failure of humanity, when you are its victim?
The Hitchhiker’s Guide To The Galaxy
If you haven’t read The Hitchhiker’s Guide To The Galaxy, then you haven’t lived!
The 20th-century author Douglas Adams paired science fiction with the ‘comedy’ story type to explore the idiocy and selfishness of the human condition.
When a character, who is abducted by his inter-galactic travelling friend, realises billions of people on earth have died to make way for a galactic freeway, but faints when he realises that there’s no such thing as McDonald’s anymore, you know this book is going to be entertaining.
How To Use Story Types As Inspiration
Using different types of stories consciously in your writing is a great way to get some momentum. Here's how you can utilise the seven story types:
If you are struggling to structure your book at the conceptual stage, then, all you need to do is figure out which one is your overarching story type, which one is your subplot, and what major themes you’ll be exploring under them.
Eg: In Eat, Pray, Love, ‘quest’ is the overarching story type, ‘journey and return’ is the subplot, and eating-praying-loving are the major themes. The structure of this book is truly off the charts!
Combine two story types in an unlikely genre.
Eg: The Hitchhiker’s Guide To The Galaxy clubs ‘comedy’ and ‘overcoming the monster in the science fiction genre. What an unlikely combination and delight!
Once you have figured out which story types are best for your book, try using different character's perspectives for inspiration:
For ‘overcoming the monster’, play the faithful sidekick
For ‘rags to riches’, play the fairy godparent
For ‘the quest’, play the life coach
For ‘voyage and return’, play the travel assistant
For ‘comedy’, play the matchmaker
For ‘tragedy’, play the grief counsellor
For ‘rebirth’, play the initiating priest
Top Tips
If at the planning stage, the story types feel restrictive, that’s a good thing. This will keep you from overthinking and make things simpler. You can always add complexity later on!
If you feel your story has more than one story type, then you’re probably right. All you need to do is figure out which one is the main story type and which one is the subplot.
Frequently Asked Questions
What Are The 7 Types Of Stories?
The 7 types of stories are ‘overcoming the monster’, ‘rags to riches’, ‘the quest’, ‘voyage/journey and return’, ‘rebirth’, ‘tragedy’, and ‘comedy’.
What Are The Elements Of A Story?
In the broadest sense, a story is the bigger picture and the plot its finer details. A story generally consists of an overarching story type, a second story type as its subplot, two or three major themes, a clear voice, and character development.
How Do You Write A Good Story?
A good story is more in the planning than the inspiration. Looking into the seven types of stories is a good way to shape your ideas.
Then you can start writing, honing in on the key elements, and editing your story as you craft a book you can be proud of.
Story Types
Creative work of any kind can benefit from having a framework. Story types are vital for anchoring your plot.
Whether or not you know the finer details of your plot yet, if you know the story types you’re going to use, you’re sure to have a strong foundation.
A memoir is, quite literally, a memory – a record written from personal knowledge or experience. It’s a form that complies with that great piece of advice, “write about what you know!”
A memoir gives us the opportunity to explore major life events or a singular subject in as much detail as possible. Of course, by virtue of being shorter, a single memoir can stand on its own, or become part of a bigger collection such as an autobiography. Whether your memoir is about a time in your life that was brief yet significant, or depicts your entire life, having some memoir ideas to hand can be helpful for every memoir writer.
Like any other piece of creative writing, a memoir needs to succeed in maintaining the reader’s engagement throughout. Knowing which memory to pick is often the most pressing challenge.
These 50 prompts will get your creative juices flowing, whether you're writing about an important life lesson, the most influential person in your life, or are detailing your family history.
50 Memoir Writing Prompts
Prompts To Prepare You
1. Keep a journal. Capture events so that they’re there for you in 20 years’ time. What’s more, journal keeping is a discipline that maintains a writing practice.
2. Find inspiration in photographs. A picture can help us recall past events. Take a look at your phone. What were you doing 5 years ago today? Use the ‘search’ facility to find something obscure – a cherry, a ski, an ice cream. What memories do the images evoke?
3. Interview people. Friends and family, especially the elderly, are not only full of memories but also often keen to share them. Make a cup of tea and, with their permission, turn on a discrete voice or video recorder while you chat about the past.
4. Take inspiration from the space around you. What keepsakes do you have around you right now? Are they connected in any way? What story do they tell about you?
5. Identify the story. An event may be of great interest but what stories are there to tell? What happened before and after the event? What impact did it have on you and others?
6. Recall a moment of conflict. Disagreements make for drama, and dramatic tension keeps a reader engaged.
7. Write about a moment or period of emotional change. Think of a time when you moved between happiness and sadness. Engaging drama is about emotional transition…
8. Write about transformation. Can you recall a moment when your fundamental beliefs and opinions about something were changed? Perhaps you suddenly started – or stopped – believing in God?
9. Identify who you’re writing for. What questions would they have about the memories you’re describing?
Prompts To Inspire You
Things That Matter To Us All
10. Life and/or death. There’s little else of such significance. Have you had a near-death experience? What is your experience of witnessing birth or death?
11. What is your experience of good and ill health? Have you ever been diagnosed with a significant condition? In what way did it change you, physically, mentally and emotionally? How were those around you affected by it?
12. When did you first (or last!) fall in love? Who, or what, was it with?
13. Comedy or tragedy? Drama exists in both. Can you write about a funny situation? What caused it? What impression did it leave on you or others? If you can bring yourself to write about tragedy, how did it affect you? Was the process of writing about it cathartic?
You
14. Imagine that you meet a younger version of yourself. What impression do you have of them and they of you? What lesson would you share with them? What might they tell you that you’ve lost sight of over the years?
15. Can you recall a moment when you overcame your fear of something? Perhaps you asked someone out for a drink, or spoke in front of an audience, or abseiled down a cliff…?
16. Were you ever betrayed? Or did you betray someone else? How did it feel? Did you regret it, or was it in some way the right thing to do? Did it have a lasting impact on your life?
17. What has been the most exciting moment of your life, your happiest memory? Why did it thrill you so much?
18. Who or what did you want to be when you were younger? How did that ambition drive you? Did you achieve your wishes? What do you feel now that you are older?
19. What books or films influenced you most when you were growing up? Why, and in what way?
20. Are you a subject matter expert in something? Do you collect stamps? Do you breed cats? Have you been into space? Have you been through the criminal justice system?
21. What do you wish you could have discovered or learned as you were growing up? Why would it have been important to you now?
22. Looking back at your childhood, what seems odd or unusual to you? In what ways did it contribute to who you are today? Think about your earliest memory.
23. Get someone else to describe you in three words. How does their view compare with your own impression of yourself? What do you keep private and what do you share? Why?
24. What makes you laugh and cry? What themes connect these things? What do they tell you about yourself?
25. At what moment in your life have you felt most loved, and most alone? When was that? Are they related in some way? How did those moments change you?
26. What cause or person would you die for? Does anything or anyone matter to you so much that you would die for it/them? Is death a price worth paying?
27. What keeps you awake at night? Why? Have you ever sought to overcome it? Can you share a recollection of when you first worried about it?
28. What are your insecurities? Do you worry about your looks, your confidence or money? Why? When did your insecurity first manifest itself? Have you ever tried to overcome it?
29. Write about a moment when you made a significant choice. Perhaps you proposed or were proposed to. In hindsight, was your response the right one? What choices would you like to face again, and why?
30. Your heroes. Have you ever met them? Did they live up to your expectations? How did you feel about them afterwards? In what way did their actions, behaviours and beliefs affect you?
31. When did reality not meet your expectations? Was university not what you wanted it to be? When was a blind date a bit of a letdown?
32. What are the best and worst pieces of advice you’ve ever received, or offered? Is advice a good thing?
33. Can you describe a moment when you didn’t do something which, with hindsight, you regret? Why does it still matter to you? How would your life have changed if you had done something differently?
34. Find the drama in an accident and bring it to life for your reader. What happened? Who was involved? What was the outcome? What changed as a result?
35. Which incident in your life hurt you more than any other? Why did it hurt so much? What effect has it had on the rest of your life?
36. Describe something memorable that you did for the very first time. What drove you to do it? How did you feel before, during and after doing it?
Relationships
37. The poet Philip Larkin famously wrote, “They **** you up, your mum and dad.” Write about family relationships; they’re full of drama.
38. How have your parents’ relationships with you and with one other affected your own personal relationships?
39. Write about your relationship with your siblings. What rivalries and friendships were there? If you were an only child, what are your reflections on being brought up alone?
40. Write about a friend. How did you meet them? What was the attraction? In what ways are they different from you?
41. Write about a stranger. How did you meet? Did you remain in touch? Why is it that you remember them?
42. Who from your own family’s history would you most like to meet? What would you ask them? What would you most like to tell or show them?
Day To Day
43. Which part of the world would you revisit? What makes you long to return? How does that place make you feel?
44. Write about moving in or out of somewhere you have lived. What surprised you? What went well, or not so well? What has been the legacy of that day?
45. What did you buy with your first-ever paycheque? Why? Do you still have it? What would you buy with an equivalent amount of money today?
Prompts To Improve Your Writing
46. Write about the sensual aspects of memory. What you saw is important, but what are the tastes, smells and sounds that you remember? Did you touch anything? Help your reader feel what you felt.
47. Show, don’t tell. You could write that someone was upset. Or you could describe how a tear gathered on the tip of their nose as they stared resolutely at the ground.
48. Don’t wait! Did you just create a memory? Capture it in a draft as soon as you can to encapsulate the present moment.
49. Just the facts…? The facts provide the structure around which the memoir hangs. But what engages a reader is the way in which the facts are presented and described. So, dig down to uncover or recall how you were changed by what happened.
50. Use metaphors and similes. Need to write about war? Perhaps you could pick out the tale of two neighbours on opposite sides of the conflict. Want to describe a complex emotion? Try comparing your own experience to something with which a reader may be familiar.
Frequently Asked Questions
Do Memoirs Have To Be 100% True?
If it’s a personal memory, artistic licence is acceptable – it’s your memoir. But if you’re writing about a shared memory – a football match, a funeral, a wedding – take care that any facts are verifiable. If the reader finds something to be untruthful, the authenticity of the entire piece may be undermined. But whether personal or private, great memoirs are enriched by the author’s own insights and reflections.
How Do I Begin A Memoir?
Wherever possible, try to find the most reliable and truthful source.
Like all good stories, a memoir should have a beginning, a middle and an end. A collection of memories – an autobiography – can benefit from some careful curation but, at its simplest, can follow events as they took place over time.
What Makes A Memoir Successful?
At least three things will engage your reader. First, the subject matter must be of interest. Find the common human themes in the story such as love, romance, revenge or conflict. Second, articulate how it felt to experience what was happening at the time. Emotions are a common language that allow people to connect. Third, write it as well as you possibly can. The better the standard of writing, the easier it will be for the reader to slip into your story.
Memoir Writing
Capture your memories. Start today! Take photos, keep a diary, talk with your friends and family and – importantly – listen!
Try using one memoir writing prompt, or combine them to find the inspiration you need to get started.
Fundamentally, narrative writing connects events in our stories using character, conflict, plot, setting and theme to create a narrative writing arc.
Throughout this article, I will highlight different types of narrative writing. I will also explain the six key elements that make up narrative writing and why they are crucial.
I will also offer some tips on how to use narrative structure in your own writing effectively.
What Is Narrative Writing?
Narrative writing is, quite literally, exactly what it says on the tin. Narrative writing is a structure of storytelling told in a narrative manner. Only, nothing is really that simple when it comes to the world of writing, is it?
There is so much more to learn about how the rules of narrative writing could help elevate your own work in progress.
It doesn’t matter if you are writing fiction, non-fiction, short stories, descriptive essays or full-length novels, narrative writing utilises the six key elements of writing to convey a story to a reader, often using the age-old technique of writing a ‘beginning, middle and end’ (linear) structure. But not always… narrative writing can also be non-linear!
I told you it wasn’t as simple as you may have first thought.
Think back to your school days. We were taught the basics of storytelling from a young age, and we were taught at first to write in a narrative format. We were being taught how ‘tell a story’.
Over the years we develop ways to make those stories more compelling, more complex, and sometimes more emotional, but at the heart of it, we were learning narrative structure.
Linear Narrative Writing Vs Non-Linear Narrative Writing
Before we talk about the key elements that all narrative writing relies on, it’s important to know the difference between linear and non-linear narrative writing. Overall, there are five different styles of narrative writing, but understanding the difference between linear and non-linear is crucial, as each of the others can be written in either of these sub-styles.
Linear Narrative
What Is A Linear Narrative?
Linear narrative describes a structure of narrative writing that follows a traditional pattern. It's a narration that tells a story of events in the order in which they occur, in sequence.
Linear narrative is the most common form of writing and is the most basic of structures, following a story in a continuous fashion from beginning to end, describing events as they happen.
A writer will still use all six key elements of narrative writing to complete the structure, but they'll stick to a flow that unfolds in a chronological manner.
What Is The Benefit Of Writing In A Linear Narrative Style?
When writing in a linear style, character arcs and causation are easily identifiable on the page. As humans, we lead linear lives, so to see this replicated on the page can often create an instant sense of understanding with a reader.
What Is An Example Of A Linear Narrative In Fiction?
An obvious example of a linear narrative can be found in Robinson Crusoe by Daniel Defoe. The entire novel is written in a linear fashion. Although Crusoe often remarks about memories of the past, we are propelled through the novel in chronological order.
Non-Linear Narrative
What Is A Non-Linear Narrative?
Non-linear narrative is the direct opposite of linear narrative. This structure of narrative writing presents a story with events unfolding out of order.
The events in the narrative/story are not told chronologically and will often make use of devices such as flashbacks to transport the reader back (or indeed forward) in time.
What Are The Benefits Of Writing In A Non-Linear Style?
Non-linear writing can be trickier to pull off and the writer must be careful not to use ‘flashbacks’ to info-dump on the reader. However, if successfully used, a non-linear structure allows a writer to tell a story, slowly releasing information from the past to highlight issues in the present, or even hint at possible issues in the future.
Non-linear writing can help to represent changes in your character's emotional state, or even highlight reasons why your character is acting a certain way. For example, if past traumas resurface, highlighting these will give your characters depth and help create a strong character arc.
Non-linear writing can also be used to create and build suspense. For example, Donna Tartt opens The Secret History by telling us about a murder, but then takes us back to events before the murder, making us wait for the story to unfold to find out what events lead up to the killing.
What Is An Example Of A Non-Linear Narrative In Fiction?
There are many examples I could use as fabulous examples of non-linear writing in contemporary novels, but one such novel that sticks out for me is The Night Circus by Erin Morgenstern. In this novel, although the two magicians are battling a jealous rivalry, they move between different points in time to highlight the rivalry over the decades. A clever non-linear structure can move through weeks, months, years and sometimes even decades if done well.
Key Elements Of Narrative Writing
Now that we understand the two main areas of narrative writing style, it is time to look into the elements of story writing that can be utilised to ensure you carry out this style of writing effectively.
Irrespective of whether you are writing a linear or non-linear narrative structure, six key elements are used to create this style of writing. These same six elements remain the same, in both fiction and non-fiction writing.
The six key narrative elements:
Character
Plot
Setting
Conflict
Theme
Narrative Arc
Using these six elements accurately will help create both linear and non-linear narratives.
It is important to know what each of these are and how they work together.
Let’s take one of our previous examples and break them down. We'll use the example of Donna Tartt's A Secret History.
Character
Characters are the people in the story that propel it forward using the plot. One of the most important aspects of narrative fiction is character development.
In A Secret History – Richard Papen is the narrator and protagonist (main character).
In this novel, we see Richard as a young graduate student in California. Over the course of the novel, we follow his story and character development as he pursues his ambitions.
Although we are using an example of fiction here, character development through narrative writing in non-fiction is just as important. If you want your reader to follow your story, you have to create a reason for them to be invested. A strong sense of character does just that.
It doesn’t matter if it’s fiction or non-fiction, the main point of narrative writing is to create an interesting story, and you can’t create a story without character.
By the end of your narrative writing piece, your character should have been on a journey, told in story form, with the development of this character being the driving force for the narrative.
Plot
The plot is the thread of events that create the story you are telling.
Let’s go back to The Secret History. It is, at its heart, an inverted detective story narrated by Richard Papen, one of the six students involved in the murder of their friend Edmund ‘Bunny’ Corcoran.
Whether you are writing a space opera fiction novel, or a biography on King Henry IIIV, narrative writing is at its core a ‘story’. To have a functioning story, be it in a linear or non-linear form, your characters need to have a plot to follow.
Make sure you ask yourself ‘why is this story important?’ and ‘why am I using these characters to tell this story?’
Setting
Setting is crucial in any written work. If you are writing historical non-fiction, making sure you describe the settings is crucial in narrative writing. After all, if all your readers want is ‘facts’, they can get them in an academic text. They are reading narrative non-fiction to feel more of a connection to the story.
Let’s go back to Donna Tartt and The Secret of History again. Set against the backdrop of a liberal arts college in New England in the 1980’s, the setting of this novel reveals just as much about the characters themselves as the plot of the novel.
Conflict
Conflict is the problem at the heart of your work that needs to be resolved.
The conflict in The Secret History is clear, and centres around the death of ‘Bunny’.
The conflict in your narrative writing will help clarify your themes.
If you are hoping to create a sense of tension within your narrative writing, conflict is crucial. You can choose to create conflict between characters, or even use setting to show conflict between worlds, but making sure the conflict at the centre of your plot is strong will be what your narrative fiction lives or dies on.
Theme
Theme is arguably the most important of all narrative elements. You are telling a story, that much we know, but what is the moral of that story?
What do you as a writer want the reader to be asking?
In A Secret History, there are a few main themes working together. Tartt wants the reader to understand and examine the consequences of secrets, the superficiality of appearances, the dangers of isolation and reality versus illusion. Tartt uses character, plot and conflict to ensure these themes are strong on the page.
Themes are essential in all styles of writing. It doesn’t matter if you are writing in a linear or non-linear fashion, your themes will be vital to telling the story. Remember, you are telling a story, ask yourself, what lessons do you hope to share?
Narrative Arc
Narrative arc is how we describe the story structure.
In almost all works of fiction, a narrative arc is a fundamental building block for what makes a good novel. To create a narrative arc, you need to consider who your character is, what it is they want in the story you are creating, what conflict they will encounter, how they will resolve that conflict and how those lessons will culminate in a satisfying ending. Essentially, you take all of the other elements of narrative writing to create an arc that leaves your reader satisfied.
Types Of Narrative Writing
Although we have already discussed the difference between linear and non-linear narrative writing, there are three other main areas of narrative writing.
Historical narrative writing
Viewpoint narrative writing
Quest narrative writing
Historical Narrative Writing
Historical narrative writing is how we describe the writing of historical events in a story-based format.
Historical narrative writing is most commonly found in biographical and autobiographical historical writings, but can also be seen as fiction such as historical romance, and historical fiction novels.
Historical narratives can often include ‘primary source material’ which will present first-hand accounts and knowledge, often in the form of diary entries, letters or personal memories in an autobiographical, biographical or memoir style.
Historical writing is used to help tell a story about a past event, which can be told through the eyes of a fictional character, or through the eyes of an important historical figure.
Historical narrative fiction is an interesting topic because despite many believing that historical events are factual, the way we view history can be clouded by our own perceptions, and opinions, and coloured by our own experiences.
One aspect that most historical narratives have in common is the use of the structure to show a chain reaction of events that happen over a long and extended period of time. Many historical narrative writings will skip large chunks of time between events and refer to time periods often.
Historical narrative fiction and historical non-fiction require a lot of research but can be some of the most interesting forms of writing. Only through the past can we learn about the future, so shaping these events on the page for readers can truly be rewarding.
Viewpoint Narrative Writing
The main point of viewpoint narrative in writing, is to show and understand multiple view points of the same story. Each of the separate points of view will show each individual's own opinions and can be written in a linear or non-linear fashion.
This style of narrative is incredibly strong and is used often in fiction writing. With multiple POVs, we are able to experience the same issues and conflicts from multiple angles.
Limiting the point of view in a scene to one character can make a reader feel closer to the action, but you can choose how much information you are giving your reader by limiting or expanding the points of view in your work.
Similarly, if you are writing from one point of view only, you can create real empathy within your reader; a true and strong connection. But what if you want to create doubt within your reader, or include an unreliable character? Multiple viewpoints will allow you to explore more emotions in a much wider way.
Viewpoint narrative can be incredibly effective, withholding information, creating suspense and even creating desire within your reader can all be achieved just by playing with a viewpoint narrative.
Quest Narrative Writing
Quest narrative writing is a structure that follows a protagonist as they work towards achieving a goal. In many cases, this narrative will showcase characters tackling multiple obstacles that are placed in their way as they continue towards the end of their journey.
More often than not, a quest narrative will see characters travel geographical distances while battling issues that threaten to throw them off course.
A very obvious example of a quest narrative would be that of Bilbo Baggins in the popular novel The Hobbit by J R R Tolkien. We read along as Bilbo travels, in a fairly linear fashion, with his companions to reclaim lost gold. The quest takes them across vast expanses of land and across territories, facing many conflicts and crises along the way before they are able to complete their journey.
In order for a quest narrative to be successful, the protagonist must have a place to go, a reason to go there, challenges they will face along the way and a realisation at the end of the story as to what the real reason for their quest was.
How To Craft A Strong Narrative
A strong narrative writing piece, no matter which style you chose, needs to capture the imagination and attention of your reader. After that, you need to consider that if your readers are searching out and reading narrative work, they are asking to be told a story. Don’t forget that. Always refer back to the good ole days, sat round a campfire telling stories with friends.
The stories you tell must be compelling and memorable and, most of all, they must be complete. You must have a beginning, a middle and an end– even if they don’t necessarily come in that order. A strong and well-written piece of narrative writing should profoundly impact your reader in some memorable way.
Before you set to work on your narrative writing piece, consider these points.
First, decide what the story is that you are telling. If you can’t nail that in a few sentences (at the very most) you won’t be able to convey that story to your reader.
Decide which structure is going to work best for your work. Linear vs non-linear.
Walk through the six elements of narrative fiction and make sure you are clear on each point.
Identify the audience you hope to reach and make sure you are using the tone, mood and setting to create a piece of work that will grab the attention of your chosen audience.
Determine the ‘arc’ of your narrative writing piece. Remember:
Exposition (the reader's introduction to your story)
Rising action (when the conflict will arise and show itself)
Climax
Falling action
Resolution
Remember, to create a sense of satisfaction in your reader, a completed arc is important. Fiction, or non-fiction, narrative writing always has a story at its heart – so make sure you can resolve the story.
Narrative Writing Tips
I was given some amazing narrative writing tips by a fabulous creative writing teacher when I was younger, and I have never forgotten them. They apply to all kinds of narrative writing, whether you're writing a novel, short story, or narrative essay. Today, I pass them on to you!
Be mindful of your themes, always. Make sure they are clear in your mind throughout the entire writing process and reinforce them often. You can use setting, tone, language and imagery to do this, but always have your themes at the forefront of your mind .
Set the tone of your work at the beginning, and use keywords along the way to reinforce this. For example, narrative writing can be humorous but make sure that humour is peppered throughout. If your narrative work is dark and mournful, make sure you create areas of shade to let your reader breathe and take in the moments of darkness.
Play with language. Always. As humans, we constantly look for different ways to explain the world around us. Imagine you are narrating the story yourself, don’t use the same words over and over again, and explore language in the same way we do in life. It will ensure your work feels more authentic.
Always keep your eye on the prize. You know the ending before you even start the novel. You are narrating a full story, so keep the ending in mind as you write and create milestones along the way so your reader feels they are enjoying the journey with you.
Write often, even if it’s only a little. And read even more than that.
Talk to yourself– I am serious! Talk to yourself. Embody one of your characters and spend a day narrating your life through their eyes. Hearing how you narrate your own life will help you find a flow in which to narrate the story in your head.
Read your work out loud. Often. Narrative writing is meant to be narrated. So, narrate it. If it doesn’t feel or sound right to you, re-think things a little. Imagine what it would sound like if it was read back to you around a campfire.
Frequently Asked Questions
What Is The Main Purpose Of Narrative Writing?
At its heart, the main purpose of narrative writing is to tell a story. It really is that simple. A beginning, a middle and an end – but not necessarily always in that order.
What Makes Good Narrative Writing?
Narrative writing is most successful when writers utilise the 6 key elements of writing to tell a story that will affect the reader and leave a lasting impression. The very best works of narrative writing are deeply descriptive, include visual imagery, strong characters with believable arcs, and a plot and theme that evoke an emotional response in the reader.
What Are The Six Elements Of Narrative Fiction?
The six key narrative elements are:
Character
Plot
Setting
Conflict
Theme
Narrative Arc
If a writer uses all six key elements together in the correct manner, they can create both linear and non-linear narratives.
What Is The Difference Between Linear And Non-Linear Narrative Writing?
A linear narrative describes a structure of narrative writing that tells a story of events in the order in which they occur, in sequence. A non-linear narrative is the direct opposite of a linear narrative. This structure of narrative fiction presents a story with events unfolding out of order.
What Are The Five Main Types Of Narrative Writing?
Narrative writing can be broken down into five key main areas:
Linear narrative writing
Non-linear narrative writing
Historical narrative writing
Viewpoint narrative writing
Quest narrative writing
Writing Narratives
Narrative writing and narrative storytelling have been around for as long as time. It’s how we communicate as a species. It’s how we relate to the world outside and understand those living around us. To write narrative writing is to pass on the skills of our ancestors. That's why teaching narrative writing and sharing its various techniques is so important.
If done properly, narrative writing will allow you to pass your own stories on to others, so they will live in history and be passed on. Narrative writing, in my opinion, is the purest form of storytelling we have at our disposal. Learning how to harness these skills will not only allow you to pass on your own stories, but those stories will, in turn, help the writers of future generations to follow in your footsteps.
Fantasy is a vast literary genre that can be sub-categorised into many different subgenres including urban fantasy, fantasy romance, paranormal fantasy, and even sci-fi.
As a fantasy author, there is nothing I enjoy writing and reading about more than worlds full of magic and monsters. Yet with so many different fantasy subgenres to choose from, it's often difficult for writers to know where to start when planning their own fantasy books.
For me, the easiest way to differentiate between fantasy genres, is by looking at where the book is set. This means deciding whether a story is high fantasy or low fantasy.
In this article, I will be exploring the difference between the two.
We will be looking at fantasy world-building and comparing high fantasy vs low fantasy. I will also be providing you with a list of books and shows from each category.
And hopefully, by the end of this article, you will know exactly what kind of world you'll want to set your own fantasy story in.
What's The Difference Between High And Low Fantasy?
Any novel that includes a level of the unbelievable (be it magic or monsters) is described as fantasy.
The difference between high fantasy stories and low fantasy is simply the setting. Whereby all fantasy fiction includes characters who are doing unbelievable things (from talking to goblins and flying, to fighting dragons and performing magic) - only high fantasy is set in a make-believe world.
Low fantasy, on the other hand, takes place in a real-world setting - although that doesn't mean it has to be any less fantastical!
Let's take a look at each in more detail, starting with high fantasy novels.
High Fantasy
The high fantasy genre is a fun one to read, albeit a more convoluted and complicated one to write.
The defining aspect of high fantasy is that the (usually) epic story is set in an alternative fictional world. A secondary world full of magical elements.
This epic fantasy genre is very much inspired by Greek mythology and Norse mythology; masters of allegorical tales involving scary beasts and valiant heroes.
A lot of high fantasy novels are set in a time that is reminiscent of our own medieval world; ie people travel on horses, drink tankards of ale, and fight with swords. Although that doesn't mean your high fantasy novel has to remain historically accurate. The beauty of writing fantasy is that nothing is stopping you from adding a modern twist to your world.
10 Characteristics Of High Fantasy
A high fantasy story always takes place in a fictional setting that is very different to our own world. Its defining characteristics include:
A fantasy fictional world
A map (this helps readers imagine the landscape)
A high page count
A challenge or quest
Many characters (with unusual names)
Mythical creatures including monsters and other races
Plenty of magic
Battles and adventure
High stakes (ie good versus evil, defeating the monster, returning victorious)
An engaging plots with lots of twists and turns
10 High Fantasy Books You Should Read
High fantasy literature can be enjoyed by all ages and genders. There are some great examples of modern fantasy fiction out there, including high fantasy that is both diverse and original.
When you think of a traditional fantasy story, many automatically think of Tolkein, Greek mythology and fairy tales. But there are some extraordinary modern high fantasy books out there that are better than many classics.
High fantasy also dominates the Young Adult readership market as it gives writers the opportunity to explore themes that are a lot more relatable to young people today.
Here are ten very different high fantasy stories to enjoy:
Strange the Dreamer by Laini Taylor
The Chronicles of Narnia by C S Lewis
The Name of the Wind by Patrick Rothfuss
The Discworld novels by Terry Pratchett
A Court of Thorns and Roses by Sarah J Maas
Assassin’s Apprentice by Robin Hobb
Truthwitch by Susan Dennard
Children of Blood and Bone by Tomi Adeyemi
To Kill A Kingdom by Alexandra Christo
A Curse So Dark And Lonely by Brigid Kemmerer
5 High Fantasy Examples On Screen
Many high fantasy movies and shows have been adapted from novels. Because they are set in a fantasy world unlike our own, many of these stories also veer into science fiction, such as Star Wars and Dune.
Below is a list of movies and television series that perfectly capture the wonder and intricate world-building of high fantasy, allowing viewers to witness the wonder of these worlds visually.
Lord Of The Rings
Tolkien's middle earth has long been seen as the ultimate example of a high fantasy imaginary world. Tolkien not only created an unforgettable fantastical world but also populated it with imaginary races, history and even languages.
In Peter Jackson's movie adaptation that world is brought to life in an epic way.
The Witcher
Adapted first from Andrzej Sapkowski's novel, then made into a computer game, The Witcher also became a Netflix sensation. Set in a medieval-like world full of humans, monsters, and witches, it follows the adventures of Geralt of Rivia - a mutated monster-hunter for hire.
Shadow And Bone
Leigh Bardugos' Shadow and Bone trilogy was merged with her Six of Crows duology and turned into a much-loved Netflix fantasy series. In this Russian-inspired world Grisha are able to do various types of magic and monsters lurk in the very real darkness.
Game Of Thrones
A Game of Thrones is the first novel in A Song of Ice and Fire, a series of fantasy novels by American author George R. R. Martin. The popular high fantasy series was adapted by HBO and became one of the best-loved fantasy series on TV.
Again, the author chose to create a world that looks a little like ours but is medieval in style... but with dragons and ice zombies!
His Dark Materials
His Dark Materials is a trilogy of fantasy novels by Philip Pullman adapted for the BBC and HBO. A coming-of-age story about two children wandering through a series of parallel universes, His Dark Materials is a great example of high fantasy literature for younger readers.
Now we've established what high fantasy looks like, let's take a look at the other type of fantasy genre - low fantasy fiction.
Low Fantasy
As opposed to high fantasy, low fantasy is set in our primary world. Sometimes low fantasy is referred to as intrusion fantasy because the magical and fantastical elements in the novel 'intrude' into our real world.
Fantasy genres such as urban fantasy, historical fantasy, time slip, dark fantasy, superhero, contemporary fantasy, magical realism, and paranormal fantasy all fall under the category of low fantasy.
In these stories you have fantastical elements, such as monsters and characters with magical powers, living in the world as we know it (be it the world now or in the past).
10 Characteristics Of Low Fantasy
Low fantasy stories can be a lot of fun to write as you can twist reality as we know it, adding magic to an otherwise normal world.
You also don't have to go to the trouble of creating a brand new fantasy setting as you can base your magic and mayhem in the same world where we all currently live.
The defining characteristics of low fantasy include:
A modern life full of fantasy elements
A magic system hidden in our own world
Characters with supernatural elements living a modern life
Normal human characters who may, or may not, be aware that magic and monsters exist in our world
Unlike high fantasy stories, low fantasy doesn't need epic battles or big quests as the 'magic in our own world' element is often intriguing enough for readers.
10 Low Fantasy Books You Should Read
As a writer of low fantasy I really enjoy injecting magic into our real world, especially when readers say how those fantastical twists help them see very normal things in a more magical way.
Low fantasy books can include mythical creatures (devils, angels, vampires and dragons), as well as time travel, superheroes, and even a distortion of history as we know it.
Here are ten (very different) low fantasy novels you may enjoy:
Good Omens by Terry Pratchett and Neil Gaiman
The Atlas Six by Olivia Blake
Vampires of Moscow by Caedis Knight
Ninth House by Laigh Bardugo
The Binding by Bridget Collins
The Path Keeper by N J Simmonds
No Gods, No Monsters by Cadwell Turnbull
The Time Traveler's Wife by Audrey Niffenegger
Midnight Riot by Ben Aaronovitch
The Starless Sea by Erin Morgenstern
5 Low Fantasy Examples On Screen
Low fantasy is a fun way of pushing fantastical boundaries and stretching reality in a way that makes people believe in the unbelievable.
Popular examples of low fantasy on screen include:
True Blood
Set in the American Deep South, True Blood is an adaptation of The Southern Vampire Mysteries by bestselling author Charlaine Harris. It follows the paranormal adventures of a mind-reading barmaid who navigates a world where vampires have been accepted into everyday society.
The Boys
This dark comedy series (adapted from a comic book) takes a look at what would happen if people lived amongst us with supernatural powers - and how that power could so easily be corrupted.
Harry Potter
Everyone is familiar with the story of Harry Potter, a boy who discovers he's a wizard. It's an epic tale for children set in a magical boarding school, where good versus evil, including plenty of fun mythical beasts (both good and bad).
Outlander
A historical fantasy series of impossible love. Claire Beauchamp Randall, a married nurse from World War II, mysteriously goes back in time to 18th century Scotland where she falls in love with a Highland warrior.
Raising Dion
Another comic book adaptation, Raising Dion is about a widowed single mom who discovers that her son has superpowers. She must figure out how to raise him safely and responsibly in a world full of danger.
Frequently Asked Questions
What Is High Fantasy Vs Low Fantasy?
High and low fantasy are the two main categories of fantasy. High fantasy refers to epic fantasy which is set in an alternate world. It typically includes lots of magical elements, fantastical creatures, and unusual technology. Whereas low fantasy is when magical creatures and elements intrude upon the regular world.
What Are Common Fantasy Elements?
Some of the main elements of fantasy are magical systems, world-building, a well-crafted cast of characters, a quest, and the endless battle of good vs evil.
World's Apart
Writing fantasy stories involves a lot of imagination, time, and research - but creating both original worlds, and magical worlds within our own, can bring a huge amount of pleasure to both writers and their readers.
I hope you have had as much fun learning about high fantasy vs low fantasy as I have had writing this article, and that it has inspired and helped you decide where you will be setting your next fantasy novel.
Good luck and have fun creating exciting and unforgettable worlds!
Peter Gibbons taught himself everything there is to know about writing and self-publishing, using our Manuscript Assessment service to refine his work. His Viking Blood and Blade books became Amazon Bestsellers and received numerous Kindle All-Star Awards. More recently, his self-published book King of War was shortlisted for the Kindle Storyteller Literary Award 2022.
And if that wasn't enough, Peter's first traditionally published book is out with Boldwood Books in October 2022. We caught up with him to find out about his journey into self-publishing, and how to harness your self-motivation to get your book finished.
JW: Tell us a bit about your background as a writer. When did you start writing, and how did you find the process once you’d started?
I’ve wanted to be a writer since I was a child, but had never done anything about it. I am a huge fan of historical fiction and fantasy novels, as well as historical non-fiction books. Writing was something I felt I had the skills and imagination to be good at, but life got in the way and I had never actually put pen to paper (or fingers to keyboard).
In my day job I head up a global sales function for a large insurance company, and I’m married with three kids - so free time is at a premium. Those elements can be, however, excuses not to write. Here’s something I figured out by training and running the Dublin Marathon six years ago: there is time in everyone’s day if you want something badly enough. During the Covid lockdowns, I gave up physical training and decided to use that time to try and write a book. So, I just sat down and wrote it. I got up at 5.45am each day and wrote for an hour and a half each morning. The words poured out, and I wrote very much in the “pantser” style. Eventually the word count was huge and the story was finished. I'd written a Viking Historical Fiction novel, which it turned out I didn’t want to share or show to anyone – that’s something I’m sure will resonate with many first-time writers.
There is time in everyone’s day if you want something badly enough.
JW: What prompted you to have your manuscript professionally assessed?
My first draft manuscript was an odyssey of multiple points of view, sprawling journeys, and battles. I feared that, although I had accomplished my goal, what I had written was not very good. That’s when I came across the various tools and services available via Jericho Writers. On the website, I found blogs on plot structure, character development, and advice on POV characters. I had no knowledge or experience of any of these important elements, and so I worried that my precious manuscript was, in fact, a bit rubbish. So I invested in the Jericho Writers Manuscript Assessment service.
I had been heavily consuming all the info available on the website, and the assessment seemed like the best next logical step to get an honest review of my work by a professional. The feedback came back, and it was candid, challenging, and amazing. I needed to ditch at least one POV character, learn about story structure, cut around one-third of the story, and the novel started in the wrong place. I acted on the advice, and have never looked back.
The assessment seemed like the best next logical step to get an honest review of my work by a professional.
JW: Why did you decide to self-publish your work? In what ways has it been the best route for you?
After working through three further drafts, I submitted the manuscript to a couple of agents but received no replies. I did that mainly because I was completely unaware that self-publishing existed. Once I discovered that, and understood its power and opportunity, I decided to self-publish what became Viking Blood and Blade, my debut novel. . I realised that with self-publishing I could be the master of my own destiny: I wanted to be a writer, and I didn’t have to wait for approval or acceptance from any industry gatekeepers. I could just do it. And so, I set about learning everything I could about the key elements of self-publishing and building up a playbook that would drive my novel to success.
I realised that with self-publishing I could be the master of my own destiny: I wanted to be a writer, and I didn’t have to wait for approval or acceptance from any industry gatekeepers.
JW: How did you find the initial steps of self-publishing (building a mailing list, getting reviews, etc.)? Do you have any advice for authors embarking on these first steps?
Advice on how to put together the elements required for a successful self-published book is available on the Jericho Writers website, and elsewhere online. I set a target number of reviews I wanted to get within the first month, set up a pre-order and a free offer, and then engaged with book promotion sites. I also worked at setting up a simple website using Wordpress with a mailing list and call to action. All of these things were new to me, but actually getting each element up and running was fairly intuitive. My advice to authors starting out is to make sure you do the basics, and do it in a simple way that you can then build upon. You need a good book, a strong cover, solid metadata, a website, and a mailing list capture service.
JW: Once you’ve started to build some success in self-publishing, what’s the best way to hold on to it? How can you make it sustainable?
This one is simple - keep on writing, release more books in a series, engage with your audience and learn how to master Amazon/Facebook ads.
So for any new or aspiring writers out there, I would say that your reach is within your grasp. Do all you can to write your best book, follow the advice and get the basics right - invest some time in yourself and your ambitions. Good luck!
About Peter
Peter Gibbons is an Insurance Professional and author of the highly acclaimed Viking Blood and Blade trilogy. His new Saxon Warrior series is set around the 900 AD Viking invasion during the reign of King Athelred the Unready. The first title of the new series, Warrior and Protector, will be published in October 2022 by Boldwood Books. Peter originates from Warrington and now lives with his family in County Kildare.
For many of us, books and reading provide a means of both leisure and pleasure- a way to escape the everyday and into the world of literature. This is no truer than in speculative fiction. A collection of genres that puts the ‘creative’ in creative writing, the imaginative nature of speculative fiction sets our minds free to envision worlds, people and cultures different from our own. It’s the broad-mindedness that results from such thinking that makes speculative fiction so truly special.
In this article, we’ll cover:
What is speculative fiction (and what isn’t)?
The history of speculative fiction
Subgenres of speculative fiction
Examples of speculative fiction
How to write speculative fiction
Top tips for speculative fiction writing
Frequently asked questions (FAQs)
So, just what is speculative fiction, and how can you depict imaginative realms in your own stories?
What Is Speculative Fiction?
Speculative fiction is an umbrella term, or ‘super-genre’, for genre fiction about things that don’t exist in our world. It asks questions, and often the question is, ‘what if?’. Contemporary speculative fiction has subgenres like science fiction (sci-fi), fantasy, dystopian fiction and more.
Historically, speculative fiction has been a nebulous literary term. We’ll look at why in ‘The History Of Speculative Fiction’ below, but for now, it’s a term that’s evolved since its inception, progressing alongside the novels it aims to describe. Even today, there’s still debate about what is considered speculative fiction.
For example, Margaret Atwood states that ‘speculative fiction is a way of dealing with possibilities that are inherent in our society now, but which have not yet been fully enacted’. Atwood, with speculative fiction successes like The Handmaid’s Tale, is certainly an authority; and yet at the same time, we must acknowledge that such definitions limit speculative fiction to ideas overtly grounded in real-world context. As a result, this omits secondary-world stories like Tolkien’s The Lord of the Rings (despite its setting being ‘Middle-earth’), which fantasy fans might argue firmly belongs in the realm of the speculative.
This is where definitions of speculative fiction diverge, and it comes down to a question of emphasis. Revisiting our definition above, if your focus is on ‘things that don’t exist in our world’, then like Atwood, you may prefer the challenges of a narrower definition. If, however, your focus is ‘things that don’t exist in our world’, then it’s likely your interests sit at the broader end of the speculative spectrum.
When it comes to a term that’s as fluid and eclectic as speculative fiction is, perhaps a better question to ask is: what isn’t speculative fiction?
What Is Not Speculative Fiction?
Speculative fiction represents concepts that err outside the bounds of our real world in some way, whether great or small. So, what doesn’t speculative fiction cover? Here are three examples:
Historical fiction where the only speculative element is a fictional character that doesn’t affect chronicled events.
Horror fiction with fictional antagonists that aren’t paranormal in nature — think serial killers as opposed to vampires, werewolves, zombies etc.
‘Mundane science fiction’, a sci-fi subgenre founded by Geoff Ryman and the Clarion West Class of 2004, which limits its scope to Earth-based worlds, no aliens or interstellar travel, and only pre-existing or plausible technology. This is akin to hard science fiction, which focuses on technical accuracy.
If you’re into sci-fi, Ryman and co.’s ‘Mundane Manifesto’ is brilliant (case in point: calling the genre’s tropes a “bonfire of the stupidities”). Definitely recommended reading.
The topic of sci-fi is an excellent segue back into the history of speculative fiction, so let’s take a brief look at that now.
The History Of Speculative Fiction
The idea behind speculative fiction — to ask ‘what if?’, and remark on a world that may have been, that is or that could be — is one that goes back to the classics.
A well-cited example is Medea, a tragedy by ancient Greek playwright Euripides, who explored the sorceress Medea murdering her own children for revenge — whereas in versions of the legend, she was not directly responsible. Euripides used speculation to write an alternate history.
A less famous example is the cleverly-titled novella A True Story, a fiction work by Lucian of Samosata in the second century. Similar to Euripides, Lucian was an ancient Greek writer, but one who speculated on fantastical space travel and war, not to mention aliens. Lucian became the first writer of his time to openly pen fiction (and satirical fiction at that, given the title vs. topics).
Another example is Shakespeare’s A Midsummer Night's Dream, which unites the Greek hero Theseus of Athens, the Amazonian Queen Hippolyta, and King Oberon and Queen Titania of the Fairies alongside other characters. Nowadays, the play is known as speculative fiction, despite the phrase not existing then.
Bonus example: I’m going to add one more here, simply because it’s amazing. Margaret Cavendish’s The Blazing World is a speculative work from 1666 about a utopian society, accessible through a portal in the North Pole. Utter genius.
The term ‘speculative fiction’ was eventually coined by author Robert Heinlein in 1941 and publicised in his 1947 essay, On the Writing of Speculative Fiction. Heinlein, a science fiction writer, argued that unlike the pulp sci-fi of his time, speculative fiction focused on human-centred reactions to posed scientific or technological problems, and deserved the artistic merit of literary fiction. Sci-fi’s close association with speculative fiction is largely thanks to Heinlein.
As successful authors like Margaret Atwood and Ursula Le Guin weighed in on such delineations (Le Guin has argued for abandoning genres altogether), speculative fiction expanded into particular genres like fantasy, dystopian fiction and more. Today, speculative fiction’s family of subgenres make it a broad literary term in keeping with the evolution of its stories. It’s to these subgenres that we’ll turn next.
Subgenres Of Speculative Fiction
Science Fiction
Given sci-fi’s relationship to speculative fiction, it’s a good subgenre to start with. Science fiction with speculative elements uses advanced technology like interstellar travel, which can lead to encounters with extraterrestrials. It employs tropes like teleportation, parallel worlds or alternate universes, time travel and even magic; space operas, as a subset of sci-fi stories, are particularly grand in scale. Such speculative leaps are precisely what mundane sci-fi opposes, as they’re deemed too unlikely to ever happen in the real world.
Fantasy Fiction
Fantasy is a purely speculative genre of fiction, where concepts are fantastical because of the inclusion of magical powers, mythical creatures etc. Like sci-fi, fantasy exists on a spectrum from low fantasy based in the real world, to high or epic fantasy (eg. ‘sword and sorcery’ fantasy) set in alternate or secondary worlds. Fantasy fiction also includes many subgenres like dark fantasy, fables, fairy tales, urban fantasy and magical realism.
Science Fiction Fantasy
As you might guess, sci-fi fantasy is a blend of science fiction and fantasy stories, wherein the sci-fi also has fantasy elements such as magic and myth.
Superhero Fiction
While we’re still thinking about sci-fi, consider superhero fiction like DC’s alien superhero Superman, or Marvel’s many superheroes eg. the Avengers. While tales about beings with superhuman powers fighting evil supervillains could easily be categorised as fantasy or paranormal, superhero stories have become a behemoth in their own right — just look at the world’s devoted comic-based fandoms.
Paranormal Fiction
Similar to superhero fiction, paranormal fiction could also be classed as fantasy, but the sheer volume of topics and titles has culminated in its own recognised genre. Paranormal fiction tells of secret phenomena that generally defy science and the natural world, involving creatures from fables, folklore, fairy tales and pop culture eg. vampires, werewolves, zombies, witches. It can also include psychic abilities like levitation and telepathy. This particular genre has many subgenres, such as paranormal romance, which has produced multiple international bestsellers, particularly in the young adult (YA) category.
Supernatural Fiction
Like the paranormal genre, supernatural fiction also eludes scientific explanation, focusing on death and the afterlife — with heavenly deities like gods/goddesses and angels, as well as resurrection, reincarnation and the soul. Subgenres include supernatural horror and thrillers; ghost, gothic and weird fiction; and anything else of a spiritual nature that morphs into the macabre.
Utopian Fiction
Utopian fiction centres on the concept of an ideal world, and the potential impact of human beings on these seemingly perfect civilisations.
Dystopian Fiction
Conversely, dystopian novels depict governments and societies, often totalitarian, where people’s suffering is as rampant as the injustice at its core. Such speculative literature often sets stories in places not normally equated with bleak future states.
Apocalyptic Fiction
Apocalyptic fiction involves disasters that end in large-scale population death and destruction. Stories involve catastrophic events like meteorological disasters, nuclear wars or pandemic diseases, centring on characters fighting to survive.
Post-Apocalyptic Fiction
If the apocalyptic genre is ‘before’, then post-apocalyptic fiction is the ‘after’ of these monumentally devastating events. Any characters that survived must now learn to endure the consequences of the apocalypse, which can range from a nuclear holocaust to societal breakdown, and may include paranormal aspects.
Alternate History Fiction
As we saw in Euripides’ Medea, alternate history fiction provides a fork in the road to explore historical events and their potential for lives unled.
Examples Of Speculative Fiction
The Expanse Series By James S. A. Corey
This hard sci-fi modern classic, starting with the first novel Leviathan Wakes, speculates about humans colonising the solar system without interstellar travel eg. Mars and the Asteroid Belt beyond it — but with Earth and Mars in conflict.
A Song Of Ice And Fire Series By George R. R. Martin
We’ve already mentioned Tolkien, so let’s look at Martin’s epic fantasy works, also known as the TV adaptation Game of Thrones. You can’t get more speculative than situating this fictional ‘War of the Roses’ alongside dragons, sorcery and ice zombies.
Dune Series By Frank Herbert
An older classic and fantastical space opera, the titular first novel and its series are a sci-fi fantasy of grandeur. Unlike The Expanse, Dune does have interstellar travel, as well as magic, alien sandworms, a prophecy and the mystical Spice Melange.
Warbringer By Leigh Bardugo
YA fantasy bestseller Bardugo picks up the mantle of depicting Wonder Woman in a comic novelisation of Diana’s origin story. Prior to becoming the superheroine we all know and love, the novel sees her befriend a descendant of Helen of Troy.
The Vampire Chronicles Series By Anne Rice
Before the TV series hits our screens, revisit Rice’s fully-realised paranormal world of vampire mythology in the series’ first novel Interview With The Vampire, which is not only a cultural phenomenon but also a masterwork of the genre.
The Call Of Cthulhu And Other Weird Stories By H. P. Lovecraft
Lovecraft’s supernatural The Call of Cthulhu is one of his best-known stories, and features a kraken-like creature with wings — complete with a cult of worshippers — and the power to drive people insane through subconscious control.
Gulliver's Travels By Jonathan Swift
A stinging satire of adventure travel that helped birth the novel format, Swift’s protagonist journeys to far-flung locales where he meets philosophers, scientists, mages, immortals, and intellectually superior horses ruling over humans.
1984 By George Orwell
You could well argue there’s no more relevant dystopian tale than Orwell’s 1984 — and we’re 38 years on from that fateful year. Yet here we are, still grappling with the same totalitarian fears; the unfortunate hallmark of a truly well-crafted tale.
World War Z By Max Brooks
Given the last example, it’s not surprising we’ve made it to the zombie apocalypse; though Brooks’ novel is simultaneously post-apocalyptic, with its 10-year span that begins with rumours of a new pandemic from China (sound familiar?).
The Stand By Stephen King
Following on from a zombie pandemic, let’s get a little more real with fiction master King’s actual pandemic novel, a post-apocalyptic tale of an influenza-based plague that (wait for it) kills 99.4% of the population. Cue civilisation imploding.
The Man In The High Castle By Philip K. Dick
Finally, we end on an alternate history classic, with Dick speculating, ‘what if Germany had won World War II?’. The answer to this question sets the novel in an America where New York is Nazi territory and Japan rules over California.
How To Write Speculative Fiction
Now that we’re clear on what speculative fiction is (and what it isn’t), how do you go about creating these world-bending stories for yourself?
Here are our 5 steps to writing speculative fiction:
1. Form Your Idea
Your first step is to identify an idea for a story. Speculative fiction deals in ‘what if’s, so let’s start there. Here’s an example you may already be familiar with.
Margaret Atwood’s idea for The Handmaid’s Tale came from a conversation with a friend in the 1980s about feminism and women being outside the home, and those who wanted to reverse the trend. Atwood wondered what it would take to do that, and in answering her question, the world of Gilead and its handmaids was born.
Whether you subscribe to Atwood’s definition of speculative fiction or not, mining current events, society, culture, and the latest research for good ideas to build a concept from will grant you many an interesting ‘what if’ to ponder.
2. Do Your Research
Despite the fantastical nature of speculative fiction, if your story is in any way based on the real world, it’s likely you’ll need to do some research, such as when writing sci-fi stories inspired by science or technology. Not all science fiction will need this as a prerequisite, but grounding such stories with real things tends to strengthen them.
There’s also a point to be made here about sensitivity. If you’re broaching topics that involve those in a minority, potentially triggering subjects or cultural taboos, it’s important to do your due diligence as a professional in the writing community. And that means doing your research and crafting authentic portrayals.
3. Build Your World
If you’re like me, this is the fun part. World-building, particularly in fantasy, looks top-down at the world you’re creating — from the realm’s geography, to its people and civilisations. This also includes society, politics, the economy and technology; which in turn means defining warfare, and what magic or myths to include.
That said, your world-building doesn’t need to be complex. The key is consistency, and rules with discernable stakes (which also aid your central conflict). Within the realm of the speculative, as in fantasy or dystopias, defining your magical systems or the rules your society is based on will help readers navigate your story.
For more on world-building, see our ‘Top Tips For Speculative Fiction Writing’ below in the section following this one.
4. Outline Your Story
So, you’ve got an idea, and you’ve done your research and world-building. Great! Now comes your story outline. This can be as simple or as granular as you like, depending on whether you’re a ‘pantser’ or a ‘plotter’ when it comes to planning. Either way, the reason for outlining in speculative fiction is to clarify your world and its consequences for your characters, and then build your arc.
Think about the idea you’ve come up with and how it impacts your main character. Are they high or low on the food chain of the world you’ve developed? Where do you want them to end up, and how? What are the main problems that they’ll face? Asking yourself these questions will help you plan your story’s outline. Need help? Check out our article on plot points.
5. Write!
For the plotters amongst us, your research, world-building and outline should equip you with more than enough to get started. For the pantsers, this will be where you finally dispense with all the planning and just write. So, what are you waiting for?
Pro tip: Some people recommend writing first thing in the morning or late at night — essentially, when our thoughts are more free-flowing — for creative effect.
Top Tips For Speculative Fiction Writing
What if you really want to try your hand at speculative fiction- but you just can’t seem to make the words happen? We’ve got you covered.
Here are 3 more tips and tricks for writing speculative fiction stories:
1. Brainstorm
This is where you try and think of as many ideas as possible without judging them, then tease out the golden thread of a story. You don’t need to do it all in one sitting, but your goal is to look for new and unexpected combinations and connections.
One way to do this is by thinking about conversations eg. like Margaret Atwood, or eavesdropping on new ones in cafes, on public transport, at the park, anywhere; all for the sake of potential inspiration, and to get you asking questions that can lead to intriguing tangents, and eventually stories.
Here’s my own method: handwrite your brain dump of ideas, if you can, as there’s something about physically jotting them down; it probably facilitates the next step. Then, go do something else- ideally, something manual like cleaning, exercising, showering, or driving (Spielberg gets his best ideas on the road). And finally… wait. When your mind is quiet, like when meditating or on the verge of falling asleep, that’s when your best ideas will strike.
If going directly from researching to world-building is too much of a jump, don’t worry. The internet has a plethora of resources to help you build your world.
Brandon Sanderson, author of bestselling fantasy and sci-fi stories like the Mistborn series, has entire YouTube playlists devoted to his writing process. As part of his 2020 creative writing lectures at US Brigham Young University, check out his world-building part one and part two videos.
Another writer of bestselling speculative fiction eg. the Broken Earth trilogy, N.K. Jemisin is a fantasy and sci-fi author with superb educational content; her website hosts a great presentation from one of her webinars.
World Anvil is a resource I’ve been recommended on Twitter more times than I can count for world-building, whether for writing fiction or D&D-style RPGs (that’s ‘Dungeons and Dragons’ and role-playing games, for you non-nerds). A word of warning: get ready for more links than you can poke a sword at.
This is a wonderful tip, particularly if speculative fiction is new to you (and if you’re a bookworm, all the better): immerse yourself in the greats. Writing isn’t just rewriting, as they say- it’s reading, and reading speculative classics, modern or otherwise, can give you the hit of inspiration you need to think outside the box. So, jump back to the ‘Examples Of Speculative Fiction’ above, and add them to your to-be-read (TBR) list for a heady dose of speculation.
Frequently Asked Questions
What Is Speculative Fiction?
Speculative fiction refers to genre-based fiction with concepts grounded in things that don’t exist in the world as we know it. An umbrella term, it includes genres like fantasy, dystopian and science fiction (which it was originally associated with), and covers imaginative stories of conjecture that ask questions, particularly ‘what if?’. Speculative fiction has evolved since its twentieth-century inception to become the creative ‘super-genre’ it’s known as today.
What Is The Main Purpose Of Speculative Fiction?
The purpose of speculative fiction is, unsurprisingly, to speculate: to think, to guess, and to ask questions (eg. ‘what if?’) of the world we live in, its history and its future. Speculative fiction then explores the answers to these questions through stories of varying imaginative degrees. Like reading more generally, speculative fiction can be a form of entertainment and escape. Where it differs from literary fiction is perhaps in its attempt to not only illuminate the human condition, but also challenge our own world views and understanding of them- with the goal of deeper personal insight.
What Is The Difference Between Science Fiction And Speculative Fiction?
Science fiction (sci-fi) is a genre within the ‘super-genre’ of speculative fiction, and tells stories about science and technology with outer space as a frequent theme. ‘Speculative fiction’ as a term has been strongly connected with science fiction since its inception and popularisation by Robert Heinlein in 1941 and 1947, who was himself a science fiction author. Heinlein argued that speculative fiction was a subset of sci-fi more slanted towards literary fiction, unlike the formulaic pulp sci-fi of his day. Today, speculative fiction has expanded to include genres like fantasy and more.
Is Magical Realism Speculative Fiction?
Magical realism, as a subgenre of fantasy fiction, can be classified, like fantasy and science fiction, under the broad ‘supergenre’ of speculative fiction. Magical realism can be speculative as the fantastical elements of such fictional worlds exist beyond the realm of our own. This, however, does depend on your definition of speculative fiction being less strict than author Margaret Atwood’s, which leans into real-world societal scenarios that have not yet come to pass (such as in her speculative novel and bestseller The Handmaid’s Tale).
Writing Speculative Fiction Stories
As you’ve seen throughout this article, speculative fiction is a broad literary term. But more importantly, speculative fiction isn’t just an assortment of other genres- it’s a way of telling visionary stories that excite and inspire us as engaged readers, in a world that sometimes fails to. Speculative fiction highlights the awe of exploring other realms and other ideas, and in doing so, reflects something back to us: the limitless potential of the human imagination.
And, happily, that’s something we don’t need to speculate about.
If you're a writer who wants to move on to the next stage of your writing journey, there's no better time to set a writing goal than right now.
Don't wait to make new year's resolutions, or until you reach a certain age, or when you have free time (you never will) - NOW is the time to set smart goals and progress with your writing journey.
But where do you start?
In this article, I'll demonstrate how to get a goal-setting process in place and how to create measurable goals, and I will provide you with a few examples of how each one can be achieved.
When writing a book, very few writers have the luxury of both time and a regular income to support them while they pen their bestselling novels. Most of us have to juggle a day job, childcare, and other constraints that get in the way of creativity and butt-in-seat writing.
This is why we all need an actionable goal to strive for.
It doesn't matter whether you enjoy writing poetry for fun, are looking to enter your short stories into a competition or two, or whether your ultimate aim is to be a full-time novelist, writer, or journalist - if you want to write, you need to get those words down on paper.
But life isn't always that easy. Creativity can't be easily switched on and off... but, like anything, you CAN train yourself to be more productive.
Different Types Of Writing Goals
Every writer has a goal. For some of us, it's simply to get back to the book we put in the metaphorical drawer a year ago, for others it's to write five-hundred words a day or to get an agent.
Whatever your writing dreams, no matter how big or small, every writing goal is achieved via small steps- smaller goals- that all lead to your final big dream.
Let's take a look at four different types of writing goals.
Long-Term Goals
Many writers aim towards having a writing career.
That can look very different for every person; from becoming a full-time, self-published author, to getting a great traditional book deal, or (like me) doing a bit of both alongside freelance and corporate writing.
In order to complete a writing project, the first thing you need to do is establish all the manageable steps you need to achieve in order to reach your end goal.
Larger goals, for example writing two books a year, can't be achieved overnight. But smaller ones, such as writing 2,000 words a day, can be done quite easily.
See below for a 10-step guide to achieve just that!
Motivation Related Goals
Perhaps it's not getting words on paper, or monetary success, that you are aiming for.
For many writers, their goals revolve around finding the focus and ideas they need to better their writing.
Ideas don't come to everyone out of the blue; many people have to actively take the time and make the effort to think up their next great idea.
Others may be experiencing writer's block or imposter syndrome and struggling to get back into the flow of writing again.
Setting a goal of coming up with ideas, plotting, and planning is just as important as getting the words on paper.
Time-Bound Goals
For other writers, it's not writing skills or ideas that are getting in the way of achieving their goals - it's simply finding the time to make a dent in their manuscript.
Writing within a tight time frame can put a lot of pressure on writers, especially those signed to a multi-book deal with agents and editors awaiting their next piece of work.
In this guide, we will also be looking at how to manage your time and make enough space in your week to reach your goals.
Specific Writing Goals
Or perhaps you have a very specific writing goal.
Regardless of your writing process, many writers have writing goals outside of their planned books that they wish to also fulfil. Perhaps it's to write their first screenplay, win an award, write more short stories, or simply achieve a better work/life/writing balance.
Whatever your writing goal is, the following steps should help you understand where you are heading and how to get there in a manageable way.
10-Point Step-By-Step Process For Setting Writing Goals
Anything is achievable if you plan for it!
I have written thirteen novels and four manga stories in the last eight years, all while freelancing part-time, emigrating, and raising two children. And the only way I managed to get anything done was by setting goals.
But setting a writing goal isn't simply telling yourself you will write a novel in the next six months. That is a big goal (and, for most, unrealistic).
The secret is to set smaller goals, ones that are easier to achieve, and bit by bit reach your main goal.
For example, in August 2021 I promised myself I was going to finish a new book, find an agent, and get a decent book deal. All of which I managed to do. But, much like setting any other goals in life, I had to approach them in a methodical way.
Here's my 10-point step-by-step process:
1. Decide What Your Overall Goal Is
What's your big goal?
To have a finished manuscript? To find an agent? Or to have a career in writing full-time?
Spend time thinking about this, because no matter how large your ambitions it's important to know in which direction you are heading.
2. Set Realistic Goals
Next... be realistic.
It's okay to have a lofty goal, as long as you don't beat yourself up when you don't achieve it overnight.
The secret to success, any success, is setting smart goals.
In this case, start with how long it will take you to plot your novel. Then set time aside to write it (I wrote mine quickly during NaNoWriMo - a free initiative that helps writers meet their word count and get their first draft completed in a month).
You may decide to write 1,000 words a day, spend two hours an evening planning your book, or write every Saturday. Whatever you decide, make sure it's achievable and fits in with your life.
3. Find A System
The next step is to keep track of your small steps (that will eventually lead to bigger steps).
I like to use a notebook, others create charts or graphs in a bullet journal, an Excel spreadsheet, or download an App that will keep track of their day-by-day progress.
4. Pace Yourself
This part is important. Steady wins the race!
Big goals are great, but going too fast too quickly increases your chances of burning out or losing interest. Ensure your goal is a measurable goal, ie. aim for the same thing regularly (words written, time spent, agents approached) and take it step-by-step.
To do that it helps to...
5. Be Accountable
Personally, I love to go on Twitter and start an accountability thread. I also tell my other author friends that I plan to finish the first draft of my latest book by so-and-so date.
I'm sure no one really cares - but feeling as if people have expectations of me really spurs me on. Likewise, when I co-write with other authors, we keep one another accountable. If I tell my co-author I will have 2,000 words with her tomorrow, I won't let her down.
So, see what (and who) keeps you on your toes!
6. Reward Yourself Each Step Of The Way
Set a daily goal... and a weekly reward.
Perhaps you colour in a square for every 1,000 words written and when you hit certain milestones you buy yourself a gift.
Or you buy a box of chocolates but you can only eat one every 5,000 words.
Or, as I do, simply bask in all the applause on Twitter as you announce that you have hit your weekly word count.
7. Don't Lose Hope
All your goals are achievable as long as they are realistic and you stick to them, but often that steady pace can feel like you aren't getting anywhere.
Much like when trying to stick to a healthy eating regime or training for a marathon, just because you miss a day of writing doesn't mean you should pack the whole lot in.
Be kind to yourself!
Create goals that are manageable, and if circumstances change then adjust your writing goals so they are easier to meet.
8. Eyes On Your Own Page
In a world where we are bombarded with news of successful authors, or even our own peers announcing good news on social media, it's too easy to convince ourselves it will never be us.
Believe me, there are enough writing opportunities out there for anyone and everyone who has the skills, passion and perseverance!
So don't worry about what other writers are doing, what they are achieving, and what they are shouting about. Keep your eyes on your own paper - you only have yourself to compete with!
9. Be Proud
Reaching the end of a chapter may not big a big achievement for one author, yet it may be a huge pat on the back for another. So be proud of yourself, no matter what goal you set yourself.
When you get to the end of that first draft, even if it's really rough, you should celebrate. When you land an agent, get a book deal, or simply complete a writing course and better your craft - take a moment to look back and take note of how far you have come.
Because with every goal met you are heading in the right direction!
10. Set A New Goal
And finally, once you have achieved your goal, set other goals. Yep, more goals. New goals!
Look at the specific goal you started with- your big dream- then treat each smart goal you set as a stepping stone to the final big one.
With each step forward, with each goal you meet, you are getting closer and closer to the big one!
3 Things You Need To Meet Your Writing Goals
A Support Network
It's nigh on impossible to achieve anything in life without a support network; especially being an author.
Writing can be a lonely and frustrating business. Unlike other jobs, you are rarely in an office, rarely working as a team, and your hard work (and even perceived success) is rarely reflected in your earning potential.
The only way to keep going without losing hope is to have people around you who are in the same boat as you.
There are many writing communities online and in person. Here's a list of ways to find other writers who are also trying to meet their writing goals:
Join a Facebook writing group
Join a local writing group
Get active on the #writingcommunity Twitter hashtag
Share your work on Wattpad and other free platforms
Subscribe to writing magazines and take part in competitions
Be Realistic
To reach your writing goals you also need to have a strong grasp of reality.
If you've never written a novel before, you're unlikely to write a great first draft in three months (like an established author may do). And that's okay.
If you have four children and work full time you're less likely to find the time and energy to write every day. You're still doing great.
If you are mentally or physically struggling, you will have some days where you can't hit your word count. Not a problem.
Also, the publishing industry is highly subjective and not a meritocracy. It doesn't matter how good you are, how hard you try, and how much you really want to be a published author - if agents and publishers don't think your book is what the public wants right now it won't get snapped up.
Likewise, even published authors have no control over what publishing advance they get, how many copies of their books are sold, or whether their readers even like their books. All you can focus on are the words and how good they are!
So remain pragmatic and, before setting your goals, be honest with yourself as to how many words you can really manage in a day or a week, and don't feel like a failure if it takes longer than planned.
Patience & Kindness
To be a writer that stays the course you need to be kind to yourself, which also means being patient.
Believe me, as someone who has regular breakdowns and is currently in her second year of keeping a publishing secret, you really need to learn to go with the flow.
So whether you are starting out as a writer and feel like your first writing project is going too slowly, or you're an established author trying to set new goals, be patient and give yourself a break.
You deserve no less.
Frequently Asked Questions
What Are Some Smart Goals For Writing?
The secret to setting effective writing goals is to decide what matters to you. Are you simply looking to finish your story? Or do you need to motivate yourself?
The smartest way to set your goals is to evaluate what your current life looks like and see where you can fit in more writing.
There's no point telling yourself that you must write 3,000 words a day if you work all day and study all night because you will forfeit rest and that will be counterproductive. So...
Look at your life and see what will be manageable and when.
Block time off per day (or week) to write/plan/plot/query/network (whatever you need to do) and stick to it.
Let others in your life know what you are doing so they can support you.
Reward yourself when you hit your milestones.
Be flexible and kind to yourself if you don't reach them.
How Do You Write Good Goals And Objectives?
Keywords: Choose a verb like 'increase, decrease, maintain' to help you set an overall goal. Such as 'increase my daily word count from 1,000 to 1,500 per day'.
Process: Create a system that works for you - whether that's a chart you fill in, a notebook you keep notes of your progress in, or an app that charts your success.
Target: Specify the exact steps you need to take to achieve your goals.
Deadline: Set a date for your goals so that you have something to strive for (and something to celebrate when you achieve it).
And Finally...
Keep going!
Setting goals can be exhausting, and addictive, but ultimately they get you to where you need to be.
It may take a year, it may take ten, it may take a lifetime... but while you are hitting small deadlines and achievable goals you are forever moving forward.
And it's that constant forward momentum that brings hope, opportunity and - eventually - success!
Have you just finished your novel and are ready to begin your search for an agent? Well, you’ve come to the right place.
WANT TO JUMP STRAIGHT TO THE AGENT LIST? CLICK HERE
Fantasy Fiction
Over the years fantasy fiction has become one of the cornerstones of the book market. This competitive genre is brimming with big-selling fantasy novels. You only need to look at the fantasy fiction shelf in your local bookstore or the best seller list on Amazon to see authors like China Mieville, Neil Gaiman, and Iain Banks lining the charts.
Although fantasy has always been a popular genre, the nature of the genre means that we will continue to see new and fresh story ideas published. Think YA fantasy series A Court of Thorns and Roses by Sarah J Maas or Neil Gaiman’s short story piece Fragile Things to name a few. Its flexibility means that authors can continually explore their characters and the world they have created to the extremes. No book idea is the same.
In a demanding, and often saturated, market there are still plenty of agents looking for the next big fantasy novel or series. Before querying your shortlist, make sure your opening chapters are perfect and your submission pack is tailored to your chosen agent. With such a popular genre the standard for submissions will be high, so don’t waste your opportunity.
AgentMatch And How To Use It
There are plenty of fantasy-loving agents, but you won't want to approach them all. The best way to develop and refine your own shortlist of UK agents for fantasy is to visit AgentMatch, our literary agent database, and use the search tools on the left to make your selection.
With AgentMatch you can select by genre (e.g. fantasy), country, the agent’s level of experience, their appetite for new clients, and much more. You can even save your search results and come back to them, allowing you to work through them one by one, at your own pace. Each profile has been researched thoroughly including what agents like to read in their spare time, information on their most recent deals, manuscript wishlists, submission requirements, and exclusive interviews.
You can sign-up for a 7-day free trial which will give you a good feel for the data and functionality. Or join us as a premium member and get unlimited access to AgentMatch.
UK Agents For Fantasy
To get you started we’ve selected a list of 20 UK agents looking for fantasy:
[am_show_agents id=26]
More Resources
We’re here to help you at every step in your writing and querying process. Check out our favourite blogs that can assist you in putting together your query letter and synopsis, and if you want valuable, personal feedback on your writing you can book a fifteen-minute One-to-One with an agent of your choice. Premium members can also get a free query letter review from our lovely Writers Support team!
Happy searching, and good luck on your querying journey!
From a young age, I gravitated towards anything that might spook or scare me, finding a thrill in the fear and the curling of toes, drawn always to the dark and the gothic.
I am still the same today, and people have been fascinated with these fictional worlds filled with ghosts - where usually your imagination alone can be your worst enemy - for hundreds of years. There is psychology behind this, but we won’t go into that here. Instead, let’s celebrate the genre that sets hearts racing, that makes characters out of eerie settings and that lets you explore that space beyond reality.
Our love of the gothic must surely come from the exploration of unknown worlds, dark places and the supernatural; all those things that are usually out of reach for us but that we can leave safely behind once we close the pages. It’s a genre that has reinvented itself many times over the centuries and birthed numerous sub-genres, and which still to this day attracts readers of all ages.
In this guide, we will discuss all things gothic literature, its inner workings and its influence on our wider cultures, taking a look at key tropes, themes and motifs. And if you aspire to be a gothic writer yourself, this guide will show you everything you need to know about gothic fiction and its essential ingredients.
What Is Gothic Literature?
There are many definitions of what gothic literature is, but all state that it is a story of fear and terror with emotional extremes and dark themes. It has regularly been used as a literary device to highlight social issues and injustices, which is possibly one reason for its enduring popularity.
Gothic literature rose from the Romantic period of the eighteenth century and you can trace its roots to the architecture of medieval Europe, with buildings that were full of intricate details and cavernous spaces, and ornate decoration that gave us gargoyles and grotesque waterspouts - foreboding spaces that looked like they had a story to tell. Romanticism was characterised by emotion and individualism, nature and the glorification of medieval times. Gothicism embraced these elements, too, but it focused more on the darker side of humanity, particularly evil, sin and purgatory.
The root of gothic literature is widely attributed to Horace Walpole’s Castle of Otranto in 1765 - he even put the word ‘gothic’ in the subtitle of the second edition. But what did that word mean to him all those years ago? It meant ‘barbarous’ and ‘deriving from the Middle Ages’, not words we might associate with it now, but from his novel trick, he spawned an entirely new genre. One which included the supernatural, the classic gothic tropes of doors closing and floorboards squeaking, and most importantly a frightening old building.
This is the heart of gothic fiction - the things that lurk in the corners both in reality and in the mind. But it was the gothic stories of vulnerability and conflict that were relatable to society, and so gothic literature flourished.
Let’s take a closer look at the elements that make up gothic fiction.
Key Elements Of Gothic Literature
Place
Probably the most important part of the gothic novel is the setting. Most will think instantly of castles and gloomy houses, of heaths and moors, of isolated, dark corners of the world. Many gothic novels contain a haunted house or building, but in reality, the house comes to represent more than just bricks and mortar. It is a mirror of the mind, of compartmentalising, of locking away the truths of a life, before the lies and deceit come back to haunt our characters.
Physically, too, the setting typical of gothic literature is hidden, pulling our characters further from society and further from help, leaving them to the elements of the Earth and the evil that might be seeking them.
Think of Jonathan Harker becoming trapped in Count Dracula’s castle, or the secrets of Manderley in Rebecca, or the brooding, sweeping moors of Wuthering Heights. The place becomes a character, influencing our protagonist from the first page.
The Supernatural
Can we call gothic fiction gothic without a ghost or two? Or at least the threat of a ghost? Sometimes, simply, it is all in the mind, but this is where gothic literature stands apart from all other genres - your imagination does the work for you. What might be there is often far scarier than reality. But what gothic literature does so well is present us with a world of doubt, particularly about the supernatural and spiritual. It presents the possibility of things beyond reason and breaks down the limits of our everyday lives.
Ghosts bring with them a demand, a curse or a plea. Out of their proper time and place, they disrupt our sense of what is present and what is past, but more about this later.
Atmosphere
Gothic literature is dripping in atmosphere, probably more so than any other genre. Place, as mentioned above, plays a big part in the setting of the atmosphere, but it goes much deeper than that. Atmosphere comes from the writer’s tone and use of language, from the implied, from the internal and external conflicts, from the characters themselves, and from the building of suspense and mystery.
Often, too, the atmosphere created is claustrophobic. Settings are small, with little opportunity to escape.
Secret Places
Gothic literature is full of secret places - rooms, entire wings, attics. Places that are out of bounds for the protagonist and which, like a child drawn to a jar of sweets, call out for them to go there against all better judgement. What if Belle hadn’t gone to the forbidden west wing and found the rose in Beauty and the Beast? And let’s not forget the secret places in our characters’ minds. They are often places that a reader won’t want to go to either.
Damsels
When we look at the classic gothic novels, a damsel in distress is usually a central part, and this plays into the regular gothic theme of an imbalance of power - women were seen as weaker and often victims of violent acts.
In an opposite way, women are also often portrayed as evil, possessed characters in contrast to their perceived motherly qualities.
Time
Time plays a key part in gothic fiction. There is a preoccupation with glorifying the past. It is typical for there to be elements of the past clashing with the present, bringing with it threat, terror and truth. But it isn’t simply a case of the past catching up with the characters. The past will invariably be accompanied by the uncanny - something frighteningly unfamiliar. The past literally deranges the present.
Terror Vs Horror
There is a clear difference between a reader who enjoys being terrorised and a reader who enjoys being horrified, and here lies the difference between gothic fiction and horror fiction. Ann Radcliffe, a pioneering gothic writer from the late eighteenth century said that terror merely suggests horrific things rather than showing them. Terror is concerned with the psychological experience of being full of fear and dread and thus recognising human limits. She said:
Terror and Horror are so far opposite, that the first expands the soul and awakens the faculties to a high degree of life; the other contracts, freezes and nearly annihilates them.
Ann Radcliffe
There is a subtlety to gothic stories that allows the mind to wander, a mere hint or suggestion is often enough for us to believe.
Melodrama
Gothic fiction is dramatic because the stakes are high. Characters are usually troubled, with bad things happening to them and around them. Expect much swooning, fainting and screaming. They often, also, have troubled minds.
Burdened Male Protagonist
The men in classic gothic literature are usually wealthy, entitled, and hold a lot of power. Or they may be burdened by a mad wife they need to hide away, or required to marry somebody they don’t love. They represent the best and worst of society and often must face the demon within them in their search for peace. A perfect example of the burdened male protagonist is Maxim from Rebecca by Daphne Du Maurier.
Death
When we think about gothic stories, death is usually a central part of it. Deaths in the past, the threat of imminent death of the protagonist or wider characters, the death of a way of life, even. Let’s look at the opening of Sing, Unburied, Sing by Jesmyn Ward:
I like to think I know what death is. I like to think it’s something I could look at straight. When Pop tell me he need my help and I see that black knife slid into the belt of his pants, I follow Pop out the house, try to keep my back straight, my shoulders even as a hanger; that’s how Pop walks. I try to look like this is normal and boring so Pop will think I’ve earned these thirteen years, so Pop will know I’m ready to pull what needs to be pulled, separate innards from muscle, organs from cavities. I want Pop to know I can get bloody. Today is my birthday.
Sing, Unburied, Sing by Jesmyn Ward
Those two opening lines set the tone of this novel perfectly. Death is the theme of this beautifully devastating Southern Gothic novel, and that is something that is made clear from the start. I don’t think it is possible to have gothic without death.
Key Tropes In Gothic Fiction
Gothic fiction has a set of tropes that are seen over and over again. These are devices used in every novel that the reader will recognise instantly.
Here are some of the main ones:
Lights
The flickering of lights points to something otherworldly in control. Or a light in an abandoned place tells you something is there that shouldn’t be.
Weather
Nothing says gothic more than inclement weather. A good thunderstorm suggests impending doom, high winds are disorienting for our characters and imply godly forces are in play. Typically, classic English gothic texts take place on windy, barren and isolated moors, but by contrast, the sub-genre novels of the Southern Gothic are set in heat-sweltered southern US states, using the dusty, dry environments to show isolation in a different way. These are places that are hard to endure.
Noises
Things that go bump in the night. There is always a noise that might draw your character from their bed in the dead of night to investigate. And, of course, you know that is the last thing they should be doing.
Laughter
There is truly nothing spookier than hearing a child laugh from somewhere deep in the heart of a gloomy, abandoned house. It is a definite sign that something bad has happened there and you should likely run the other way.
Animals
Savage nature- crows, ravens, and wolves have all been vilified in gothic fiction, used as symbols to impress the coming darkness.
Imprisoned Characters
There is nothing more gothic-esque than an imprisoned character. Think of Mr Rochester’s wife locked away in the attic in Jane Eyre by Charlotte Bronte, or of Paul Sheldon in Stephen King’s Misery being held captive by a crazed fan.
Key Themes In Gothic Literature
What I love more than anything about gothic fiction are the themes that are tackled. A ghost story is never simply a ghost story, a story of madness is never simply a description of insanity. Gothic writers want to convey their message through the story and the underlying meaning of the story - the theme. And the themes of gothic literature draw attention to the very dark side of humanity.
Here are some of the main themes of Gothicism:
Appearance vs Reality
Doppelganger/Duality of humanity
Isolation and seclusion
Challenging gender roles
Imbalance of power
Corruption of innocence
Place
Romance
Injustice
Searching for the truth
Gothic Fiction Motifs
Motifs are recurring symbolic references that a writer uses to convey an idea. Gothic fiction is full of them, and writers use them repeatedly throughout their novels to reinforce the point they are trying to make.
Here are some of the main gothic motifs:
Dreams, nightmares and visions
Mistaken Identity
Omens and prophecies
Light vs darkness
Secrets
Madness
The Uncanny
Examples Of Gothic Tales
Some of the greatest stories have been spawned by the gothic genre. Let’s look at the most popular classic gothic novels.
The Castle of Otranto by Horace Walpole is considered the first gothic novel, written in 1764. Set in a haunted castle, the novel combines Walpole’s love of medieval and terror.
The Mysteries of Udolpho by Ann Radcliffe, written in 1794, combines the typical gothic tropes with the author’s love of gothic romance. There’s a crumbling castle, a villainous man, supernatural happenings and a persecuted heroine.
Frankenstein by Mary Shelley is a story known the world over. Here we have the archetypal mad scientist and his monstrous creation. The novel centres around Victor’s isolation from society as he delves deeper and deeper into his studies and experiments, losing sight of his responsibilities through his determination to achieve something memorable.
In The Hunchback of Notre Dame by Victor Hugo, the setting in the gothic Notre Dame Cathedral is a full homage to gothic architecture. The classic gothic novel tackles the medieval sin of lust and presents it as natural, at the same time challenging our perception of beauty and what it means to judge people on appearances.
The Fall of the House of Usher by Edgar Allen Poe is considered by some to be the start of the Southern Gothic sub-genre. It has the personified house (“There I could see reflected in the water a clear picture of the dead trees, and of the house and its empty eye-like windows.”), the madness, the typical gothic tropes listed above. But at the heart of this story is decline - the house is split between crumbling walls and perfection, which mirrors the well-being of the characters, the individual, the Usher bloodline, the familial and the collective South.
Wuthering Heights by Emily Bronte hits all the right gothic notes - an eerie, gloomy setting, with the potential of ghosts intervening in the present. Again, this classic tale combines Romanticism with Gothicism.
The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson is the ultimate gothic story concerning the duality of human nature.
Although not always thought to be a true gothic novel, The Picture of Dorian Gray by Oscar Wilde contains the symbol of the devil, devil pacts, and the motif of an ever-changing painting, representing the change in Dorian as his character ages. Dorian’s terror lies in his need to stay forever young and maintain his youthful beauty - a need that takes him down a murderous path.
Dracula by Bram Stoker is probably one of the best-known examples of vampire fiction. But as with all good gothic tales, the themes are what elevate it from simply a blood-sucking story. It draws a picture of Victorian society and the need to lock away people deemed mad or insane, especially the more regularly afflicted women. Isolation and madness are closely linked in this novel, as is the Christian belief of freeing your soul for heaven, which is prominent in many of the works of early gothic writers.
The Turn of the Screw by Henry James is a true ghost story with all the gothic elements you would expect - ambiguity about the presence of ghosts, external views vs internal feelings, perception vs reality, and secrets in all the characters.
Now let’s take a closer look at some important contemporary gothic novels from the last hundred years.
Rebecca By Daphne Du Maurier
Rebecca is probably one of the best novels ever written (bold statement, I know!) and is a perfect example of contemporary gothic. The novel takes us to Manderley, an imposing home on the isolated Devon coast where the unnamed narrator takes over the role of Mistress of the house. But lurking in every corner is the memory of her husband’s dead wife, Rebecca. Again, the past impacts the present, but the novel really is a masterclass of gothic literature. It addresses themes of isolation, which is such a common thread through the genre, and imprisonment, both literal and of the mind.
But the novel particularly excels at linking these themes with place. Manderley is a character in itself which imprints its shackles on the narrator’s mind, sending her to the brink of insanity (helped along nicely by the trickery of Mrs Danvers, of course). Du Maurier creates an atmosphere of threat (a key gothic element mentioned above) as the narrator arrives at Manderley:
…on either side of us was a wall of colour, blood-red, reaching far above our heads. We were amongst the rhododendrons. There was something bewildering, even shocking, about the suddenness of their discovery. The woods had not prepared me for them. They startled me with their crimson faces, massed one upon the other in incredible profusion, showing no leaf, no twig, nothing but the slaughterous red, luscious and fantastic, unlike any rhododendron plant I had seen before….And these were monsters, rearing to the sky, massed like a battalion, too beautiful I thought, too powerful; they were not plants at all.
Rebecca by Daphne Du Maurier
Can you see how Du Maurier personifies the rhododendrons, creating something threatening from something usually natural and beautiful? This sets up how Manderley will control the protagonist.
Power and control is another theme of Rebecca, but it is rarely physical power that is shown, but rather knowledge wielded over those who are less informed. How can you ever take control if you know nothing of what has come before and those around you know everything? The power will always be with them, regardless of their social status. And this plays into the feelings of isolation and imprisonment for the narrator.
The Haunting Of Hill House By Shirley Jackson
No live organism can continue for long to exist sanely under conditions of absolute reality; even larks and katydids are supposed, by some, to dream. Hill House, not sane, stood by itself against its hills, holding darkness within; it had stood so for eighty years and might stand for eighty more. Within, walls continued upright, bricks met neatly, floors were firm, and doors were sensibly shut; silence lay steadily against the wood and stone of Hill House, and whatever walked there, walked alone.
The Haunting of Hill House by Shirley Jackson
Please, do come in…. or maybe not? This is the opening of The Haunting of Hill House by Shirley Jackson, and here we have the master at work again. A perfect haunted house novel that hits all the right gothic notes.
Beloved By Toni Morrison
I couldn’t write an article about gothic fiction without including Toni Morrison’s Beloved. This is a pure southern gothic novel that forces readers to face the long-lasting, damaging impact of slavery. It doesn’t shy away from brutality, and has all the elements of gothic fiction that you would expect - death, a haunted house, a ghost, and a past impacting on the present.
124 was spiteful. Full of baby’s venom. The women in the house knew it and so did the children. For years each put up with the spite in his own way, but by 1873 Sethe and her daughter Denver were its only victims. The grandmother, Baby Suggs, was dead, and the sons, Howard and Buglar, had run away by the time they were thirteen years old - as soon as merely looking in a mirror shattered it (that was the signal for Buglar); as soon as two tiny handprints appeared in the cake (that was it for Howard). Neither boy waited to see more.
Beloved by Toni Morrison
The Woman In Black By Susan Hill
There is a deep, creeping sense of dread in The Woman in Black, which Susan Hill conjures so well with her atmospheric writing. Eel Marsh House is a typical gothic building, claustrophobic, spooky and isolated, and Hill uses all the classic gothic tropes that readers of the genre would expect to great effect.
So I thought that night, as I laid my head on the soft pillow and fell eventually into a restless, shadowy sleep, across which figures came and went, troubling me, so that once or twice I half-woke myself, as I cried out or spoke a few incoherent words, I sweated, I turned and turned about, trying to free myself from the nightmares, to escape from my own semi-conscious sense of dread and foreboding, and all the time, piercing through the surface of my dreams, came the terrified whinnying of the pony and the crying and calling of that child over and over, while I stood, helpless in the mist, my feet held fast, my body pulled back, and while behind me, though I could not see, only sense her dark presence, hovered the woman.
The Woman in Black by Susan Hill
The Last House On Needless Street By Catriona Ward
This very recent novel (2021) crosses many genres in my opinion. It is a psychological thriller with moments of pure horror, but it also ticks many of the gothic notes, too. There’s a house, for a start, and this house is boarded up and very creepy. There are bad things that happen there. There’s a cat narrator requiring readers to suspend their disbelief. There are grotesque happenings. But more importantly, there is a past that plays into the present, and that is at the heart of every gothic story.
The past is close tonight. The membrane of time bulges and strains. I hear Mommy in the kitchen, talking to the Chihuahua lady. Mommy’s telling her about the thing with the mouse. That was where all this started. I stop up my ears and turn the TV up, but I can still hear her voice. I remember everything about the thing with the mouse, which is unusual. My memory is Swiss cheese, in general.
The Last House On Needless Street by Catriona Ward
I can’t say much more about this novel because I wouldn’t want to ruin the brilliance of it - but please do read it.
Gothic novels are as popular now as they have ever been, so let’s discuss why that might be.
The Gothic Genre’s Prevailing Popularity
The gothic genre has gone through many revamps and spawned many sub-genres over the centuries, such as Southern Gothic and psychological gothic horror, but it is still as popular today as it ever was. We, as inquisitive humans, want to explore the possibility of the ‘other’, the unknown that brings us fear, and literature is a great way to do that. But Gothicism also shines a light on the injustices of society, which again is a huge draw for readers. There is real depth to the storytelling that goes far deeper than simply the hauntings of a ghost or the blood-sucking of vampires.
Gothicism can be seen across the world, accessible to all cultures, all with their own histories to retell through the uncanny. A whole fashion exists around the world of the undead, and let’s not forget the other forms in which the gothic is celebrated - film and television, poetry, art, music, and computer games. I don’t see gothic literature going anywhere and I’m excited to see how it transforms itself as societies shift around the world.
But put simply, I think we will always have an obsession and interest in the past, and that is why I think Gothicism will endure as it shines its light in all the dark corners of humanity.
Frequently Asked Questions
What Are The Five Main Elements Of Gothic Literature?
Gothic novels all have a few major elements in common:
A dark and gloomy setting, such as a castle or house
A threatening atmosphere
Supernatural elements, such as a ghost, or the idea of one
Terror that plays with your perception of reality
Death
What Is Considered Gothic Literature?
Gothic stories are those that fill readers with terror. They will follow a set of gothic tropes employed to spook and haunt both characters and readers, and they will invariably be set in haunted houses or castles, or in isolated places full of foreboding.
Why Is It Called Gothic Literature?
Gothic literature derives from the gothic architecture of medieval times, based on a love and admiration of that period of time.
What Makes A Good Gothic Story?
A good gothic story will have a gloomy setting, lots of atmosphere, supernatural elements, and a sense of terror. It will play with the readers' idea of reality and the bounds of humanity, it will terrorise and spook, it will clash the past and the present, and it will challenge a reader’s understanding of society.
Writing Gothic Fiction
Gothic literature has a long and rich history and has had a huge bearing on wider culture across the centuries.
As gothic writers, it is important to understand this history, to know what has come before and therefore what readers might expect from us as we pen our own gothic stories. But, of course, to know the rules is to also know how to effectively break and invert them.
Let’s keep telling these dark and twisted stories so that in centuries to come the art of Gothicism is still very much alive, unlike the ghosts that might grace those pages.
Have you always wanted to write a historical novel but wondered what that specific literary genre includes? Perhaps you're looking for inspiration to create your historical characters?
In this guide to historical fiction, I will be discussing what the term means, the various sub-genres of historical fiction, plus top writing tips from successful historical fiction authors, and a summary of all the places you can find inspiration for your own novel.
Although some of the events that take place in the book may be based on real events, with a story set against a historically accurate setting - the book is generally populated by fictional characters and is therefore categorised as a work of fiction.
Historical fiction includes any books set in the past. That means your book can take place during the ice age, the American Civil War, World War II, or even 1970. A rule of thumb is that if a novel is set more than 50 years in the past it's classified as 'historical'.
Although the setting and descriptions of that time should remain historically accurate, the fictional elements can include the events that take place and (most certainly) the characters.
Who Is Historical Fiction Written For?
Everyone and anyone!
Historical fiction caters for adults and children of every age and gender. Because it's not pure fiction - elements of it must remain historically accurate - authors are able to adapt it for every age.
For instance, you can write a historical fiction book about World War II that caters to all types of audiences:
Children:The Skylark's War by Hilary McKay and When Hitler Stole Pink Rabbit by Judith Kerr
Young adults/teens: The Boy Who Dared by Susan Campbell and Once by Morris Gleitzman
Adults looking for historical satire:Catch-22 by Joseph Heller and Slaughterhouse-Five by Kurt Vonnegut
Adults wanting poignancy:All the Light We Cannot See by Anthony Doerr and The Night Watch by Sarah Waters
The beauty of historically fictional stories is that you can take any historical period and add your own concept, and depending on the audience and their needs, each book can be totally different.
What Historical Fiction Is Not
Just because historical fiction includes a historical era, do not get it confused with biographical novels, books that were contemporary in their time but are now classics, or non-fiction books written about a certain time in history.
When considering writing historical fiction, first ask yourself whether you will be adding fictional elements or keeping it all facts.
Why Write Historical Fiction?
When it comes to creative writing, and penning your own historical fiction novel, it's important to understand exactly who you are writing for and what you want to say.
Some people choose to write historical novels because they are interested in specific historical events or eras and want to explore them further through their fiction. Others enjoy the challenge of combining the real past with fictional characters.
Alternatively, if you don't wish to set your entire book in the past you can write a variety of speculative fiction and have books that time hop (ie time travel novels) or ones that include dual storylines or flashbacks.
Different Historical Fiction Genres
There are many different types of historical fiction books. Below is a list of some of the most popular along with examples of novels from that sub-genre.
As I mentioned above, you don't have to stick to just one specific genre in order to inject a little history into your novel - mix them up! Why not write historical romantic adventures, or historical science fiction with LGBT themes?
It's important that historical fiction is written by as many people from different backgrounds as possible. To understand our future we must understand our past, and to do so effectively we need to hear everyone's voices and see the world through the eyes of everyone who came before us.
Let's look at some sub-genres:
Historical Romance
Example: The Bridgerton series by Julia Quinn
This is by far the most popular genre of all historical fiction. Whether your hero is falling in love with Regency aristocracy, or a Victorian orphan, many readers enjoy being transported to a time in history where lovers, and love, looked very different.
Biographical Historical Fiction
Example: Angela's Ashes by Frank McCourt
Not all biographies have to read like boring history textbooks. Many biographical authors take a real historical figure, or a time in their own life, and weave stories amongst the facts.
You have to be careful not to re-write someone's history, but if you are basing your memoirs on your own life or real family members it's okay (with their permission) to add a few fictional twists and turns to make the story more compelling.
Historical Fantasy/Science Fiction
Example: Outlander series by Diana Gabaldon
Historical fantasy and science fiction is a genre that combines fantasy set against the backdrop of a real time, and/or place, in history. It's a fun way to add a sprinkle of magic to real historical events and places of interest.
Perhaps you want to have dragons fighting alongside Romans in the arena; or write about Cleopatra having magical powers; or have a character who has the ability to jump from century to century.
Playing with history this way through fiction can be very rewarding and opens up countless possibilities.
Historical Mysteries
Example: A Plague on Both Your Houses (Matthew Bartholomew series) by Susanna Gregory
Everyone loves a whodunit - but setting your mystery against the backdrop of a historical time or place adds an extra level of fun and intrigue.
Historical Horror
Example: The Spirit Engineer by A J West
This genre is one of my favourites because there's nothing creepier than adding an extra layer of dread to a time in history that was already difficult. In C J Cooke's Gothic The Ghost Woods, the author tackles the difficult topic of mother and baby homes and adoption in 1950s and '60s Britain - set in an eerie mansion beside a haunted forest.
Historical Adventures
Example: The City of Brass by S. A. Chakraborty
When writing historical fiction there are so many events and settings that lend themselves well to action.
Whether you are writing about a battle, a quest, or an exploration, you can pick from real events that you embellish, or create your own adventure set in a time period that interests you.
LGBT And Diverse Historical Fiction
Example: The Mercies by Kiran Millwood Hargrave
Diversity of every kind has always been part of history. Some readers are surprised when they come across a historical fiction novel where the hero isn't white or the love isn't heteronormative - but history proves that this was not rare and deserves to be seen and celebrated.
Tipping the Velvet by Sarah Waters is the perfect example of a successful queer historical fiction debut. Set in England during the 1890s, it tells the story of a young woman who falls in love with a male impersonator.
When writing diverse historical fiction remember that the characters and the plot must, as always, take centre stage - with the theme and historical setting woven through.
Children's Historical Fiction
Example: When Hitler Stole Pink Rabbit by Judith Kerr
The best way to educate children of all ages on history and the way we lived a long time ago is through the joy of storytelling.
From The Book Thief to Last of his Name, any time in history can be brought alive for children through storybooks.
5 Elements Needed For Writing Historical Fiction
When planning your fictional historical novel there are five important aspects that you need to be aware of before you start writing.
1. Pick A Time Period
You can't write a historical fiction novel without first choosing a time in history (or more than one time). Historical context is vital for all historical fiction stories as without accuracy you may as well call the novel a fantasy inspired by a certain era.
Choose a time in our historical past that resonated with you, and that excites you, as you will be doing a lot of research. If it bores you, then your writing will also bore the reader. Choose a time period that makes you hungry for more!
2. Choose A Historically Accurate Setting
Many places are considered historical - others are merely old. Whether you are inspired by a certain castle, monument, natural area or even a place that no longer exists, adding a backdrop that people are familiar with in your book can really ground a reader.
Your historical novel only works if the setting and the time period work side by side, and suit the sub-genre.
For instance, a Regency romance set in a grand English stately home works really well. Whereas an Egyptian adventure story set in Finland may be a little harder to pull off!
3. Base It On A Historic Event
Once you have your chosen period in time and your setting, you're free to create your characters and plot.
But before that, some writers like to centre their novels around certain historic events.
The most important aspect of this is that the historical facts you feature in your book must accurately reflect what really happened at that event.
If you're writing historical fantasy then it's okay to twist things up, but if you intend for your fictional events to be accurate then it's very important that you do your research - which means reading as much as you can on the subject and watching documentaries, listening to podcasts, and talking to experts in that era.
4. Create Memorable Main Characters
It goes without saying that every memorable book is full of memorable characters.
Although you may wish to base some of your characters on real historical figures, the fact you are writing fiction means you are free to create your own characters.
It's very important that your characters speak, dress and behave appropriately for that time period - but equally, never forget that their sensibilities, emotions, and interactions with others won't be too different to how we all still act today.
When creating characters also remember that class, social standing and rank were a lot more defined back in the day. Ensure that, before writing your characters, you are familiar with what was (and wasn't) acceptable in that time, the foibles and interests of that time period, and create a storyline that fits that era.
5. Make Sure You Know Your Genre
Lastly, make sure you know who you are writing for.
You may well want to write a historical novel about the Crimean War - but the tone, language, and plot will change dramatically depending on whether you are writing it for a child or an adult, or whether it's a romance, adventure or mystery.
Top Tips For Writing Historical Fiction
The only difference between writing historical fiction and any other genre is that research is key. Getting your historical sources right can be the difference between a good book and a great one.
To represent true history, a writer must ensure they know the epoch in which their book is set inside out. They also must enjoy what they are writing about, because they will have to fully immerse themselves in that world for a long time.
Let's take a look at some other tips top historical fiction authors shared with me for this article:
Historical Fiction Authors Share Their Writing Secrets
I find it useful to write a plan for my stories, because it guides me to the research I'll need. Having to stop and research while writing can really hamper your feel for the flow and plot. Not researching can undermine your work, so getting started early really helps.
A J West, author of The Spirit Engineer
Always remember that people are people no matter what century they're in. For my debut, I made the mistake of thinking I needed to be an expert in the subject matter to the extent that my story was almost overwhelmed by research. The research needs to complement the character's storyline. Please don't do what I did and go off on a tangent about 17th-century table looms because a character mentioned it in passing!
Stacey Thomas, author of The Revels
I find reading contemporary fiction written during the time period more helpful than academic texts. Partly for getting dialogue right, but also just a sense of how people used their time and their priorities in life.
Mathew West, author of The House Of Footsteps
My biggest tip is to only write what you’re absolutely passionate about. Readers can feel that in their bones, and will buy into your story because of your informed enthusiasm.
Jacquie Roberts, author of the Quintus Valerius Roman Britain mystery novels
I think it’s important to consider what you’re writing. Is it so deeply immersed in the period that you want it to present as if it could have been written by a contemporary author, or is it more modern, or even subversive of the norms of the period? That will affect style.
Rosie Andrew, author of The Leviathan
For me, I try to really enjoy going down those rabbit holes, exploring details about food, clothes, events that may or may not be relevant. But don't be afraid to never actually use any of it in the writing. It's still a wonderful way of immersing oneself in the period.
Lucy Ashe, 2023 debut novelist
The story is the important thing whenever it's set, so try not to get bogged down in details. As in all fiction, you want to present great characters with great problems, the historical is just another tool to help you do that.
Lizzie Page, author of The Orphanage
It’s important to find a way in, to root yourself into the story. My first novel, Rebecca’s Choice, was set in the house my grandparents lived in, where I played as a kid, a house I loved. I took it back to the 1890s and threw research and imagination into the mix.
Heidi Gallacher, author of Rebecca's Choice
5 Popular Historical Fiction Tropes
Like with most genres of books, readers of historical fiction enjoy certain tropes in their stories. Here are five of the most common tropes you may want to include in your own work.
1. Book's Titular Hero Returns
Much like the parable of the prodigal son, many historical fiction novels love to feature the hero returning home.
Perhaps they have been away at war, or on a voyage, or have returned to the family home with a new bride. How have they changed? What secrets are they hiding? What has changed in their absence?
2. Young Woman Determined
Many books set in the past enjoy showing women in a time where they had very little autonomy, and having them take back some of that power.
Whether that may be a poor widower getting revenge, an orphan girl marrying into a rich family, or a woman out to prove herself against men or a higher class.
3. Wrong Woman
This is another popular trope. Perhaps the 'wrong woman' is a gentleman bringing home a new bride that is about to shake things up for his family. Or perhaps a woman is mistaken for someone she is not.
4. Rags To Riches
Much like the story of Aladdin, everyone loves a tale where a person with nothing rises to a higher rank and makes a success of their life.
5. Feuding Families
Shakespeare started it with Romeo and Juliet, and now this trope can be found in most genres.
Featuring feuding families works really well in the historical fiction genre because there were many times in the past when class put pressure on established and successful families to dominate society.
Where To Find Inspiration
Are you currently writing historical fiction? You will be surprised how easy it is to find inspiration for your historical stories in the current day.
Movies & TV
There is no shortage of costume dramas on television and in movies (old and new) that will help you with both plot ideas and research. From the hair, fashion and make-up of the leading ladies, to the historical events that shape the lives of your characters, you can have a lot of fun taking notes while watching your favourite period dramas (not to mention it's a great excuse to sit and watch TV all day)!
It's also useful to make a note of how they spoke back then and the mannerisms of the characters, to help shape your own characters.
Real Events
There's nothing like true events from historical times to make you realise truth can be stranger than fiction. Many authors base their historical fiction novels on an event or a character that once existed, and then filled in the gaps.
Whether you are exploring difficult times such as the slave trade or The Great Depression, or more wondrous and niche events such as the invention of the hot air balloon, or the Victorian obsession with seances, there's a lot of information to be found online, in libraries and history books.
Basing your book on real-life events can be easier in a way, as you have a solid platform from which to launch. But it also means you must be very careful and accurate with your research to ensure you get all the facts right (unless you are writing historical fantasy - in which case you can bend the truth at your whim).
Historical Setting
Use your book as the perfect excuse to travel.
When I was writing Son of Secrets (the second book of my fantasy series) I visited the fabulous Fiesole in Tuscany, Italy. My series is full of past life flashbacks, and I wanted to feature one life set in Roman times.
Visiting the setting of my novel was so much more evocative than simply Googling as I got to see not just the sights and history (I visited lots of museums) but experience the smells, the sounds and the general awe of the place.
Visiting a place in the past made writing my scenes a lot easier and much more poignant.
Museums
If you are writing about a specific time in history, museums and working museums (where people are dressed up as characters from that era) can really help.
Whether you are researching ancient kings of Egypt at the British Museum, or Jane Austen's own house museum in Hampshire, not only will you be inspired by the artefacts and information on display, but you also have access to experts who will be more than happy to talk about their favourite subjects
Galleries
Likewise, art gives us a unique glimpse into a far-off time.
Whether you are at an art gallery for story inspiration or to research fashion and setting, it's a great place to soak up the style of a bygone era.
In the final book of my fantasy trilogy, Children of Shadows, I was inspired by the painting Primavera - I spent some time imagining the lives of two of the models Botticelli used for the painting and featured them as characters in my book.
The beauty of writing historical fiction is that you're free to introduce any character you wish, as long as the way you paint that period in time remains accurate.
Old Books
Visit your local library and read as many books as you can - not just books about the era that interests you but those written during that time.
Seeing things from the point of view of an author (what was seen as important, thrilling, scandalous, or story-worthy back then) will give you a glimpse into how you too should approach your story.
And remember historical novels are not always set in Europe or America. Contemporary western literature dates back hundreds of years and can be a great source of inspiration, but likewise, there are many other works from all around the world that may inspire you.
Interview Someone Who Was There
If you are writing historical fiction set in the past seventy years, why not interview someone who actually lived back then? A real person's life experience will enable you to re-live historical events through the eyes of someone who was actually there.
Likewise, you can watch interviews on YouTube. I recently watched a 1990s interview of a woman who had survived the Titanic. It was fascinating to hear someone who was really there recount the horror of that fateful night.
Family History
A fiction writer will always draw inspiration from the people in their own lives - whether they mean to or not.
A flick through an old family photo album or a chat with your great aunt may well uncover some great ideas for your next novel. Sometimes family members have old relics and antiques that they will want to show you, or outfits from decades ago. Most of these items will probably come with their own story attached.
You may even discover some family secrets you never knew about!
Likewise, signing up for sites like Ancestry.com can help you trace your family tree, enabling you to see photos and documents from long-forgotten relatives.
So go and speak to the eldest person in your family and ask them questions. You never know what you may walk away with!
The Author's Imagination
Many authors pluck ideas out of thin air, using the 'what if?' method of brainstorming. It's a very easy technique. All you have to do is think of a situation and ask 'what if?'
Although this is popular for those writing contemporary genre, you can use modern-day scenarios to inspire your historical fiction too.
For instance, you may be sitting on a train and see a woman accidentally pick up the wrong piece of luggage and ask yourself 'what if two characters in my book did that... except it's 1899 and they are on the Orient Express... and one is a spy?'
Frequently Asked Questions
What Is Historical Fiction?
Historical fiction is a genre of novel whereby the author is inspired by a real historical event or period in history and uses that as the backdrop of their book.
Unlike historical non-fiction, where the book will be a factual account of a person or era in history, historical fiction is simply set in that time or inspired by something that happened in the past - the author is free to twist and change it at their will.
What Is A Historical Fiction Example?
Historical fiction can include more than one sub-genre. An example may be a historical romance series such as Bridgerton, set in the Regency era (which has gone on to be a top-grossing Netflix production), it can also include historical fantasy such as Outlander (also a big TV hit) or something a little more serious.
What Are 3 Characteristics Of Historical Fiction?
1. Historical Accuracy
It's very important that authors of historical fiction do their research. Unless you are writing fantasy and have purposely misrepresented a certain time period, your book will lose credibility if you do not portray that era accurately.
2. Authenticity
Be authentic. It really helps to have a genuine love of a certain time in history if you choose to write about it.
3. Sensitivity
An author must be sensitive when writing historical fiction; especially if they are focusing on diverse characters or contentious issues. For this reason, I would strongly recommend all writers (especially those writing historical fiction) use sensitivity readers and consult experts from that era.
As a writer, you don't want your book to lose credibility because you are either insensitive or inaccurate.
In Summary
Historical fiction is a fun, fascinating and varied genre, covering many different themes and styles - for every age and reader.
I hope you have found my guide to writing historical fiction both interesting and informative, and I hope your books will one day make it into an article just like this one!
So, you’re well on your way to completing your book on popular science, and have a cracking book proposal that you can’t wait to share with agents. Well, we’re here to help!
WANT TO JUMP STRAIGHT TO THE AGENT LIST? CLICK HERE
Popular Science
Popular science is one of the most well-loved non-fiction genres, thanks to its exploration of big scientific topics in accessible ways for the mass readership. The idea that anyone could pick up your book and finish it having a better understanding of the topic you explore is so important.
Popular science literature can cover a variety of topics, from discussions of time, black holes, nature, psychology, the universe, climate change, analysis of data, medicine, and many many more. The breadth of possibility when it comes to popular science topics makes it an increasingly popular genre. They are made up of current and relevant topics that will interest the average reader and leave them with a new understanding when they finish the book.
Authors of popular science and psychology are more popular than ever. Stephen Hawking, Oliver Sacks and Michio Kaku, to name a few.
AgentMatch And How To Use It
There are plenty of science-loving agents, but you won't want to approach them all. The best way to develop and refine your own shortlist of UK agents for popular science is to visit AgentMatch, our literary agent database, and use the search tools on the left to make your selection.
With AgentMatch you can select by genre (e.g. science), country, the agent’s level of experience, their appetite for new clients, and much more. You can even save your search results and come back to them, allowing you to work through them one by one, at your own pace. Each profile has been researched thoroughly including what agents like to read in their spare time, information on their most recent deals, manuscript wishlists, submission requirements, and exclusive interviews.
You can sign-up for a 7-day free trial which will give you a good feel for the data and functionality. Or join us as a premium member and get unlimited access to AgentMatch.
UK Agents For Popular Science
To get you started we’ve selected a list of 20 UK agents looking for popular science:
[am_show_agents id=10]
More Resources
We’re here to help you at every step in your writing and querying process. Check out our favourite blogs that can assist you in putting together your query letter and synopsis, and if you want valuable, personal feedback on your writing you can book a fifteen-minute One-to-One with an agent of your choice. Premium members can also get a free query letter review from our lovely Writers Support team!
Happy searching, and good luck on your querying journey!
A good story needs to be full of great characters.
Understanding your characters and their role in your novel can make all the difference. One of the things to consider is whether your characters should be dynamic or static.
In this article, I will be exploring the difference between a static character and a dynamic character, explaining how to use both in your story, and looking at some dynamic and static character examples.
Understanding Static And Dynamic Characters
A static character is one that doesn't change throughout the telling of the story, whereas dynamic characters are the opposite - they undergo significant internal and/or external changes. By the end of the story, dynamic characters are very different from how they were at the start.
Another thing to remember about static and dynamic characters is that whichever one they are is no reflection on how well they are drawn on the page or their importance in the story.
Unlike 'flat' and 'rounded' characters (ones that lack depth vs those that are better developed), static and dynamic characters should both be well developed in order to add balance and intrigue to your storytelling.
Character Or Plot?
Most books are either about normal people doing incredible things, or incredible people doing normal things. Very rarely will you find an engaging book that's about a normal person doing normal things.
That's boring. That's the life we are all already living.
Why do I mention this? Because when it comes to deciding whether your character is going to be static or dynamic, you need to ask yourself whether THEY are the point of the story, or if the focus is on the adventure they are about to embark on.
Not every character, or protagonist, needs to change by the end of the story.
If your book is centred around the lessons your hero learns along the way, then that normal character becomes an interesting character and we are drawn in by both the plot (action) and the MC's internal journey.
But often an author will write static characters that don't change at all by the end. And that's also okay because the story was never about them per se, but about the adventure they were on and the world they inhabited within that story.
Let's take a look at static characters in more detail, along with some examples...
What Is A Static Character?
As I mentioned previously, a static character and their traits do not change throughout the story.
They don't grow as a person (start off scared and get braver by the end), they don't learn anything new (true love was right in front of them all along), and are not perceived differently by others (from a lowly no one to returning home a hero).
Listen, your hero can still have a rollickingly great time - it just doesn't change them fundamentally in any great way.
Things to remember about static characters:
Not all static characters are flat characters.
Not all static characters are boring.
Not all characters lack a personality.
Many static characters are well-developed, have a unique personality, add nuance to a story, provide a foil to the protagonist, and move the plot along... they just don't change from the beginning to the end, retaining the same personality throughout the story.
Let's take a look at a static character example (or five):
Examples Of Static Characters
Here are examples of static characters and how they can still be interesting...
Alice In Alice's Adventures In Wonderland
When Alice falls down the rabbit hole, the reader's focus is solely on the completely bonkers world she has stumbled upon and its equally bonkers characters.
Alice learns nothing about herself on her adventures, she is exactly the same girl at the end of the story as she was at the beginning, but the fun is had by joining her on the discovery of the crazy world she's trying to escape.
James Bond
When a character's traits do not change from the beginning to the end of a story, they are a static character.
Now, no one would dare to call Bond static in any way - he is the very epitome of an action man. Yet his personality, the very essence of him, never ever changes throughout any of the books or movies.
He doesn't start off a cold and sophisticated killer and womaniser and at the end of the story learn that, actually, he'd prefer to get a normal job and settle down with a couple of kids.
The joy of Bond is that, while he remains the same, his adventures do not. Same personality but a different setting, different baddie, different sexy woman. The formula doesn't change.
Scar From The Lion King
The ultimate evil antagonist, Scar's personality traits remain consistent to the very end. Based on Shakespeare's play, Hamlet, Scar is the conniving uncle who kills the king and drives the prince (the true heir to the throne) away.
Much like Claudius in Hamlet, Scar never gets a redemption arc. He never learns his lesson, he is out and out evil throughout the story and at the end meets a gristly death at the hands of his nephew who returns to claim what is his.
Yet Scar is far from a flat character. In the Disney movie he is bad to the point of camp, he is funny and feisty and well-rounded in every way. He simply never reaches a point of introspection.
Sherlock Holmes
Much like James Bond, Sherlock Holmes does not change in any of Doyle's four novels or 56 short stories. Holmes' character remains extremely clever, obsessive, stubborn and perceptive.
Each mystery changes, but Holmes does not get a big character arc.
Disney Princesses
Other static characters include many of the older Disney princesses.
If you look at Snow White, Sleeping Beauty, and Cinderella they were very passive in their own stories. They started off pure and innocent, they were rescued by others, and they remained pure and innocent. No personal growth, sudden realisations, or change of personality occurs.
With time Disney has given its leading ladies a lot more agency, and the princesses in Beauty and The Beast, Brave and Tangled, for instance, develop and discover things about themselves throughout their stories.
If the novel is centred around their journey, both literal and emotional, it stands to reason that the hero at the end of the story is going to be a very different person to the one at the beginning.
A dynamic character undertakes a significant change - this may be a literal one (they may go from rich to poor, from ugly to beautiful), or an internal change (they may learn something about themselves, or realise something important).
Dynamic Character Examples
Here are some characters who experience significant changes throughout their story...
Ebenezer Scrooge In Dickens' A Christmas Carol
180 years after the first publication of Dickens' didactic tale of greed and charity, the word Scrooge is still used to describe someone who is miserly and has little empathy for others.
In A Christmas Carol our antihero, Ebenezer, undergoes a large transformation. Thanks to the visit of three ghosts on Christmas Eve showing him the error of his ways, this dynamic character goes from being a mean-spirited boss and uncle to poor Fred, to becoming a more giving person infused with generous Christmas spirit.
Juliet In Shakespeare's Romeo And Juliet
There are many static characters in Shakespeare's Romeo and Juliet (Juliet's nurse, Friar Laurence, Paris) but our hapless heroes are far from static - Juliet being the one who undergoes the largest change and the most dynamic of the story.
At the beginning of the play, we see our leading lady being an obedient, good girl for her nurse and mother. Juliet cares deeply for her family and will do anything for them. Then along comes the irresistible catalyst, Romeo, the only boy she can't fall for as he's from the same family her own has been feuding with forever.
By the end of the play we see Juliet rebel against her family, run away with the boy, secretly marry him, and even end up dying for him!
John McClane In Die Hard
Another example of a man who changes throughout a story is the protagonist of Die Hard - tough guy, John McClane.
New York City policeman John McClane is visiting his estranged wife and two daughters on Christmas Eve (clearly a great time in stories for self-actualisation). A man who has always put his career before his family.
His marriage is on the rocks, his wife has lost all respect for him, and his children hardly see him. But when he saves his wife from an attack by a terrorist at her Christmas office party he goes from bad guy to hero.
By the end of the movie, the family are reunited and he realises what is really important.
Katniss Everdeen In The Hunger Games
In the same way Juliet changes from meek to rebellious, Katniss Everdeen goes from being a poor girl who volunteers to take part in a deathly survival game to save her sister - to becoming a rich and powerful hero who, during the course of the games, discovers her own strengths.
At first, Katniss doubts her abilities and is used as a pawn in the Capitol's game, but as soon as she realises this she rises to become the leader of a rebellion that brings the Capitol to its knees. Dynamic indeed!
Do We Need Both Dynamic And Static Characters In A Story?
In short, you can't have every single character in your novel growing and changing - that would take away from the action and themes of your book.
When deciding which character should be dynamic and which should be static, you must ask yourself what the role of each character in your story is.
Minor characters don't have to be too rounded and definitely don't need a character arc (Katniss' mother and sister stay static in the story) but those who play a bigger role (such as the hero herself, or her love interests) do need to grow and develop as the story progresses.
Often a static character can be a great foil for a dynamic character. While the hero is developing and learning, their companion can remain steadfast and static.
Often you can have a protagonist and deuteragonist that are both static, and that works very well too. Look at Jaskier and The Witcher. Although foils (one is fun and jaunty, the other tough and serious) neither of them change character throughout the story yet remain compelling and interesting.
Likewise, you can have a cast full of dynamic characters, such as those in The Little Mermaid. Ariel, her father and her love interest, Eric, all learn a big lesson by the end of their journey (although, as usual, Ursula, the antagonist, does not).
Importance Of Character Development
There are no hard and fast rules as to whether your hero needs to be static or dynamic - just ensure whatever you choose works within your story.
If your hero is going to be dynamic, then think about their character arc.
Major characters often undergo a large transformation, so ensure you give them a backstory, a starting point, then ask yourself how the adventure/problem they must overcome is going to change them.
Secondary characters are also important. Whether they are your hero's friends, companions, enemies, family or colleagues, it's not enough to have flat characters there simply to move the plot along.
Ensure every character remains true to themselves and that they feel rounded and real.
How To Write Interesting Characters
What should you bear in mind when creating your hero? And how can you ensure they are interesting, whether static or dynamic?
Static Characters:
Make Them Rounded
Even if your hero doesn't undergo any major changes, ensure that they have a personality. Give them a backstory, a reason for being how they are, and ensure that they remain true to themselves throughout.
Give Them A Foil
If your hero is serious, give them a fun sidekick. If your hero is erratic, give them a partner who is sensible. This not only helps highlight the hero's flaws or positive attributes, but also keeps the story fresh and entertaining.
Focus On The Adventure
If your hero is static (think Bond or Holmes) then ensure that their adventure is what the reader focuses on. Whether it's action-filled or fantastical, if the character remains static then the plot should carry all the intrigue. This works really well with a series.
Dynamic Characters:
Give Them A Problem To Solve
Dynamic characters need to change, and for that to happen they need a problem or dilemma to overcome. Ensure that before the inciting incident your hero demonstrates the traits or flaws that they need to change by the end of the story (via them solving/overcoming the problem)...
Make It Difficult For Them
...and don't make it easy for them. Like the characters in the Harry Potter series, each one of your dynamic characters should have a succinct personality that either helps or hinders their goal. And by the end of the book, they should have battled with them and developed beyond who they once were.
Be Original
Every one of your main characters (whether static or dynamic) should be a rounded character.
Whether you are writing a series or a short story, ensure both main and side characters are interesting, relevant and original in some way. Give them unique quirks, tics, and tells that differentiate them from one another.
Frequently Asked Questions
What Is A Static Character?
A static character is one that doesn't change from the start of the story through to the end. Although they may go on a fantastic adventure, their personality, situation and physical appearance will remain the same.
What Is A Dynamic Character?
A dynamic character is one who changes and evolves throughout the story. Often the protagonists of the novel, dynamic characters end the story as different people than they were at its beginning.
What Are The 7 Types Of Characters?
Protagonist - the main character of a story. The hero.
Antagonist - the hero's rival.
Love interest - the one the hero falls in love with.
Confidant - the character that the hero confides in or is guided by.
Deuteragonists -the character second in importance to the hero (ie Watson to Holmes, Robin to Batman).
Tertiary characters - minor characters in a story who either help move the plot along, set a scene, or interact with the hero in some way.
Foil - the opposite of the hero (often used to highlight the hero's specific character traits). For instance, this works well if the hero is dynamic and the sidekick is not.
Get Into Character
And that brings us to the end of my guide to static vs dynamic characters.
As you begin writing your next story, have a think about whether your characters need to remain static or dynamic. Think about their arc, the plot, what you are trying to achieve and what is important to your story.
And remember... whatever you choose to do, make sure your characters are rounded and engaging!
Are you looking to make a living out of writing? Or perhaps you're just starting out and want to practice various writing styles until you find the one that feels right for you.
Making a living as a writer means being adaptable and able to write in different styles - whether creatively, for business, or for academic publications.
In this article, I will be describing fourteen different writing styles, what they mean, and how to approach them.
Why Must Writers Adopt Different Writing Styles?
Every writer writes in a certain way; their style a little like a painter's technique - some of the best authors are recognisable by the tone, style and syntax of their work. But that doesn't mean all writers are limited to just writing books or resorting to just one writing style.
If, like me, you are both a published author and a freelance writer, being able to adapt your writing style to fit with the publications you're writing for, the topics you're writing about, and your target audience, is key to getting plenty of work.
Developing your writing skills is something all writers should aim to do. Even if you only wish to write novels for the rest of your life, being able to adapt your style of writing is a skill that will also strengthen your abilities as an author.
Before we take a look at the fourteen different types of writing that you may need to learn as part of your writing career, let's start with the one thing you need to know before deciding on the style of writing required.
What Is Your Objective?
You can't know what style of writing is needed from you unless you know what the objective of the piece is.
There are many different types of writing styles, each one catering to a different target audience and each one needing to do something different.
Before you start writing, ask yourself what your objective is.
Are you looking to:
Inform
Entertain
Inspire
Express your personal opinion
State facts
Share information
Educate
Expose
Sell
Review someone else's work
Explain
Investigate
These are just a few different reasons as to why you may choose to write something, or why a certain piece may have been commissioned to you. Consider what you are trying to achieve before choosing your style.
14 Different Types Of Writing Styles
Let's go deeper and look at fourteen very different writing styles that meet a variety of objectives.
Narrative Writing Style
Narrative writing is usually found in fictional work - namely novels and short stories - but you can also use a narrative writing style when writing non-fiction.
Even if you are writing a blog post, when using the narrative style it should be structured using the usual story form, which means it must have a beginning, middle and an end.
This style of writing takes readers on a journey, introduces them to a topic, delves into it, and then provides a conclusive ending. The piece should be engaging, creative and interesting to read, and can be written in the first person and include personal experiences.
Each writer has their own writing style, so feel free to use the kinds of words that you feel comfortable with. It can be fun and informal, or more serious and formal.
Things To Remember
Ask yourself whether your piece of work needs to be presented as a story, or whether the reader is only after facts and you can communicate it in a simpler way.
Remember, the narrative style of writing isn't limited to just fiction writing, it can include essays and articles, but is sometimes too informal for more academic or business publications.
Descriptive Writing
Descriptive writing is full of... description! Often combined with narrative writing, it can be used in fiction and poetry.
For instance, if you were commissioned to write an article about tulips for a scientific magazine you would do well to research all facts on tulips, describe them from a scientific standpoint, and ensure your data is correct.
But if you were writing a magazine article about your day at a tulip farm, or a scene from a book where your main characters are frolicking in a field of tulips, then you might prefer to use descriptive writing.
Famous authors use descriptive writing in all their novels. Unlike a screenplay, where there's minimal need for narration and most of the story is based around dialogue, when writing a book or short story it's important to add as much description as possible.
Persuasive Writing
Persuasive writing is generally used in sales, marketing and advertising - although you might use it when trying to convince someone to work with you (such as in a query letter to an agent or a cover letter along with a job application).
Convincing people to buy something, do something, or act a certain way through words alone is a very specific skill, which is why top ad agencies pay copywriters very well.
Using A Persuasive Writing Style Means Applying The Following Approach:
Write about what you know
Understand your audience
Hook their attention
Research well
Get your facts right
Be empathetic
Repeat yourself
Use keywords
Ask rhetorical questions (not too many)
Creative Writing
Creative writing generally refers to writing fiction - it's about creating characters, setting, and scenarios and bringing them to life.
Although it's usually found in a novel or short story, creative writing styles can also be found in articles and even blog posts.
An author's writing style is unique, and each one has a way of providing vivid descriptions of the human experience through their creatively descriptive writing style. They may choose flowery prose, they may keep it sharp and simple, or their stories may be unique and inventive in the way they are written.
When choosing creative writing, consider the genre and study it well.
Horror writers write very differently from erotic writers. And likewise, those who write for children approach their work very differently to authors who pen literary fiction.
The beauty of creative writing is that there are no rules, so don't overthink it. Just be creative!
Expository Writing
Expository writing is a body of work that is either trying to explain, illuminate, educate or 'expose' (which is where the word 'expository' comes from).
It may be an investigative piece by a journalist exposing a juicy story for a newspaper or magazine, or it may be a textbook or instruction manual explaining how something works.
Even a blog post such as this one is expository writing because I'm outlining all the different types of writing styles you can adopt and (I hope) you are learning along the way.
The key to writing in an expository style is to keep things clear and succinct.
Expository Writing Is Supported By Using:
Diagrams
Quotes or examples
Bullet points
Clear headers
Images
Subjective Writing
Subjective writing is all about writing from your own point of view and sharing your opinion.
Subjective writing is generally written in an individual's own voice and may discuss real life topics, often based on personal experiences.
An example of this is a writer with their own column in a magazine or newspaper, a blogger, a reviewer, a non-fiction author writing a book about a topic they are knowledgeable in, or someone writing their memoirs.
Although non-fiction work should feature accurate data and shouldn't include made-up facts or figures, with subjective writing the author is allowed to express their opinions freely.
Review Writing
A review writer focuses on the works of others (or products) and gives their subjective opinion on the topic they are covering.
Critics and bloggers make a living from writing reviews which are widely read. In many cases, those reviews can make or break a movie/product/event, depending on the weight that the reviewer's words carry.
To Be A Reviewer You Need To:
Be knowledgeable about what you are writing
Be credible
Understand your audience
Be prepared for reactions/backlash
Back your findings with facts
And (although your opinions are subjective) it always helps to be fair
Anyone can review anything nowadays, so if you are passionate about something and want to practice your review writing, you can...
Set up your own blog
Create videos for social media
Write reviews on pages such as Netgalley, Goodreads and Amazon
Review books etc for recognised publications
Poetic Writing
Poetic writing isn't simply about writing poetry (although it does include that too). Writing poetically means creating a piece of work with emotional appeal.
That may be a novel, a beautifully-written feature in a magazine, or even a piece of sales copy that really captures the hearts and imagination of your target audience.
When considering whether to write your piece poetically, ask yourself what the objective of the work is.
What Can Be Written Poetically:
Poems
Short stories
Feature articles
Novels
Blogs
Advertising copy
What Can't Be Written Poetically:
Academic papers
Business papers
Expository writing
Scientific papers
If you are really creative you may attempt to combine more than one style, such as writing a persuasive piece in a poetic fashion... but that, of course, is dependent on what you are selling and who you are selling it to.
Formal Writing
Unlike the other styles of writing above which give the writer the opportunity to express themselves creatively, use literary devices, and figurative language; the aim of formal writing is not to entertain or sweep the reader away with a compelling story but to outline facts and be accurate.
You can find formal writing styles used in business publications and textbooks, non-fiction books, manuals and academic papers.
Here are some examples of formal writing styles and how they differ from one another.
Objective Writing
Writing something objective means that you are unbiased - something a news journalist should strive to be. It is the very opposite of an opinion piece.
With formal writing it is often important to be subjective because the focus of the work is on the subject and not on the point of view.
An objective writer generally uses the third person (because they are not talking about their own experiences or what they think) and they stick to the facts.
Examples Of Objective Writing May Include:
News articles
Press release
Web copy
Fact sheet
Any type of report
Academic papers
Scientific, technical and business writing
One exception may be in academic writing. Although the style is normally formal, if the student has been asked to give their review or opinion on something (such as their interpretation of Lady Macbeth's soliloquy) then the work will remain subjective.
Technical Writing
Technical writing is writing communication used in technical fields such as computer hardware and software.
It can also include other technical industries such as:
Architecture
Engineering
Aeronautics
Robotics
Finance
Science
Consumer electronics
Medical
Biotechnology
Technical published works may include articles for technical or internal corporate publications and websites, reviews, consumer-facing literature or product information.
To be a technical writer is really helps to understand both the industry you are writing for/about, as well as the audience. Technical writing is very... well, technical... so it's vital that all the information you share is factually correct.
Scientific Writing
Much like technical writing, if you wish to write for scientific journals and publications you really need to understand (and preferably be qualified in) what you are writing about.
Scientific writing can centre around a number of topics; everything from robotics, AI and medicine, to historical scientific discoveries and climate change.
Places That Feature Scientific Writing May Include:
Scientific publications or websites
News articles covering scientific discoveries
Internal communication for the science industry
Product descriptions or reviews
Academic Writing
For many of us, the first piece of writing we were ever asked to produce was an academic paper at school.
Whether that includes an essay, a thesis, or a dissertation - scholarly writing takes a different type of skill from the other types of writing styles above.
Writing academically involves a lot of research.
Whether you set out to write an objective essay (ie if you are writing an essay on a time in history or a geographical location) or a subjective piece (ie your opinion on a piece of art, literature or music) it is still really important that you research and gather all the information required, use quotes and examples to back up your theories, and use citations/a bibliography to explain your findings.
An academic essay should be written in three parts - somewhat like a narrative piece of writing.
How To Structure An Essay
Writing an essay is a little like writing an expository article (such as this one). Once you have collated your research and made notes, split your essay into three parts.
1. Introduction This is where you approach the topic and explain what you are going to do. You can even write 'In this essay I will...'
2. Main Copy This is the part of the essay where you address the question. Depending on the length of the essay you may want to split it in to 3-6 parts. Present each argument with clear references, citations and examples (always ensuring you address the initial question).
3. Conclusion This is the last part of the essay where you include a shorter summary of what you have discovered, answer the initial question and make your final opinion/conclusion clear.
Business Writing
Writing for business is one of the more lucrative types of freelance writing as the corporate world tends to have bigger budgets for copywriters.
Writing about business can be both objective and subjective, covering a large range of topics from economy and finance, to politics and business development.
This can range from serious pieces in publications such as Time Magazine and the New York Times, to more personal articles on a business blog or website.
Business writers also cater directly to consumers. They may write expository articles and How-To guides.
There is also a large market for self help business books that assist readers with their business acumen or help them gain confidence in the corporate world.
Once again, it's important when writing for business that you understand both the subject matter and the audience, as each industry varies greatly and the tone of what you write should do too.
6 Things To Consider Before Writing
When you are commissioned to write a piece, there are a number of things you must know before you start.
It goes without saying that the fee and deadline are important, especially if you are a freelancer, but if you are writing as part of your day job, you need to really understand the task you have been set.
Here are 6 things to consider before writing:
Word Count & Objective
How many words is your piece?
I knew, before writing this blog post, that the word count had to fall between 3,100-3,500 words.
When you know what you have to work with, you can think about flow and pacing, and how to set out your article.
If you are writing for online and the object of the piece is to attract traffic, then SEO and the layout are really important.
Alternatively, if your goal is to persuade a brand's key demographic to buy something and you are only given a small word count, it's vital that you choose your words carefully and are as succinct as possible. This is especially important in advertising when the designers only have a small amount of space for your words.
Unique Writing Styles
Every writer has a unique writing style, and that may be why you're commissioned to write a certain piece.
Ask yourself what the client/your boss is looking for and ensure your tone fits not only the topic and style of writing you are aiming for, but that it's in line with everything else that publication has released.
Sentence Structure
How you structure a sentence matters.
If you are writing something creative or poetic, you can allow yourself to have long, descriptive prose. If you are writing something technical or expository, then it's a lot easier for the reader to see each sentence broken down into bullet points, with lots of headers.
Word Choice
As above, the style of writing you have chosen will determine the choice of words you use. Will you get technical, descriptive, creative or simple? That all depends on the...
Audience
It is impossible to write effective sales copy, a novel, or even a blog without knowing you who are talking to.
If you are writing a thriller novel, you will use a completely different writing style than if you write romance. Likewise, if you are writing for a scientific journal it will sound very different than if you are writing toy reviews.
Before I began planning this article I knew I was writing for adult writers. But this blog would have looked completely different if I were describing different writing styles to high school students.
Publication/Platform
Likewise, it's really important to know where your work is going to be published.
All magazines and newspapers have a house style (even book publishers do). When you are commissioned to write for a publication they will send you a guide as to what your writing should sound like (as well as what they don't want).
Always read other pieces of work in that publication to get an idea of your audience, their style and the tone required.
Frequently Asked Questions
What Are The 5 Main Styles Of Writing?
Narrative - a piece of writing that has a start, beginning and end.
Descriptive - prose that goes into detail and pulls the reader in.
Persuasive - reserved for writers trying to sell products and services, or convince readers to do something or join somewhere.
Expository - a style of writing that exposes something, illuminates, educates or reveals; this can include journalism, How-To guides, non-fiction and blogs such as this one.
Creative - this normally applies to novels and short stories, although you can have non-fiction work that's creative, such as essays and memoirs.
How Do I Identify My Writing Style?
An author's writing style is defined by two things:
Voice - this is how the piece of writing sounds, what makes it unique to that writer and their point of view.
Tone - the tone is identified by the vibe the piece of writing conveys. Is it serious, humorous, eerie, or pompous, even?
Get It Write
Getting to write for a living is an honour, but getting it right is no easy feat.
The key to success as an author and freelance writer is to be adaptable, to keep learning and to understand where your strengths lie. My one piece of advice to any writer starting out in this field is to focus on two to three types of writing.
Perhaps you have a background in marketing, so are good at persuasive writing and expository writing, and are also an author. In which case stick to those three.
Or perhaps you come from a technical and scientific background and have written a number of How-To non-fiction books. In which case specialise in the styles you are already familiar with.
However and whatever you choose to write, I hope this article has been a useful reference guide and has inspired you to get your work out there.
Have you just finished your memoir and are ready to begin your search for an agent? Well, we’re here to help!
WANT TO JUMP STRAIGHT TO THE AGENT LIST? CLICK HERE
Memoirs And Autobiographies
Unless you’re a celebrity, memoirs are a notoriously tricky market to conquer. Your memoir or autobiography needs to be remarkable. It needs to captivate your reader and should be a story that no one else will be able to tell. Think Edmund de Waal’s The Hare With Amber Eyes,Empire Antartica by Gavin Francis, or Cheryl Strayed’s Wild.
What all memoirs should have in common is non-fiction narratives, based on the author’s personal experiences. You’ll need to turn your memories into excellent prose by plotting the storyline, using scenes with action, dialogue and exchanges, and allowing the readers to get to see the people, or characters, develop as the storyline progresses.
Finding an agent for any author, but especially for new writers, can be challenging. You need to find an agent who not only likes your work, but you also need to feel like you can have a professional relationship with them. They’ll be your biggest cheerleader and your most honest critic.
Whatever your story, once you’ve polished your manuscript and your submission pack there’s sure to be an agent out there who can’t wait to read it. So, where to begin?
AgentMatch And How To Use It
There are plenty of memoir-loving agents, but you won't want to approach them all. The best way to develop and refine your own shortlist of UK agents for memoirs is to visit AgentMatch, our literary agent database, and use the search tools on the left to make your selection.
With AgentMatch you can select by genre (e.g. memoir, true story, and autobiography), country, the agent’s level of experience, their appetite for new clients, and much more. You can even save your search results and come back to them, allowing you to work through them one by one, at your own pace. Each profile has been researched thoroughly including what agents like to read in their spare time, information on their most recent deals, manuscript wishlists, submission requirements, and exclusive interviews.
You can sign-up for a 7-day free trial which will give you a good feel for the data and functionality. Or join us as a premium member and get unlimited access to AgentMatch.
UK Agents For Memoir, True Story, And Autobiographies
To get you started we’ve selected a list of 20 UK agents looking for memoirs:
[am_show_agents id=34]
More Resources
We’re here to help you at every step in your writing and querying process. Check out our favourite blogs that can assist you in putting together your query letter and synopsis, and if you want valuable, personal feedback on your writing you can book a fifteen-minute One-to-One with an agent of your choice. Premium members can also get a free query letter review from our lovely Writers Support team!
Happy searching, and good luck on your querying journey!
As readers, we want stories to keep us intrigued and excited. So as fiction writers, we often ask ourselves what makes a book unputdownable.
The answer to that is ensuring your story is full of twists and turns - in other words, are there enough compelling turning points in your story to keep readers guessing and turning the pages?
Every character in fiction reaches a decisive moment where they are forced to act - a crossroad which is destined to take the story in a new direction. But what is the best way to introduce those moments to your story and where do you place them?
In this guide, I will be explaining what the turning point of a story is, with plenty of literary examples, and will outline a step-by-step process to help you incorporate turning points in your novel.
What Is A Turning Point In A Novel?
A turning point in a story is a moment in the plot when a character must make a decision that will change the course of the story.
Every turn involves decisive change and either helps with character development or keeps the story moving. The choices the characters in your story make will change the direction of the plot and, in turn, their future.
Sometimes that decision is theirs alone, and sometimes external factors or events may force their hand. Every turning point in a story - whether it's an obstacle, a choice or a decision - should be a point of no return.
Case Study
Before you start coming up with your own ideas, it helps to study well-known stories as examples. Let's focus on a fun classic.
The Wizard of Oz is full of turning points. Dorothy is on a literal journey, after all, and that yellow brick road is full of twists, turns and crossroads. No matter how much a character tries, they mustn't be able to go backwards.
After all, had Dorothy been able to return to Kansas as soon as she'd landed in Oz, there would be no story!
Meeting the Witch of the North, being given her ruby slippers, following the yellow brick road, meeting her new friends, having to steal the Wicked Witch of the East's broomstick, getting trapped in the castle, discovering that the wizard isn't real - these are all turning points in the story.
Some of these moments create character development, some move the plot forward, and some add to the tension - but either way... there's no way back... so let's keep going.
How Does The Turning Point Affect The Whole Story?
If a turning point in your book doesn't effect the whole story, then it's not a turning point - it's just a choice.
The first and major turning point in most books is the inciting incident; what some writers refer to as 'the call to adventure.'
If we return to Oz, we will see that Dorothy's main turning point is that she's been magically transported from her mundane life on a Kansas farm to the colourful and magical world of Oz.
The original movie version makes that turning point incredibly helpful for viewers to spot as they literally turn her old black and white life into technicolour splendour.
Arriving in a new world, having accidentally killed a witch with her house, and then agreeing to follow the yellow brick road in order to return home is the major turning point in the story. Without that there is no story.
Much like in The Wizard of Oz, you need to ensure that the turning points in your novel affect the overall story. If, at any point, the character can make a different choice or the event has no effect on character arcs, then it's not a turning point.
How Many Turning Points Are In A Novel?
A traditional story has five turns, most of which move the action from one scene to another.
First of all, let us look at the three-act structure and how a story has a beginning, middle and end (and how the turning points can help readers move from one to the other).
Every Story Has Three Acts
Act One
In act one we meet the main character and the rest of the cast. We see what life was like before the inciting incident (ie what they have to lose or need to change). We then see the character presented with the first turning point - the crux of the story - the catalyst.
In The Wizard of Oz, act one ends with Dorothy finding herself in the fantasy world of Oz. The tornado that got her there was an external driving force and a turning point. Straight away she wants to go home (who wouldn't?) and that's when she meets a good witch and is told about the yellow brick road.
The choice to follow the yellow brick road is Dorothy's call to adventure, her literal first step on her journey to reach her goal.
In any story, after some deliberation, the main character must choose to go forward with that decision and that takes them to act two.
This takes you to a complete change of scene.
Act Two
Act two is when most of the action happens. This is the part full of adventure, trials and tribulations, the biggest obstacles, new characters, conflict, and lots of lessons learned.
Within act two we should see turning points that confront the protagonist and help their character arc develop.
In Dorothy's case, she meets the cowardly lion, the scarecrow with no brain, and the tin man with no heart. She has scary run-ins with the Wicked Witch of the West, and, when she finally reaches the Emerald City, discovers that the wizard is a fake.
This is another turning point, which leads us to the next act...
Act Three
The final act is when all feels lost and the goal of the story is slipping through the protagonist's hands. Then the hero makes a decision which should be the culmination of all they have learned on their journey, helped by their self-realisation and a new-found strength.
This is when Dorothy has to escape the witch and kill her, tells her friends they always had the courage, brains and compassion they were seeking, and realises she also had the power to go home all along.
Now we can clearly see how a story has three acts, let's look at the five turning points within those acts (and remember this applies as much to novel writing as it does to screenplays and playwriting).
Five Classic Turning Points:
1. The Inciting Incident
This is the first plot point. Without this part, there would be no story.
Dorothy lands in Oz, meets a good witch and takes the dead witch's red shoes.
2. A Goal
This is the whole point of the story, the part when the hero decides what they want and what they must do to get it.
Dorothy must follow the yellow brick road to the wizard in order to get home.
3. The Midpoint
The hero goes from knowing what they want, to realising what they need. They may, and should, still waver and struggle a little, but we're heading towards the climax and all is going well.
Dorothy has finally found the wizard! He tells her that to get home she must steal the Wicked Witch's broomstick. She heads for the castle... and gets captured.
4. The Dark Night Of The Soul
This is where the bad guy gets the upper hand and our hero reaches rock bottom - when they (and the reader) think they will fail. The falling action.
It's at this point that we reach the 'final push' when the hero must dig deep and use all their strength, knowledge and resources gathered on their journey to take action.
Dorothy sees a vision of her Aunt Em and finds the strength to get back home.
5. The Climax
This is the final plot point which leads to the falling action and then the very end (the denouement). This is the part of the story where the turning point decides whether the hero wins or loses.
Dorothy returns to the wizard, discovers the truth, and realises her ruby slippers could have gotten her home at any point.
Without that last turning point, the story would not be complete.
What Makes A Good Turning Point?
Although the above is quite formulaic, the turning point can happen at any time in the story.
The most important thing to remember is that the turning point changes everything - whether it literally changes the direction the hero is going in, provides a new perspective, reveals crucial information, or changes the trajectory of the story.
Before we learn what a turning point should include, let's look at the type of turning points that exist.
Here are five turning points that you may find in a good story.
5 Different Types Of Turning Points
Every single one of these turning points either moves the plot forward, teaches the hero something, or develops their character arcs. And don't forget - there's no going back!
Here are some examples...
The Opportunity
Most stories start with an opportunity (often the inciting incident) which leads to a turn in the story.
Harry discovers he's a wizard and gets invited to wizard school.
Frodo is tasked with taking the ring to Mordor,
The Realisation
The hero learns something, or they figure something out, which forces them to make a decision.
Romeo falls in love with Juliet then realises she's a Capulet.
Dorothy discovers that her shoes could have gotten her home all along.
The Sacrifice
The main character sacrifices themselves to achieve their goals or save someone they love.
Katniss volunteers for The Hunger Games in place of her sister.
Ariel gives up her voice to become human.
The Leap Of Faith
Our hero takes a gamble and hopes it pays off.
Cinderella goes to the ball.
Macbeth meets three witches and believes their predictions.
The Choice
The protagonist has an opportunity to change their situation.
Aladdin rubs the lamp.
Pi jumps into the lifeboat with all the wild animals.
What A Turning Point Should Achieve
Most stories include a number of major turning points which affect the rest of the story, keep the reader intrigued and drive the plot forward.
But what are the rules to writing great turning points? What should they achieve?
For example, the hero shouldn't choose to chase an elephant and ride into town on its back unless the elephant, and the town, are crucial to the storyline (even if it makes for a fun visual).
The Character Should Be Challenged
Don't make it easy for them. All main characters need to confront obstacles and face pinch points that will determine their future and move the story along.
The Little Mermaid wouldn't be much of a story if she got her human legs but also kept her voice and was able to easily explain her situation to the prince.
Changes The Course Of The Plot
Every story needs conflict.
That doesn't mean every story needs a battle or fight scene; the conflict can be emotional or spiritual, but the hero needs to find resistance. Which means every story turn must change the course of the action and move the plot forward.
If Romeo hadn't agreed to go to the party, he wouldn't have met Juliet. If he hadn't killed her cousin, he wouldn't have been banished. If he'd received the message from the priest he would have known she was faking death and he wouldn't have taken his own life.
It's the sweet irony and frustration of twists and turns in a story that keeps the reader turning the pages and the viewer in their seat.
The highest tension leads to decisions and choices that drive the plot forward and deepen the hero's experience.
If a turning point doesn't lead to excitement of some kind, then the reader won't care... and nobody wants that!
What's The Difference Between A Turning Point And A Plot Twist?
One changes the course of a story (a turning point) and the other is a reveal/shock factor (a plot twist).
Here are some examples from Romeo And Juliet...
A turning point can be a plot twist: Romeo discovering Juliet is a Capulet.
You can have a twist that isn't a turning point: Tybalt kills Mercutio.
And a twist can lead to a turning point: Romeo gets his revenge, kills Tybalt, and is banished from Verona.
See how you can combine the two and keep the pace of the story going, without having so many twists and turns that you exhaust the reader or lose credibility.
What's The Difference Between A Turning Point And The Climax?
A good turning point can be found at any point of the story, whereas the climax is only ever at the end. The climax itself doesn't have to be a turning point, often it's a natural conclusion, although you can have a turning point leading up to the climax that changes everything.
As mentioned above, the 'will they won't they' aspect of Romeo And Juliet keeps the audience guessing all the way through.
The climax is Romeo learning that his love is dead and killing himself, with the added twist of Juliet waking up, seeing he's dead, and killing herself too.
But the final turning point is that the grief felt by both the Montages and Capulets brings the warring family together in a way love never could.
That's what makes this play not a love story, but a tragedy.
5 Tips For Writing Great Turning Points
It Must Be Earned By The Character
Don't make the turning point convenient for the plot. The hero must reach the point of no return through hard work, sacrifice and character building determination.
Katniss has to be physically and mentally strong to beat her opponents in The Hunger Games. Her realisations are turning points, but she suffers a lot to reach them.
It Develops The Character Arc
A character doesn't grow and develop in just one scene. Their journey needs to be both physical and metaphorical.
Ensure your turning points help the characters learn something about themselves - by the end of the story they should be a very different person to the character in chapter one.
Frodo doesn't return to the Shire the same little Hobbit he was when he left the comfort of home with his best friend.
Think Ahead
Your turning point has to weave the story together, so it makes sense to plot and plan ahead. Ask yourself how your hero is going to get from one part of the story to the other.
Give them a goal, send them on a journey, decide how they will achieve that goal - then add all the turning points that will decide the course of the story.
Don't worry about the details at this point of plotting, simply ask yourself whether they need to make a choice, a sacrifice, learn something new, or realise something.
Don't Force It
Although each turning point should up the stakes and keep readers on the edge of their seats, never force a turning point into a scene if it doesn't fit.
Great pacing means also having quiet moments in a story where nice things happen and everything is going to plan, as well as sections full of rising action, obstacles and decisions.
As long as you know your character well and they have a goal, some of the turning points may evolve naturally as you write the novel.
No Turning Back
I've said it once, and I shall say it again - there should be no way the character can return to the old status quo!
Cinderella doesn't have the choice to have a quiet night in instead of going to the ball; her Fairy Godmother wouldn't have allowed it. Romeo has no choice but to leave Verona when he's banished. And Katniss can't change her mind about taking part in The Hunger Games.
Your story can only go in one direction after each turning point... and that's onwards!
Frequently Asked Questions
What Is A Turning Point Example?
A turning point in a story is a moment in time when something occurs that causes a shift or an irrevocable change in direction.
In literature, that turning point may be a call to adventure, a choice they are given, a sacrifice they make, a realisation or a decision.
What Is The Turning Point In A Scene?
A turning point in a story can occur at any moment - whether that's within an act, a chapter, or a scene.
In any story, the change from one scene to another is often caused by a change in direction (this can be seen visually on stage or in a movie).
A great example of this is when Alice falls down the rabbit hole, the scene (and her surroundings) change dramatically. Or when Charlie wins the golden ticket and visits the chocolate factory - a completely different world to the one he was familiar with. Or when Romeo decides to join his friends at the Capulet party - again, the scene changes and so does the course of his life.
In most of these cases it's a transitionary moment from act one to act two, but that scene change can occur at any point of the story with many other turning points ahead.
What Is The First Turning Point?
The first turning point is the inciting incident.
This is the part of the story where the hero goes from living their normal existence to setting off on a quest/adventure/seeking a goal following a choice or external occurrence that forces them to step into a whole new world. This new world isn't always literal- unless you're writing fantasy- but it is generally outside of their comfort zone.
It's this initial push, that first turning point, and gets the story going.
Your Turn
As novelists we are always striving to be better writers, because there is always something new to learn when it comes to structuring and planning a novel. So I hope this guide to turning points has been helpful.
Next time you are reading a book, or watching a movie or play, see if you can spot each turning point. Are they all irreversible? Are they believable? Do they develop the character? Have they kept you glued to the page/your seat?
If so, ask yourself how you can strengthen your own story and what journey you will take your character on.
After all, without turning points your hero's journey is going to be one very long, straight, and boring road... and where's the fun in that?
When it comes to writing, people often focus on plot, character, and setting, but the emotional landscape you create in your story is important too.
In this guide, you’re going to learn ten ways to convey emotions in your writing, so you can create unforgettable characters and delight your readers, immediately drawing them into your stories.
You’ll get a set of practical techniques to use, whatever kind of story you’re telling, many of which I didn’t know about when I wrote my first two novels.
We’ll look at why characters are key when it comes to writing emotion and achieving emotional mastery, then I’ll answer three of the most frequently asked questions about emotions in writing.
Why Are Emotions Important In Writing?
As story creators, we want readers to identify with our characters and immerse themselves in our story worlds, so they get hooked and keep reading. We do that using emotion.
Emotion also helps readers gain understanding and perspective from different viewpoints, as well as providing an opportunity for them to escape from the ‘real world’ for a while.
There are three types of emotion in writing:
Emotion experienced by you, the writer
Emotion experienced by the character
And an emotional response from the reader
These are different things. For example, you might feel impatient to finish writing a scene, while your main character is in love, and you're aiming for the reader to feel suspicious. Or perhaps you’re in love with your characters, your point of view character feels guilty, and you want your reader to be desperate find out what happens next.
Consider your own emotions and whether they are ending up on the page.
Here’s a fairly common example: a writer feels bored and therefore writes a scene where the characters are bored, which will bore her readers. I’m using a negative to make a point – so bear with me!
You can address how you are feeling by using Julia Cameron’s Morning Pages, and by learning self-care for writers; both of which are outside the scope of this guide. Or see our article on writing and burnout for more self-care tips.
There is a way of using your own emotional experiences to your advantage when writing emotions, using a theatrical technique called ‘emotion memory’ – more on that later.
Going back to the example of the bored writer writing a boring scene that bores the reader, the solution to this problem is to consider upfront what emotional effect you want to have on your reader, asking:
If you’re telling any kind of story, whether you’re a playwright, a screenwriter, a memoirist or a novelist, the steps are the same:
Decide what you want the reader to experience.
Get the reader to identify with your main characters.
Easier said than done, right? Keep reading!
Focus On Your Characters
We’ve established that, when conveying emotion in writing, the most crucial thing to consider is how to get readers to respond to your characters. Here’s one way to do that. I call it the C.A.S.E. method for short, which stands for contradictions, action, sympathy and empathy:
Well-rounded, authentic characters, just like all human beings, will have contradictions. Contradictions make characters seem real and therefore relatable.
Readers like characters who take action, and who do something about the dilemma they’re in.
Initially, readers will sympathise with the main character, and want to know what happens next.
As the problems deepen, readers empathise with the character and wonder what they would do in the same situation. Empathy happens as a result of the first three.
Here’s an example from the psychological thriller Wrong Place, Wrong Time by Gillian McAllister (2022):
The main character, Jen, feels guilty about not being a good mother, but at the same time, she’s prepared to do anything to help her son. (Contradiction)
Jen tries to solve the seemingly impossible problem she faces. (Action)
We feel sorry for her because of what happens at the beginning of the book and as a result – I won’t give it away. (Sympathy)
We can stand in her shoes and see the world through her eyes because of the vivid detail McAllister uses and because of the compelling dilemma Jen faces. We wonder what we would do in a similar situation. (Empathy)
Character contradictions, action, sympathy and empathy work together. If one is missing, it feels like something is wrong!
All four will affect your readers' emotions and elicit a response in them, leading to emotional engagement – and they’ll want to keep reading.
How To Convey Emotion In Writing
So you know you need C.A.S.E., but also, in order for readers to engage, the emotions your characters experience must seem authentic. How do you do that? I’m glad you asked!
Here are ten ways to convey emotion in your writing. You can use:
Observation from life
Emotion memory
The body
The whole message
Emotional leakage
Idioms
Imagery
Form
Emotion encyclopaedias
The objective correlative
1. Use Observations From Life
During your day-to-day life, observe how you and others experience and exhibit emotions. What goes on in your body and mind and in your environment? What behaviours and words are associated with the emotion? If you work with other people, this technique is particularly useful. Take a breath, observe, and note down what happened later.
Over time you’ll create a resource you can draw on when you’re writing. There are instances where it wouldn’t be appropriate to step back and observe in the moment, of course, but you can still make notes later. I’ve put observation first because it’s the most important.
2. Use Emotion Memory
Emotion memory is a technique developed by the theatre director Stanislavski, where actors recall experiencing an emotion to enact it authentically on stage. It’s where method acting comes from!
There’s a section on Stanislavski in Dramatic Techniques for Creative Writers by Jules Horne (2018) in case you want to follow this up.
Here’s how to use emotion memory in your writing:
Recall a memory in as much detail as possible, using the senses.
Start small: use the memory of leaves falling from trees in a park or the hottest day in summer or your earliest memory of the festive season, for instance.
Don’t do this with troubling memories at first, and if you do want to explore more difficult or intense emotions, have someone around to talk to, plus the support of a writing group.
Now imagine you can connect to a character’s (made up) memories in a similar way.
Use memory in your writing to convey the feelings that came up as you or your character remembered the past.
3. Use The Body
Both observation from life and emotion memory will help with this one.
Write about internal and external bodily sensations.
When your character is angry, for example, where in their body do they feel it? If someone slaps them across the face, they might feel pain from the slap, and a hot sensation in the chest, or they may experience tunnel vision. Hint at these bodily experiences during the relevant scene.
For example, in the opening sequence of The Namesake – depicting the birth of the main character – Jhumpa Lahiri shows us Ashima’s emotions using:
Her contractions,
The people around her,
Her memories.
In fact, Lahiri uses observation from life, emotion memory, and the body both to show us how Ashima might be feeling as she goes into labour, and to evoke an emotional response in the reader.
There’s only one paragraph where we’re told directly how she feels – ‘astonished’ and ‘terrified’ – and even that’s in the context of a recent memory.
In other words, the opening of The Namesake is also a good example of communicating emotion using show not tell. You can read the opening via the ‘look inside’ feature on online bookstores.
4. Use The Whole Message
In his book Persuasion: The Art of Influencing People (2013), James Borg discusses research by sociolinguistics experts that shows:
“a [spoken] message could be classified as 55 per cent visual (non-verbal), 38 per cent vocal (such things as tone or voice, rhythm, inflection) and 7 per cent verbal (meaning the actual words used).” (p. 58)
Only 7% of spoken communication comes from the meaning of the words! When we hear people talk, we are all used to looking for clues from other sources. Your readers will do this too and will bring some of that experience to bear on your story.
This means that using a character’s tone of voice and behaviour to show that they are angry or embarrassed – or even using body language instead of dialogue – will work much better than simply telling us about it.
5. Use ‘Emotional Leakage’
Related to the idea of using the ‘whole message’, James Borg also tells us that we communicate in intentional and unintentional ways. This is good news for fiction writers, because unintended ‘emotional leakage’ (body language, gestures, fleeting expressions) can give away how a character is feeling inside.
For example, body language might undermine what a character is saying, showing us how they are truly feeling. Because we’re used to looking for the 93% of a message that isn’t verbal, we’ll attribute more meaning to body language than to the words a character speaks.
James Borg has also written another book, called Body Language (2008), where he explores this idea further.
We communicate through context, too: through personal circumstances, social status and presentation, through clothes, hair and personal grooming, for instance.
In a story, if a character’s presentation is out of the ordinary for the situation, or conflicts with their supposed social status, this immediately causes intrigue.
For instance, when a character who looks as if he spent the night under a hedge turns up as the replacement vicar at a wedding service, the reader will wonder what’s going on and why.
Your character's thoughts and contexts can usefully contradict other aspects of what they say and do, so you can use context and ‘emotional leakage’ together. For example, if a character turns up to her daughter’s wedding with two black-eyes and a hangover and tells everyone she’s fine, the reader will know that's not the case.
Agatha Christie frequently uses emotional leakage to indicate how her characters are really feeling, but also to trick us with misdirection and red herrings.
For instance, near the beginning of Sad Cypress (1940), Mrs Welman’s two nurses are talking over tea, and we get a scene involving mainly dialogue. We learn that “Nurse O’Brien pursed her lips and put her head on one side” and a few lines later “over their steaming cups the women drew a little closer together.”
A few paragraphs further on, we hear that Mrs Welman woke in the night asking for a photograph of Lewis, a handsome man who was not her husband. Christie tells us that “Nurse Hopkins had a long nose, and the end of it quivered a little with pleasurable emotion.”
The two nurses are acting as if they are proper while we know they are gossiping. What’s more, the reader is listening in, sharing in the gossip.
6. Use Idioms
Used sparingly, idioms are a handy shortcut: readers will know what you mean.
'Her heart sank', for example, lets us know the bodily sensation and the emotion in three words.
More interestingly, you can play with idioms. Rewrite them. Invent your own. Write the opposite.
However, don’t rely solely on idioms to convey emotion, and avoid using idioms repeatedly.
Some emotional idioms are so well-worn they’ve become clichés: a ray of light representing hope, for instance.
Generally, if it’s difficult to imagine it happening to you or in front of you, or if it doesn’t communicate what you want to say in enough depth, it’s probably a cliché, so is best avoided.
7. Use Imagery
What is the emotion like when it happens to you or your character? Observation from life and emotion memory will help once again.
For example, in my first novel I described a character feeling mortified by saying she ‘went cold slowly, like someone was pouring cold custard over [her] head.’ In the same novel, I described emotional pain which was ‘like a stone in the middle of [her] chest.’
In both of these examples, I was using an image to describe the bodily sensation experienced by the character, which would then (hopefully) convey the emotion to the reader without naming it.
Years after my second novel was published, I realised I was far too fond of using balloon images. For instance, ‘Alex felt as deflated as a popped balloon’, and ‘Mrs Brown’s face [hovered] in front of her like a balloon’, and ‘the words bursting out of her mouth like balloons.’
Unfortunately, when I want to convey emotions, I immediately think of cold custard, stones, and balloons, like I’ve invented my own personal clichés! So be aware that you may have to ‘murder your darlings’ if you grow too fond of particular images like I did. In my current work-in-progress, I’m having to edit for internal stones and balloon images – I managed to avoid the custard!
Ask yourself how deep you want to go: to convey deep emotion, use your own imagery. To avoid slowing the pace, use quick idioms, but do so sparingly.
8. Use Form
You don’t have to be writing concrete poetry or avant-garde fiction to use form to convey emotion. This simply means invoking an emotional reaction in your reader – usually to illustrate how a character is feeling – using the shape of the writing. You could create a fast pace and short clipped sentences to show anger, and give us poignancy and sadness using a slow pace and long sentences, for example.
At the beginning of Jośe Saramago's novel Blindness the dialogue isn’t punctuated, creating a sense of confusion after a character goes blind. Saramago replicates what it would be like to suddenly go blind – to hear voices but not know who is talking – so that the reader’s confusion matches the character’s.
9. Use Emotion Encyclopaedias
I’ve left emotion encyclopaedias and resources until near the end of this list of techniques because you need to use at least a couple of the others in conjunction with them. However, doing some research is useful, especially if your POV character is experiencing things that you never have, and if they are very different to you.
You can find lists of emotions online. For example, google ‘emotion wheels’ or ‘feeling wheel’ and you’ll likely find a diagram you can download and put up on the wall in your writing space. You can use the emotions on the wheel to brainstorm how a character experiencing that emotion might behave or what body language they might display or what bodily sensations they might notice.
Emotion reference books for writers include: The Emotion Thesaurus by Becca Puglisi and Angela Ackerman (2019), Body Beats to Build On: A Fiction Writer's Resource by April Gardner (2019) and Character Reactions from Head to Toe by Valerie Howard (2019).
10. Use An Objective Correlative
The objective correlative, or what we called the OC where I used to teach, was made famous by T.S. Eliot. In fact, Eliot said the objective correlative was the only way to communicate an emotion to a reader, which is why I’ve left it till last. There’s no need to read up on literary the theory unless you want to; as readers and viewers we’re used to seeing this technique in action, especially in films.
It’s where a writer uses a thing – an object or a place or event (even the weather) – to invoke an emotional response in the reader, and therefore, in a story, to demonstrate how a character feels, without mentioning the emotion. Earlier I said that using a ray of sunlight to suggest hope is a bit of a cliché. It’s also an example of the OC. Watch a few Hollywood blockbusters and see if you can spot some more over-used examples of the objective correlative! They are often weather or nature-related.
Here’s another example. If I tell you that a character walked home in the rain, got soaked by a passing car, only to discover they were locked out of their house, you’ll probably assume they feel miserable. There’s nothing intrinsic about water or losing your keys that means you have to feel miserable. The OC works for two reasons, because the reader or viewer:
Puts themselves in the character’s shoes almost automatically – we ask how we would feel if the same thing happened to us.
Assumes that you’re showing us this rain-soaked character for a reason, otherwise why would they be there? Elements of a story are supposed to communicate something – so we attribute meaning to them.
Notice how, for the OC to work, you have to use show rather than tell. In fact, the objective correlative is, at least partly, a formal way of saying ‘show don’t tell’. Conversely, if you’re not sure how to show instead of tell, then try the OC. Use a thing to represent an emotion.
Emotional Writing: Top Tips
Here are three top tips for conveying and evoking emotion in writing:
1. If you try any of the above techniques, make it observation from life. Stepping back and observing the life around you will help more than anything else.
2. Remember that your emotional response, your readers’, and your characters’ are all different, but will have an impact on each other.
3. As with all things in writing, conveying emotion is about balance. Think about whether you want the pace to slow down or speed up, for example, when editing a scene.
Frequently Asked Questions
In this section I’ll answer three of the most asked questions in relation to emotions in writing:
How do you show emotions in dialogue?
What are emotional beats in writing?
Why is emotion important in literature?
How Do You Show Emotions In Dialogue?
When writing dialogue it’s often better to show your reader your character’s emotions by embedding small details and actions between the lines of speech. The scene from Sad Cypress by Agatha Christie that I mentioned earlier is an example of this. You’re also giving the reader the chance to visualise where the characters are in space.
By the way, it’s usually better not to use adverbs after speech tags, which are a ‘tell’ rather than a ‘show.’
Embedding a lot of action and detail in dialogue slows the pace, so consider how fast you want the scene to move and vary the pace across the story as a whole.
Occasionally use the following during the dialogue to show us the emotion:
body language,
facial expressions,
interaction with the environment
internal bodily sensations (quick ones, from the point of view character)
What Are Emotional Beats In Writing?
Embedding small details and actions between the lines of speech can be described as ‘adding emotional beats’ to your dialogue. That is, moments of pause where you show us your character's feelings and what they're experiencing, even when it’s only a raised eyebrow.
At a structural level, emotional beats are the moments when a character has an emotional response to an event, and it motivates them to take action. Emotional beats are, therefore, like the character taking a breath before continuing to solve the dilemma set up at the beginning of the story.
You’ll want a character to be doing something active during the emotional response. Being overcome by grief or realising they’re in love while working on the checkout at a supermarket or arranging flowers in a hospital, for example, works better than the same thing happening when they are lying in bed or watching TV.
Why Is Emotion Important In Literature?
We turn to stories to entertain us and also to help us to make sense of the world. Emotions are important in literature because they help us to understand people better, enabling us to practise empathy and problem-solving through reading. In fact, researchers have proved that literature graduates are more empathetic! Deep emotions transport us into the world of the story, allowing us to fully immerse ourselves and escape our ‘real world’ problems for a while.
From a writing point of view, we can use emotions to draw readers into the story and keep them hooked. If your story lacks emotional impact, it’s likely you need to work on the characterisation and on ‘show not tell’. If you want to learn to evoke emotion, start there.
And Finally...
I hope you have enjoyed this guide and that it will help you to develop the confidence to try different ways of expressing intense emotion through your writing. It’s such a thrill to hear a reader say that your work has affected them.
Remember that characterisation and achieving an emotional impact on your reader are key to conveying emotion, so put aside some time to try out the ten techniques listed with this in mind.
Don’t forget – the emotional effect you want to achieve will come through redrafting. So keep going!
One of the hardest things to gauge as writers is, perhaps, whether our writing is any good. Honestly, many published authors experience this too.
There is one thing we can do to ensure we keep improving though – refine our stories by using writing techniques.
In this article, we’ll go through different writing techniques, list writing technique examples, and note how we can use them to take our stories to a whole new level.
What Are Writing Techniques?
As authentic, racy, or tear-jerking as your plot might be, the storytelling comes down to every single sentence. The skilful execution of sentences and their syntax is called a writing technique. We can observe this skillfulness in the choice of tense for a scene or setting, point-of-view narrative, and other literary devices chosen by the writer.
Useful Writing Techniques To Enrich Your Work
Using writing techniques, consciously, makes our writing stronger. So, let’s look at some of the best techniques and writing styles we could adopt:
Playing With Time
Using time in certain ways can be very effective. It can involve literal time travel or just a travel in time, like a flash-forward or a flashback.
You could even use time to slow down a situation in the story, or speed it right up. This is often a well-handled technique in popular fiction. Take a look at this passage:
Hermione didn’t turn up for the next class and wasn’t seen all afternoon... Harry and Ron overheard Parvati Patil telling her friend Lavender that Hermione was crying in the girls’ bathroom and wanted to be left alone.
Harry Potter and the Philosopher’s Stone by J K Rowling
The passage of time here is not as important as the passage of that time in Hermione’s absence is. Time (a whole afternoon) has been squeezed in to drop in information that’s important later on in the story.
Point Of View Narratives
Every narrator is unreliable to some degree, because they’re human, even if fictional. Using POV narratives with multiple characters takes this human limitation to a whole other level. Naturally, it works very well in mysteries, thrillers, and crime fiction. Think The Da Vinci Code, Gone Girl, and The Girl On The Train.
Using various POV narratives is a good way to eliminate stagnation, especially if your plot is complex and your story is somewhat slow. George R R Martin does this in his mammoth fantasy novel series A Song Of Ice And Fire, popularly known as the Game Of Thrones television series.
Subversion Of Clichés
Every writer is bound to have fallen into the cliché sinkhole at one point or another – the mousy librarian, the girl in high heels, the good-looking chauvinist. Well, you know them. Nothing wrong with clichés, except sometimes they’re overdone and boring.
Lately though, one of the frontrunners in subverting clichés is Disney. In aiming to stay relevant for kids of the new generation, they’re now rich with a Cinderella who wants nothing but to design and sell dresses; a male fairy-godparent with an exquisite taste in fashion; Princess Merida (from the movie Brave) who runs wild, loves archery and couldn’t care less about princes; Princess Fiona who sacrifices her beauty to be with the love of her life – an ogre, Shrek; and Maleficent who becomes an adoptive mother (and true love) to Sleeping Beauty Aurora.
These subversions make for very satisfying stories retold for the current times. They add immense didactic value to a whole genre – fairytales.
Comparative Descriptions
We’re all fond of metaphors and similes, aren’t we? But it can get tiring to read the same old Her eyes were blue as the seas or Her words cut him like a knife in descriptive writing.
There’s a line from a debut novel When Dimple Met Rishi by author Sandhya Menon that has a descriptive writing style which is neither cliché nor purple:
His eyes reminded her of old apothecary bottles, deep brown, when the sunlight hit them and turned them almost amber.
When Dimple Met Rishi by Sandhya Menon
There are other kinds of comparative descriptions too: personification (Look at that sad bungalow; no one lives in it); pathetic fallacy (Even the sun gave up soon that day and by the time he reached home the sky was well and truly blue);and anthropomorphism where the personification is very literal (Pinocchio, the wooden boy that came to life).
Lyrical Writing
One of the things we might not often think about when we write is how the text sounds. This is important in all kinds of writing, from persuasive writing to narrative writing. Those with a flair for lyrical writing are able to create compelling prose, using sounds to great effect.
Using assonance (repeated vowel sounds), consonance (repeated consonant sounds), and alliteration can easily draw the reader’s attention. Here’s a passage from Harry Potter and the Order of the Phoenix, where Rowling uses consonance and alliteration to draw the reader’s focus toward Professor Umbridge’s speech:
“The Ministry of Magic has always considered the education of young witches and wizards to be of vital importance... There again, progress for progress's sake must be discouraged, for our tried and tested traditions often require no tinkering...”
Harry Potter and the Order of the Phoenix by J K Rowling
Funnily enough, most characters don’t pay much attention to it, even though we as readers can see, clearly, that Umbridge (on behalf of the Ministry) intends to meddle with the school’s affairs. It’s a clever usage of lyrical quality in expository writing to foreshadow the plot development.
Irony
The above scene, where readers are privy to Professor Umbridge’s true intentions, yet the characters are not, is an instance of dramatic irony.
Situational irony is another variation, where a character finds themselves in the exact opposite situation of what’s normal for, or expected of, them. There’s an episode in the popular 90s sitcom Friends, where Joey plays a neurosurgeon in a fictional television drama who then dies of brain damage.
Irony sure spices things up, be it for comedy or foreboding development, or in the above case, both.
Sensory Appeal
There’s a common tendency to describe a setting as the narrator sees it. Not including what they smell, hear, feel and taste can sometimes make the writing stale. All the text needs is a bit of varied sensory language.
There’s a passage from the bestselling thriller Gone Girl by Gillian Flynn that captures the first kiss of the protagonist and her husband with a literal, kind of sickening, sweetness:
As we turn the corner, the local bakery is getting its powdered sugar delivered... we can see nothing but the shadows of the deliverymen in the white, sweet cloud... Nick pulls me close and smiles that smile again, and he takes a single lock of my hair between two fingers and runs them all the way to the end, tugging twice, like he’s ringing a bell. His eyelashes are trimmed with powder, and before he leans in, he brushes the sugar from my lips so he can taste me.
Gone Girl by Gillian Flynn
Flynn has made use of the senses of taste and touch, to turn a kiss into something ominous. This is further pronounced by Flynn’s use of kinesthetic imagery in the phrases “turn the corner” and “like he’s ringing a bell”.
Suffice it to say that making use of these writing techniques consciously can bring about great results. Now, let’s look into a few ways in which you can use these writing styles in your own stories to develop good prose.
Useful Writing Techniques To Enrich Your Work
Foreshadowing
If you’d like to keep your reader hooked to your story, then, try foreshadowing to make the reader feel anxious for your character.
Multiple POVs
If your story is a family drama and rather slow, consider moving the plot along through multiple-character POV narrations.
Subvert Clichés
Why not try subverting the cliché of ‘happy endings’ in your romance? What if your protagonists decide that marriage is not for them, and instead explore how a platonic friendship is actually a better fit for them? The happy ending, then, is a healthy and mature friendship instead of the idealised marriage.
Try Something Unique
Let’s say you’d like to write a story on environmental pollution. What if you anthropomorphised water and detailed its struggle with contamination of various kinds?
Experiment
If your character is on the hunt for a killer, try sending them to a blues concert where the singer sings a song with alliteration in the lyrics, hiding clues. This can draw the reader’s attention while leaving your character clueless. That’s dramatic irony and lyrical writing in one go.
Use The Senses
If you need to describe mundane information, try drawing the reader into the intimate sensory perceptions of your character. It is a sure-shot way to hold the reader’s attention.
Frequently Asked Questions
What Are The 7 Writing Techniques?
The seven writing techniques are:
Playing with time
Point-of-view narratives
Subversion of clichés
Comparative descriptions
Lyrical writing
Irony
Sensory appeal
What Is Good Writing?
If you put some time between the first edit and the final one, you can pay more attention to the creative writing techniques used and see how well they serve your story. Conscious self-editing of these writing styles is perhaps the closest measure of good writing.
Writing Techniques
Whether you're looking for ways to enliven your writing style, or are keen to develop your writing skills, I hope this article has been helpful.
According to storytelling legend Robert McKee, ‘nothing moves forward in a story except through conflict’.
Yet conflict is something we tend to avoid in everyday life — so it can feel strange to subject our beloved characters to the strife that comes with dramatic conflict, especially for new writers.
The good news? Your discomfort isn’t for nothing. In fact, a central conflict is the first and foremost ingredient in writing compelling stories. The aim of this guide is to show you how to include it in your writing.
In this article, we’ll cover:
The definition of the term 'central conflict'
The different types of central conflict: internal, external, and the various subcategories
Our tips and tricks for creating a central conflict
Frequently asked questions
So, what is a central conflict, and how do you use it to craft a propulsive narrative in your stories?
What Is Central Conflict?
Central conflict is when a main character’s strongest desire is met by an equally strong internal or external obstacle.
The best way I’ve seen this explained is in Immediate Fiction by Jerry Cleaver (who as you might guess, is all about getting stories moving, fast). Cleaver states, ‘to create conflict, the kind that’s needed to move story, you must have two elements — a want and an obstacle’. In other words:
Want + Obstacle = CONFLICT
Simple, right? However, there is one condition. The character’s ‘want’ and ‘obstacle’ both have to be strong, so strong that they’ll fight tooth and nail to beat each other. If either the want or the obstacle is weak or unbalanced, the conflict will be too, and the driving force of the story will suffer.
Apply this idea to any classic story, and you get the central conflict definition above. But why is central conflict so important?
At a micro level, your main conflict is the problem your character is trying to solve, starting with the story’s inciting incident and resulting in their actions (or inaction). So, conflict in a story guides your plot.
Zooming out to a macro level, your character’s actions in the face of their want and obstacle are what drive the narrative. It’s why your main character should own the central conflict: because they’re in the driver’s seat of your narrative, and as readers, we view your story’s progression through them.
Why does this matter? Well, Cleaver’s got a nifty equation for that too:
Conflict + Action + Resolution = STORY
A major central conflict is one of the core elements of successful storytelling. Conflict forces characters to act, and these actions show us who they are, what they value, and how they think — particularly in adverse situations.
Without conflict, nothing happens, and we get bored. There are no stakes, no reason for readers to invest their time or emotions, and no payoff. Without conflict, we disengage. So, we need the push-and-pull of a main character propelled into action against a staunchly opposed force. It’s what gets and keeps us reading.
The Different Types Of Central Conflict
Central conflict can be divided into two categories: internal and external conflicts.
External conflict is when a main character is set against another character, society, technology, nature, or even powers like fate or supernatural forces.
In contrast, internal conflict is usually a form of self-conflict, which sees a character in opposition with themselves.
Internal Conflict
Character Vs. Self
When the central conflict of a story is between the main character and themselves, it’s often with their own mind (eg. a moral conflict), or specific to mental health (trauma, addiction etc).
Internal conflict is often used to shape the narrative of a literary or dramatic character in novels where the focus is on character development over plot.
In the case of speculative fiction, these internal conflicts can even be within sub-genres like werewolf tales, where characters may fight against their full-moon affliction.
There's often one main internal conflict in a story, which is generally only resolved at the very end.
Examples:
A classic example of character vs. self as a central conflict is Hamlet, where the play’s titular protagonist wrestles with deciding whether to fulfil his dead father’s wish and kill his murderous uncle.
Another is Rule of Wolves by Leigh Bardugo, where Nikolai is the charming king with a demon inside, and Zoya is his beautiful but bitter army general, wrestling with childhood trauma as a young woman. This is a good example of dual points of view wherein characters’ internal conflicts contrast.
External Conflict
Character Vs. Character
The character vs. character central conflict is a tale as old as every tale ever; it’s why we love hero underdogs and love to hate dastardly villains.
In many cases, this acts as the story's central conflict. And while this conflict is routinely depicted as the fight between good and evil, it’s also used to depict opposing forces in everything from romantic dramas, to soap operas, and crime thrillers (think the textbook serial-killer antagonist).
Examples:
Scott Lynch’s The Lies of Locke Lamora is a character vs. character conflict where master thief Locke swears vengeance on the gang boss who murdered his childhood friends.
In the Throne of Glass series by Sarah J. Maas, the protagonist, Celeana/Aelin faces off against four villains. This gives the seven-book series the room to pursue each conflict, with other characters also layering their own.
Character Vs. Society
An obvious example of this central conflict is a character working against a dystopian government or institution eg. the law, but it can also include pressure from societal norms and traditions, or alternatively, taboos. The protagonist in these scenarios is usually an outsider; a rebel who sits apart from the collective, resisting society’s demands to uphold the status quo — sometimes violently.
Examples:
A classic example is 1984 by George Orwell, where Winston’s job is to rewrite history in a chillingly-envisioned London, under the control of the totalitarian government, The Party.
Brandon Sanderson’s The Final Empire is another epic fantasy. Here, the Skaa live in misery as slaves under the thousand-year-old Lord Ruler’s empire, until a rebel escapes his prison and starts a revolution.
Character Vs. Technology
In a character vs. technology central conflict, the enemy is science and progress, or the pursuit of it eg. inventions (like robots or artificial intelligence) evolving beyond human control.
These stories entertain philosophical questions of morality, humanity and consciousness, and religion, with scientists often accused of ‘playing God’. As technology continues to advance, such tales can feel topical, even cautionary.
Examples:
In Mary Shelley’s Frankenstein, the primary theme of creation is told through Dr. Frankenstein, where character vs. technology is his conflict; this is in contrast with the major central conflict for the monster (character vs. society).
I, Robot by Isaac Asimov is an influential collection of short stories within this conflict, and also science fiction. He defines the Three Laws of Robotics that protect humans, and then pushes them to their limits.
Character Vs. Nature
When your character’s battle is with the environment, weather or wildlife, it’s a nature conflict. In the past, this was often centred on the sea or deserted islands, with the challenge of survival against an untamed, unbeatable force. For a main character struggling alone, you can also layer external and internal conflict.
Examples:
In terms of classics, you can’t go past Herman Melville’s Moby Dick, where Ahab’s obsession with the whale that claimed his leg drives him to set sail to hunt the animal down, at all costs.
Another sci-fi example is The Martian by Andy Weir, which sees astronaut Mark stranded alone on Mars, struggling to survive until Earth’s next mission touches down on the red planet.
Character Vs. Fate
Character vs. fate is a well-trodden central conflict, beloved in Greek myth with stories of characters, deities and prophecies.
As a conflict, it’s effective at exploring determinism vs. free will for protagonists on seemingly pre-ordained paths. Can they escape their fortune? Will they try? Or will they just wait for fate to claim them, like in the old Greek tragedies? These questions captivate us still.
Examples:
The Wheel of Time by Robert Jordan is a high fantasy example of character vs. fate, where Moiraine searches for the prophesied Dragon Reborn, humanity’s weapon against the Dark One.
The concept (and conflict) in Kristin Cashore’s ‘Graceling’ is that Katsa is born with a killing Grace — a rare, exceptional skill — and must rebel against the king exploiting her fate for a deadly advantage.
Character Vs. Supernatural
A favourite for writers of speculative fiction, the supernatural conflict is all about the unknown (or partially known). This is where stereotypical ideas of ghosts, witches, vampires, werewolves, zombies, gods (and demons), superheroes, and aliens come out to play in the arena of the strange or inexplicable.
Examples:
Jennifer Saint’s Ariadne is a feminist retelling of the Greek myth of Theseus and the Minotaur, also adding gods and demigods to the plot.
The Expanse series by James S. A. Corey is set in a world where humanity has colonised the solar system. And while there are lots of different conflicts, Captain Jim Holden’s is with a mind-bending alien.
How To Create A Central Conflict For Your Story
If you’re already writing, perhaps one of the above main conflicts stands out clearly. But if you haven’t started yet, think about the nugget of an idea you want to pursue. Is it a character, a plot type, or a setting? Going back to want + obstacle, what is the obstacle to a potential main character’s desire that sounds like one of the central conflicts? Go with the most explosive want + obstacle for surefire conflict.
Here are 6 more tips and tricks for creating a central conflict:
Big Obstacles Make For Big Stakes
It’s not just about your main character achieving their desire. It’s also about their opposition — the obstacle — doggedly persisting. What’s at stake if your character doesn’t get what they want? Ideally, the opposition winning, with extreme consequences.
Align (Or Misalign) The Conflict With Your Protagonist’s Wants
Say your central conflict is your character vs. fate. What if they don’t believe in destiny, actively seeking to act against it? This layer of character vs. self will add tension and weight to their decisions, and make your story more interesting.
Vary Your Characters’ Attitudes Towards The Conflict
Your secondary characters won’t always align with your protagonist on how to solve your major conflict. In fact, they may argue about courses of action or even take matters into their own hands ie. layering character vs. character conflict.
Things Have To Keep Getting Worse
An excellent way to do this is by staggering your conflict’s development throughout your plot points. If you’re using something like Christopher Booker’s ‘The Seven Basic Plots’, it’s easy, as each plot has a framework for ratcheting up the tension as you progress.
Your Central Conflict Must Be Worthy Of Your Themes
This is about not minimising conflict — because when you finally know what your story is about, your conflict will need to be complex enough to carry the themes you’re addressing. Make your central conflict strong, and make it difficult.
Don’t Just Layer Conflict, Layer Obstacles
Take a cue from real life: there’s often more than one obstacle to achieving something; smaller, less important obstacles, but obstacles all the same. So, brainstorm what else could stop your main character from getting what they want, and add these in, too.
Frequently Asked Questions
What Is An Example Of Central Conflict?
An example of central conflict is Brandon Sanderson’s The Final Empire (and the rest of the books in Mistborn Era One). The ‘character vs. society’ conflict in this epic fantasy sees the Skaa living in misery as slaves under the thousand-year-old Lord Ruler and his evil ministries, until a Skaa rebel named Kelsier escapes the empire’s prison and starts a revolution.
How Do You Identify A Central Conflict?
To identify a central conflict in a story, ask yourself what the main character’s biggest challenge is: what do they overcome by the end of the story? If the answer is themselves, the central conflict is internal (character vs. self). Otherwise, it’s external (character vs. character, society, technology, nature, fate or supernatural).
What Is A Central Conflict And Climax?
A central conflict and climax refers to a story’s inciting incident, its central conflict that advances the plot’s points, and how the story’s climax is resolved. Here, the central conflict is defined as when a main character’s strongest desire is met by an equally strong internal or external obstacle.
Crafting Central Conflicts
As you’ve learnt throughout this guide, central conflict really is the first and foremost ingredient to writing captivating stories. So, ensure that what your character wants and the obstacle to obtaining it are strong, balanced, and directly opposed for a central conflict that hooks readers until your very last page.
Have you ever felt a lump in your throat as you watched a charity advert depicting suffering animals? Stayed up a little later to finish a book, heart racing as you willed the protagonist to succeed against the odds? Felt inspired by a speech calling for justice and change? Then you have experienced pathos – writing that creates an emotional response.
In this guide, you’ll learn about the origins of our understanding of pathos, read our pathos definition, see how it relates to persuasive writing, and discover how pathos is used to evoke emotion in literature.
What Is Pathos?
Pathos is language that appeals to our feelings, causing strong emotional responses.
You will come across pathos every day, particularly in advertisements. That billboard showing a beach holiday paradise, inspiring longing and envy? The series that you just have to watch one more episode of, because you are so invested in the characters? Any time our emotions are engaged, we are experiencing pathos.
The word ‘pathos’ itself comes from the Greek for ‘experience’, or ‘suffering’. Aristotle, a Greek philosopher who lived in 384-322 BCE, wrote about the power of pathos in Rhetoric, which was about the art of persuasion. Aristotle defined pathos as language which can draw emotions and affect people’s judgement, and is, therefore, a powerful method of persuasion, along with ethos and logos.
How Does Pathos Relate To Ethos And Logos?
Pathos is just one rhetorical appeal. The other two aspects of rhetoric are ethos (credibility) and logos (logic). Ideally, all three are used to make a strong and persuasive argument.
Ethos is important because it must be present for you to trust the speaker. To persuade, the audience must be convinced of the speaker’s authority or knowledge, and believe that what they are saying is reliable. Ethos can be achieved in a number of ways – by setting out credentials, by explaining their personal experience with the topic via a personal anecdote, and even by the way the speaker presents themselves. An audience’s perception of the morality and personal history of the speaker impacts ethos – we are unlikely to find a serial adulterer reliable on the topic of the importance of marriage and faithfulness, for example.
Logos, meanwhile, is the use of logic to persuade. Including facts, statistics, and logical argument is to use logos. These provide evidence to support points that seem objective and unarguable (though we all know that facts and evidence can be presented in ways that serve a particular point of view).
Aristotle’s Rhetoric demonstrated the need for pathos to work alongside logos and ethos to build an argument. Let’s look at exactly how we might do this.
How Is Pathos Used To Build An Argument?
Strong emotional responses make an audience personally invested in a topic, and therefore more susceptible to persuasion. Ideally, rhetoric should employ pathos, ethos and logos in tandem. Facts and statistics presented dryly from a speaker you don’t trust will do little to persuade an audience, as will an appeal to emotion without anything to back it up. Let’s look at some successful examples of pathos in persuasive writing.
In The News/Articles
Louise Tickle’s article on accommodation for care leavers in The Guardian evokes our feelings in its eye-catching headline: ‘We are failing children in care – and they are dying in our streets’. This headline works on a number of levels – the protectiveness that the word ‘children’ inspires, the sympathy created by the word ‘failing’, and the appalled horror when we read the word ‘dying’. More subtly, the use of the pronoun ‘our’ means we feel some personal responsibility and perhaps even guilt when considering how these vulnerable young people are being treated. This pathos example is an effective one, as the headline drives a desire for change in the reader, who may go on to support policies or initiatives that would create that change.
In Leanna First-Arai’s article ‘Young Workers are Bridging the Climate and Labour Movements’, published in Teen Vogue, we can see the interplay of creating negative, then positive pathos. At first, the reader feels sympathy and dismay: “Young people have grown up in a chilling environment for labour, with their working lives preceded by decades of union disintegration.” Then, however, First-Arai builds hope and a sense of anticipation for a brighter future: “In the past few years, though, young people have reinvigorated the strike tactic in creative new ways.” Aristotle made the point that pathos is particularly effective when emotions are paired: sadness then happiness, despair then hope. Taking the reader on a moving emotional journey creates a strong connection and adds to the effectiveness of the piece’s persuasive force.
In Politics And Activism
Political speeches also make use of pathos to persuade. MP Mhairi Black’s speech to the UK Parliament in May of 2022 makes use of pathos to create a chilling effect: “But most terrifying of all […] is that this government literally want to get rid of the Human Rights Act. And that begs the question, for who do they think rights have gone too far? Do you know how scary it is to sit at home and wonder if it’s you? Is it your rights that are up for grabs?” Often, political speeches contextualise an issue that might feel remote or abstract, by making it personal and drawing on the audience's emotions. As we see here, the use of rhetorical questions and the personal pronoun ‘you’ brings the issue home, encouraging a listener to reflect on how they might feel in that situation.
Poet and activist Lynae Vanee’s speech on climate injustice is a rallying call to indignant anger and a desire for change: “Calling communities riddled with convenience stores, gas stations, with only maybe a Walmart or Kroger ‘ghetto’ and actually they're just food deserts […] that's why it's called climate injustice and that's why this fight is not just about saving the trees.” Vanee’s use of pathos prompts a desire in listeners to effect change, a powerful tool in political speechmaking.
How Is Pathos Used In Writing?
Pathos is not only used in persuasive writing. A primary aim of creative writing of all types is to provoke emotion in a reader or audience. We can find pathos in screenplays, novels, short stories, and poetry. Let’s look at a few examples.
Akwaeke Emezi’s novel Freshwater creates pathos memorably in an early scene where Ada fails to keep her younger cousin safe: “Añuli looked left, then broke free and darted, small, six, across the road.” The focus on how small and young Añuli is brings home her vulnerability to the reader, adding impact to our fear and worry.
Pathos is used by Kirstin Innes in her novel Scabby Queen to add resonance to the title itself. A character explains the card game of the same name: “The queen goes round and round, and the object is to get rid of her – pass her on to the next one as quickly as you can.” The reader becomes aware that the central character, Clio, is the ‘scabby queen’ as her various relationships disintegrate, lending further poignancy to her situation.
At the conclusion of Vanessa Kisuule’s poem Hollow, the reader is left with a mix of emotions, and a sense of changing perspectives. Inspired by the toppling of the statue of Edward Colston, the poem ends:
But as you landed a piece of you fell off
broke away
and inside
nothing but air.
This whole time
You were hollow.
Hollow by Vanessa Kisuule
A quiet and understated conclusion, the lines nevertheless leave a lasting impact – perhaps reflectiveness, maybe the bittersweet satisfaction of an overdue change.
Kimiko Hahn’s poem The Dream of a Lacquer Box explores the complexity of her connection to Japanese culture as she dreams about what might be inside her mother’s lacquer box. The list of objects that could be inside, followed by questions (“am I wishing for Mother? searching for Sister?/Just hoping to give something Japanese to my daughters?”) allows the reader to relate to Hahn’s feelings, and empathise with her desire to belong.
In Bong Joon-ho’s film Parasite, the audience sympathises strongly with the Kim family when they are forced to hide under a coffee table so as not to reveal their presence in the Parks’ house. While there, the Parks discuss how badly they think Kim Ki-taek – the Parks’ chauffeur – smells. A close up on Ki-taek’s face engages the audience’s sympathy, as does the small, dark space he is in, representing metaphorically to the audience how trapped Ki-taek is in this stratified society.
Pathos is also used to create a sense of joy and triumph. At the end of the British film Pride, busloads of Welsh miners turn up unexpectedly in support of a pride march. The triumphant music and surprise and happiness on the characters’ faces add to a sense of joy and delight for the audience, emphasised by the text onscreen confirming that this was a real historical event.
Pathos Examples From Literature
In literature, writers use pathos to help readers connect more deeply to characters, so that the writing resonates more strongly, and so that the themes and ideas being explored are meaningful and impactful. Here’s some further examples of how pathos is used effectively in books.
A Tale For The Time Being By Ruth Ozeki
The predicament of Nao, a bullied Japanese schoolgirl, is made all the more distressing with the author’s use of metaphor: “The minute he turned his back, they would start to move in. Have you ever seen those nature documentaries where they show a pack of wild hyenas moving in to kill a wildebeest or a baby gazelle?” Likening Nao to a helpless animal surrounded by predators communicates powerfully to the reader just how vicious the bullying is, and heightens our sense of empathy for her.
Lanny By Max Porter
In this short novel, Lanny’s dad is woken up suddenly and becomes convinced there’s an intruder in his house: “I have no actual defensive power, I am not brave, I do not fight, have never fought, I work in asset management and only fight in subtle ways on Microsoft Outlook. I’m terrified.” Here, Porter effectively weaves humour with fear as he describes the ridiculous, yet scary, situation.
The Song Of Achilles By Madeline Miller
Appropriately for a novel inspired by Greek mythology, Miller’s The Song of Achilles has pathos in spades. The ending, where lovers Achilles and Patroclus are reunited in death, is a particularly effective example: “In the darkness, two shadows, reaching through the hopeless, heavy dusk. Their hands meet, and light spills out in a flood, like a hundred golden urns pouring out the sun.” The reader’s eyes are sure to be pouring out tears here, as the cathartic climax creates a bittersweet sense of loss, relief, and joy.
Tips For Using Pathos In Your Own Writing
Using the examples above, we can see that there are several ways to use pathos in your own writing.
Use emotive word choice and techniques like metaphors and similes to evoke feelings. Think of the bullied Nao being likened to prey in Ruth Ozeki’s The Tale for the Time Being.
You can use pathos to help readers better understand and sympathise with an anti-hero. Consider Killmonger’s backstory of loss and abandonment in the film Black Panther, which allows the audience to understand what drives him.
Creating pathos is like conducting an orchestra. Tweak your language here and there to create a variety of emotional responses in your audience, before building to a crescendo.
Frequently Asked Questions
What Type Of Literary Device Is Pathos?
Pathos is the use of language to create an emotional response in readers. It is also one of the three key components of rhetoric, or the art of persuasion, the others being ethos (credibility) and logos (logic).
What Are Examples Of Pathos?
Some examples of pathos are:
An advert for a rescue charity which shows images of dogs looking alone and uncared for is an example of pathos, as it makes us feel sympathy and a desire to help.
A film with a triumphant ending where the hero wins against the odds is another example – the audience feels a happy, satisfied joy.
A story which puts a character in a dangerous situation engages our sense of worry and fear, using the reader’s connection to the character to create pathos.
What Is A Simple Definition Of Pathos?
Pathos is the appeal to emotion. It can be created in writing, speech and in visual media. The aim is to persuade an audience through an emotional appeal, or to evoke emotion in response to a piece of writing or art.
Pathos In Writing
If you want to grab your readers by the feels, pathos is the way to go. Using language to create sympathy, despair, and fear; or laughter, joy, and triumph, will add impact to your writing and leave a lasting impression on your reader.
Remember that bringing your readers through a variety of feelings adds to the overall impact – just as in rhetoric, pathos is nothing without logos and ethos; in storytelling, one-note emotional appeals will quickly lose their resonance. Use pathos to take your readers through a spectrum of human emotion – remember that the root of the word ‘pathos’ is ‘experience’.
When she began her writing career in journalism, debut author Rebecca King never thought she'd end up as a published children's author.
After learning everything there is to know about writing and attending our Summer Festival, Rebecca was all set for authorial success. Her debut children's fantasy book, Ember Shadows and the Fates of Mount Never, was published in August 2022 by Hachette Children's Group. We had the pleasure of chatting with her about the publishing process and the most important things a children's author should bear in mind.
JW: Hi Rebecca! You began your writing career with a degree in Journalism, and worked for a short time as a journalist. What prompted the transition into fiction?
I loved working as a reporter and spent three years at a newspaper after university. But after a while, I had a feeling that things weren’t quite right, and I was desperate to take off and go travelling. I’ve always been an avid reader and I loved the idea of writing a book, but never knew where to start. Time spent traveling meant I was on trains, boats and planes a lot and with all that time, I thought I may as well give it a go and see what happened. To begin with, getting published felt like a bit of a ridiculous wish. After a while, it became something I desperately wanted to work towards, and knowing that drove a lot of my future decisions.
JW: What kinds of resources did you find useful whilst you were writing?
I’m a bit of a course addict and I love to research, so once I decided to write fiction, I looked for every single tool I could find! I started off by taking the Curtis Brown Course in Writing for Children, then did the Faber Academy course, and eventually got myself onto an MA in Creative Writing. But I have to say, so much of what I found useful came from reading in my genre, as well as from books such as Save the Cat. I listen to lots of podcasts such as The Honest Authors podcast, How Do You Write, Writer’s Routine, and Joined Up Writing. Another great resource is One Stop for Writers, created by the genius minds behind The Emotion Thesaurus.
To begin with, getting published felt like a bit of a ridiculous wish. After a while, it became something I desperately wanted to work towards, and knowing that drove a lot of my future decisions.
One of the things I recommend the most is Jericho Writers, as it gives you a bit of everything – community, expertise, webinars… and plenty more. If you can’t afford to join all year round or have other commitments, I recommend signing up for the Summer Festival of Writing. It’s jam-packed with workshops, Q&As, interviews and panels. The variety is so rich as well, and there’s something for everyone in each event. Even if it’s a workshop outside of your genre, I guarantee there will be something motivational or inspirational hidden within. Jericho also checked over my cover letter before I sent it out to agents, and this was such a confidence-booster – just what was needed before getting prepared for the inevitable rejection experience!
One of the things I recommend the most is Jericho Writers, as it gives you a bit of everything – community, expertise, webinars… and plenty more.
JW: You received three offers of representation at around the same time. How did you choose your agent?
I should start by saying that this was the third book I had submitted to agents, and I got a LOT of rejections. But yes, I was very lucky to get three offers from three incredible agents. I chose to go with Kate Shaw from The Shaw Agency for so many reasons, not least because her enthusiasm for my book was infectious. She’s exactly the kind of person you want championing your book, fighting your corner, and the person I wanted to be on the phone delivering both the good and bad news. As soon as I spoke with her, I knew there was no way I could say no to her. It still feels like such a privilege to be part of her author list among some of my favourite writers.
JW: Your book was published in August 2022 with Hachette – which is so exciting! What has the process of working with a large traditional publisher been like? Have there been any surprises?
It has been SO exciting! I think exciting is my most over-used word at the moment, and for that I feel very fortunate!
There have been plenty of pleasant surprises along the way. The first was discovering how much I love editing! I had been prepared for the worst, thinking that my editor might rip my book apart or make changes I couldn’t agree with, but I’ve been so lucky to have an incredible editor who just gets the book, and every suggestion she makes feels natural and logical. She really made Ember the best book it could be, and it continues to be so much fun working with her. I’m always learning from her notes and feel so fortunate to be working with her.
Ember Shadows and the Fates of Mount Never, Rebecca King
Another surprise was how many pinch-me-moments there have been along the way. As writers, we are so focused on that goal of finding an agent and getting a deal, I think we tend to lose sight of all the small victories that come with it. Moments like meeting your editor, going into the publisher’s office for the first time, learning that it’s going to be an audiobook… all these things were just dreams at one point, so it’s important to celebrate each and every one.
JW: What’s your best tip for writers working on children’s and middle-grade fiction? What are the most important elements to get right?
Something I’m still learning is how important it is to consider what your writing is saying. When I began writing, I was adamant that my books would be simply adventures - they were just for fun and I didn’t want to force a lesson into the excitement.
For me, it’s not about being didactic or bashing the reader over the head with a moral. It’s about showing characters grow and change naturally through their experiences.
I’ve quickly learnt how naïve that was! We all subconsciously imbue our work with our own values, morals, and opinions. Our writing is shaped by our opinions and experiences. Not only that, but a reader is experiencing your story through their own lens, shaped by their perspectives, opinions, and values. Each person can take something different from your story, and so, we have a responsibility as writers to really consider what message we want to get across.
For me, it’s not about being didactic or bashing the reader over the head with a moral. It’s about showing characters grow and change naturally through their experiences. I think we all want to continue growing and learning in life, so it’s important that we show our characters doing the same. Like us, our characters won’t get it right every time, so if we can imbue our work with positive messages and lessons of growth, there’s a chance our readers might be inspired to continue growing with them.
About Rebecca
Rebecca was born in Wolverhampton, but spent her childhood in a tiny village called Sound in Cheshire. She studied Journalism at the University of Portsmouth, and has worked as a reporter and a primary school teacher, including three years teaching in China.
She now lives in Bratislava, Slovakia, with her partner and her Chinese rescue dog, Mushu.
So, you want to write a sci fi novel but don't know where to start...
If you're a huge sci fi fan who has read all the books and watched all the movies, it may well feel like every idea has already been written.
It hasn't!
The joy of being a writer is that YOU are writing the story, which means even the most unoriginal trope can be made unique and original because you have given it your own special twist. But you still need an idea.
In this article, I will be sharing tips on where to find sci-inspiration, and giving you 110 sci-fi ideas to use as a starting point for your own science fiction story. Yes, 110 FREE ideas!
What Is Sci Fi?
Many people mistake sci fi for fantasy, which is understandable. Both are full of things that don't yet exist in real life.
The simplest way to define sci fi is to remember that although it is about something outside of our known reality - ie life on another planet or living among cyborgs - most sci fi stories are based on existing concepts; science and technology. Fantasy, on the other hand, is completely made up and often uses inexplicable concepts such as magic.
Although, you can mix sci fi with other genres.
Star Wars, for instance, is set in space but also includes a magical system - so it's often described as sci fi fantasy. And you can have dystopian sci fi which shows our real world in the future and how our actions have caused it to change for the worse.
Science Fiction Story Ideas
When it comes to finding inspiration for your sci fi stories, ideas can be found absolutely anywhere. Here are just a few places where you can start looking:
Old newspaper articles
Current news
Scientific developments
Science and history museums and exhibitions
Environmental concerns
Animal and plant life (the more you know about mushrooms, for instance, the more you realise you wish you didn't know)
Space travel
Planets and the solar system
Science Fiction Writing Prompts
If that's not enough to get your imagination going, I've put together some one-line prompts for your writing.
These ideas are categorised by themes, and feel free to add your own twist or mix them up. The joy of writing sci fi is that there are no limits, so take your sci fi story to places no one has ever gone before. To infinity and beyond!
Let's start with alien races and all the fun that theme can bring...
Alien Prompts
Aliens aren't scary, in fact they are already living in our house. We just have to find them.
An alien planet looks to earth to save it. When it comes to ask for help it divides human kind between those who want to save them - and those who want to kill them.
A woman keeps seeing visions of an alien world. She thinks she's going crazy, until she realises they are memories and she's not human.
Every galaxy is destroyed and planet Earth becomes the prize that five alien races are fighting over.
A man with no womb finds himself pregnant. Is it a miracle? Or has he been implanted with an alien child?
A young girl has a special ability - she can communicate with other planets. But can she be trusted to tell scientists the truth?
An alien invasion is imminent and humans must come together to protect our planet. Can they put their differences aside forever and unite?
Archeologists discover an old relic buried deep in the desert. It's an alien ship.
The pyramids are not what we thought they were - hieroglyphics are in fact an alien language, changing the course of history as we know it.
Scientists have been keeping a big secret; they have an alien in captivity that can reverse death. Who will it bring back first?
A planet called Earth has been discovered. Is it worth investigating? Or are humans best left to destroy themselves?
Environmental Disasters Prompts
The planet is getting hotter and some humans have evolved to withstand extreme temperatures. But how long until the world completely burns itself out?
Global warming melts all the ice caps and half the planet is about to drown. Will humanity survive the destruction or learn to adapt to a watery world?
After a giant nuclear war humans have been living in the earth's core for five hundred years. It's safe to go back up now, but how has the planet changed in that time? And what creatures are awaiting them?
Humans have cut down that last tree and are manufacturing oxygen in factories. But then the factories are destroyed. Is humanity about to take its last breath?
Animals and fish refuse to be eaten by humans anymore and begin to fight back.
We've been burying our waste for too long and now huge sink holes are appearing all over the world - some large enough to destroy entire cities!
Water is about to run out on Earth and the race is on to find another alternative... or another planet.
Volcanoes which have been dormant for centuries have started erupting, and, as if the lava and smoke they produce aren't devastating enough, the creatures they've been concealing rise with them.
Outer Space Prompts
Crew members of a spaceship sent to explore a new planet discover that it's exactly like earth. Except for one fundamental difference.
A distant planet is discovered that has oxygen and water, the only problem is that it also has monsters.
A space station full of scientists trying to save the planet is under attack by its own government which is benefitting financially from the destruction of the human race.
A spaceship travelling at light speed finds itself in a parallel universe where Earth is very different indeed.
A space pirate finds himself aboard a ship containing the one thing that may save humanity.
Science And Technology Prompts
It's 3000 AD and humans survive solely on genetically modified food. Then one family learns to grow their first real tomato putting them in danger from the government, the media, and those who will do anything to get their hands on it.
Thanks to artificial intelligence, there are no human cops left. Yet the AI police force become sentient and realise they are the bad guys.
Some humans have started to grow wings and others have begun to breathe underwater. What is happening?
A scientist discovers a way for us to read the minds of dogs - and it turns out they weren't man's best friend after all!
A scientist clones his ex-girlfriend after she breaks up with him, leading to a series of hilarious but unfortunate events.
A hundred years after the invention of human flight, things start to go very wrong.
Time Travel Prompts
A time traveller from the year 2998 tries to warn those living in 1998 of what will happen if they continue to treat the planet badly. Do they listen? A Sliding Doors-type movie where we see the world in two ways.
What if we had the ability to swap lives with someone? Memories, bodies and souls? Would you do it?
Two people living in parallel universes fall in love. Except one is suffering from a serious mental illness. Is this real?
A teenage girl's boyfriend goes missing. 15 years later she becomes a scientist and invents a way to go back in time and look for him.
A time traveller who has had a family with a woman from one hundred years ago must discover a way to bring them back to the future.
Dystopian Sci Fi Prompts
A woman never knew she has a twin sister - or that both of them were created in a lab. They set out to discover more people like them.
The last human being on Earth hasn't seen another human in 12 years. But then he sees smoke coming out of the chimney of a hut in the woods.
A group of women escape prison, only to find themselves in a world made up of only men.
No one has died in sixteen years. How is the world going to survive if no one's life can end?
A man tries to find his best friend in the aftermath of a nuclear war. But he doesn't realise that the man is out to kill him.
One woman fights to protect her child in a world where every baby is brought up in a farm and trained to work for an evil government.
A fight is on to find the last survivors of Europe after the entire continent was destroyed.
The world is either ocean or desert, but one man and his gang believe they can find the lost city of Londonburgh - their only hope for survival.
Combine Well-Loved Sci Fi Stories With One Another
Agents, editors and film producers love to ask writers for a 'comp' - a comparison title to position your own work against. So why not start with a well-loved comp or two when coming up with your idea?
Some of the most unlikely parings can make for the best ideas!
Alien and Children of Men: After years of no babies being born on Earth, a woman is finally pregnant. But it's not human.
The Invisible Man and Men In Black: Special forces are sent out to find the invisible people living amongst us.
Independence Day and Attack the Block: Aliens are going to attack the Houses of Parliament, but only London's street gangs can save them.
Planet of the Apes and The Abyss: Creatures from beneath the sea have evolved and have taken over the human race.
Ghost Busters and Donnie Darko: Humans are being haunted by the ghosts of people who are yet to die, visiting them from the future.
Godzilla and The Hunger Games: A group of children must fight for survival in a dystopian world full of giant monsters.
Frankenstein and Predator: A scientist creates a monster made up of all the bodies of notorious murderers - but the monster escapes! Who is hunting who?
The Fly and E.T: An alien hides in the basement of a family's house. Except it's not an alien - it's their scientist father after an experiment went wrong. Will he be able to tell them before they kill him?
Close Encounters of the Third Kind and Robocop: A group of kids try to rescue aliens but it all backfires when it turns out they're here from the future to arrest those who are about to commit a crime.
Jurassic Park and Back to the Future: A young man invents a time machine to mend his love life and discovers he's gone back 5 million years instead of five!
Don't Look Up and Alien. Experts warn the world that we are about to come under attack... but no one listens until it's too late.
The Faculty and The Thing: A group of science students on a school trip to Alaska discover an alien presence, only to realise it's been with them all along.
Romeo and Juliet and I-Robot. When a teenager falls in love with a cyborg, it creates a deadly battle between man and machine.
Science Fiction Fantasy Ideas
A secret society of scientists and mathematicians invent magic. But how long can they keep it a secret?
A scientist creates the world's first flying unicorn, leading to an entire cast of fairytale creatures coming to life.
A wormhole leads a group of astronauts to a world full of magic.
A company starts to manufacture wands that can make any wish come true. The world is about to look very different!
Sci Fi Horror Prompts
A small town is invaded by what they believe are ants - until the tiny things start to grow into terrifying monsters.
An old lady on vacation takes a rare plant cutting from a holy site. After tending to it, the plant turns out to be something a lot scarier.
A family move into a haunted house and, one by one, they meet a gruesome death. Will the odd neighbour fix his ghost-hunting machine in time?
In this town nothing can be trusted - not people, not animals, and especially not household appliances.
A group of teenage girls discover a cave on a school trip. Inside that cave is a ship. Inside that ship is the answer to the salvation of the human race.
Kid Lit Sci Fi Ideas
Scientists realise they were wrong about gravity - and now all the children are floating away.
Two children compete to win top prize at the science fair, unaware they have invented something that will change the world.
A plague is sweeping through the world that only affects those over the age of 18. It's down to the children to save the human race.
Two teenagers in love are separated when, thanks to global warming, their country is split in two and slowly crumbling into the sea. Will they ever find one another again?
Eric can control electricity - and it's not as much fun as he thought it would be.
A boy and his friend are told not to touch his scientist father's new invention. But they do - leading to one very big disaster.
Other Fun Science Fiction Ideas
Write a story based on sci-fi-sounding songs:
The Killers – “Spaceman”
Blondie – “Rapture”
Flight of the Conchords – “The Humans Are Dead/Robots”
Elton John – “Rocket Man”
David Bowie – “Starman”
Think about a time in your own life, and give it a sci fi twist. ie What if, that time you found a stray dog... it was really a creature from out of space?
Look at old family photos. What would make them out of this world?
What if the inventions of the past had turned out a little differently? How would that look today?
Look at myths and legends and give them a scientific twist. How do they look now?
As yourself... What If?
What if:
Animals could talk?
The sun disappeared?
The moon was really a portal to another world?
Plants wanted to eat us?
Scientists were wrong about how our bodies work?
The Bible was actually written by aliens?
All the countries in the world merged together?
All world leaders were aliens?
Schools became dystopian training camps?
Everyone developed a superpower when they turned 50?
Babies went straight from a year old to 21?
Humans could fly?
Animals swapped abilities?
Your parents were really robots?
Your pet was an alien?
Fish decided to grow legs?
Robots and aliens united to wipe out the human race?
Time To Get Writing!
After reading through all these ideas, you should now be inspired enough to go where no one has ever dared to tread before!
I hope you have found these 105 sci fi writing prompts and ideas useful for writing your next novel or short story. And remember, you don't have to pick just one - why not combine two or three prompts and see where they take you?
Good luck with your next sci fi project. May the force be with you and the odds be forever in your favour!
So, you've finished your manuscript, edited it, re-written it, edited again, proofread, sent it out to beta readers, and now you're ready for the next step: finding an agent.
As we all know, finding an agent isn't as easy as it sounds. It's time consuming, riddled with rejections, can be anxiety inducing, and, sometimes, exhilarating. But before making that step and sending out submissions you first need to identify who to send your submission to. In this article we'll give some background info on the agenting market in Canada and, most importantly, give you a list of all Canadian Literary Agents.
The Canadian literary agent market is a similar set up to their US and UK counterparts. There are significantly fewer Canadian based agents than in the US, for example, but there’s still plenty of choice when it comes to working on your shortlist.
The general rule for submitting to a Canadian agent is to send through a full submission pack, this includes:
A query letter - keep this concise, introduce yourself and your book, include some comparable titles, and finally hook them with a dazzling elevator pitch.
Synopsis - make sure you synopsis is easy to follow. If in doubt, ask someone who hasn't read your chapters to read it for you.
Sample chapters - possibly the most crucial part of your submission pack. Make sure your opening chapters grab the reader from the first line by asking beta readers to give you honest feedback. Be extra particular when it comes to proofreading the first three chapters and catch any spelling or grammar errors.
When it comes to submissions, each agency (and agent) will have their own list of requirements. These can vary between agencies and agents though, so be sure to check each agency website to ensure you’re sending the right things and submitting to the right place (e.g. via email, or using Query Manager) before hitting "send".
The good news is that Canadian agencies are open to submissions from international authors (including the UK and the US) not just Canadian based authors.
In a recent interview with Sam Hiyate, CEO of The Rights Factory, we chatted with him about the publishing industry as a whole and in particular the Canadian territory. Make sure to check out his interview for some insights into the Canadian market.
https://vimeo.com/712071884
How Do I Know Which Canadian Literary Agent To Approach?
Finding the right agent can be an all-encompassing task, and as writers ourselves we know just how difficult this process is. With that said, we've broken the process down to four easy steps:
Step 1: Find A List Of All The Canadian Literary Agents
You can find a complete list of Canadian Literary Agents looking for new and debut authors by scrolling down on this article (or click here to get there even faster!). Or, better yet, use AgentMatch (our database of literary agents) to whittle down your list by searching on genre, location, and client list status (i.e. whether they're open to submissions).
Canadian agents tend to accept submissions from international authors, so don't be concerned about finding an agent nearby With email or zoom, you will still maintain a great relationship with them from wherever you're based.
Step 2: Identify The Agents That Want You
Submitting to agents is time consuming, so don't spend time contacting agents that aren’t interested in your genre or style of writing. Focus your energy on submitting to agents who:
Are open to submissions in your genre
Welcome submissions from new writers via their slushpile (aka accepting unsolicited applications/submissions)
After doing this you’ll have the beginnings of your longlist. Next, you need to whittle it down even further…
Step 3: Identify The Agents That You Want
The author-agent relationship is a key foundation to your writing career, so make sure you choose someone you feel comfortable working with. Someone who can be both your biggest cheerleader and your most honest critic.
So, take your longlist and pick out 12 agents you think could be a good match for you and your writing. This will become your shortlist.
Do they represent some of your favourite authors in your genres?
Or maybe they represent a favourite author in a different genre.
Or they don’t represent a particular favourite writer of yours, but they have commented admiringly on that author.
You have particular reason to like or admire the agent’s literary agency.
They share a passion of yours.
They made a comment in a blog / on YouTube / at our Festival of Writing / or anywhere else . . . and for whatever reason that comment struck a chord in you.
Step 4: Get Submitting
Now you have your shortlist, it's time to circulate your submission pack. Keep track of the responses you receive. If you’re receiving lots of rejections then that suggests your work isn’t quite there yet. If you’re getting requests to see the full manuscript then you know you’re on the right track. So follow the advice on preparing your submission pack set out above and see how you get on!
And don’t forget, you can always get your submission pack reviewed by a professional editor if you think you need some detailed advice and feedback on your opening chapters.
As promised, here’s a complete list of all Canadian literary agents. You can also access this list plus detailed profile summaries and exclusive interviews with agents on AgentMatch. Sign up to the Free Trial to get started on your submission journey.
Congratulations! If you're reading this article then that means you've finished writing your manuscript and you're ready to take over the literary world. Step 1? Get an agent.
"Get an agent" sounds easy, right?
We all know that finding and securing a literary agent is a tricky and time consuming process. There will be plenty of rejections, some requests for full manuscripts, constant refreshing of your inbox, and counting down the hours until you can send a follow-up email that won't make you seem needy. But before you get to this stage, you need to work out who you should query - and that's where we can help.
The Australian Literary agencies and agents market is small (but growing!). We’ve included a complete list of them below and on AgentMatch. They operate very similarly to the UK and US markets: requesting a full submission pack from each querying author. Since the number of Australian agents is quite low, it means that they tend to receive a high volume of submissions.
You only get one chance to impress an agent, so keep your submission as competitive as possible and follow these four steps:
Keep your query letter concise and clear by introducing yourself and your book, providing some comparable titles, and then hooking them with your elevator pitch.
Make sure your synopsis is clean and easy to follow.
Dazzle them with a writing sample that demands they request more (our advice? Send your manuscript to a trusted beta reader and ask for their honest opinion. Feedback on something as small as "this dialogue felt clunky" or "I didn't understand how they got from A to B" will be invaluable before your manuscript goes on submission.)
Be sure to check specific submission requirements on the agent's website before submitting.
Agents often open and close their submission list multiple times throughout the year, or they may remain closed to unsolicited submissions, and require invitation to submit your work to them.
From our research, there seems to be a consensus among the Australian agencies that they will only accept submissions from authors who are a resident of either Australia or New Zealand, which is good news for our Australian and New Zealand based authors!
You can read up on Literary Agents - who they are and what they do - here.
Are you getting rejections? Then read up on this, it'll help see you through the next steps.
How Do I Know Which Australian Literary Agent To Approach?
Finding the right agent can feel overwhelming, and as writers ourselves we know just how difficult this process can be, so we advise you to break it down into steps.
Step 1: Find A List Of All Australian Literary Agents
You can find a complete list of Australian Literary Agents looking for new and debut authors by scrolling down on this article (or click here to get there even faster!). Or, better yet, use AgentMatch our database of every literary agent to whittle down your list by searching on genre, location, and whether they're open to submissions.
Generally, Australian agents will only take on Australian or New Zealand based authors. Don't get too worried about finding ones near to where you live though, with email and zoom, you will still maintain a great relationship with them from wherever you are in the country.
Step 2: Identify The Agents That Want You
Don't waste your time contacting agents that aren't interested in your genre or style of writing. Focus your energy on submitting to agents who:
Are open to submissions in your genre
Welcome submissions from new writers via their slushpile (aka accepting unsolicited applications/submissions)
After doing this you'll have the beginnings of your longlist. Next, you need to whittle it down even further...
Step 3: Identify The Agents That You Want
Authors sometimes make the mistake of thinking they have to settle for any agent that likes their work, but that's just not the case. The author-agent relationship is a key foundation to your writing career, so make sure you choose someone you feel comfortable working with.
So, take your longlist and pick out 12 agents you think could be a good match for you and your writing:
Maybe they represent some of your favourite authors in your genres.
Or they represent a favourite author in a different genre.
Or they don’t represent a particular favourite writer of yours, but they have commented admiringly on that author.
You have particular reason to like or admire the agent’s literary agency.
They share a passion of yours.
They made a comment in a blog / on YouTube / at our Festival of Writing / or anywhere else . . . and for whatever reason that comment struck a chord in you.
Step 4: Get Submitting
Now you have your shortlist, send out your submission package. Keep track of the responses and gauge their interest. If you're receiving lots of rejections then that suggests you work isn't quite there yet. If you're getting requests to see the full manuscript then you know you're on the right track. So follow the steps we set out above and see how you get on!
And don't forget, you can always get your submission pack reviewed by a professional editor if you think you need some detailed advice and feedback on your opening chapters.
A Complete List Of All Australian Literary Agents
As promised, here's a complete list of all Australian literary agents. You can also access the list plus detailed profile summaries and exclusive interviews with agents on AgentMatch. Sign up to the Free Trial to get started on your submission journey.
[am_show_agents id=38]
As ever, please get in touch if you have any questions - we'd love to hear from you! Otherwise, good luck and happy querying.
Writing your first novel can be a slightly daunting task. There are a million reference books out there, with advice on how to plot, how to develop characters, and even how to edit…
But, before you even consider these points, the first thing you need to think about is what kind of book you want to write.
Maybe, even before this, you need to ask yourself, what kind of novels are out there?
Do you want to write romantic epistolary novels? Or maybe you're more interested in horror novels, or speculative fiction?
There are so many areas of prose fiction that writers can explore, but understanding the different types of novels that are out there first, is fundamental.
What Is A Novel?
This might seem like the most basic question, but it is so important to understand what a novel is before you attempt to write one for the first time.
A novel, by definition, is a work of fiction.
Generally, fiction novels sit between 50,000 and 120,000 words depending on the genre.
Novels can be broadly split into 3 main categories, with sub-categories in each to drill down into taste.
Those three categories are genre fiction, literary fiction, and mainstream fiction.
What Is Genre Fiction?
Genre fiction (also often referred to as popular fiction), unlike literary fiction, describes fiction that is written with the intent of fitting into a specific literary genre.
Most writers agree that there are nine main subgenres within genre fiction.
These include horror, mystery/crime, romance, science fiction, thriller/suspense, westerns, historical, young adult, and fantasy.
Although there are many more subcategories, most genre fiction will fit into one of these categories.
Examples Of Genre Fiction
To make it even easier to spot and define genre fiction, I have listed examples below of a few recognisable novels in each genre.
Horror Fiction Examples
Horror Fiction Definition:
The main focus of horror novels is to create feelings of fear, dread, terror and sometimes repulsion in its audience.
Novels in this genre should leave readers feeling these specific emotions.
Examples:
It by Stephen King
Dracula by Bram Stoker
Behind Closed Doors by B. A. Paris
Mystery/Crime Fiction Examples
Mystery/Crime Fiction Definition:
Mystery, crime, and murder mystery fiction novels are works of fiction that use narratives that centre on criminal acts, the investigation by either amateur or professional experts, and the resolution of that crime or mystery.
Examples:
Daisy Darker by Alice Feeney
Dream Town by David Baldacci
The Darkest Evening by Ann Cleeves
Romance Fiction Examples
Romance Definition:
Romance fiction generally refers to novels that primarily focus on the relationship and romantic love between two, or more, people.
A romance novel will typically have a ‘Happy Ever After’ or, at the very least, an emotionally satisfying ending.
Examples:
The Notebook by Nicholas Sparks
The Time Traveller's Wife by Audrey Niffenegger
Me Before You by JoJo Moyes
Science Fiction Examples
Sci-Fi Definition:
Science fiction is a genre of speculative fiction which typically deals with imaginative or futuristic concepts.
Science fiction novels will, more often than not, deal with ideas of advanced technology, scientific advancement, space exploration or time travel to mention just a few.
Examples:
War of the Worlds by H.G.Wells
Twenty Thousand Leagues Under the Sea by Jules Verne
The Ballad of Songbirds and Snakes by Suzanne Collins
Thriller/Suspense Fiction Examples
Thriller/Suspense Definition:
Thriller and suspense genres are often linked and both are genres that follow similar rules.
In general, these novel genres use fast-paced plots to affect the readers, and situations that evoke emotions such as anxiety, surprise, excitement and anticipation.
These genres of fiction are entirely dependent on the emotion you leave the reader with, rather than the structure you use to tell the story.
Suspense and thriller novels tend to be stories that rely heavily on plot and plot twists.
Examples:
The Girl on the Train by Paula Hawkins
Verity by Colleen Hoover
Gone Girl by Gillian Flynn
Western Fiction Examples
Western Fiction Definition:
Western fiction is a genre of literature set in the American “Old West” frontier and is generally set in the 19th or early 20th century.
This area of fiction is plot-driven and will generally combine aspects of crime, redemption and justice.
Examples:
The Revenant by Michael Punke
No Country for Old Men by Cormac McCarthy
The Son by Philip Meyer
Historical Fiction Examples
Historical Fiction Definition:
Historical novels are set in another time and place, either real (they're often based on historical events) or imagined, but during a culturally recognisable time.
Generally, most writers of historical novels will leap back at least fifty years to take their readers outside of the events they are currently experiencing and use setting to make readers feel they are living in another time and place.
Research is key and setting is vital in this genre.
Examples:
The Book Thief by Markus Zusak
Wolf Hall by Hilary Mantel
The Girl with a Pearl Earring by Tracy Chevalier
Young Adult Fiction Examples
YA Definition:
Young adult fiction is a genre of literature written primarily for audiences between the ages of 12 and 18.
However, although these novels are written to target adolescents, more than half of YA readers are adults.
Novels in this genre tend to be written from the viewpoint of young people, generally tend to be fast-paced, and cover a wide area of subjects that young adults might be facing.
Examples:
The Perks of Being a Wallflower by Stephen Chbosky
The Fault in Our Stars by John Green
One of Us is Lying by Karen McManus
Fantasy Fiction Examples
Fantasy Definition:
Fantasy fiction is a genre categorised in general by its inclusion of magical elements.
It is a genre of speculative fiction that typically includes fictional universes, and most fantasy novels are inspired by mythology, folklore, or traditions.
Setting and deep characterisation are vital in this genre.
Examples:
A Game of Thrones by George RR Martin
The Colour of Magic by Terry Pratchett
The Lord of the Rings by JRR Tolkien
What Is Literary Fiction?
Literary fiction, unlike genre fiction, is fiction that puts an emphasis on style, character and theme over plot.
Although the definition of literary fiction can change and warp year on year, there are some fundamental aspects that remain the same.
Works of fiction that are classed as literary fiction generally contain the following:
Character (rather than plot) driven
Exploration of deeper themes
Exploration of social, political, or emotional situations
Potential ambiguous ending/not necessarily a ‘Happy Ever After’
No strict adherence to a structured plot
No strict adherence to standard formatting or prose style
Examples Of Literary Fiction
Below, you can find three separate examples of literary fiction:
The Goldfinch By Donna Tart
Theo Decker is the son of a devoted mother and a reckless, absent father. He survives an accident that otherwise tears his life apart. He is taken in by the family of a wealthy friend.
The Goldfinch is a haunted odyssey through present-day America. Combining unforgettably vivid characters and thrilling suspense, it is a beautiful, addictive, sweeping story of loss and obsession, of survival and self-invention, of the deepest mysteries of love, identity and fate.
This novel, published in 2013, won the Pulitzer Prize and was described by Stephen King as being ‘a smartly written novel that connects with the heart as well as the mind.’ It is character driven and delves into difficult topics.
The House Of Fortune By Jessie Burton
The House of Fortune is the long-awaited sequel to Jessie Burton’s bestseller The Miniaturist.
It has been described as a glorious, sweeping story of fate and ambition, secrets and dreams, and one young woman’s determination to rule her own destiny.
Just like her debut, The Miniaturist, this fabulous sequel is beautifully crafted, the characters, their lives and the settings leap from the page and drive the book forward. It’s a perfect example of exquisitely written literary fiction.
Maps Of Our Spectacular Bodies By Maddie Mortimer
When a sudden diagnosis upends Lia’s world, the boundaries between her past and her present begin to collapse. Deeply buried secrets stir awake.
As the voice prowling in Lia takes hold of her story, and the landscape around becomes indistinguishable from the one within, Lia and her family are faced with some of the hardest questions of all: how can we move on from the events that have shaped us, when our bodies harbour everything? And what does it mean to die with grace, when you’re simply not ready to let go?
This entrancing novel is moving, heartbreaking and beautiful all at once. The language, formatting, and subjects discussed not only make this a stunning example of literary fiction, but are also the reasons this debut has been longlisted for this year's Booker Prize.
What Is Mainstream Fiction?
Much like literary fiction, mainstream fiction consists of novels that can’t be easily identified into a specific genre. Unlike genre fiction, which clearly sets out what you can expect from the novel, mainstream fiction can, and often does, cross book genres.
Unlike genre fiction, mainstream fiction can be slightly harder to sell, doesn’t always have a clear audience and is generally sold on the back of author recognition and a dedicated audience.
Mainstream fiction generally follows a linear structure, more often than not has a happy ending (or at least a satisfying one), and readers don’t have to work hard to understand the story.
Like literary fiction, mainstream fiction delves deeper into characterisation and may touch on philosophical issues, but unlike literary fiction, it does still focus heavily on plot and story.
Examples Of Mainstream Fiction
It can be hard to tell the difference between mainstream fiction and literary fiction, but below you can see some examples of the most popular mainstream fiction on the market.
Big Little Lies By Liane Moriarty
Big Little Lies is a novel that explores complex relationships, difficult topics and sensitive issues, wrapped up in a story that could be described as a crime, thriller, psychological thriller or even domestic thriller. It is a complex story that relies heavily on characterisation, but plot and story are integral.
It is the perfect example of mainstream fiction and those who are already a fan of Moriarty’s work instantly know what to expect from this author's books. They may not fit neatly in one genre, but they hit all expectations and leave the reader satisfied at the end.
The Lovely Bones By Alice Seabold
Again, this novel is intense in its exploration of grief; it's complex in its characterisation and explores themes that set this book apart.
The plot of the book isn’t complex, but it is complete and the reader is left satisfied, but the genre of the book is not instantly clear. It sweeps between genres and picks up readers in multiple guises.
Other authors who fit well into the mainstream fiction category are Maeve Binchy, John Irving, Dan Brown, Ian McEwan and Nora Roberts.
Frequently Asked Questions
What Are The 9 Types Of Fiction?
Within fiction, there are many different subcategories that can help determine story type and therefore the audience these novels are marketed to.
These subcategories are:
Science fiction
Mystery/crime fiction
Historical fiction
Thriller/suspense fiction
Young adult fiction
Romance fiction
Horror fiction
Fantasy fiction
Western fiction
What Is The Most Popular Novel Genre?
Well, that is one of the most difficult questions to answer – why? Because depending on who you talk to, and which data sets you look at, you may discover a different answer.
During the pandemic, we saw a surge in reading and a change in reading habits. Depending on the state of the world, readers reach for different stimuli.
Romance, both contemporary and historical, are always incredibly popular and for many years, romance fiction has not dropped out of the top five bestselling genres.
However, crime and thriller books are forever competing for the top spots, with the likes of Lee Child, Gillian Flynn, and Colleen Hoover topping the charts consistently.
Fiction Genres
As you can see, there are so many areas of the writing world that you can indulge in, and so many subgenres of fiction to explore. With so many different types of novels out there, all you have to do is decide which one fits your style the most and then dive right in.
Always remember, there is no wrong way to write, and no right genre to start with… all you need to focus on, is getting those words onto the page and out into the world.
In short, urban fantasy does what it says on the tin; it’s a genre of literature where fantasy is set against what can be considered an urban backdrop or a fantasy story that is set in a city or suburb.
Note that I’ve said “what can be considered,” meaning the fantasy doesn’t have to be set in New York or Chicago (existing cities) for it to be considered urban, it can be set in a made-up place as long as it fits an urban description. Often, like in the case of Gotham City, you will see fantastical places mirroring, or inspired by, real-life urban settings.
In this guide, you will learn what the urban fantasy genre is, how to recognise the urban fantasy genre, and discover our top tips for writing it.
We will cover how urban fantasy stories rose to popularity and the difference between urban fantasy and other fantasy sub-genres such as paranormal romance.
What Is Urban Fantasy? (This Time With Feeling)
Simply put, urban fantasy is fantasy set in a city or modern residential setting, but more often than not the urban setting becomes another character and provides a gritty nature/aesthetic to the story that readers of urban fantasy have come to love and seek out.
Think about it, what would the Sookie Stackhouse (Trueblood) novels or TV series be like if they weren’t set against Louisiana backwater towns? Would Buffy have the same vibe if she lived in a woodsy fantasy world, or if it was set in medieval times? Would Percy Jackson be the same popular series if Percy simply ventured to Olympus rather than the Greek Gods existing in, and interacting with, modern-day America (which is the best part of the series)?
Urban fantasy has a kind of asphalt colouration to it and the name of the genre speaks more to the aesthetic of the story than anything else.
The backdrop aesthetic in an urban fantasy is really important, and the look and feel of the setting often play a key role in the story; the setting in urban fantasy is an important character. For this reason, the urban setting needs to be very well developed.
What IsThe Difference Between Urban Fantasy And Paranormal Romance?
Many books today fit neatly in both the urban fantasy sub-genre AND the paranormal romance category and there is a great deal of overlap between both genres, especially in the self-publishing sector. With that said the two genres are not mutually exclusive, they just happen to overlap.
Paranormal romance is a genre that combines fantastical characters such as vampires, werewolves, shifters, faeries, goblins, and witches, and puts romance at the front and centre of the storyline.
It is important to remember that urban fantasy and paranormal romance are not synonymous; one focuses on romance and the other is set against an urban backdrop but does not require romance.
There are just as many urban fantasy novels with romance as there are without. Both options are valid and it is up to you to decide whether romance will play an integral part in your story.
Key Elements Of Urban Fantasy
There are common elements that you will see in urban fantasy novels, however, it’s important to know your book can still fit in the genre without these elements as long as it's set against the backdrop of an urban setting which then plays a significant part in the story.
Common elements of the genre include:
A dark aesthetic (very rarely bright and sunny aesthetic)
Derelict cityscapes (not countryside/ house on the prairie settings)
A character living in two worlds (the normal urban world and the fantastical underlayer world that they are aware of)
Examples Of Urban Fantasy
Here are a few examples of some YA and adult urban fantasy novels:
Rivers of London by Ben Aaronovitch
Neverwhere by Neil Gaiman
American Gods by Neil Gaiman
Daughter of Smoke and Bone by Laini Taylor
House of Sky and Breath by Sarah J Maas
City of Bones by Cassandra Clare
Percy Jackson and the Lightning Thief by Rick Riordan
Vampire Academy by Richelle Meade
Wicked Lovely by Mellissa Maar
Crave by Tracy Wolf
The Alex Craft series by Kalayna Price
The Mercy Thompson series by Patricia Briggs
The Jane Yellowrock series by Faith Hunter
Urban Fantasy And YA
As you can see, YA fiction is heavily present on the list. That’s because YA books very often intersect with urban fantasy as urban fantasy is very popular amongst teen readers; hence some of the most recognisable urban fantasy titles are also in the YA genre.
Often urban fantasy explores the idea, ‘what if X fantastical beings lived among us?’
The blend of taking a character who is used to their modern world (one that we the reader also recognise) and showing them a side of their world they were not aware of, is very popular in the genre.
Books Which Aren't Examples Of Urban Fantasy
And here are a few famous books that might be considered urban fantasy but aren’t:
The Harry Potter series by J.K Rowling
The Chronicles of Narnia by C.S. Lewis
The Lord of the Rings series by J.R.R. Tolkien
These books do not have the key elements of the urban fantasy sub-genre.
Of course, these classics are heavy in fantasy however they lack the integral urban setting to qualify for the urban fantasy genre, despite featuring cities at times.
Harry Potter, though from the urban world, spends very little time in it and most of the books take place entirely in the magical world. Though some people would probably argue that Harry Potter does spend some time in the urban world, it’s too little to put the book in the urban fantasy genre.
Tips For Writing Urban Fantasy
There are many ways to write urban fantasy books but here are some tips:
Turn The Setting Into A Character
In the books I co-write (Blood Web Chronicles by Caedis Knight) the cities the books are based in play a huge role; in Vampires of Moscow and Witches of Barcelona the urban backdrops function as important characters. Meaning the books would just not be the same without those cities.
The urban backdrop in urban fantasy stories cannot be static, it has to be a living breathing thing.
For example, if your fantasy is set in New York, but there are only a handful of mentions of the city, then you are not serving the genre justice. Use the city on every level possible- atmosphere, characterisation, plot development.
Make sure to research your setting (if it’s a real city) and use good descriptions to characterise it. Make sure your chosen setting is constantly serving the story.
Maybe ask yourself the question, how does this setting push the story further? How does it aid the main character’s development? How does the city stand in the way of the characters' goals? If your main character grew up in this city, how did it shape them?
Think about how important Sunnydale is in Buffy the Vampire Slayer, and how its position on the Hellmouth plays a large role in Buffy’s life and her development as the main character. Buffy’s entire life- who she dates, who she becomes, her traumas and triumphs, are defined by Sunnydale and the Hellmouth.
Recognise And Utilise Fantasy Tropes
When adding paranormal or fantastical creatures ask yourself how they interact with the setting. How does the setting serve them? Where do they hide? How does (or doesn’t) the city provide for them? Where do they hang out? How does this setting characterise and shape their lives?
Think about the tropes in the fantasy books you've read, and adjust them to make them your own.
A helpful tip is to print a map of the city or draw one (quality doesn’t matter here) and decide where in the city your different factions or paranormal groups prefer to dwell and why.
You can use Google Maps to save locations and create an entire real-life map of where your characters (and villains) spend their time.
This could help you with your writing and as a bonus be shared with your readers down the line.
Read A Lot Of Urban Fantasy For Inspiration
Urban fantasy is an ever-growing genre that has been amassing popularity quickly in recent years.
Because urban fantasy lovers tend to read widely in the genre, it’s a good idea to read (and research) a number of urban fantasies so that you know you are getting it right.
More importantly, you will get inspired when it comes to designing your own urban setting.
Create Pinterest Boards With Urban Aesthetics
What does the dingy New York bar where your werewolves hang out look like? What does your city hall look like? Where are you drawing inspiration for your urban tunnels or derelict factories?
Design The Elements That Go Hand In Hand With Your Urban Setting
What do people eat in this city? What do people wear? You might get caught up in your fantasy plot and forget to truly colour the urban backdrop. When I think about fantasy set in New Orleans I instantly think about the food.
Currently, in our Caedis Knight series we are writing about werewolves in Berlin, and though Berlin is a slightly derelict gloomy city perfect for urban fantasy, we have been careful to include all the colourful food- Pink Berliner Weise beers, the world’s best kebabs, fresh Baklava from the Neukoln district- all to add colour and warmth to the story.
It’s important to remember that cities are not just architecture- they are food, music, events, crime, nature and a million other things you must include in your book.
Similarly, if you are writing urban fantasy that's dystopian and your setting is truly all doom and gloom, explore that! Explore what people eat in this impoverished society and how they survive; dig deep into the darkness of this setting and how that relates to the characters.
Frequently Asked Questions
What Are Some Examples Of Urban Fantasy?
Some examples of popular urban fantasy include American Gods by Neil Gaiman, the Shadowhunter series by Cassandra Clare, and the Southern Vampire Stories (Sookie Stackhouse novels) by Charlaine Harris.
What Is The Difference Between Fantasy And Urban Fantasy?
Urban fantasy is a sub-genre in which the fantasy plotline plays out against an urban backdrop and the urban setting plays an important role. All urban fantasy sits in the fantasy genre but not all fantasy is urban.
What Are The Elements Of Urban Fantasy?
Elements of urban fantasy include a dark noir feel, the city as a character, mysteries and crime solving, combat, romantic sub-plots, derelict settings, fantastical characters and paranormal characters. They also often involve a character with a foot in both worlds.
Writing Urban Fantasy
It is very beneficial for authors to explore the sub-genre of urban fantasy as it’s a genre that keeps rising in popularity. Not to be confused with paranormal romance, urban fantasy has earned its place as one of the highest-selling sub-genres in fantasy and one of the most lucrative indie sub-genres on Amazon.
It’s a great genre to consider if you are passionate about fantastical plots and characters but wish to set your story against a gritty urban modern backdrop.
Most importantly, be prepared to treat your chosen urban setting as an important character in your plot.
Having compelling characters in your novel can be the difference between a good story and a great one, igniting a reader's imagination with every turn of the page. Some of the most memorable fictional characters have lasted the test of time because of how the author described them.
From Heathcliff to Fagin, from Scarlett O'Hara to Matilda, the way these characters look, move, behave, and interact with others and their surroundings make them larger than life, leaving a lasting impression because they feel so real.
In this article, we're going to look at the fourteen questions every writer should ask themselves when planning on describing their main characters.
Use this guide as a checklist and learn how strong character descriptions can bring your book to life!
How To Write Compelling Character Descriptions
When it comes to writing character descriptions, many people instantly think of physical details. Yes, it's often important to show what your character is wearing or what colour their hair is, but real people are made up of more than just a police lineup description.
To reveal character traits beyond a physical attribute you need to go deeper. When you understand your character's flaws, needs, fears, ambitions, childhood, and past and future goals, you can unearth a richer and more believable person.
This involves looking at each non-visual medium as well as the surroundings of that character and how they influence them, their behaviour, and their persona.
Why Are Character Descriptions Important?
A professional writer knows that character description is incredibly important. Without character development, your story is just a plot that no one will care about.
A reader connects not with the adventure, but with the person embarking on it. They're not invested in the love story but in the two people experiencing it. They don't care about how someone was murdered as much as who was murdered and who did it.
When a reader empathises with a character, that story becomes so much more important. When a reader roots for the hero, or hates the villain, they will keep turning those pages.
An author gets just one chance to make an impactful first impression, to include the right details to make their characters jump off the page - so make sure you make each character unique!
Let's discover how you can do that by asking yourself the following questions...
14 Questions To Ask Yourself When You Describe Characters
Here are the first fourteen questions any writer should ask themselves when developing their characters and describing them to readers. Feel free to add even more, but if you don't know the answer to any of these then your reader may struggle to imagine what each character is like.
And remember, you can describe a character in many different and original ways, even if you completely leave out physical appearance - if a reader knows enough about them they will fill in the blanks. That's the magic of storytelling!
1. What Is Their Background?
This question is very important.
In Dickens' Oliver Twist, an orphan boy joins a street gang of young London thieves. Dickens knew Oliver came from an affluent family originally, so ensured the boy's characteristics were gentle, a little meek, and his physical attributes fine and elegant.
Dickens then provides the perfect foil character in Oliver's new pickpocketing friend, The Artful Dodger, who is described very differently. We know Dodger is from the rough streets of Victorian London by the way he talks, dresses, moves and behaves.
This is a wonderful description of The Artful Dodger!
He was a snub-nosed, flat-browed, common-faced boy enough; and as dirty a juvenile as one would wish to see; but he had about him all the airs and manners of a man. He was short of his age: with rather bow-legs, and little, sharp, ugly eyes. His hat was stuck on the top of his head so lightly, that it threatened to fall off every moment—and would have done so, very often, if the wearer had not had a knack of every now and then giving his head a sudden twitch, which brought it back to its old place again.
Oliver Twist by Charles Dickens
2. Can You Include A Foil Character?
When you have two characters, try and make them opposite to one another - these are called foil characters. Foil characters are very useful in literature as they enhance and highlight the main character's traits by showing the reader opposite ones.
For instance, if you want to emphasise how mean a character is, then have them go shopping with someone who's overly generous. Likewise, show how quiet and insecure someone is by having them recoil in horror as their companion booms and shouts and draws attention to them.
3. How Old Are They?
How a child sees the world is very different to how an adult does.
In Roald Dahl's Matilda, the protagonist is a very young girl who is incredibly clever. She's everything a 'good' child should be and very advanced for her age. We can see that through the way she dresses (with a red ribbon in her hair), her habits (she loves to read and go to the library alone), and her resourcefulness (she can't carry all the books by herself so takes a toy trolley to put them in).
In contrast - once again, those helpful foil characters - her parents are everything a 'bad' parent can be. They don't cook proper meals, insist their children eat in front of the TV, and barely pay any attention to them (and when they do it's to critique them); they continuously put looks and money above their children's educational needs.
The age of a character not only determines how they dress and the way they speak, but it can also influence how they act. If you want to portray a child as being cruel, they may pull another child's hair or call them names. If you want to show an adult in the same way (like Matilda's nemesis, Mrs Trunchbull) you may show her not sharing her special chocolates and scaring the children who she's meant to be looking after.
Likewise, those attributes may influence their physical descriptions. As Roald Dahl said himself in his book, The Twits:
A person who has good thoughts cannot ever be ugly. You can have a wonky nose and a crooked mouth and a double chin and stick-out teeth, but if you have good thoughts it will shine out of your face like sunbeams and you will always look lovely.
The Twits by Roald Dahl
4. What Are Their Physical Features?
Physical descriptions are the easiest way to paint a picture of a character - but they're also the least imaginative.
For example, the physical characteristics of a character may be:
Hair colour - brown hair, black hair, blonde hair etc.
Eye colour - brown eyes, green eyes, blue eyes etc.
Build - tall, short, slim, overweight, muscly, average build (whatever that means) etc.
But, unless the eye colour is vital to the storyline (in my own book, The Path Keeper, Zac's eye colour plays a fundamental role in the entire trilogy), using up half a page to describe how they look is boring.
When describing bodily features and other details, try to think of very specific characteristics such as perhaps a scar, the shape of their nose, chewed fingernails, or hair that has greying roots. Although stay away from stereotypes, especially when it comes to race, ethnicity, and other minorities.
Likewise, don't have them staring into the mirror contemplating their looks so the reader knows what they look like. Men, take note, no woman ever thinks about the size or shape of their breasts!
Let's take a look at Dickens again and his character in Hard Times, the boastful, self-important Mr. Bounderby.
Here's a bad example of how he could be described, using just physical attributes:
He was six foot two and weighed 250 pounds, with brown hair and dull blue eyes. His suit was made from rough tweed and his leather boots looked expensive. He worked in a bank and his laugh was very loud.
Not very evocative. It sounds like you're giving the police a description of the man who ran off with all your money.
This is how Dickens actually describes Mr Bounderby:
He was a rich man: banker, merchant, manufacturer, and what not. A big, loud man, with a stare, and a metallic laugh. A man made out of coarse material, which seemed to have been stretched to make so much of him.
Hard Times by Charles Dickens
5. What Are They Wearing?
Clothes say a lot about a person. Not just in terms of whether they are dressed formally, casually or in a uniform, but also in how they wear their clothes.
Do they have a button missing? Are their trousers ironed with a crease down the centre or are they crumpled? Are there clothes old and worn, or new and from designer brands?
What about their shoes? Is a woman wearing heels to do something that would be better suited to trainers? Does a man wear his expensive suit accessorised with odd colourful socks?
In Margaret Atwood’s Booker-winning novel The Blind Assassin, the narrator Iris begins the story thinking back to her sister Laura’s death.
Laura’s troubled personality shines through in Atwood's descriptions of her clothing:
I could picture the smooth oval of Laura’s face, her neatly pinned chignon, the dress she would have been wearing: a shirtwaist with a small rounded collar, in a sober colour – navy blue or steel grey or hospital-corridor green. Penitential colours – less like something she’d chosen to put on than like something she’d been locked up in.
The Blind Assassin by Margaret Atwood
6. What Is Their Job?
When it comes to showing, not telling, a job can really help describe a person (as in the case of the banker above).
If a novel opens with a nurse tending to a sick child and then stopping to pet a cat on her way home, it's highly unlikely she's going to be cruel and uncaring. There's no need to say 'Kate was a very patient and kind woman who loved children and animals' if you've already demonstrated that by her profession and actions.
Likewise, a gardener will enjoy being outdoors and a sailor will be comfortable out on the ocean. Or, to make things more interesting, you could have your gardener scared of worms and your sailor unable to swim!
7. What Makes Them Unique?
A character's personality is determined by how they move and act, as well as how they look. Give them a quirky personality and some character traits people won't forget in a hurry.
If I write about a woman who collects buttons, which she then leaves behind on the body of every man she murders, you will probably have a very distinct idea of what she looks like. In contrast, a woman who lives in a hut in the forest, breeds ferrets, and makes her own clothes, will look, move, sound, and behave very differently.
8. How Do They Move?
Physical attributes determine how a character moves, and body language says a lot about a person.
For instance, if a teen character is awkward with long legs and arms, they may lope, amble, or bump into things. If someone is young and healthy they may run everywhere. If they are older, or unwell, they may move slower or more deliberately.
9. How Are They Feeling?
You can describe a character's face and body language, or you can tell the readers what they are thinking and feeling. Facial expressions are a great way to determine what that character is like.
For instance, a man with creases around his eyes from smiling a lot, is going to be a very different character from one who has deep furrows on his forehead from being constantly angry.
I don't recommend you focus on skin colour, but if the character is white then describing pale skin that's clammy at the touch may indicate they're unwell, or that they don't get out of the house much.
10. How Do They Interact With Their Surroundings?
The people in your book don't live on a blank page; all characters inhabit a place - the setting of your book. How they interact with their surroundings says a lot about their character.
If the book is set in the jungle, the character who is scared and over-reacting is going to be a very different type of person to the one who is fearless.
Surprise your readers. Maybe the muscly man is scared, and the older lady wearing a floral dress is the one who fights off the killer snakes.
Consider other sensory details.
Does your character like the smell of flowers, or does it remind them of their abusive grandmother? Or do they prefer the scent of bleach because they have a cleaning addiction that stems from their sad childhood? What about the food they eat, the sounds they pick up, and the way they see the world?
Be creative with how they react to the environment.
11. What Do Other People Think About Them?
It's always fun to have a character perceive themselves one way, and then demonstrate how they're perceived by others.
Write character descriptions that are contradictory. If you have an obnoxious character that's despised by everyone he works with, have him think he's the smartest, most helpful person in the office. If you have a child who doubts their ability at school, have them be the teacher's secret favourite.
In Emily Brontë's, Wuthering Heights, the protagonist Heathcliff is a contradictory mix of wild ways and gentlemanly expectations. You can see that juxtaposition in the way the author describes him:
But Mr. Heathcliff forms a singular contrast to his abode and style of living. He is a dark-skinned gypsy in aspect, in dress and manners a gentleman, that is, as much a gentleman as many a country squire.
Wuthering Heights by Emily Brontë
12. What Do They Think Of Those Around Them?
I am yet to meet a more fascinating character than Jean-Baptiste Grenouille in the novel Perfume, by Patrick Süskind.
His extreme olfactory powers mean that he experiences the world through his intense sense of smell. Everyone around him has a pungent, overbearing odour, while he himself has absolutely no scent at all. This in turn results in him hating all human beings.
People left him alone. And that was all he wanted.
Perfume by Patrick Süskind
That line alone tells you everything you need to know about how others perceive him and how he perceives them.
Think about how your characters view their friends, colleagues, family members, children and partners.
13. How Do They Behave?
How a character treats others is extremely telling of their values and personality.
In Joanna Harris' book, Chocolat, the main character Vianne describes a customer in her shop as:
His face is small, delicately featured. He is the kind of man who breaks biscuits in two and saves the other half for later.
Chocolat by Joanna Harris
No eye or hair color, no clothing or job description. None of that is needed. We know exactly what kind of man he is by the physical description of 'small' and 'delicate' and his precise actions.
It's too easy, when describing a character, to have them fit a specific (and unoriginal) mold. Is your hero tall, dark and handsome? Is your teenager surly and distant? Is your old man cranky and bigoted?
In Jonas Jonasson's book, The Hundred-Year-Old Man Who Climbed Out of the Window and Disappeared, the main character is not only full of adventure and hope - but he's 100 years old. And nothing like you would expect an old man to be!
People could behave how they liked, but Allan considered that in general it was quite unnecessary to be grumpy if you had the chance not to.
The Hundred-Year-Old Man Who Climbed Out of the Window and Disappeared by Jonas Jonasson
Frequently Asked Questions
How Do You Describe A Character's Appearance?
When describing a character's appearance, only focus on the details which are relevant to the story. So if your character's going undercover and wearing a short blonde wig, it would be useful to know that their hair is usually long and brown, so their disguise is likely to be somewhat effective.
Remember, your character's description goes beyond just what they look like. You can let your readers know a lot about a character by how they:
Talk
Move
Dress
Act
Interact with others
Interact with their surroundings
As well as their backgrounds, their values, and how others see them.
What Are Six Ways To Describe A Character?
There are six key ways to describe a character:
Physical appearance
How they speak
How they move
How they treat others
Unique tics and character traits
How they interact with their surroundings
Great Character Description Matters
Good character description matters. Whether you are writing a novel, a short story, or even the blurb of your book - descriptive details in your writing will help your reader's imagination and bring your characters to life.
I hope this article has given you inspiration for your characters and helped you imagine them beyond their dark hair and green eyes. The joy of being a writer is that once you have imagined your characters in depth, after that they should write the rest of the book for you.
As author William Faulkner once said:
It begins with a character, usually, and once he stands up on his feet and begins to move, all I can do is trot along behind him with a paper and pencil trying to keep up long enough to put down what he says and does.
Science fiction and fantasy are my go-to, both for reading and watching on television, but also when writing my own stories. I always thought I understood the difference between these genres, so imagine my surprise when my science fiction book was marketed by my publishers as fantasy.
In hindsight, this misunderstanding wasn’t surprising. Fantasy and science fiction as genres have considerable overlap. But understanding what makes these genres distinct will enable you to hone your writing to the right audience, enhancing reader enjoyment and helping at the marketing stage.
So let’s explore the specific elements of both genres, what makes the genres different and the same, and why this understanding is so important.
What Is Science Fiction?
If you were anything like me as a kid and switched off during science lessons, then a quick Google will remind you that science is the study of the physical and natural world through experiments, observations, and measurement.
So the science fiction genre is exactly as it sounds: fiction grown from scientific principles and theory. A weaving of storytelling with the laws of nature and physics.
Science fiction explores scenarios that are possible, at least with scientific advancement, making them all the more relatable and frightening.
For someone science-adverse (like me,) it turns something stale into something wonderful and intriguing, binding science to emotions, humanity, the imagination, and ethical quandaries. I didn’t enjoy science as a student, but my rucksack was brimmed with science fiction novels by the likes of Asimov and Orwell.
The Key Elements Of Science Fiction
Science fiction tends to embrace advanced technology such as time travel or space travel, and/or a dystopian setting, where society embodies grave injustices or suffering.
These science fiction elements allow readers to explore important, often scary, ethical or theoretical questions from the safety and comfort of their sofas.
For example, will the ability to alter the past help or harm people? How can we spot the warning signs and stop our society from completely disregarding the rights of women? How can scientific development aid good and evil in this world and beyond?
Examples Of Science Fiction Stories
A Clockwork Orange By Anthony Burgess
A novel set in a dystopian world where criminality can be influenced by behavioural principles. This story draws on the psychological theory of behaviourism, but also poses a broader ethical question: is freedom of choice more important than the prevention of evil? This story blew my sixteen-year-old mind.
Station 11 By Emily St. John Mandel
A brilliant novel about a terrifying new virus. Sound familiar? This novel was written pre-covid, demonstrating how science fiction can be so grounded in reality, that it often has a predictive quality.
The Secret Deep By Lindsay Galvin
A wonderful example of middle-grade science fiction, wherein the DNA of mermaid-type creatures is used to enable people to breathe underwater. Such a great book for making science interesting for children.
Starship Troopers By Robert A. Heinlein
This exciting novel is a great example of military science fiction, a subgenre of science fiction that focuses on weapons and war. This genre is particularly scary as technological advancements are moving so quickly, that some of these ideas may soon be a reality.
The Loneliest Girl In The Universe By Lauren James
This brilliant YA novel is not only set in space, a popular science fiction setting, but was apparently inspired by a question on special relativity from Lauren’s university physics course (for those who don’t know, special relativity is a theory explaining how speed affects mass, time and space.) It’s a lovely example of how science fiction is often birthed from real-world ‘what if… ?’ questions.
The Martian By Andy Weir
This novel follows an astronaut's struggle to survive on Mars. This is a great example of hard science fiction, a subgenre that embraces scientific accuracy.
What Is Fantasy?
Unlike science fiction, fantasy deals with the impossible. Think magic and the supernatural. As such, it’s firmly rooted in the imagination rather than in science and natural laws.
The Key Elements Of Fantasy
The main elements of fantasy are mythical creatures, magical worlds, and the supernatural. These elements are so distinct from the real world, that they allow the reader complete escapism from the mundane. They also fully engage the imagination, something that has been shown time and time again to improve children’s development.
However, as adults, we tend to move away from imaginative play and fantasy worlds, and as we conform to society, so too can our dreams and creativity. Fantasy novels allow us to tap back into this freeing, fun, and creative state, where anything is possible.
Extensive world-building is another vital element of the fantasy genre, and writers often create entirely new histories, languages, religions, and cultures.
For my soon-to-be-published young adult fantasy novel, I devised a new religion and went as far as writing a handbook; a level of worldbuilding that isn’t unusual for fantasy writers.
World building makes the impossible believable and results in a deeply immersive experience for the writer, and ultimately, the reader. There’s a reason fantasy has some of the biggest fandoms like Twilight and Lord of The Rings. Not only do they inspire grown-up imaginative play, but the vastness of the imagined worlds encourages exploration through clubs, fanfiction, and fanart.
Examples Of Fantasy Stories
The Priory Of The Orange Tree By Samantha Shannon
This feminist reimagining of George and the dragon is a novel rich with world-building and mythical creatures. The original tale is from the 11th century, demonstrating the longevity of the fantasy genre, probably because our capacity to imagine and dream is a central part of our humanity that transcends time.
Pan’s Labyrinth
This beautiful film shows how fantasy can be combined with real-life history. In this case, mythical creatures and magical quests are blended with the very real Spanish Civil War.
The Last Days Of Jack Sparks By Jason Arnopp
This clever novel follows an arrogant journalist to his death after he angers the devil during an exorcism. It falls into the fantasy genre because it deals with the supernatural, yet it also falls into several other genres including horror, thriller, and suspense.
Snowglobe By Amy Wilson
This beautiful story about a girl who can jump between worlds contained within snowglobes shows how fantasy fiction can help children explore big issues in a safe way. In this case; loss, coming of age, and the responsibility that accompanies power.
The Gilded Ones By Namina Forna
This thrilling young adult fantasy novel is about the persecution of supernatural creatures, specifically demons, by mankind. The story is told from the point of view of a demon, flipping the traditional idea that demons are evil on its head. It’s particularly original and immersive and explores themes of the 'other' and of embracing difference.
Fantasy Vs Science Fiction
The main difference between fantasy and science fiction is that fantasy deals with the impossible, whereas science fiction deals with the possible.
Fantasy features magic and monsters, the realm of the imagination, and science fiction is grounded in scientific principles.
Both genres need internal consistency and logic, but in fantasy, the writer creates the rules, whereas, in science fiction, nature and physics dictate the rules.
In spite of these differences, significant overlap remains. Both science fiction and fantasy imagine worlds different from our own, and both deal with the hypothetical. Indeed, the similarities are so pronounced, it isn’t uncommon to blend both categories resulting in a genre known as science fantasy or fantasy science fiction. A great example of this is Star Wars. The setting is space, yet the force is magical.
Another key similarity is that the imagined elements of the external world heighten the internal conflicts and the goals of the protagonist. For example, in my fantasy novel, Antigua de Fortune of the High Seas, the main character must embrace her magical powers in order to heal the rift between magical sea creatures and mankind. At its core, her character arc is simple: you do you. But it wouldn’t be nearly so exciting if her self-discovery didn’t involve ocean magic.
Understanding these differences enables writers to tailor their books for specific audiences, therefore enhancing sales and reader enjoyment. This becomes especially important during marketing, ensuring your book reaches the target audience. Indeed, classification can be decided at the marketing stage, like in my debut novel, as the publisher considers which market is more buoyant or better suited to the story.
Frequently Asked Questions
How Are Fantasy And Science Fiction Similar?
Both fantasy and science fiction imagine worlds that are different from our own and deal with questions of ‘what if?’ As such, they both encourage the reader to keep an open mind – perhaps this is why both genres are particularly good at exploring broader ethical, philosophical, and emotional themes.
Both genres often blend existing history or culture with new and imagined elements, and also use the external elements of the genre, be that monsters or technology, to heighten the stakes and the internal conflict of the protagonist.
Can Science Fiction Also Be Fantasy?
Absolutely. Science fiction can have magical or supernatural elements. Think The Time Machine by H.G Wells, where the protagonist time travels to a fantasy land. Likewise, fantasy can include scientific elements, for example, The Avengers utilises advanced technology.
This blending of genres can be called science fantasy or fantasy science fiction. Sometimes the classification happens at the marketing stage, a decision informed by the popularity of a genre at the time of publication.
Can Science Fiction Have Magic?
Another resounding yes! Whilst you’re unlikely to find magic systems in hard science fiction, magic can exist in soft science fiction and other science fiction genres. Think Avatar, which is set in space, explores genetic engineering and contains elements of military science fiction, yet also contains a soul tree, central to the Na’vi’s spiritual belief system.
Also, supernatural powers can originate from science (think The X-Men by Jack Kirby and Stan Lee) and magic can arise from technology or affect technology, sometimes known as technomancy or technomagic. An example of this is The Last Days of Jack Sparks, by Jason Arnopp, where supernatural forces hijack social media.
Science Fiction Vs Fantasy: The Take Home
Both genres have huge merits. The plausibility of science fiction means the story falls closer to home, making the hypothetical all the scarier, whereas fantasy allows the reader to escape reality and tap back into a time when make-believe was encouraged.
Whilst it’s important to understand the differences and similarities between the genres, the most important thing is to write what works for your story and what sparks your own imagination.
Now that you understand the difference and similarities between these wonderful genres, you can unleash your creativity and let your imagination run wild.
There are so many opportunities out there to get your work discovered - and creative writing competitions, in particular, are a brilliant way to hold yourself accountable. Jericho Writers member Nikki Logan is a great example of taking a chance that greatly pays off.
With her very first creative writing venture having made it to the Women's Prize Discoveries Competition shortlist, we know she's on her way to big things. We caught up with her about how things have been since the competition, and what she found useful along the way.
JW: Hi Nikki! So, tell us a little about your background as a writer. When did you start writing?
I've been a copywriter since 2009 and had articles published in regional magazines, newspapers and trade publications, but I didn’t start trying my hand at creative writing until about five years ago when I decided to write a novel inspired by my Grandad’s life story. Even though I was a writer, it was at that point I realised just how different copywriting is to creative writing and I didn’t really have a clue what I was doing.
During the first lockdown in 2020, I was furloughed and took the opportunity to hone my skills in storytelling. I had a four-year-old to entertain in and around the house and was pregnant with my second child at the time, so I started with a free and flexible eight-week course online, Start Writing Fiction, through The Open University. It gave me a first look at some of the techniques and skills needed to write fiction - but I knew I had so much more to learn.
I researched online creative writing resources and came across Jericho Writers. Due to lockdown, they were hosting their Festival of Writing online from June until September for the first time, so I signed up. I learnt so much and there was a real sense of community, so I joined the Summer Festival in the following year, too, and then became a member. The Summer Festivals have helped me transform my creative writing, so much so that I’ve been able to make the opening of my novel strong enough to stand out from over 2,500 entries!
JW: You were recently shortlisted for the Women’s Prize for Fiction’s Discoveries Competition – for your first creative writing project, no less! What was the process there? Did you know you would be entering the prize before you had finished your work?
This is the second year the competition has taken place. I was aware of it last year, but wasn’t in a position to submit, so I made a note of this year’s deadline and worked towards it, more for accountability than anything else. The Discoveries competition is quite rare as it’s for unpublished women writers who are not required to have finished their novels. And it’s free!
To enter you only need to have written 10,000 words of your opening, which you submit with a synopsis. I knew this was an achievable goal to help me progress my novel and actually wrote quite a bit more before the deadline. If I’m honest, I didn’t expect to get anywhere with it, knowing it was such a big competition and this was my first creative writing project that I’d not let anyone else cast their eyes on! I had no idea if what I’d submitted was any good.
It’s also a development programme, not just a competition. Practical support is offered as part of the prize for longlisted and shortlisted entrants, which will be a brilliant help.
The Summer Festivals have helped me transform my creative writing, so much so that I’ve been able to make the opening of my novel strong enough to stand out from over 2,500 entries!
JW: How have things been since being shortlisted?
It’s been such an incredible experience already. I was shocked when I found out I was on the longlist of 16 out of over 2500 entries. Then a couple of weeks later I was shortlisted down to six, and was named the Discoveries Scholar at the end of the competition.
Since then, I’ve attended the hugely celebrated Women’s Prize for Fiction event held at Bedford Square Gardens, London, in June. This was amazing. I joined them for an evening of readings by the six shortlisted authors and then the next day for the ceremony, when Ruth Ozeki was announced the winner with her novel The Book of Form and Emptiness and gave the most inspiring and touching speech. I was also lucky enough to join an intimate in-person workshop with the wonderful Kate Mosse and JoJo Moyes, who imparted their wisdom on translating novels for screen and theatre.
If I’m honest, I didn’t expect to get anywhere with it, knowing it was such a big competition and this was my first creative writing project that I’d not let anyone else cast their eyes on! I had no idea if what I’d submitted was any good.
As a longlistee, I have just completed a brilliant two-week online Discoveries Writing Development Course held by Curtis Brown Creative (sponsors of the competition). I received such encouraging feedback and guidance from our tutor, author Charlotte Mendelson, as well as the other longlistees, who are an incredible group of talented writers and have already become such a friendly and supportive network to turn to.
As a shortlistee, I have been invited to attend studio sessions with Audible (another sponsor of the competition). And as the Discoveries Scholar, I have been awarded a place on a three-month Curtis Brown Creative course to help me complete my novel, which I am so excited about!
It’s all felt quite surreal. Since being shortlisted, I’ve even had literary agents approach me requesting my manuscript!
JW: What kinds of resources shaped your writing to be what it is now?
I've signed up to various webinars and listened to podcasts with authors – I love The Honest Authors’ Podcast by Gillian McAllister and Holly Seddon. I’ve also carried out years of research on the topic and themes of my novel. It’s surprising how much my research has shaped my writing, even down to the much smaller storylines. It’s helped me add depth by really being able to “show” scenes, rather than “tell” so readers hopefully feel transported into the story. I do try not to refer back to research before I write a scene, though, as I have enough understanding and it helps the story come across more naturally.
It’s all felt quite surreal. Since being shortlisted, I’ve even had literary agents approach me requesting my manuscript!
Jericho Writers' Summer Festival of Writing has been the greatest resource I have relied on. I still refer back to my notes on webinars like Debi Alpers’s expertise on voice and psychic distance and Rebecca Horsfall’s session on 'Show, Don’t Tell'. I also enjoyed hearing tips from authors like Julie Cohen on plotting, Philippa East on getting a publishing deal, and Cesca Major, whose scene outline template I use religiously! It was exciting to join webinars with literary agents too, like Laura Williams, Liv Maidment and Juliet Mushens, who really helped demystify the steps to getting a novel published.
Enter as many competitions as you can. If you succeed, they can be a great platform for exposure and endorsement and, if nothing else, they give you a deadline to progress your novel. What have you got to lose?
JW: Do you have any advice for writers in the middle of their early projects?
As someone who is still in the middle of an early project, I understand how isolating writing can be, especially when you’re putting in so many hours without knowing if what you’re producing is any good or not. I would definitely recommended joining writing groups and communities or even just finding one person in a similar position to you for encouragement, feedback and a bit of accountability.
Don’t be afraid to put your work out there for critique. It’s daunting, but I have done this since entering the Discoveries competition and it’s been invaluable as well as made me even more excited about completing my novel!
And finally, enter as many competitions as you can. If you succeed, they can be a great platform for exposure and endorsement and, if nothing else, they give you a deadline to progress your novel. What have you got to lose?
About Nikki
Nikki is a copywriter from Suffolk who is currently writing her first novel inspired by her grandfather’s experience as a post-war Caribbean migrant in Deep South USA and England.
The opening of the story was recently shortlisted for the Women’s Prize for Fiction Discoveries 2022 competition.
She was also chosen from the shortlist of six as the Discoveries Scholar, winning a place on Curtis Brown Creative’s three-month Writing Your Novel course.
She is drawn to character-driven novels and believes fiction is a powerful tool to entertain as well as inform and influence social empathy, changing the way people see the world.
Do you dream of seeing your own cookbook on the shelf?
If so, this article is for you.
From key considerations before you start, to exploring different kinds of cookbooks and knowing what to expect from the creative process, this guide can help you bring those recipes to the page.
So put on your apron and let’s get started!
Things To Consider Before Creating Your Cookbook
What Is Your Concept?
If you met someone for the first time and they asked about your cookbook project, could you describe it in less than two sentences?
If not, it’s time to refine your concept. You’ll need it to stand out in the crowded cookbook market with a clear unique selling point.
Whether you’re the next star of vegan baking or want to share the healthy Mexican recipes your dad taught you, you will need to hone your idea before you go any further.
It needs to be memorable, authentic and true to you and your style of cooking.
Who Is Your Audience?
It is so important to have a core readership in mind. Perhaps you already have an online community via social media or a blog – if so, try to understand who they are and how they respond to your posts and recipes. Do they love quick, simple midweek meals, or blow-out complicated dishes for impressing friends?
Many of the most successful cookbook authors engage with their audience from the earliest stages, involving them as they create a book concept, asking them questions and generally building excitement and buzz with a ready pool of potential readers.
If you don’t have an online following, it’s still helpful to consider who you are writing for.
Is it likely to be a self-purchase or a gift? Perhaps your writing reflects contemporary concerns such as budget, health, or sustainability, in which case, how might your book make a difference? Do you love writing about the stories behind food, as much as the food itself?
Food brings us together, and the best cookbooks offer the same sense of connection you get from sharing a meal.
Once you have your reader in mind, you can return to them whenever you’re making decisions.
So, for instance, before you add that micro-herb to your garnish or start describing an elaborate way to chop up an avocado, ask yourself: will this appeal to my reader?
Maybe it will, and that’s fine too, but keep checking back.
Find Your Tribe
Building a community with other food writers can help you share ideas and create a supportive environment for planning and publishing a cookbook.
From Twitter to FoodTok to Instagram, there are so many like-minded cooks sharing ideas, bringing up the next generation of writers, forging partnerships, and organising food pop-ups and supper clubs.
It’s a vibrant, inspiring place to be, and super exciting if you are just starting out.
Get involved and bounce ideas around and it will help you get a broader sense of what you want to do. Plus you have a ready group of cheerleaders when the book comes out, and some of them may even help you when it comes to the recipe testing process.
Knowing The Market
Many of us have favourite cookbooks with scribbled notes and splattered pages. Do you look at other books on the market, too?
Try reading consumer reviews on Amazon and other retailer websites. Take frequent trips to bookshops to see what is already out there and figure out how your book might stand out. Flick through pages of the books to see what you like and don’t like.
Get a sense of the different book formats (hardback and paperback, size and number of pages). Compare how books are structured. Do you like an illustrated approach or a photographic one?
Consider how many photographs should be included and if the food looks aspirational or easy to achieve. It’s also worth looking out for the smaller details like icons and tip boxes.
What elements would you bring together for your dream cookbook?
All of these factors can help you decide on the type of cookbook you’d like to write, whether that’s with the backing of a publisher or as a solo venture.
Popular Types Of Cookbooks
Traditionally Published Cookbooks
This is often seen to be the dream scenario for cookbook writers. Although it depends on the size of the company, there are huge benefits to working with a publisher’s expert team: from editorial guidance to design and photography, and from sales and commercial channels to marketing and PR support.
If you want to explore this option, create a list of publishers that already publish books in similar areas, ranging from those with the largest to smallest lists.
This is a very competitive route to publication, because cookbooks are the most expensive kind of books for publishers to create and print. Many writers feel the benefit of working with literary agents to navigate the early stages and their relationship with a publisher.
Editors are often happy to look at proposals directly from authors (especially at smaller publishers), so both routes are open to you.
Self-Published Cookbooks
Increasingly, writers self-publish cookbooks, either by setting up an e-book that’s downloadable from their website or working with a small printer to print and bind small print runs of physical books. (See our self-publishing courses for writers here.)
Self-publishing has the advantage of being a faster process, so you can bring your book to market quickly, plus it is a great way to build demand and engage with your community.
However, it can be an expensive and time-consuming process, and you won’t have the expertise and commercial benefits touched on above, so just keep this in mind as you plan.
It might be worth considering crowd-funding – especially if your book is responding to a real need.
Many writers begin by self-publishing their books and make the switch. The authors Shaun and Craig McAnuff started with a self-published cookbook that they sold through their channels, to huge success, before they went on to publish the bestselling Natural Flava with Bloomsbury.
Examples Of Cookbooks
To give you an idea of the broad spectrum of cookbooks on the market, I’ve selected five cookbooks that are all very different but have been very successful in their space.
The Roasting Tin – Rukmini Iyer (Square Peg, 2017): With its vibrant design, compact size and deliciously simple food, the bestselling The Roasting Tin (and subsequent spin-offs) is a fantastic example of how a totally fresh concept can captivate readers.
Ottolenghi Simple – Yotam Ottolenghi (Ebury Press, 2018): Simple brings together richly flavoured, easy and inventive recipes from bestselling author and chef Yotam Ottolenghi. Thanks to the simple and fast methods, this book reached a wider audience than previous books as it appeals to both adventurous and less confident cooks around the world.
Pinch of Nom – Kate and Kay Allinson (Bluebird, 2019): The fastest-selling cookbook of all time, this phenomenon comes from the team behind the huge online community of the same name. Packed with full-flavoured, home-style recipes that also happen to be slimming-friendly, Pinch of Nom has become the go-to cookbook for millions.
Midnight Chicken – Ella Risbridger (Bloomsbury 2019): This illustrated cookbook breaks convention, by charting the redemptive power of cooking during difficult periods of life. Part memoir and part cookbook, this is a deeply personal, beautiful read as well as a collection of creative and achievable home recipes.
Made in India – Meera Sodha (Fig Tree, 2014): The best cookbooks take you on a journey in the kitchen. With Meera Sodha’s debut cookbook, she brings the home cooking from her Indian family home in London to a broader audience – with easy methods, fresh flavours, story-telling and an incredible, bold design.
How To Write A Cookbook Step By Step
These are the key steps to take when writing a cookbook.
1. Choose Your Concept
As mentioned above, owning your concept is a vital stage of the process. Think about what your concept is and what makes it really fresh and different.
Test it with friends and family. Keep it punchy, fresh and authentic to you.
Once you have this completely planned out, think about title ideas. You don’t have to land on the final title straight away, as it might percolate as you write.
You’ll also need a clear subtitle or strapline to help explain what the book is and its unique selling point. Make sure there isn’t another title with the same name on the market.
2. Plan Your Structure
There are lots of ways to organise cookbooks. Don’t be afraid to think creatively, providing the book is still user-friendly and clearly signposted.
How do your readers like to cook? This might be led by your concept. For instance, if your book is about speedy cooking, perhaps you could organise it into ’10 minute’, ’20 minute’ and ’30 minute’ chapters.
Or is it best to lead with the method of cooking or main ingredient? Consider your audience and what will grab their attention.
Now start populating your list, balancing the number of recipes in different chapters. This might change and develop during the writing stage, but creating a list like this upfront will help you to avoid repeating ingredients and give you the skeleton to work from.
At this stage don’t worry if your recipe titles aren’t the best, as they can be refined and checked as you go through the process.
Don’t forget to plan for the other chapters too – your introduction, key ingredients list, and favourite kit, if appropriate.
Perhaps you want to write about what has inspired your love of cooking, or a family member or place that is special to you. Adding your personality and your story makes it feel impactful.
3. Create A Proposal
If you have decided to self-publish, you may wish to skip this step and move straight to developing your book, although the process is still likely to be worthwhile.
Putting together a book proposal (a visual document introducing you and the concept) is key if you want to approach a publisher. If you get an agent, they will help you to put this together.
So, what should it contain?
Start with your concept and structure. Include a detailed biography, detailing any experience and social stats if relevant. Why are you the person to write this, and why now?
It is advantageous to have an awareness of the market and the books you'll be competing with, and also how your book could be marketed and promoted. Do you have any partnerships or existing relationships to boost its profile?
If you have no idea about this, don’t worry, but it could make you stand out.
Consider when you want to publish. How long do you need to write? Do you need to coincide with a particular season – Veganuary, or the perfect gift for Mother’s Day?
Include several complete versions of your own recipes in the proposal, so readers can get a sense of your writing. Choose your recipes carefully so they show your potential and varied repertoire.
An optional extra is to include designed-up recipe pages featuring images. It could help editors quickly visualise your project.
Most importantly of all: do not forget to proofread your proposal, and ideally, ask another person or two to read it before you send it anywhere.
4. Write Your Recipes
Some writers like to record voice notes as they cook, and then write up the recipe afterwards. Or they split their time by spending one complete day cooking and taking brief notes, followed by a day of writing recipes in more detail and editing at their desk.
Having an organised process and writing everything up quickly while things are fresh in your mind can help you capture important aspects you discovered as you were cooking.
If you can, list all the ingredients in the order they appear. Do you need to consider the correct measurements for your readers, for instance, metric or imperial, or cups? Do you need a piece of special equipment, such as a blender, that it would be good for readers to know about before they start? Do you want to list prep and cook timing? Consider the cost of ingredients, and how much is used.
Recipes need to be clear and precise, without assuming knowledge that might put off less confident cooks. Do you think your reader will understand the word ‘sauté’? Is there another way to describe it?
Also, think about ways to make the recipes accessible and achievable. Could you suggest ingredient swaps or additional options to change things up? Are there tips that will make trickier techniques easier to understand? Don’t forget the details: oven temperatures, size of tins etc.
It’s also really useful to include serving, storing, and freezing advice, if appropriate.
Think about the features you love when cooking yourself.
Never steal recipes from other sources or people – this must be your own work, consisting of your own recipes, from the perspective of copyright laws as well as ethics. The nature of cooking is that many recipes are passed from one person to another and adapted along the way, so always consider whether you should credit anyone.
Do you want to mention friends, chefs or other food cultures that have introduced you to ideas or influenced the recipes in your list?
If one of your recipes is inspired by Thai flavours, for instance, but you’re not from the culture yourself, make sure you mention the authentic dish and explain how you’ve made it your own. Respect food traditions.
Food writer Mallika Basu has helped to put together insightful cultural appropriation guidelines for the Guild of Food Writers website, so I urge you to take a look here.
5. Test Your Recipes
Test, test and test again. Ask friends to test, and maybe point them in the direction of specific feedback – for instance, ask your recipe testers to focus on whether it works within the time suggested or tastes good. You could even allocate one element for each recipe tester to pay the most attention to.
This is so important with all recipes, as when you’re writing yourself it is too easy to skip over a step by accident or leave out an ingredient.
Don’t only pick your foodie friends, but also ask people who never cook and you’ll get the most interesting feedback from your recipe testing.
This is especially important with baking recipes, which have so many variables. No one likes to invest time in a recipe that doesn’t work, so remember to take this stage seriously.
6. Edit The Text
If you’re working with an expert editor, they will fine-tune and sense-check your recipes with you, and if you are self-publishing, you should consider paying a cookery editor to check your text if you can.
A good copyeditor will put together a style guide for your book, like a checklist that avoids inconsistencies or any confusion.
They will ask the fiddly questions you might not have thought of, like: is it black or white mustard seeds you’re using here? What level of heat should your hob be on? How finely should you chop the onion?
7. Finalise The Design
Now, this is when the fun can begin – bringing your book to life!
Your first set of decisions has to do with how to publish. This bog has plenty of pages which will help support that decision, but this is a complex industry. Our collection of writing courses includes courses that deal with getting published in the traditional way (through an agent and publisher) as well as ones that will help you self-publish. If you're serious about your book, you'd be very well-advised to explore these courses seriously before proceeding - writing a book is hard; selling it can be harder.
Depending on your publisher, there might be the opportunity to be collaborative in the design of your book. Decisions will be made as to whether it should be black and white or full colour, with illustrations and/or photographs.
Many of us assume that a cookbook should have images, but some of the biggest global successes have featured black-and-white line drawings (see Essentials of Classic Italian Cooking by Marcella Hazan).
As well as the inside design, the cover design is so important in grabbing attention and positioning your book in the market.
Should you be on the cover, or does your audience need to see the food? These decisions are a real balancing act between budget, vision, commerciality, and market.
If a photoshoot goes ahead, perhaps you will be photographing the recipes yourself, but there are amazing food photographers working with publishers who specialise in making the food look the best it can be. These people will work with a whole team including a food stylist, prop stylist and art director.
8. Proofread And Index
Proofreading is an incredibly important stage, as it’s the last opportunity to check for mistakes, typos, and to make sure everything is correct in the design before you get your cookbook published. Publishers will organise this for writers, but if you’re self-publishing, try to get a professional proofreader to do the job.
Do you need an index? It may be that you decide a recipe list at the front of the book is enough, but the most user-friendly cookbooks include a detailed index so that readers can easily find the page numbers for a recipe by ingredient, cooking technique, key words, and more.
9. Announce Your Book
The timing of your book announcement should be carefully thought through. It’s not necessarily the best idea to publish as soon as you can – for instance, if it’s a book of barbecue recipes, time it with late spring or early summer.
Think about your commitments too, because you don’t want to publish just before a two-week holiday or a period when you’ll be really busy with other work.
If you have an online community, it’s a good idea to announce a few months early to give them a chance to pre-order and get excited about the book. Perhaps you want to do an ‘unboxing’ video, where you share a video of you seeing your finished book for the first time.
If you’re working with a publisher, they should help you put together a strategic plan for your announcement.
And don't forget to take some time to celebrate your achievement!
Celebrate in whichever way suits you. Have a party, spend a cosy night in, or, for a nice change, order a takeaway instead of being the one who does the cooking!
Frequently Asked Questions
How Do I Write My First Cookbook?
Choose your concept carefully, start with a detailed plan and immerse yourself in the cookbook market. Think carefully about the structure and layout. Keep your audience in mind at every stage. Involve other people in your project if you can – whether that’s by bouncing ideas, recipe testing, checking and editing recipes or giving you their honest feedback.
Can Anyone Write A Cookbook?
Yes! Nothing is stopping you. You don’t need to be a trained chef or have worked in the food industry, as successful home cooks and cookery writers Jack Monroe, Nigella Lawson, and Nigel Slater have proved. You just need a lot of passion for food and a great concept that resonates with a readership. And in a competitive market, you need to inject something fresh and new.
How Do You Structure A Cookbook?
Most cookbooks include around four or five recipe chapters, but this is very much an individual approach. You can choose how to structure your cookbook best according to your concept and readership.
If you can, try to spread out the recipes evenly through the chapters so you don’t end up with a super short or long chapter. As long as the recipes are clearly signposted and easy to follow, the rest is up to you.
How Many Recipes Should Be In A Cookbook?
The standard expectation is that a cookbook should have between 70 and 100 recipes, but larger compendiums have at least 200. Think carefully about how many you want to include. You might want to save some back for cookbook number two!
Creating A Cookbook
Hopefully, this guide has given you the inspiration and tools to start writing your own cookbook. Feel free to express your style of cooking, and let your voice shine through. The best cookbooks are as much about the people and stories behind the food as the recipes themselves.
Everyone loves a great fantasy story; from classics such as The Hobbit, Alice's Adventures in Wonderland, and The Lion, The Witch, And the Wardrobe, to recent bestsellers such as Her Majesty's Royal Coven, Nevernight, and Cinderella Is Dead, there's something for everyone.
I'm the author of six fantasy books and have been writing this genre for over eight years. There's nothing I love more than bringing the impossible to life!
Although writing fantasy can be so much fun, for first-time fantasy writers it can also be a little overwhelming.
So in this article, I will be sharing my top tips as to what makes a great fantasy book, and what to avoid. I will also be explaining how to write fantasy plots, craft characters, and build your fantastical worlds.
Before we start, let's talk genre...
What Is The Fantasy Genre?
Fantasy fiction, in short, is fiction that centres around the impossible. That can include everything from talking animals, time travel, parallel universes, mythical beasts, and of course a compelling fantasy world full of magic.
Fantasy novels and sci-fi are often confused with one another as both genres involve things that don't exist in the modern world.
The easiest way to differentiate the two is to remember that sci-fi tends to revolve around science and the environment (including dystopian end-of-the-world storylines, aliens, adventures in space, and anything involving technology), whereas fantasy is magical. Good old-fashioned magic that has no grounding in science.
Fantasy Subgenres
Fantasy is a very broad term that describes all fantastical literature, but as you can imagine there's a big difference between a book set in an imaginary world full of elves and dragons, and a book set in today's world but with characters that happen to be able to do magic.
This is why, with such a vast array of fantasy books available, the genre is split up into many subgenres (all of which apply to children's books, middle grade and young adult categories).
Let us look in more detail at the three fantasy subgenres - epic fantasy, paranormal, and Gothic.
High/Epic Fantasy
According to The A to Z of Fantasy Literature, "high fantasy" was coined by Lloyd Alexander in 1971 and was further developed by Kenneth J. Zahorski and Robert H. Boyer, who stated that "high fantasy consists entirely of fiction set in secondary worlds, while the 'low fantasy' with which it is immediately contrasted consists of fiction set in the primary world."
In other words, high fantasy novels contain very few things you may expect to find in the modern world.
Instead of guns and cars, the bad guy may use magic and a flying monster to kill on the move.
Instead of living in houses, the characters may live in holes in the ground, caves, or tree structures.
Instead of being human, the book cast may be made up of elves, dragons, unicorns, and other mythical beasts (or creatures the author has made up themselves).
Because of the limitless possibilities in regards to what these worlds can contain, not to mention the world-building and backstories required to make them come to life, many high/epic fantasy novels are part of a fantasy series and they often contain an extremely high word count.
Examples Of Epic Fantasy Novels
A Game of Thrones by George R R Martin
The Hobbit and Lord of the Rings by J R R Tolkien
Children of Blood and Bone by Tomi Adeyemi
The Chronicles of Narnia by C S Lewis
Eragon by Christopher Paolini
Strange The Dreamer byLaini Taylor
The Mists of Avalon by Marion Zimmer Bradley
A Court of Thorns and Roses by Sarah J. Maas
Paranormal / Supernatural Fantasy
Paranormal fantasy includes supernatural elements. Instead of dragons and elves, you may have vampires, zombies, witches, werewolves, ghosts and any other creature that uses magic or defies death.
Normally these creatures persecute humans, and they can often live in the modern world. Other times the paranormal elements may be combined with genres such as romance, history, horror, and urban fantasy.
In my series, The Path Keeper (N J Simmonds), I have angels living amongst us. And in my co-written, paranormal romance novel Vampires of Moscow (Caedis Knight), our protagonist is a truth-seeking witch and undercover journalist investigating crimes in Russia's paranormal hidden world.
Examples Of Paranormal Fantasy Novels
The Once and Future Witches by Alix E Harrow
Good Omens by Terry Pratchett and Neil Gaiman
A Song Below Water byBethany C. Morrow
Pet Sematary by Stephen King
Vampire Academy by Richelle Mead
City of Bones by Cassandra Clare
The Twilight Saga by Stephenie Meyer
Warm Bodies by Isaac Marion
Gothic Fantasy
The term 'gothic' in fiction is generally applied to fantasy and horror. With fantasy, the 'fear and haunting' aspect is connected to something supernatural and not of this world. Whereas with horror, it doesn't have to have a paranormal element to it, the eeriness may simply be attributed to the protagonist's psychological fears or another human.
For instance, the gothic novels Rebecca and Wuthering Heights are categorised as such due to the characters feeling haunted and the setting being so remote. But nothing fantastical is at play.
Generally, gothic fantasy books are set somewhere creepy; a forest, an old mansion, a deserted manor house, or a windswept, secluded location.
Gothic fantasy either involves magic and/or supernatural beings - think witches, vampires, or even a portal to another world. Many gothic classics have been retold by contemporary writers and given a fantastical twist (this is very popular in YA).
An example of this is Within These Wicked Walls(Lauren Blackwood) - an Ethiopian retelling of Jane Eyre.
Examples Of Gothic Fantasy Novels
Interview with a Vampire by Anne Rice
The Night Circus by Erin Morgenstern
Dracula by Bram Stoker
Gallant by V E Schwab
Mexican Gothic by Silvia Moreno-Garcia
Ninth House by Leigh Bardugo
The Lighthouse Witches by C J Cooke
Frankenstein by Mary Shelley
Fantasy Writing Styles
If you are about to start writing your first fantasy novel you may well be a little intimidated by the task ahead of you.
With so many fantastic fantastical novels gracing the bookshelves, it's hard to choose what kind of voice and style you would like to give to your work.
Luckily, like with most books, your fantasy writing style can vary. There are no set rules as to how to write a fantasy novel. Let's take a look at some of the different ways you can approach your story.
You Can Be Wise And Poetic
“Stories have changed, my dear boy,” the man in the grey suit says, his voice almost imperceptibly sad. “There are no more battles between good and evil, no monsters to slay, no maidens in need of rescue. Most maidens are perfectly capable of rescuing themselves in my experience, at least the ones worth something, in any case. There are no longer simple tales with quests and beasts and happy endings. The quests lack clarity of goal or path. The beasts take different forms and are difficult to recognize for what they are. And there are never really endings, happy or otherwise. Things keep overlapping and blur, your story is part of your sister’s story is part of many other stories, and there is no telling where any of them may lead. Good and evil are a great deal more complex than a princess and a dragon, or a wolf and a scarlet-clad little girl. And is not the dragon the hero of his own story? Is not the wolf simply acting as a wolf should act? Though perhaps it is a singular wolf who goes to such lengths as to dress as a grandmother to toy with its prey.”
The Night Circus by Erin Morgenstern
You Can Be Witty And Satirical
Some humans would do anything to see if it was possible to do it. If you put a large switch in some cave somewhere, with a sign on it saying 'End-of-the-World Switch. PLEASE DO NOT TOUCH', the paint wouldn't even have time to dry.
Thief of Time by Terry Pratchett
You Can Write From Multiple Points Of View
(George R R Martin writes from 9 points of view in A Game of Thrones, and many more as the series progresses)
"I don't even know who my mother was," Jon said.
"Some woman, no doubt. Most of them are." He favored Jon with a rueful grin. "Remember this, boy. All dwarfs may be bastards, yet not all bastards need be dwarfs."
And with that he turned and sauntered back into the feast, whistling a tune.
When he opened the door, the light from within threw his shadow clear across the yard, and for just a moment Tyrion Lannister stood tall as a king.
A Game of Thrones by George R.R. Martin
You Can Go Back And Forth Through Time
Long ago, men went to sea, and women waited for them, standing on the edge of the water, scanning the horizon for the tiny ship. Now I wait for Henry. He vanishes unwillingly, without warning. I wait for him. Each moment that I wait feels like a year, an eternity. Each moment is as slow and transparent as glass. Through each moment I can see infinite moments lined up, waiting. Why has he gone where I cannot follow?
The Time Traveler's Wife by Audrey Niffenegger
The Only Limit Is Your Imagination
If anything, fantasy allows you even more creative ways to write your story as there are no limitations in terms of what is realistic. As long as your book makes sense within the parameters of your own world lore, your own rules, then you are free to be as expressive as you like.
You want to write your story from the the point of view of a dragon? Go for it.
You want to tell the story in three different ways, as it plays out across three different parallel universes? Why not?
You want to include weather that doesn't even exist? Eat your heart out!
Let's take a look at some of the fun things famous fantasy writers have done to make their work memorable and unique:
J R R Tolkien created a whole new language in Lord of the Rings.
Terry Pratchett had Death talking in capital letters and desperate for a vacation in Mort.
Dhonielle Clayton created tiny mini pets, like elephants, that were small enough to fit in teacups in The Belles.
Lewis Carroll featured a giant caterpillar smoking a hookah in Alice's Adventures in Wonderland.
Stephanie Meyer didn't keep her vampires out of the sun for fear of death in Twilight, but instead made them sparkle.
How Many Words Is A Fantasy Novel?
The answer to this is, 'a lot more words than most genres.'
Writing fantasy means creating creatures, worlds, names, words and magical elements that don't already exist in reality, not to mention conducting a ton of research. For that reason alone, this genre takes a lot longer to write and tends to be a lot chunkier.
And these are just standalone fantasy books (middle grade and YA books being somewhat fewer words than adult fantasy or epic fantasy). A series can be a lot longer!
What Do Agents And Editors Look For?
My own trilogy included 116,000 words for The Path Keeper, 125,000 for Son of Secrets, and a whopping 148,000 words for Children of Shadows. It's normal for book-length to grow as the series does.
Although do note that most agents and editors aren't interested in looking at a fantasy novel that exceeds 120,000 words. So if this is your first book, try and keep the word count as low as possible. 100,000 is a good number.
5 Things That Make A Great Fantasy Novel
With so much to consider when it comes to penning your fantasy story, the number one thing you need to do is grab your reader's attention.
But fantasy readers have expectations, and there are five crucial things they all expect the fantasy novel to contain.
1. Magic Systems
This is such an important element because you can't have a fantasy story with no magic.
From middle grade series, like Harry Potter, to the science fantasy, such as Star Wars, every well-loved fantasy story includes some kind of magic. So think carefully as to how yours works.
The good news is that you don't have to stick to any preconceived ideas of what magic is.
Your characters don't have to use wands. Maybe they are able to steal magic from others, or they're on a quest to find it, or it arrives in a gift-wrapped box on their birthday. Maybe the magic is passed down through generations, or it only works for a day, or perhaps everyone in their community has a different ability.
Whatever you choose to do, the most important part of creating a magic system is that you are consistent and those reading your novel have a clear idea of how the magic works.
2. World Building
A fantasy novel is generally set in either a fictional universe or it's full of magical elements intertwined in real life. I could write an entire article about fantasy world-building - but for now, I'll stick to the basics.
When creating an imaginary world it's fundamentally important to know everything about it. Changes are you won't use 90% of your information, but to know it means your story will be more believable.
It doesn't matter if your world is another planet, somewhere like Middle Earth, or our own world but with hidden supernatural portals - a believable world is what will keep readers hooked.
Connect with all five senses, think about who lives there, how that world functions, how your characters interact with it, and how to tie it into the story.
3. Complex Cast Of Characters
Whether your book features humans, supernatural entities, or mythical creatures, a good fantasy novel needs believable characters that readers can empathise with.
No one is going to relate to a blue-skinned werewolf who eats worms - but perhaps they will if that werewolf is trying to protect its young or has been rejected by a love interest.
So whatever your cast of characters looks like, make sure you add a little humanity to them so your readers still root for them.
4. The Quest
No fantasy novel is complete without the hero's journey; your main character needs a challenge, a quest, a problem... because your book is about them trying to solve it. It's as easy (and as complicated) as that.
Character development is key to all stories, but never more so than in this genre. So think about the character's arc. Who they are before they set out on their mission should be very different to who they are when the quest has been fulfilled.
When writing a series, it always helps to know what will happen in the last book so that everything you are working towards comes together at the end.
Every book has a beginning, middle, and end - and the entire series should too. This means you may need one overarching theme for the series, with each book focusing on individual battles/quests/challenges ultimately leading to your character reaching their final goal.
5. Nemesis - Good Vs Evil
Every fantasy story needs a baddie or someone/something to rebel against and fear. That may be the government or king, it may be a physical monster, or perhaps even Satan himself.
A nemesis is a great foil character too. Their evil attributes should highlight the hero's worthy attributes. Your main character should still be flawed, no one is perfect, but ultimately good must overcome evil.
5 Things That Make A Fantasy Novel Bad
Many a novice writer makes the fundamental mistake of coming up with a great idea and jumping straight into the deep end of their book.
Fantasy stories need planning, research, and lots of time. The deeper you go, the stronger the story.
Here are some common mistakes.
1. Lack Of Consistency
When writing fantasy it's a lot harder to write freely without having an end goal.
By all means, you can do that when you're still at the exploration stage, but there are so many fantastical elements to keep track of (where your book is set, magical elements, character building, myths, monsters) that it's too easy to confuse yourself.
When you confuse yourself, you confuse the reader. Or worse, they get bored and stop reading!
So make extensive notes about how your magic works, list key names and places, draw pictures and maps, create mood boards, and ensure you are consistent throughout.
2. Too Many / Not Enough Tropes
There are no consistent rules in writing, but readers of certain genres do expect to see the tropes they love.
If your fantasy story doesn't have enough tropes, readers will be left disappointed. Likewise, if your fantasy characters are predictable and the book reads like a long list of unoriginal scenarios, that's just boring. Try and get the balance right!
Popular Fantasy Tropes
Damsel In Distress
The Secret Heir
Mistaken Identity
Nemesis
Dead Parents/Loved Ones.
Dark Lord
Training Sequences
The Quest
Good vs Evil
Magic!
Mix it up and play about with tropes. Perhaps the damsel in distress rescues herself, or the monster is the good guy and the wise sage is not on the hero's side, or the hero IS the Dark Lord.
3. No Visuals
Fantasy readers love to be thrown into a magical world they've never encountered before - but sometimes it's hard to imagine it. This is why fan art is so popular in this genre.
A good fantasy book needs a great cover designer (this goes for self-publishing as well as traditional) and if possible a map of your kingdom(s). Even if the diagrams and pictures are just on your author website. Many great books include visuals that look like medieval maps - personally, I love them even more if the sea includes giant squid!
4. Prejudice
Fantasy authors are often influenced by the classics, but a lot of prejudice can be found in older books that readers (quite rightly) don't want to read today.
This is where beta readers and sensitivity readers come in.
Be careful when explaining characteristics and skin colour, even having the bad guy wearing black and the good guy wearing white can be problematic. Also be careful about cultural appropriation in terms of setting, characteristics, customs, and attributes.
5. Bad Pacing
A good fantasy story needs to keep you hooked from the beginning to the very end. That means your pacing needs to be right.
Fantasy stories need to show the following, in this order:
Set the scene (What is the hero's life like? What does they have to lose?)
Show the inciting incident (What is the challenge they have been set?)
Step into another world (Sometimes literally, sometimes in terms of a new experience or journey)
Introduce new characters (Companion, nemesis, wise sage etc)
Face challenges and obstacles... (Training, battles, monsters)
...interspersed with calmer moments (Introspection, dialogue, romance scenes, false hope)
Lose it all (Someone dies, the hero fails, they no longer want to carry on)
Find courage (Draw from what they have learned on their journey, help from unexpected places)
Achieve their goal (Beat the baddie, find the treasure, rescue their love, save the world)
Return home a changed person (Here we must see how the hero has changed and also mirror the opening scene)
If you dwell too long on any of these scenes or rush past any crucial steps, the story will lose its flow. No one wants to read a battle scene that lasts for 5 chapters or read 300 pages building up to a kiss that never happens.
So consider pacing when plotting your novel and ensure everything happens at exactly the right time, for exactly the right amount of time.
Frequently Asked Questions
What Are The 5 Elements Of Fantasy?
Magic System
World Building
Complex Characters
The Quest
Good vs Evil
How Do You Write A Fantasy Character?
Fantasy characters need to be larger than life, which means you can really go to town and be inventive.
Give characters creative/unusual names.
Give them interesting skills or powers.
Make sure they are all different to one another (what characteristics do they have that make them unique?)
Ensure that by the end of the book they have changed/learned a lesson.
Don't be cliche or prejudiced when describing culture, physical features, and customs.
If they are not human, ensure they still have some humanity to them so readers can empathise and relate.
Make your hero likeable - even if they are flawed. We need to want them to win!
What Is A Fantasy Example?
The dictionary definition of 'fantasy' is:
The creative imagination; unrestrained fancy.
To imagine; visualise.
An unnatural or bizarre mental image; illusion; phantasm.
In other words, fantastical literature involves any type of person, magic, or world that couldn't/doesn't exist in our own known reality; magical powers, monsters and creatures from your own imagination, everyday things/people/animals doing things they don't normally do (growing, talking, floating) and worlds that are unlike our own.
When writing fantasy, the possibilities are endless!
Time To Get Writing
If you have managed to get to the end of this very long article then congratulations, you are now ready to tackle your fantasy novel or short stories like a pro.
I hope you found it useful. Good luck and have fun - a whole new magical world of novel writing awaits you!
Many authors began their love of storytelling by reading comics as children. Everything from The Beano and Marvel comics, to manga and graphic novels, all play a part in enriching the minds of the young and the young-at-heart.
And the best thing about comic books is that you don't have to stop reading them once you grow up (in fact, many are written specifically for adults) but you can have a go at writing your own!
I began my fiction writing career as a fantasy author, yet some of the best fun I've had in my career has been seeing my characters come to life in a fantasy YA manga story I wrote for Big Bang! Manga. The process was eye-opening, and working with a talented team of illustrators and editors meant that it truly was a collaborative project.
In this article, I will be discussing how to write a comic book, everything you need to know before you start writing, and the best way to get your comic book published.
What Is A Comic Book?
A comic book is a story told using a series of illustrated pictures and panel descriptions. Unlike a novel, it includes very little writing, with most of the story presented in pictorial form as a series of sequential images.
Comic books can be about absolutely anything, the most popular genres include:
Horror
Paranormal
Fantasy
Sci-fi
Traditional superhero genre (such as Marvel or DC comics)
Romance
Erotica
Historical
The joy of comic books and graphic novels is that many have been turned into TV series and movies. Some of the most famous include:
The Marvel franchise (Captain America, Black Panther, Spider Man, Incredible Hulk)
DC Comics (Batman, The Joker, Birds of Prey, The Flash)
The Walking Dead
Lucifer
Sandman
Heartstopper
The Boys
They can also be turned into video games and even novels.
How Is A Comic Book Different To Manga And Graphic Novels?
Although manga, comic books and graphic novels are all stories told in pictorial form with minimal writing, there are some points of differentiation.
Manga literally means 'comic book' in Japanese. Unlike the US comics where many are designed and drawn in the Marvel style and printed in colour, manga is printed in black and white and drawn in a distinct Japanese style.
It's also worth noting that manga is not the same thing as anime.
Although both are equally important to Japanese culture and entertainment, manga refers only to Japanese comics, and anime refers to Japanese animation. Although many manga stories are turned into anime.
Graphic novels, on the other hand, can be illustrated in any style but are most commonly just the one story (unlike comics and manga that can include more than one story serialisation per edition). They are usually bound too, like a book, as opposed to stapled/stitched like a magazine.
Do You Need To Illustrate Your Own Comics?
The quick answer to this is no.
Many talented illustrators choose to also write their own comics, but if you are a great artist but not confident about your writing - or one of many comic book writers who struggle to draw - you'll be pleased to hear that most comics are created as a collaborative project.
A comic book team can consist of anything between one to six people:
Writer: They come up with the initial story idea, the plot and characters, character arcs, and write the dialogue and story captions.
Artist: Brings the characters and writer's words/worlds to life. Sometimes many different illustrators can share this role...
Penciller: Specialises in drawing the outlines of the character and their creation.
Inker: They create the style of the comic, giving it its distinct look.
Colourist: They add the colour.
Letterist: Create the lettering for the dialogue, captions and sound effects.
Sometimes one artist specialises in just the backgrounds and another in the characters. This all depends on how much budget the comic book creator has and how important the series is.
Editor: Usually the one who commissions the writer and artist, the person with the bigger vision for the story/series, who understands the audience best, and checks for inconsistencies and continuity issues.
How Many Pages And Panels Does A Comic Book Have?
An entire comic book can have between 32 to 48 pages, although the number of pages can vary as long as the pages are in multiples of four (for printing reasons, as they are folded down the middle). Although some comics may be made up of more than one story running concurrently, so the comic itself may be made up of 48 pages but that part of the story may only need to be 16 pages.
Each page is made up of panels that contain images depicting the story. Some pages may only have one picture, some may contain up to nine. The average is five and it's best to vary it as you don't want to crowd the page with too many images or bore the reader with repetition.
Where Do You Start?
When I first started writing comics I had no idea where to start - all I knew was that my editor loved my story idea and was confident that it would make a great magical fantasy story for teens.
I learned so much on my journey which I will be sharing with you all.
In this easy 10-step guide, I'll be explaining all the different things you need to consider before you start writing - from coming up with ideas, to getting your comic book out in the world.
1. Learn The Language
You can't start writing a comic book without understanding the terminology - especially if you'll be working with an experienced illustrator and editor.
Here are a list of words that may crop up as you discuss your comic book with your team so that you're all on the same page.
Panel
A panel is the space in which the picture (and dialogue) sits. A comic writer can request panels of any shape or size as long as it fits on a page: square, round, triangular, narrow vertical, shallow horizontal, diagonal, etc.
In many cases, the writer will suggest what must happen on that page and the illustrator will decide what kind of panels will work best. This may vary depending on the style and genre of the comic book.
Here's a list of the different types of panels you may have in your comic:
An inset is a panel contained within a larger panel.
A bleedpanel is when the artwork comes out of the frame, or “bleeds” off the edge of the page. This may be on one side or more and is often used for dramatic or ironic effect.
A full-page panel is called a splash and takes up a full page - whether within a panel or bleeding out of the panel. These are normally for big scenes that either need to make a large impact or include a lot of detail.
A giant splash panel covering two facing pages is called a double-page spread. Like the one above it is often used to really wow the readers.
Borders are lines (sometimes heavy and black, sometimes thinner) that surround the panel. If it's a square panel it may look like a box. Sometimes the art can pop outside panel borders for a hint of drama. You can even have images with no borders and they still count as one panel.
Sometimes you may get an awkward panel, one that is different from the others or doesn't quite fit in a space. It's down to the illustrator to understand how much room they have to work with and interpret your story visually.
Lettering
Lettering refers to any text on the comic's page. Most lettering is either used for:
Dialogue (what the characters are saying)
Captions (the author explaining what is happening, ie 'ten minutes later')
Sound effects (BAM! WHOOSH! CRASH! etc)
You can also express how a character is speaking by the way the letters are drawn.
Bold lettering emphasises certain words, and large letters in dialogue represent shouting (and, likewise, small dialogue lettering can mean the characters are whispering).
Dialogue and caption lettering are traditionally all uppercase, although nowadays artists vary the way lettering is used and it can be less formulaic, with some creators using both upper and lowercase.
Display lettering includes sound effects and text that's not inside a speech bubble or caption (ie license plates, a text message on a phone, road names etc.). Lettering and the placement of speech bubbles is crucial to the design of a comic book page.
Speech Bubbles/Word Balloons
A speech bubble or word balloon is normally a round shape containing dialogue, usually with a tail that points to the speaker.
Bubbles without a tail often represent “voice-over” or off-panel dialogue.
Much like panels, speech bubbles are drawn in various shapes, the most common being ovoid. Different shapes can be used to denote different characters or moods.
Although don't confuse your readers by mixing up the bubble/balloon shapes too much. Best to stick to one style that represents what you are trying to convey and be consistent.
Thought Balloon
These are similar to speech bubbles except they represent what a character is thinking. Thought bubbles are almost always cloud-like in style with a 'tail' that looks like trails of bubbles. Don't be tempted to have panel after panel of internal dialogue as comic books rely on action to keep the readers turning the pages.
Caption
This is a narration tool to move the story along (ie “Earlier that day...”), or off-panel dialogue. Captions are normally in rectangular borders, but they can also be borderless or floating letters.
Sound Effects (SFX)
Comic books are famous for their dramatic sound effects represented by stylised lettering (think retro Batman and his KAPOW! fight scenes).
Most sound effects are floating letters and are incorporated into the imagery. As I mentioned with the captions and thought bubbles, the overuse of sound effects is distracting. Only use them for specific sounds, such as large sounds like explosions and punches, or small sounds like a creepy door creaking shut or the sound of someone panting.
Borders
Borders are the lines that surround panels, speech and thought bubbles, and captions. Various styles and line weights can be used to reflect different effects or moods.
If the illustrator wants to depict anger or panic they may use a rough or jagged border; likewise thin, wavy borders represent weakness or spookiness; you can have “electric” speech marks and tails to show someone is speaking on the radio, TV, or telephone; and flashbacks can be shown by using rounded panel corners or uneven borders.
Gutter
The gutter is the space, usually white, between and around the panels. Some artists may use colour between the panels to denote a certain mood or flashback.
2. Get A Team Together
Now you know what you are talking about, it's time to get your team together.
If you are working with a comic book editor they may have already matched you with an artist, if not it's time to do some research. Before you attack that blank page look at other comic books in the genre in which you want to write and see who the artist is. Or check out the portfolio of illustrators on social media.
Many illustrators would be excited and flattered that you have picked them to work with you, but remember they expect to be paid a fair fee and they may also ask about your credentials and story ideas before they choose to work with you.
3. Come Up With Great Story Ideas
This leads me on to the most important aspect of writing a comic book; the big idea. If you don't have an original concept, then it's going to be a lot harder to sell your work!
Remember that readers expect the same thing from a comic script that they do from a traditional book, movie, or play.
A comic book story structure is normally based on the traditional three-act structure - a clear beginning, middle, and end. Your audience will also expect a subplot, character development; precise, carefully considered dialogue and narration; and a theme (especially if you choose to create a superhero comic).
Think about a plot outline based on the genre you are writing. Look at what people enjoy, but keep your story original too. Readers expect certain archetypes and tropes depending on the genre. The superhero normally wins and defeats evil, the wise sage teaches the young hero, and the boy gets the girl (or gets the boy, or simply learns to love himself).
Sometimes it's fun to twist up archetypes and tropes. Look at what The Boys did to the general depiction of the superhero genre.
4. Think Visually (And Long Term)
It is absolutely vital that your story is visual. Visual storytelling means that your story can be told with as few words as possible.
A traditional book could easily centre around the thoughts of someone pontificating on their couch all day, but that would make a very boring comic (and the artist wouldn't want to draw hundreds of identical panels all day).
So think about what the characters do, what the world you are building looks like, the expressions on the characters' faces, and how you transition from scene to scene.
5. Develop The Characters
Talking of character development, it's really important you know your main character inside out. When I was writing my manga I wrote an entire backstory about each character (including secondary characters) so that when it came to briefing the artist they really got a feel for what they looked like.
Think about the character arc too. Your main character should be very different at the beginning of the story than they are at the end (think Spider Man going from weedy school kid to fighting crime).
6. Write The Script Pages
Next, you need to write the script. A complete script consists of a story layout per page, broken down by panels. The artist may decide how many panels they need, but as a writer, it's good to bear in mind where the dialogue goes, where captions go, and which panels can be just images.
You may also want to add notes for the artist (such as 'the woods get darker with each step' etc).
7. Make Dialogue Realistic
Writing a comic book script isn't as easy as you may think. Dialogue is so sparse that it's really really important you are succinct, precise and realistic as possible. Remember that many things can be conveyed simply by facial expressions, actions or a quick caption.
8. Brief The Illustrator
If you are creating the artwork for your own comic book then you can skip this stage, but for those of us who don't draw (or, in my case, DO draw but not in the style required) you will be working with a comic book artist.
Artists need to be totally in sync with the writer so that whatever images live inside the storyteller's head come to life on the page thanks to the artist.
So make sure to send them sample script pages before you start, along with a very clear idea of what you are looking for. When I wrote my manga, set in a London council estate, I sent the Indonesian artist lots of reference photos (and had to explain that Big Ben would not be visible in the background).
I also created mood boards per character, found photos of how I imagined them to look, and went back and forth with the editor and artist until the characters matched what I saw in my head.
9. Review Panel Descriptions
It will take many drafts of the comic to get it right, and most writers work with their editor until each page is perfect before the artist begins to draw. The lettering is usually left until last so that once the images are in place the writer can tweak the dialogue to fit the frame.
10. Get Your Work Out There
When everyone is happy with the comic, you're done. Hurray!
Except now you have to find your readers. If you are commissioned by an editor then you're good to go, but if you are an independent creator it's time to think about distribution.
Who Publishes Comic Books?
Very few comic book publishers accept unsolicited submissions. Make a list of comic book and graphic novel publishers who publish work similar to yours, or research authors and publishers that would make great comparisons for your work.
Although Marvel and DC are at the top of most comic book creator's dream list, it is very rare for first-timers to get picked up by the big guys. So approach independent and smaller presses and work your way up.
Before you submit samples of your work to publishing houses, ensure you first read their submission guidelines. Visit their website and see if they accept unsolicited submissions, (meaning you send them the work even if they haven't requested it or you don't have an agent).
If you need an agent then research which are on the lookout for work like yours. In both cases, remember to make your covering letter short and professional and to include artistic samples along with the story.
Do It Yourself
Many comic book creators have had success starting out on their own.
Alice Oseman crowdfunded her Heartstopper online webcomic, it was bought out by top publisher Hatchette and turned into a graphic novel, and has gone on to be a huge hit on Netflix.
Why not start your own free webcomic to build your readership base, offering each instalment via a newsletter? Or use your webcomic to expand on the stories or characters in the book, enticing viewers to buy the "real thing" (a comic book you can print and distribute yourself via your website or sites such as Etsy or Amazon).
Frequently Asked Questions
How Much Money Does A Comic Book Writer Make?
Like any kind of writing job, payment can vary. If you are self-publishing your comic book you may not receive anything until your series picks up and you create a decent following.
The median salary of comic book writers and artists is $36,500-$42,000. Although many earn per page or receive an advance per comic/project.
Needless to say the more proficient and successful you are, the more you can earn. So keep going!
How Many Pages Should A Comic Book Be?
The number of pages in a comic book can vary from 32-48, although each story within the comic may be as short as 16, and a graphic novel may be longer. It's important to remember that manga and comic book pages must always be divisible by four because of the way they are printed, folded and stitched.
Make A Splash In The Comic Book World!
Now you know all you need to create your first comic book, it's time to put pen to paper and get your team together.
But it's important to remember that most comic book creators started off right at the bottom; very few people land their first comic book writing gig at DC or Marvel. So focus on getting to know the industry, building your audience, and writing/creating as many stories as you can.
Who knows? Your idea may one day not only be someone's favourite comic book series but may also be their favourite TV series too!
We were fortunate enough to have author Joe Bedford turn to us for help with his debut novel, through a developmental edit with Sam Jordison. That same novel was longlisted for the Grindstone Novel Prize in 2020, and has been picked up by Parthian Books for publication in June 2023.
JW: Tell us a little bit about your history as a writer – when did you start writing, and how did you begin developing your career in the early stages?
Like all writers, my journey began as a reader. I grew up reading C.S. Lewis and Brian Jacques and plagiarising their distant worlds and talking animals in stories of my own. I wrote awful poetry and pretentious song lyrics as a teenager, and continued both when I started university. After that I moved to London to be ‘a writer’ and have written continuously since then, though it has taken me ten years for my writing to become anything like an authentic expression of how I think and feel. So much of my work over the years was about how I want to think, how I want to appear, that I look at some of my early stories and novels and wonder how on earth my friends and family read them without bursting out laughing. But that is all part of the process, not just of writing seriously but of living seriously, which is living honestly with oneself, I think.
JW: You started your career as a published author with short stories in magazines and competitions, before querying for your first novel. What made you begin submitting your work to writing competitions, and what have been the benefits of that approach?
I came to writing competitions after a few years of publishing short stories in magazines, mainly to attempt to add awards to my publication history. What I found was a community of writers who are hugely motivated and massively supportive of each other. Submitting to competitions has connected me with organisers and judges, with writers who have similar goals to myself, and with uniquely talented people working in a huge variety of styles and forms. After a couple of years of submitting widely, I began to connect with people who would also regularly appear on shortlists and longlists – writers who are not all aiming for success in longer fiction but are masters of the flash, short fiction, and hybrid forms. The competition circuit holds a wealth of talent and enthusiasm, as well as a willingness to reach out and connect as a network of support. Aside from the more widely-broadcast names like the Bridport Prize, I always enjoy submitting to Leicester Writes Short Story Prize, the Bournemouth Writing Prize and the Hastings LitFest short story competition among others.
What I found was a community of writers who are hugely motivated and massively supportive of each other. Submitting to competitions has connected me with organisers and judges, with writers who have similar goals to myself, and with uniquely talented people working in a huge variety of styles and forms.
JW: What are the main advantages of having a professional developmental assessment, and how did it help you get your book to where it is now?
I feel like one of the hardest calls creative practitioners have to make is knowing when a piece is finished. For writers wanting to publish, that point comes when you’re able to say honestly to yourself: this is ready to send out. But in my experience, it’s impossible to know when this is true without outside input. Before bringing my manuscript to Jericho Writers, I felt as though my work was approaching completion – my structure was working, my character arcs were tidy and the prose itself felt clean. Yet despite this, feedback from the few people who read my later drafts was the same: something is missing. That’s when I decided to undertake a developmental edit with Jericho Writers, to work out what that missing piece was and to ask for guidance in overcoming that final obstacle. In the end, that process involved changing a fundamental aspect of the story, but after I did that, suddenly everything else fell into place. It was like stepping back from a Magic Eye puzzle and finally seeing the true shape behind the fuzz.
Yet despite this, feedback from the few people who read my later drafts was the same: something is missing. That’s when I decided to undertake a developmental edit with Jericho Writers, to work out what that missing piece was and to ask for guidance in overcoming that final obstacle.
JW: You received an offer on your debut novel from indie publisher Parthian Books (due to publish in 2023). What have been the benefits, so far, of working with an independent publisher?
There are many ways to publish, all involving a mix of what writers want from their work, what publishers are feasibly able to do with their work, and how their readership might finally receive that work. The differences between mainstream publishing, independent publishing and self-publishing (as well as the various hybrid forms that intersect with each) are well-documented, and in the past I’ve considered all of these options for my work. For this novel, I selected only a small number of agents and independent publishers to query, and all of these were people whose work I knew and trusted. Parthian Books are a publisher whose books I had already read and admired, so querying them didn’t feel like a job application. When they then engaged with my work I felt as though I was being read carefully, passionately and respectfully – not just as someone with a lucrative product (though this is also important) but as a writer with something valuable to say. Since signing with Parthian, that feeling has been with me every step of the way.
JW: Have there been any surprises or unexpected obstacles on your writing journey so far?
As I think most writers will recognise, obstacles might be the defining feature of the writing journey – especially the journey from practice to publication. When I was twenty-one I met the author David Peace and asked him at what age he was first published. He told me he was thirty. I told him I would be published in my twenties. I don’t remember him rolling his eyes but he probably should have done. At that age I was so convinced I was ‘a writer’ that I foresaw no barriers between myself and the recognition I craved. But being ‘a writer’ is not enough; in fact, it is not always even helpful. For me, the greatest unexpected obstacle was that idea within myself: that I am ‘a writer’, a clever person, who should write cleverly and be celebrated for it. It was only when I realised that readers are more interested in honest emotions and engaging characters that my writing began to achieve any resonance at all. Before that, it was only ego, bluffing and the satisfaction of an elegant sentence. Though many writers have made a career out of that too.
Being ‘a writer’ is not enough; in fact, it is not always even helpful.
JW: Do you have any advice for people looking to make their writing into a sustainable source of income?
Get support. Turning writing into a sustainable lifestyle practice (at least one that affords you enough time to write without being overburdened financially) is about seeking help. There are dozens of writers’ organisations, charities, bursaries, scholarships and residencies out there to apply to. I am currently writing fiction full-time as part of a funded PhD studentship, which I was awarded because I spent time putting together a careful application, and because I had done the groundwork to get me there. Write when you can, where you can, and send it out as much as you feel able to. Pursue courses and training if you can afford to, and look out for free low-income places if you can’t – there are plenty out there. Connect with other writers by emailing them, even just to tell them you enjoyed their work, or by attending readings, workshops and open mics if you’re able to. Most importantly, work hard on your craft so that they when you do pursue funding, you have something that people will look at and say: yes, this person is dedicated, this person is serious about writing. And have the confidence to know that this is what you want, and that you have something meaningful to give.
About Joe
Joe Bedford is a writer from Doncaster, UK. His short stories have been published widely, including in Litro, Structo and MIR Online, and have been placed in numerous national awards. His debut novel A Bad Decade for Good People, which underwent a development edit with Galley Beggar Press founder Sam Jordison via Jericho Writers, will be published by Parthian Books in Summer 2023.
Writing a compelling story, whether it's a novel or a short story, can be hard work.
As an author, I've had the pleasure of judging a number of writing competitions, and I have always known by the very first page if a story is going to be good or not.
How?
Because the writer has combined that wonderful mix of intrigue, character, voice and theme right from the onset.
In this article, I will be highlighting the twelve key elements that make a great story, helping you turn your tale into something that will stay in the minds of readers for years to come.
How Can You Write The Best Story Possible?
Sadly, with a world full of books vying for the attention of readers it's not enough to simply be a good writer. There are many excellent writers out there, yet not all of them find success with their books.
If you want to catch the attention of a literary agent, editor, competition judge, or (and especially) your readers, you need to know how to write a story that will really grab everyone's attention.
When I first started writing fiction I learned things the hard way. I used to think that writing a good book simply meant having the right story ideas - but it's a lot more than that. Good writers know that a great book needs to enthral its readers in a way that feels completely incidental, but is actually strategically planned and plotted.
So before you start writing your bestseller, take a look at this checklist of twelve things your story should contain.
1. The Pitch
Personally, I like to start with a great story pitch well before I start plotting my book. If you can sum up your story in just one line, then it will be a lot easier to sell to agents and editors in the future.
Here's an example.
"When a young man named Pi survives a shipwreck that kills both his parents, he finds himself stranded at sea on a life raft, along with a collection of wild animals... including a vicious tiger."
Did you recognise my description of The Life of Pi?
In one sentence you are summing up not only what the book is about, but also the reasons why a reader will be compelled to find out what happens next. If you can't do this with your book, then you will find getting the attention of an agent a lot more difficult.
2. The Hook
A great hook is what makes people keep reading beyond the first line.
Not every story needs to begin with a kick-ass sentence, but you only have one chance to make a good first impression so it helps to pull your readers in by page one.
Once you have your story idea think about how and where you will begin your book. Here's an interesting example:
"It was a bright cold day in April, and the clocks were striking thirteen."
The first line of Orwell's novel, 1984, instantly tells you that it's set in a world and time we are not familiar with. You're instantly asking yourself 'what is that all about'?
3. Strong Voice
Ensuring your novel has a strong voice doesn't mean that it necessarily has to be written in the first person, as this can be achieved in third person too. It simply means that the narrative is so beguiling or striking that the reader instantly understands your main character (or the one whose point of view they are experiencing) and is intrigued to find out more.
Let's take a look at how Irvine Welsh achieves this in his bestselling book, Trainspotting:
"Ma room is bare and uncarpeted. There’s a mattress in the middle ay the flair with a sleeping–bag oan it, an electric–bar fire, and a black and white telly oan a small wooden chair. Ah’ve goat three brown plastic buckets, half–filled wi a mixture ay disinfectant and water for ma shite, puke and pish. "
Not only does he write in the Scottish dialect, but this first person description of the character's bedroom tells you all you need to know about him, his life, and the themes of the book.
4. Memorable Characters
Talking of characters, your main character needs to be a hero the reader is rooting for. They may be (should be) flawed, realistic, and hopeful, have a goal, face challenges, and their interaction with every other single character in the novel should be for a reason.
Give them quirks, unique features or personalities, a memorable backstory, and a reason for being who they are and doing what they're doing.
Don't be tempted to make your MC perfect. No human is perfect. Make them relatable and make sure they learn something by the end of the book.
5. Insightful Theme
What is the core message of your story? If you don't know, then there's a chance it may fall flat.
I'm not saying every book has to be didactic or preachy; this isn't about teaching people lessons, it's about that one word that encompasses a story.
For instance, The Life of Pi is about survival. And 1984 is about rebelling against a fascist regime.
When choosing a theme it helps to draw inspiration from our own lives, so write your own story. Not literally, I'm not talking about memoirs. But if you are passionate about something, whether it's working-class lives or saving the planet, centre your work around that theme. You will write it a lot better than something you have no personal experience of.
Remember you want people talking about your book one day, so it helps to give them a discussion piece.
6. Know Your Genre
This is very important as agents, editors and readers want to know what they are getting.
It's okay to mix your genres (ie fantasy romance or historical horror) but the more precise you make it the easier it will be to attract readers.
7. Interesting Plot
Well, this one is obvious. You may tick off all the above but if nothing interesting happens in your book then no one is going to enjoy it. The hardest part of the writing process is coming up with an idea that is original yet will also appeal to readers of similar books.
If you're inspired by other novels in your genre look at how they keep your interest, including the twists and turns the story takes that make it so memorable.
8. Great World Building
World building isn't reserved solely for the fantasy genre. Whether your book takes place in the future, in the scorching desert, or on Middle Earth, how you describe the backdrop to your story makes a huge difference.
Let's take Harry Potter, for example. What people love about J K Rowling's world building is the details - from the decor of Hogwarts, to the description of Ron Weasley's home, to the Ministry of Magic building. They also love how it's all interwoven into the real world, including magic happenings in everyday places like King's Cross station and the centre of London.
It's that magic that not only captured the imagination of children and adults alike, but also turned it into the biggest book franchise the world has ever seen.
9. Realistic Dialogue
There is nothing worse than reading a great story and then coming across unrealistic dialogue. It's jarring. How your characters speak has to describe them, their surroundings, the genre you are writing in, and how they're feeling at that moment.
Ensure that what your characters are saying is:
Relevant
Concise
Appropriate
Matches their personalities
Either moves the plot along or gives the reader an insight into that person's character
10. Good Structure And Pacing
Have you ever read a book and thought it was confusing or boring? That will be because of two things- structure and pacing.
Story Structure
The very least a story needs is a beginning, a middle, and an end.
I like to work to the Save The Cat beats, which means sticking to the usual three act structure but breaking them down into 15 beats. This includes:
Act 1: Opening Image
Theme Stated
Setup
Catalyst
Debate
Break Into Act 2
B Story
Fun and Games
Midpoint
Bad Guys Close In
All is Lost
Dark Night of the Soul
Break Into Act 3
Finale
Final Image
This may sound prescriptive but it can be applied to everything from Austen to Tolkein, Blyton to Brown. But there are many ways to structure a story, so see what works best for you.
Pacing
It's very tempting, as a writer, to info dump everything you want the reader to know right at the beginning of the story. Don't do that.
Remember, that even if the book is a thriller, no reader wants to be exhausted the whole way through. So... much like running a race... pace yourself.
Build up to the climax, then give your readers a lull, then raise the stakes again, then lead them into a false sense of security. It's all the ups and downs that make the ride so much more enjoyable.
11. Conflict And Tension
Talking of ups and downs, rising action is key to a great story.
Without conflict and tension, there's no reason for your readers to keep reading. If a hero goes on an adventure and everything goes swimmingly and they achieve their goal, well... it may be nice for the MC, but it's very boring to read.
Make sure that you make your main character suffer. Not so much that they totally give up - but nearly. Then, when they get to the end...
12. A Fantastic Ending
... give them a happy ending.
Or not.
A great ending means that the reader is satisfied, even though it may not be all that happy for your hero. Include an extra twist, maybe a nice surprise, but most of all make sure there's hope.
Not only must your hero learn their lesson but the reader must come away feeling like the story is complete and they have no further questions.
Frequently Asked Questions
What Are The Three Things That Make A Good Story?
The three main things that make a good story are the hook, characters, and the voice.
Hook - start your story in a way that will hook your readers and keep them interested.
Characters - make sure they are interesting and that (although most probably flawed) your readers will root for them until the end.
Voice - ensure your style of writing is fresh and matches the genre of the book.
What Are The 4 P's Of Storytelling?
The four P's of storytelling are people, place, plot, and purpose.
People - Who are the characters in your book and why are they there?
Place - Where is your book set and how can you bring it to life?
Plot - What happens in your book and why should we care?
Purpose - What theme or message are you trying to convey? Why did you write this book?
That's A Wrap
If you reached the end of this article feeling invigorated and eager to write your best book ever, then hurray! Good luck to you.
And if you have run through my checklist and feel a little worried that your current manuscript doesn't include all of these things, then I have great news for you. The best thing about writing a book is that you can keep editing it until it shines.
So take what you have, go deep with your characters, wider with your story, and really hook your readers from the very beginning.
What kind of writing style do I have? Do I even have one?
At some point or the other in your own writing life, you will have found yourself gazing off into the space, a far-off look on your face, wondering if you’ll ever write like Ernest Hemingway or Anne Lamott.
You wouldn’t be the first, and you won’t be the last.
Developing a writing style comes with much practice and that could take years. But playing around with style and experimenting with it only takes a few hours. If you ask me, one of the best ways to try and develop a writing style is to have fun with it.
Enter lyrical style.
Nope, you don’t need to be a songwriter or lyricist to do that. Nope, you don’t need to write lyric poetry either. All you need is your writing spirit, and of course, your ability to have fun. Think of it as a creative writing exercise.
In this article, I’ll take you through what lyrical style in prose writing is all about, detail some simple ways of using it in your writing, and provide some great examples of lyrical style in prose writing.
What Is Lyrical Style In Writing?
Good prose writing comes in various shapes, sizes, and styles. When prose is written in an evocative, poetic, and rhythmic manner, it is known as lyrical style.
As a style, it's often thought of in regard to lyric poetry, but it can be utilised in many types of writing. It often has a beat to it, or a tongue-twister quality, or at least a descriptive poesy to evoke a certain emotion in the reader.
It’s why we can still recall several verses from Shakespeare’s sonnets and Keats’ odes, if not the full poems. For prose to have the same impact it requires the author to hone that craft with a sense of joy and expertise in equal measure. If you can recall, word-for-word, a specific line or a few lines or an entire paragraph from a book, then, chances are it was the lyrical style that stuck with you.
Examples Of Lyrical Style
A key element in this style of writing is harnessing beat, structure and length from words, phrases and sentences. This is done by consciously deciding the rhythm, cadence, and length of the sentences. There’s a chance rhythm might vary depending on your own dialect of English, especially if your mother tongue or commonly spoken language is not English, as rhythm depends on how stressed syllables are used (which varies with how English is spoken).
Rhythm
Rhythm is common in lyric poems (and poetry in general), of course. But it's quite rare in prose. When authors do manage to pull it off, they pull it off with such flair that you’re bound to remember their lines for ages to come. Contrary to what you might think, it doesn’t have to be a romance novel you’re writing to use lyrical style to great effect. Ernest Hemingway does this to elaborate on the setting for his novel A Farewell To Arms – the roar of World War I in an otherwise idyllic Italian village:
The plain was rich with crops; there were many orchards of fruit trees and beyond the plain the mountains were brown and bare. There was fighting in the mountains and at night we could see the flashes from the artillery. In the dark it was like summer lightning, but the nights were cool and there was not the feeling of a storm coming.
A Farewell To Arms by Ernest Hemingway
This is arguably the simplest use of rhythm and pacing without resorting to ornate language. The rhythm, in fact, adds to the dread the reader feels for the dwellers of the village. And if you were to rearrange the lines into verses, they’d read much like lyric poetry:
The plain was rich with crops;
there were many orchards of fruit trees
and beyond the plain the mountains were brown and bare.
There was fighting in the mountains
and at night we could see the flashes from the artillery.
In the dark it was like summer lightning,
but the nights were cool
and there was not the feeling of a storm coming.
A Farewell To Arms by Ernest Hemingway
Cadence
Cadence is how words are grouped together – as standalone phrases or joined by conjunctions and accentuated by punctuations. If there’s one author who does this with flair, it’s Anne Lamott. In her New York Times bestseller Bird By Bird, she writes:
Writing and reading decrease our sense of isolation. They deepen and widen and expand our sense of life: they feed the soul.
Bird By Bird by Anne Lamott
Two things stand out here, right away. One: how Lamott uses cadence to evoke a certain emotion in the reader. Two: how that usage amplifies the meaning of her prose. The first sentence is short, giving the reader that sense of isolation. The second sentence conveys the expansiveness she’s talking about, by way of using the conjunction ‘and’ twice, and the colon. The double ‘and’ expands the sentence, while the colon opens up a gateway for something phenomenal – feeding the soul. In this instance, Lamott has essentially garnered expansiveness from her use of lyrical style in prose writing. What makes this sweeter is that the prose is all about writing itself and what it’s capable of evoking in us!
Length Of Sentence
Sentence length is, of course, in reference to the number of words you choose to put before a full-stop. Believe it or not, Barack Obama, former President of the USA is quite the prolific writer himself and uses lyrical prose to great effect in his memoir A Promised Land. As can be expected, politics is a prominent theme in the book, and yet, where he intends to move the reader, he capitalises on the length of sentences (particularly long sentences) as the carrier of that impact. In describing a trip to The Great Wall Of China, he writes:
The day was cold, the wind cutting, the sun a dim watermark on the gray sky, and no one said much as we trudged up the steep stone ramparts that snaked along the mountain’s spine.
A Promised Land by Barack Obama
If that isn’t a lengthy sentence, then I don’t know what is. The only thing as lengthy as that sentence is perhaps how time seemed to drag for Obama on that trip! The sombre weather, the grim locale and the silence between Obama and his co-travellers all add to what must have been one long hike up the mountain.
Repetition Of Sounds
The length of the sentence is not the only thing adding style to Obama’s prose, though. I’d be surprised if you didn’t notice the repeating sounds of ‘d’, ‘t’, and ‘s’. It actually helps add that touch of witty sense of humour we know Obama to have. This leads us to the next aspect of lyrical style – sounds.
When it comes to the repetition of sounds, there are three poetic devices – assonance (or repeated vowel sounds in multiple words), consonance (or repeated consonant sounds in multiple words), and alliteration (or repeated consonant sounds at the beginning of multiple words).
Repeating consonants and vowels in a verse or even a whole stanza isn’t a new thing for poets and repetition is particularly prominent in lyric poetry. If anything, it’s expected. When writers of prose do it, however, it’s often a conscious move. Using poetic techniques/devices like assonance, consonance, and alliteration can bring beauty to prose. In fact, the inherent beat they create is highly effective in drawing readers’ attention to a particular piece of description, adding a bit of theatrics to the ordinary.
Take this extract for instance:
He looked exactly as much as usual—all pink and silver as to skin and hair, all straightness and starch as to figure and dress—the man in the world least connected with anything unpleasant.
The Wings Of Dove by Henry James
This is a line from American-born British author Henry James’ novel The Wings Of Dove. I, for one, am carried away by how ‘as much as usual’ maintains a kind of tempo with ‘with anything unpleasant’, and ‘skin and hair’ with ‘figure and dress’. The innate rhythm is obvious, just as the character’s “properness” is evident from his dressing sense. James’ use of assonance here, with varying ‘a’ sound, makes the reader picture a prim – perhaps even prude – person.
How To Use Lyrical Style In Your Writing
It sure is fun to incorporate lyrical style into your own writing; it makes writing almost musical and creates sentences that resemble song lyrics. Bear in mind though, that the lyrical quality doesn’t come from sounds alone. The visual you create using this technique is just as important; if anything, the sounds are meant to aid you in amplifying the visual. So, don’t lose sight of the sacred rule – show, don’t tell.
If you use alliteration and consonance but end up telling the reader what to feel, then, then all the poetic and lyrical quality would be futile. Don’t tell the reader Mr. Numpty felt foolish. Show the reader how Mr. Numpty found a feather on his stroll, thought it lucky, and took it for a sign, until he looked further ahead to see several flocks of birds.
As invigorating as it might be to play with lyrical prose writing, be cautious of making it too purple. Purple prose is basically writing which is so excessively ornate that it takes the reader away from the story and fixates them on the ornate description. It is essentially an overdose of adjectives, adverbs, metaphors and poetic devices that take away an intelligent reader’s joy in experiencing the story. Imagine asking someone for direction and that person instantly bursts into a mode of singing the direction. The singing might be great, but it might not let you gather the directions you need. You’d be lost between the keys and notes!
Here’s a popular example of purple prose, an extract from the 1830 novel Paul Clifford by Edward Bulwer-Lytton:
It was a dark and stormy night; the rain fell in torrents—except at occasional intervals, when it was checked by a violent gust of wind which swept up the streets (for it is in London that our scene lies), rattling along the housetops, and fiercely agitating the scanty flame of the lamps that struggled against the darkness.
Paul Clifford by Edward Bulwer-Lytton
Why tell us that it was a dark and stormy night, when the rest of the description shows just that? Why say violentgust of wind, when gust already conveys how violent the wind must have been? Why say fiercelyagitating, when agitating by itself does the job? And why, oh why, do we need to be told that the scene is set in London; I mean, why else was this scene written anyway!
Now, let’s look at lyrical writing with metaphors that could easily have turned purple but didn’t, because the author knew where to pull the reigns. Sandhya Menon’s When Dimple Met Rishi is a young adult fiction debut; and yet, the restraint Menon shows in this writing is commendable:
His eyes reminded her of old apothecary bottles, deep brown, when the sunlight hit them and turned them almost amber. Dimple loved vintage things. She followed a bunch of vintage photography accounts on Instagram, and old apothecary bottles were a favorite subject.
When Dimple Met Rishi by Sandhya Menon
Do you see the difference between purple prose and lyrical writing? On a scale of Ernest Hemingway to Edward Bulwer-Lytton, you want to fall closer to the former, where lyrical prose is concerned. Less purple, more lavender. In essence, grandiose, flowery, and sugary are all fine, and might even be necessary when the scene or setting calls for it, but redundancy is not.
Descriptions of nature are a common pitfall for purple prose; we writers tend to get carried away by the majesty of the landscape and the opportunity to use sensory language. Sometimes, it’s the character’s grand introduction that becomes entwined with purple prose. Nearly every writer, especially in the beginning of their career is bound to write purple prose, and even think it reads great. But that’s absolutely okay; it’s a learning curve, almost a rite of passage. If your prose is purple at the drafting stage, then let it be purple. At the stage of editing, though, make sure to rewrite and adjust the tint to a softer hue. Let your writing breathe.
Top Tips For Writing Lyrically
Weigh the importance of the passage before deciding on its rhythm, cadence, length of sentences and repetitive sounds.
Think of how you want to use different punctuation to evoke different emotions in the reader.
Don’t overdo alliteration, consonance and assonance, unless you’re aiming to sound silly on purpose.
Purple or lavender, at the draft stage, make sure not to take yourself too seriously. Have fun with lyrical writing and let your words flow.
At the editing stage, ensure you read your work with the hawk eyes of an editor. Weed out the redundancies, hysterics and melodrama.
Read James McCreet’s column ‘Under The Microscope’ in Writing magazine every month. He dissects 300 words for style and also suggests rewrites.
Read contemporary poems, if you don’t already. Our modern poets have a great flair for pulling off lyrical style, without overdosing the reader on beauty. You could also look at lyric poetry in particular for some inspiration.
Benefits Of Lyrical Style In Prose
No writer uses lyrical style exclusively throughout their story. That would be an overkill, turning the writing purple. The idea behind using lyrical style in prose is to try and spruce up your own writing, all the while having a bit of fun. Lyrical prose writing is simply one of the many tools in a writer’s kit of creativity.
Here are some of the ways in which you can benefit from trying lyrical prose in your writing:
If your writing has a hard quality, then you might want to occasionally change it up with a bit of lyrical style where the text allows it.
When a character is not easily likeable, but you’d like your reader to stick up for them, you could ease the reader in, using lyrical prose to introduce that character.
Lyrical writing works very well when you want to use irony in your story. It adds a layer of emphasis on the subtle humour you’re trying to pull off.
Frequently Asked Questions
How Do You Write Prose Beautifully?
If you’d like to write evocative prose, then learn to view every sentence as a story, in and of itself. And yet, you can’t let it take the reader away from your actual story. Knowing how to let your writing breathe is just as important. It’s a balance, one that you can learn to maintain through rigorous rounds of self-editing.
What Is Lyrical Writing?
When prose comes with rhythm, cadence, repetition of sounds and conscious sentence lengths, it makes for lyrical writing. Cadence is my personal favourite, a lyrical writing technique I’m practising consciously. I love how sentence structuring and punctuations can play a major role in evoking the emotion the text itself attempts.
What Is Purple Prose?
Purple is known as a colour of royalty, and as its name suggests, purple prose is the excessively grandiose or ornate quality of descriptive writing. It is often ridden with an overdose of metaphors, redundant adjectives and adverbs, and verbosity. It tends to remove the reader from the story, and instead indulge them in the extravagant beauty of the language itself.
These words concluded the popular Gone with the Wind.
Endings can pack a lot of power. They can make or break novels and films. Some authors like to keep the door open for the reader’s interpretation while others like to tie a ribbon on everything. No matter what kind of ending you come up with, it should ultimately make sense.
In the article, I'll teach you how to end a story, give you some examples of story endings, and detail the different types of endings.
Why Are Story Endings Important?
A lot of stock is put into writing an enticing beginning for your novel because that's what's going to convince a literary agent or publisher to look at your work, and more importantly, get a reader to keep reading your book. However, equally important, or sometimes more so, is being able to properly end your novel too.
In this past decade, the world has changed drastically. Social media apps are vying for people’s attention, and in the midst of this technology boom, it has become more important than ever to write books that are fast-paced, and logical in their endings.
An ending that doesn’t make sense can easily frustrate a reader, sometimes enough to put them off the rest of the author’s works. Therefore, it has become of great importance for an ending to be satisfying.
It doesn’t have to be a happy ending; a sad ending can be effective too. It just has to be an ending that leaves the reader with the sense that all the time they invested in the book was worth it.
Let’s look at all the different ways in which you can end your own story.
Types Of Endings
Resolved Ending
Often known as one of the most popular and well-loved endings, the resolved ending basically leaves nothing behind and ties a bow on everything.
We don’t need to wonder anymore about the fate of the characters as all of that's explained and all loose ends are tied up.
A good example of a resolved ending is Apples Never Fall by Liane Moriarty. The Delaney family love each other dearly, but there are cracks in every family. When Joy Delaney goes missing, it throws the lives of her husband and four adult kids into disarray. Moriarty is known for her family-based suspense novels, and in this novel, it's made abundantly clear where Joy has been after she returns to her family. All the remaining plot threads are resolved with a nice happy ending for the reader.
However, having a resolved ending doesn’t necessarily mean a happy one. It could be a tragic ending, but if all the loose ends have been tied, then it’s a resolved one too.
If you’re thinking of a resolved ending for your novel, then you’ll definitely need to make sure that you’ve answered all of the burning questions the reader might have.
Unresolved Ending
This kind of ending is usually very common when writing a trilogy or series. The door is usually left open for the reader to anticipate what might happen in the next part. These endings are also used to great effect by TV series as they need something to lure the viewer back for the next episode.
An example of an unresolved ending is from Harry Potter and the Goblet of Fire. Although a lot of questions about the Triwizard Tournament and Harry Potter’s involvement in it are answered, the ending still raises more questions than ever. For example, what will happen now that Lord Voldemort’s back? That alone surpasses the idea of the tournament.
If you’re planning to write a series, then an unresolved ending (which some may call a cliffhanger) would work really well for you.
Ambiguous Ending
An ambiguous ending is very different from an unresolved one as it’s open to interpretation by the readers. They get to decide what might happen next in the characters’ lives. Although some closure is provided by the author, there is a small window left open.
The film, Inception, probably contains one of the most famous ambiguous endings in recent times. In the film, all Cobb (Leonardo di Caprio) wants is to be with his kids in the real world. When he finally gets the chance to do just that, viewers are still left to interpret whether this is all actually happening in the real world or not.
Ambiguous endings can be interesting, but there's always the threat of frustrating your reader/viewer.
It might be wise to explore the works of authors who have attempted these endings before trying it for yourself. If not done right, it may mean that the reader won't pick up your book again.
Unexpected/Surprising Ending
A very popular type of ending for mystery and suspense novels is the surprising/unexpected ending. In this one, the reader's led to believe that the story is going in a certain direction, but at the last moment, there's a twist.
Behind Her Eyes by Sarah Pinborough is an excellent example of a novel with a twist you won’t see coming. Adele/Rob has been in love with David for a long time, but David's married to Louise. Through something called astral projection, Adele/Rob takes on Louise’s body while Louise is forced into Adele/Rob’s. The twist that follows is one that will shock readers.
Often a staple in crime/suspense novels, this ending is not as easy to achieve as it seems.
If you’re planning to write a twist ending, then you must be sure that the twist doesn't come out of the blue. It has to be somewhat rooted in reality, and while it may not be expected, it shouldn’t be so unrealistic that it has nothing to do with the plot whatsoever. It must be believable or else it will just infuriate the reader.
Suspense Ending
Often mistaken for an unexpected ending, a suspense ending is something that does justice to the overall pace and plot of the novel, delivers on suspense, and makes the novel a satisfying read.
A good example of this is Gone Girl by Gillian Flynn. Documenting the lives of Amy and Nick Dunne, the novel became a major bestseller due to its compelling plot twists. Towards the end of the novel, it's clear that after staging a disappearance, Amy has returned to her husband, Nick, and is also pregnant, which forces Nick to stay with her.
Not every book can be like Gone Girl, but it is possible to maintain suspense and offer an ending that pays homage to the opening.
Tied Ending
A tied ending is when the story comes full circle i.e. it ends right where it started. It's often used to document a hero’s journey and show how they’ve reached where they are today because of the way things began for them.
This is a commonly used ending in crime fiction today where the main character is shown to be involved in something in the present and then the story takes us into the past to show how it all came about.
Alias Grace by Margaret Atwood is a good example of this; we are introduced to Grace Marks who has been in prison for eight years, and that's when we delve into her past to see how she got to this point in time.
Readers are often interested in finding out what brought the character to this juncture in life. In many ways, Gone Girl could also be called a tied ending.
Expanded Ending
This type of ending is where there is an epilogue. The epilogue features a time far removed from the current story and explains what happens to the main characters during that time.
An excellent and very popular example of an expanded ending would be Harry Potter and the Deathly Hallows Part 2. In the epilogue, the story jumps several years to reveal the three protagonists all grown up as they help their respective children onto the Hogwarts Express.
If you’re writing a novel that doesn’t allow you to tie up all the threads immediately, then having an epilogue is generally a good idea. It offers the readers a good window into what happens to the characters and leaves them satisfied.
How To Write A Satisfying Ending
Your novel’s opening might impress readers, but it's the ending of your novel that will make them your fans. One of the tricks to writing a good ending is to devote as much time to it (if not more) as you’ve devoted to the beginning.
Here's how to end a story in a satisfying way:
Know Your Ending Before You Write It
A lot of writers like to think that they will come up with an ending while they’re writing the book, but often enough, that's not the case. Instead of being stuck or coming up with an inferior ending, it's better to know how your story ends from the start.
Just have an end goal in sight. It doesn’t matter if you head for it straight or take a convoluted path. The goal should be the same.
Try Different Endings Before You Zero In On The One You Want
You’ll often find that a lot of films have alternate endings. That is precisely because it's good to have options. You don’t want to back yourself into a corner.
Before you start writing your ending, experiment with different ideas that are floating in your head. If you like, you can actually write different endings before choosing the one you think works best.
Make Sure The Ending Is Believable
We are sometimes so engrossed in creating the biggest twist possible that we ignore a very important thing… believability.
Your ending doesn’t have to be a happy one. It just has to be a convincing one. If there’s a twist, it should be within the bounds of reason. If it's so outlandish that it has nothing to do with the main plot, the reader will feel cheated.
Emotions Matter
A reader invests a great deal of time and effort into reading a novel. It goes without saying that they want to be satisfied after reading a book. Make it worth their while.
Your ending is basically the main character’s story coming to an end, so the presence of emotions is necessary. It will heighten the overall experience for the reader.
Plenty Of Tension
Just like emotions, tension is an essential component of a good ending. A novel generally follows a linear path with the tension reaching a crescendo as the novel ends. That is exactly what you should be doing.
If the stakes are high, make them higher. Give your main character plenty of obstacles. That's how you’ll create a book that is truly ‘unputdownable’.
Make Sure The Hero Takes Centre Stage
Sometimes, writers end up giving the spotlight to secondary characters whilst ending a book. That isn’t a wise option. No matter what happens, your main character should always take centre stage in the ending. The novel is essentially about them, so the ending should be about them too.
Make Sure You Resolve The Conflict
Every book has a central conflict that needs to be resolved. For suspense novels, it might be the ultimate ‘secret’. For crime novels, it’s finding the ‘killer’. Therefore, it's essential that an ending resolves the overall conflict in the novel.
Have A Fresh Perspective
Even if things are headed towards a predictable climax, you have the ability to use a fresh perspective. Give things a twist.
Even if it’s the generic plot of boy meets girls and eventually, they get married, you can pack enough tension and suspense in it that the reader won’t quite know how the two people will end up together.
Create A Lasting Impression
Think about the impression you want to leave on the reader. Is your book about creating lasting social change or is it about hope and the power of love? Figure it out and make sure you offer that in your ending.
Know When To End
Sometimes, a writer can get so engrossed in writing their story’s ending that they forget how long the book has become. Although every book is unique, it's up to the writer to decide how much is too much. You don’t want to overdo things and dilute the overall experience.
It's pretty clear that a novel’s ending matters as much as its beginning, if not more. Often, it's the ending that lingers in the reader's mind and helps them decide whether they want to read other books by the author.
If in doubt, having beta readers give you their honest opinion is an excellent idea.
Frequently Asked Questions
How Do You End The Last Sentence Of A Story?
The last sentence of a book captures its essence and should send out a lasting message to the reader. For example, in Gone with the Wind, the final sentence is one of hope whereas, in some crime novels, the final sentence alludes to things that are yet to come. It's important to recognise the theme of your novel and the overall tone, and end it accordingly. The last sentence can often make or break a book.
What Makes A Good Ending?
A good ending is one that stays true to the overall theme of the novel and makes sense. It should satisfy the reader and offer the main character a chance to shine one last time. It doesn’t have to be a happy ending. It just has to be convincing so that the reader doesn’t feel cheated. A good ending has tension and excitement but also resolves the central conflict in the book.
How Do You End A Book?
There are several ways to end a book and your decision to end your novel a certain way depends on various factors, like the kind of book you’re writing. Suggestions for how to end a story or book include:
A resolved ending
Unresolved ending
Ambiguous ending
Unexpected/surprise ending
Tied ending
Suspense ending
Expanded ending
Ultimately, the decision to end a book a certain way depends on the author, but it's always worth noting that readers don’t appreciate an ending that doesn’t make sense to them or just comes out of the blue.
Engaging your readers is probably your most important job as a writer. You could be telling the most original, heartbreaking or funny tale ever written, but if your reader isn’t engaged, they will cast your characters and their journey aside.
Luckily we are able to break down storytelling into its simplest form - plot points - and once you have mastered these, everything else should fall neatly into place.
As writers, we know that every story needs a structure, and there are many variations of story structure out there, but it’s the plot points that will pull your readers in and keep them engaged until the final page.
This guide will talk you through the importance of plot points and how you can ensure your writing uses them well. I will walk you through the differences between each of them one at a time and show you how to use them.
So let’s get started!
What Is A Plot Point?
A plot point is a moment in your story that impacts the character or the direction of the story in some way. It’s a major turning point. It’s a door that once your character has walked through, there is no going back.
Plot points are what give your story momentum, moving the story forward and taking your reader with it.
A plot point is defined as ‘a particularly significant part of a plot of a work of fiction.’
Even if your novel is quiet or literary, don’t ignore the importance of your structure. A plot point can be used as a device to shock your reader, to send them in a direction they didn’t see coming, or it can be a gentle nudge. Either way, it must form part of your character arc.
The Importance Of Using And Identifying Plot Points
I’m sure we’ve all read books that have felt a bit flat on the page or even a little disjointed. These are the ones you are likely to have put down and we don’t want that for your novel. By breaking your story down into its basic plot points you will be able to see where the action comes from; or doesn’t, in some cases.
You want to ensure that what is happening in a particular part of the story is more interesting than what has come before it. This gives your story momentum.
Each plot point should bring more complication, more driving force, and get the reader invested in its resolution. And each plot point links your story, creating that narrative arc that is needed.
A novel that is connected with events that happen as a result of what has come before is one that your readers will love. Unconnected events will put your readers off.
But more importantly, events and major turning points in the story must all grow out of the character’s desire. This is where plot points differ from your overall plot.
So now we know what a plot point is, let’s dive a little deeper.
Plot Points Vs Plot
Plot points are key moments in your story that relate specifically to your protagonist and their individual journey. The plot, on the other hand, refers to a series of events that connect together to make your overall story. The plot also encompasses multiple characters, themes and subplots.
Let’s have a look at an example of plot vs plot point. In Me Before You by JoJo Moyes we see the burgeoning relationship between Lou and Will - it is central to the plot. But the relationship itself is not a plot point.
Instead, if we take the moment when Lou moves in with her boyfriend and she quickly realises that she doesn’t love him, this is a plot point. This is Lou walking through that metaphorical closed door and taking her journey in a different direction. It takes her closer to Will, which in turn will lead to her awakening and embracing the opportunities that life might bring. This is a perfect example of great plot point events linking together and creating a character arc.
Now let’s look closely at each plot point in turn.
The Key Plot Points In A Basic Story Structure
There are so many versions of basic story structure out there, but most are just a variation of the following, and all hold the same principles at their heart. Using a standard three-act structure, here I will break down each element that your story requires to engage and propel your readers.
Hook
The hook is something that is unique to your story, your story world, and your characters, and is usually made clear to the reader in the opening scenes. A hook must grab their attention and make them want to read on.
First Plot Point
The first major plot point, also known as the inciting incident, is the moment that throws your character’s status quo into disarray. It’s a calling or a threat that takes them down a path they wouldn’t otherwise have taken, and so ahead lies a rocky road of uncertainty and discovery for your character.
First Pinch Point
At this point in your plot, your character will likely face a decision as a result of the first plot point, usually in the form of a dilemma that they will react to.
In most cases, your character will still be reacting to what is happening around them, but this plot point will lead you into act two where your character will learn more about themselves. It is also referred to as the awakening.
Midpoint
This is one of the most crucial points for your character. The midpoint is where your character changes in such a way that there is no turning back for them. They stop reacting and start acting - they have agency. It is their moment of enlightenment.
Final Pinch Point
Here, the stakes will be raised for your character as they respond to their newfound agency. Things likely won’t be going to plan for them but this pressure point will force them to form a new plan that will lead into your final act as we climb that insurmountable hill towards the climax. This is also known as their death experience, where they leave their old self behind.
Final Plot Point
Also known as the ‘all is lost’ moment, the final plot point will show your character having tried and failed in their quest. But you couldn’t possibly leave your character there! This is their moment to transform. And so on we go into their final try - into the climax.
Resolution
This is where you bring your story full circle - climax, realisation and resolution. Your character may have won, or they may have lost. But importantly, they will have changed and grown. To test this, simply ask yourself - if I took this character as they are now and put them back at the beginning of the story, would they do everything the same? You need the answer to that to be absolutely not!
Plot points, as shown above, are the catalyst for change in your character. And this is exactly what your readers are here for.
Plot Point Examples: We Have Always Lived in the Castle by Shirley Jackson
I’m going to use one of my all-time favourite novels to demonstrate these key plot points in action. We Have Always Lived in the Castle by Shirley Jackson falls more into literary fiction where plot points can be harder to recognise, but let’s give it a go…
Hook
Shirley Jackson is a bit of a master and she hooks you from paragraph one with this amazing opening:
My name is Mary Katherine Blackwood. I am eighteen years old, and I live with my sister Constance. I have often thought that with any luck at all I could have been born a werewolf, because the two middle fingers on both my hands are the same length, but have had to be content with what I had. I dislike washing myself, and dogs, and noise. I like my sister Constance, and Richard Plantagenet, and Amanita phalloides, the death-cup mushroom. Everyone else in my family is dead.
We Have Always Lived in the Castle by Shirley Jackson
Are you hooked? We learn so much about this strange narrator in this paragraph and she leaves us with that killer, nonchalant final sentence. As readers, we need to know everything about this girl.
In the opening chapters, we learn that Merricat (Mary’s nickname) lives with her sister, Constance, and her sick Uncle Julian. The rest of Merricat’s family were poisoned and Constance was tried for their murders but found innocent.
Everything about this story centres around the conflict in Merricat to keep herself and Constance hidden from the rest of the world. She wishes the locals dead and she would happily remain in the safety of their home and grounds for the rest of her life.
First Plot Point
Two women visit the house for tea and suggest to Constance that she reenters the world.
This is the inciting incident. Constance is open to this idea and everything that Merricat is trying to preserve is threatened.
First Pinch Point
Their cousin Charles arrives at the house and Constance lets him in.
Charles is a very real threat to Merricat and her world. Constance is drawn to him and he convinces her that she has done wrong by hiding the family away. Merricat asks him to leave, but he refuses.
Midpoint
Merricat tips Charles’ smoking cigar into the trash can in his bedroom, setting the room on fire.
This is the moment Merricat acts rather than reacts.
Final Pinch Point
When the fire is extinguished, the locals attack the house, breaking everything inside.
They surround the sisters and only stop their attack when it is announced that Uncle Julian has died. Merricat and Constance escape to the creek, where they finally acknowledge that Merricat poisoned their family. This is Merricat’s ‘all is lost’ moment. It looks like her actions have led to the destruction of the thing she is trying to preserve the most - her home and sanctuary.
Final Plot Point
Merricat and Constance return to what is left of their home.
They board up their home, entombing themselves in its burnt shell. The locals, in their guilt and fear, bring food each day and leave it at their door.
Resolution
The sisters are safe and happy in their home having rejected the outside world.
I am doing this novel a disservice by reducing the climax to one line because there is so much more nuance on the page, but ultimately Merricat has got what she wanted - she has isolated herself and Constance from the world. She no longer needs to leave home for groceries and face the abuse of the locals. She is alone with the sister she loves and who accepts her despite knowing what she has done. Her final line says it all:
‘Oh Constance,’ I said, ‘we are so happy.’
How To Use Plot Points In Your Writing
You will have read so many stories in your lifetime that it is likely you are already aware of how plot points are used, even if just subconsciously. All stories contain them, no matter how literary or experimental. But spotting them and understanding them is what will elevate your writing.
As mentioned earlier, the most important thing about plot points is the relevance they have to your main character. They must be linked to your character’s motivations and desires, their wants and needs, and their overall change. Spend time thinking about this before you write anything. Ask yourself these questions:
How will my protagonist change?
What are they like now and what will they be like at the end?
What will happen to my protagonist that will lead to that change?
What are the antagonistic forces they will face and overcome?
For a real deep dive into plot points and character arcs, I would definitely recommend Inside Story: The Power of the Transformational Arc by Dara Marks.
Without being too formulaic - because who wants to zap creativity? - plot points can act as a great template on which to write. They are signposts on your writing journey.
Figuring out your main plot points, and deciding when your plot points occur, at the outlining stage is definitely the easiest way.
I’m a pantser, but I will always hold these key moments and turning points in my head (or write them down if I am feeling wild!) as I am drafting.
As you're writing, having some idea of what your next plot point will be can be really helpful, as it gives you something to build towards and can lessen the amount of writer's block you experience.
Frequently Asked Questions
What Is A Plot Point In A Story?
A plot point is a moment in your story that impacts your character or the direction of the story in some way. It links directly to your character arc, giving them conflict to overcome on their journey to enlightenment and change.
What Is A Plot Point Example?
A plot point example from Jojo Moyes' Me Before You, is when Lou moves in with her ‘safe’ boyfriend before realising that she doesn’t love him. This pushes her closer to Will who, in turn, shows her that life shouldn’t be ‘safe’ and that she should go out into the world and live it.
How Many Plot Points Are In A Story?
The number of plot points in a story varies, but most agree that there are seven main plot points - hook, first plot point/inciting incident, first pinch point, midpoint, second pinch point, second plot point, and resolution.
Plot Point Crafting
Plot points are key to engaging your readers. They are also key to achieving both narrative and character arcs. Think of each plot point as a bolt linking one part of your story to the next and you will take your readers on an unputdownable ride that they will strap themselves in for.
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