do you write a book review in past tense

Past vs. Present Tense: Choose the RIGHT Tense for Your Novel

by Joe Bunting | 75 comments

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One of the first decisions you have to make when you're writing a novel or short story is which tense to use. There are only two viable options: past vs. present tense.*

Which tense should you choose for your novel?

*Future tense is certainly technically possible, but it's used so rarely in fiction we're going to skip it here.

What's the Difference Between Present and Past Tense?

In fiction, a story written in past tense is about events that happened in the past. For example:

From the safety of his pickup truck, John watched as his beloved house burned to the ground. With a blank face, he drove away.

Present tense, on the other hand, sets the narration directly into the moment of the events:

From the safety of his pickup truck, John watches as his beloved house burns to the ground. With a blank face, he drives away.

This is a short example, but what do you think? How are they different? Which version do you prefer?

Choose Between Past and Present Tense BEFORE You Start Writing Your Novel

New writers are notorious for switching back and forth between past and present tense within their books. It's one of the most common mistakes people make when they are writing fiction for the first time.

On top of that, I often talk to writers who are halfway finished with their first drafts, or even all the way finished, and are now questioning which tense they should be using.

Unfortunately, the more you've written of your novel, the harder it is to change tenses, and if you do end up deciding to change tenses, it can take many hours of hard work to correct the shift.

That's why it's so important to choose between past and present tense before you start writing your novel.

With that in mind, make sure to save this guide, so you can have it as a resource when you begin your next novel.

Both Past Tense and Present Tense Are Fine

When making your tense choice, past tense is by far the most common tense, whether you're writing a fictional novel or a nonfiction newspaper article. If you can't decide which tense you should use in your novel, you should probably write it in past tense.

There are many reasons past tense is the standard for novels. One main reason is simply that it's the convention. Reading stories in past tense is so normal that reading present tense narratives can feel jarring and annoying to many readers. Some readers, in fact, won't read past the few pages if your book is in present tense.

That being said, from a technical perspective, present tense is perfectly acceptable. There's nothing wrong with it, even if it does annoy some readers. It has been used in fiction for hundreds of years, and there's no reason you can't use it if you want to.

Keep in mind, there are drawbacks though.

The Hunger Games and Other Examples of Present Tense Novels

I was talking with a writer friend today who used to have strong feelings against present tense. If she saw the author using it in the first paragraph of a novel, she would often put the book back on the bookstore shelf.

Then, she read The Hunger Games , one of the most popular recent examples of a present tense novel (along with All the Light We Cannot See ), and when she realized well into the book that the novel was in present tense, all those negative opinions about it were turned on their heads.

Many of the biggest present-tense opponents (like Philip Pullman ) use caveats like this. Some of them even blame The Hunger Games for later, less well-written present tense novels. “ Hunger Games was fine,” they say, “but now every other novel is in present tense.”

However, the reality is that it has a long tradition. Here are a several notable examples of present tense novels:

Bleak House by Charles Dickens

Rabbit, Run by John Updike

Rabbit, Run is sometimes praised for being the first book to be written entirely in present tense. But while it may have been the first prominent American novel in present tense, it was hardly the first in the world.

Ulysses by James Joyce

All Quiet on the Western Front by Erich Maria Remarque

Fight Club by Chuck Palahniuk

Like several of Chuck's novels, Fight Club , published in 1999, is written in present tense .

Bright Lights, Big City by Jay McInerney

Bright Lights, Big City is notable both for being written in present tense and second-person . While it's not necessarily something you should use as an example in your own writing, it is an interesting case.

Other Notable Novels

Here are several other notable present tense novels

• All the Light We Cannot See by Anthony Doerr
• Bird Box: A Novel by Josh Malerman (I'm reading this right now, and it's great!)
• The White Queen by Philippa Gregory (the basis for the BBC TV Series)
• Cat's Eye by Margaret Atwood
• Time Traveler's Wife by Audrey Niffenegger

There are dozens of other notable and bestselling novels written in present tense. However, comic books are another example of popular present-tense writing, which use dialogue bubbles and descriptions almost universally in present tense.

5 Advantages of Present Tense

Present tense, like past tense, has its benefits and drawbacks. Here are five reasons why you might choose to use it in your writing:

1. Present Tense Feels Like a Movie

One reason authors have used present tense more often in the last century is that it feels most film-like.

Perhaps writers think they can get their book adapted into a movie easier if they use present tense, or perhaps they just want to mimic the action and suspense found in film, but whether film is the inspiration or the goal, its increasing use owes much to film.

John Updike himself credits film for his use of present tense, as he said in his interview with the Paris Review :

Rabbit, Run was subtitled originally, ‘A Movie.' The present tense was in part meant to be an equivalent of the cinematic mode of narration…. This doesn’t mean, though, that I really wanted to write for the movies. It meant I wanted to make a movie. I could come closer by writing it in my own book than by attempting to get through to Hollywood.

Christopher Bram, author of Father of Frankenstein , says much the same , “I realized I was using it because it’s the tense of screenplays.”

2. Present Tense Intensifies the Emotions

Present tense gives the reader a feeling like, “We are all in this together.” Since the reader knows only as much as the narrator does, it can draw the reader more deeply into the suspense of the story, heightening the emotion.

3. Present Tense Works Well With Deep Point of View

Deep point of view, or deep POV, is a style of narrative popular right now in which the third person point of view is deeply embedded into the consciousness of the character.

Deep POV is like first person narrative, and has a similar level of closeness, but it's written in third person. By some counts, deep POV accounts for fifty percent of adult novels and seventy percent of YA novels.

Present tense pairs especially well with a deep point of view because both serve to bring the narrative closer to the reader.

4. Present Tense Works Best In Short-Time-Frame Stories With Constant Action

Present tense works well in stories told in a very short time frame—twenty-four hours, for example—because everything is told in real time, and it's difficult to make too many transitions and jumps in time.

5. Present Tense Lends Itself Well To Unreliable Narrators

Since the narrative is so close to the action in present tense stories, it lends well to unreliable narrators. An unreliable narrator is a narrator who tells a story incorrectly or leaves out key details. It's a fun technique because the reader naturally develops a closeness with the narrator, so when you find out they're secretly a monster, for example, it creates a big dramatic reversal.

Since present tense draws you even closer to the narrator, it makes that reversal even more dramatic.

5 Drawbacks of Present Tense

As useful as present tense can be in the right situation, there are reasons to avoid it. Here are five reasons to choose past tense over present tense:

1. Some Readers Hate Present Tense

The main reason to avoid present tense, in my opinion, is that some people hate it. Philip Pullman , the bestselling author of the Golden Compass series, says:

What I dislike about the present-tense narrative is its limited range of expressiveness. I feel claustrophobic, always pressed up against the immediate.

Writer beware: right or wrong, if you write in present tense, some people will throw your book down in disgust. Past tense is a much safer choice.

2. Present Tense Less Flexible, Time Shifts Can Be Awkward

The disadvantage of present tense is that since you're so focused on into events as they happen, it can be hard to disengage from the ever-pressing moment and shift to events in the future or past.

Pullman continues :

I want all the young present-tense storytellers (the old ones have won prizes and are incorrigible) to allow themselves to stand back and show me a wider temporal perspective. I want them to feel able to say what happened, what usually happened, what sometimes happened, what had happened before something else happened, what might happen later, what actually did happen later, and so on: to use the full range of English tenses.

Since you're locked into the present, you're limited in your ability to move through time freely. For more flexibility when it comes to navigating time, choose past tense.

3. Present Tense Harder to Pull Off

Since present tense is so much less flexible that past tense, it's much more difficult to use it well. As Editorial Ass. says:

Let me say that present tense is not a reason I categorically reject a novel submission. But it often becomes a contributing reason, because successful present tense novel writing is much, much more difficult to execute than past tense novel writing. Most writers, no matter how good they are, are not quite up to the task.

Elizabeth McCraken continues this theme:

I think a lot of writers choose the present tense as a form of cowardice. They think the present tense is really entirely about the present moment, as though the past and future do not actually exist. But a good present tense is really about texture, not time, and should be as rich and complicated and full of possibilities as the past tense. They too often choose the present tense because they think they can avoid thinking about time, when really it’s all about time.

If you're new to writing fiction, or if you're looking for an easier tense to manage, choose past tense.

4. No or Little Narration

While present tense does indeed mimic film, that can be more of a disadvantage than an advantage. Writers have many more narrative tricks available to them than filmmakers. Writers can enter the heads of their characters, jump freely through time, speak directly to the reader, and more. However, present tense removes many of those options out of your bag of tricks. As Emma Darwin says:

The thing is, though, that film can't narrate: it can only build narrative by a sequence of in-the-present images of action.

To get the widest range of options in your narrative, use past tense.

5. Present Tense Is More Limited

As Writer's Digest says, with present tense you only have access to four verb tenses, simple present, present progressing, simple future, and occasionally simple past. However, with past tense, you have access to all twelve verb tenses English contains.

In other words, you limit yourself to one-third of your choices if you use present tense.

How to Combine Present and Past Tense Correctly

While you should be very careful about switching tenses within the narrative, there is one situation in which present tense can be combined within a novel:

Breaking the Fourth Wall is a term from theater that describes when an actor or actors address the audience directly. A good example of this is from Shakespeare's Midsummer Night's Dream :

If we shadows have offended, Think but this, and all is mended, That you have but slumber'd here While these visions did appear. … So, good night unto you all. Give me your hands, if we be friends, And Robin shall restore amends.

As with theater, novels have broken the fourth wall for hundreds of years, addressing the reader directly and doing so in present tense .

Midnight's Children by Salman Rushdie

A great example of breaking the wall is from Midnight's Children , the Best of the Bookers winning novel by Salman Rushdie, in which Saleem narrates from the present tense, speaking directly to the reader, but describes events that happened in the past, sometimes more than a hundred years before.

I am the sum total of everything that went before me, of all I have been seen done, of everything done-to-me. I am everyone everything whose being-in-the-world affected was affected by mine. I am anything that happens after I'm gone which would not have happened if I had not come. ― Salman Rushdie, Midnight's Children

A Tale of Two Cities by Charles Dickens

Dickens' novel, A Tale of Two Cities , also uses this technique of breaking the fourth wall and addressing the reader directly. Here's a quote from the novel:

A solemn consideration, when I enter a great city by night, that every one of those darkly clustered houses encloses its own secret; that every room in every one of them encloses its own secret; that every beating heart in the hundreds of thousands of breasts there, is, in some of its imaginings, a secret to the heart nearest it!

Which Tense is Right For Your Book, Past Tense or Present Tense?

As you can see present tense has its advantages and disadvantages.

If you're writing a film-like, deep POV novel with an unreliable narrator in which the story takes place in just few days, present tense could be a perfect choice.

On the other hand, if your story takes place over several years, follows many point of view characters, and places a greater emphasis on narration, past tense is almost certainly your best bet.

Whatever you do, though, DON'T change tenses within your novel (unless you're breaking the fourth wall).

How about you? Which tense do you prefer, past or present tense? Why? Let us know in the comments .

Practice writing in both present and past tense.

Write a scene about a young man or woman walking through London. First, spend ten minutes writing your scene in present tense. Then, spend ten minutes rewriting your scene in past tense.

When your time is up, post your practice in both tenses in the Pro Practice Workshop and leave feedback for a few other writers, too.

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Joe Bunting

Joe Bunting is an author and the leader of The Write Practice community. He is also the author of the new book Crowdsourcing Paris , a real life adventure story set in France. It was a #1 New Release on Amazon. Follow him on Instagram (@jhbunting).

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75 Comments

This is interesting because I’ve found that over the years my natural writing style has shifted from writing in past tense to writing in present tense and I’ve been looking at a piece for a while where I’ve been on the fence about rewriting it in past tense but after reading this I might keep it as is because I have a very unreliable narrator. I’ve found this to be extremely helpful, thanks.

Awesome. Glad you found this helpful, Ashley. Good luck with your piece!

I like present tense narration And trying to write one though scared I’ve been writing poems and prefer first person, hope to do better thank you for sharing your ideas

Very helpful advice. I was wondering about my middle-grade novel. Could I break the fourth wall in it? It would seem a wonderful thing to try.

If by ‘middle-grade’ you mean children’s, I think children’s and young adult fiction is very open to fourth wall smashing!

Though the mass of my fiction is past tense 3rd-person omni, I *do* break the 4th wall sometimes. I just can’t help myself…in a lifetime in music, theatre & dance, I know its power & frankly lust after it in writing. (But one thing those other fields of art taught me was that too much through-the-wall action and loss of control is almost inevitable.) Attempting to remain judicious, I don’t break the wall very often, but sometimes–especially in action scenes–and most especially in action scenes where I’m holding the focus on one out of a number of deeply developed characters, breaking that 4th wall–say, for a mere portion of a single scene–can really do the job!

Great points, Manilamac. We need to do a whole post on the 4th wall, but you’ve said everything I think!

He was not a Londoner or even a British national. He walked the streets of London in January dressed in bright color sleeveless shirt and sandals. People around him who carried umbrellas and wore suits and leather shoes saw him as a strange character who lost his way in the big city.

He is not a Londoner, or even a British national. He walks the streets of London in January wearing wild color sleeveless shirt but acts like he belongs in the big city. People look at him amused by what they see—a young man who needs help.

Past tense gave this a very different feel to present tense.

The present tense gives this a feel that differs markedly from the past.

Agreed! Also, I see what you did there, Davidh. 😉

Hello! I love this blog, but you have mis-cited John Updike’s seminal book Rabbit, Run several times. Can you fix this please?

Thanks Dorryce. What do you mean miscited?

Oh my gosh! How funny. I read that novel and loved it, have read a lot about it, and have thought about it for years, and this whole time I thought it was called Run, Rabbit Run, not Rabbit, Run. It’s amazing how your brain can edit things. Thanks Dorryce. Fixed!

Heheheh- my mind automatically changed it to “Run, Rabbit, Run” too! I think it must have confused it with Forrest Gump… 😮

Glad to hear I’m not the only one!

The term story itself suggests that we write about something that happened in the past.The past tense always fits the bill when you narrate a story of the past.But when you write a how to article, the present tense is always the best and again the content of a how to article definitely is not a story but something that directs somebody to do something.Even Salman Rushdie in his MIdnight Children chose the past tense to narrate his story.Thats what H.G.Wells did in his Time Machine.

I disagree, S. Have you ever told a story to a friend or colleague in present tense? I certainly have! “So I’m walking through the house and it’s pitch dark and then you know what I see… a giant mouse!”

The question is which tense is right for your novel, but not whether you can write a novel in the present tense.In my humble opinion, when you narrate a story of the past, the past tense is most appropriate and when you narrate what is happening now, I mean in the story, the present tense is appropriate.Again, the tense is determined by the content.For example if I write a story of the preindependant era in India, the past tense is a must and more appropriate.

Unfortunately, a long tradition of well respected novelists disagree with you, including Erich Remarch, who wrote about a historical event, WWI, well after the events. It might indeed be more appropriate by some measures to write about historical events, like preindependent India, in the present tense, but that doesn’t mean that it wouldn’t be artistically effective and technically possible if done well.

Our mental predilictions should not, of course, will not determine the right tense required for writing a novel, but certainly it is the content or the subject matter that determines it.

Fascinating article, but I do have some reservations.

Firstly, let me quote from your article: “While you should be very careful about switching tenses within the narrative, there is one situation in which present tense can be combined within a novel: Breaking the Fourth Wall is a term from theater that describes when an actor or actors address the audience directly….”

What about occasions in a present tense story in which your characters engage in reminiscences? How else can they do that but shift to the past tense? This is what is meant by ‘past within present’.

Secondly, I have also recently read a piece (written by a colleague) wherein the tense changes from scene-to-scene. One of the characters thinks and acts in the present, working to reform himself. The other character is dominated by resentments and focussed upon the past. This piece worked extremely well and was a great device for conveying the differences between the characters.

In my own work-in-progress, I have my regret-burdened starship Captain protagonist (and the bulk of the narrative) working in the past tense, whilst her living-in-the-moment AI friend operates entirely in the present tense.

I think tense can be made to shift effectively from one to the other, but only if done with great care and purpose.

I do not buy the notion that all tense shifts are Verboten.

Good question, Davidh. Yes, for flashbacks, you can absolutely use past tense. Just keep in mind, your character is still in the present, even if his/her consciousness is elsewhere. So you have to be careful to make sure the recollections he/she is having are natural, not forced by the story. Otherwise, you’re in danger of info dumping.

Regarding tense changes scene-to-scene, there are some novels that do that. Bleak House, which I mentioned, is one example. It’s hard to pull off, and can be jarring to some readers, though—just as switching POV characters can be jarring to some readers. It’s likely that few mass market, bestselling novels will be written this way, but that doesn’t mean it’s not possible!

Agreed! What can’t be done is careless tense shifts within a chapter (apart from flashbacks or asides, as you mention). Good thoughts, Davidh!

In my novel (picked up by Pen Name Publishing), I’ve done a masterful job creating ‘past within present’ while successfully writing a first person account from a drug-addled stream-of-consciousness. In Beyond The Blue Kite, the real world is present tense while the flashback and three dreams are past tense (thus proving shifting tense can work if you have a unique formula).

I disagree the drawback to present tense includes little to no narration. Pay attention to the character subject and it won’t become a flaw. In addition, the protagonist in Beyond The Blue Kite is portrayed as claustrophobic which is why present tense proved perfect in portraying reality.

What I loved about present tense was giving the reader deep suspense towards the end, and heightening the emotion from beginning to end. Interesting note that present tense draws you even closer to the narrator which made my dream sequences more dramatic when switching tense.

If you’re going to try succeed switching tense, practice and practice and then practice more; and be prepared to put in many hours of hard work. It can be challenging to change tense, but I can’t lie and say it’s not possible.

I m an English major hoping to earn a degree in creative writing, I would like to have a copy of your novel; would that be possible. my email [email protected] thank you, love your response.

Just checking for confirmation that Richard did a truly “masterful job” constructing the “past-within-present” tense? Struggling to master it myself and would love to have some confirmation about good models to examine.

http://www.amazon.com/Highways-Teresa-Marie-ebook/dp/B01A766HU8/ref=sr_1_1?s=digital-text&ie=UTF8&qid=1452047950&sr=1-1&keywords=Highways Hello everybody, I was inspired by Joe to finish my suspense thriller during NaNoWriMo 2015 and … tada! Thanks, Joe. I’d really appreciate any reviews or comments as I need the feedback. 🙂 I’m in your writing community too, so I’ll post a link there. All the best. K.

Wow, congratulations K! That’s a huge accomplishment. And now are you working on the next? 🙂

I’ve never tried writing in present tense, an to be honest have always found it distracting. Most of the books I read to my kids are written that way, and (as sad as it may seem) I usually translate to past tense when I read out loud.

Ha! Cheater! Although, I can’t really talk. I sometimes skip pages if the story is really long!

I did it once & I must say I did it successfully (despite many advising against writing this way). But I am currently writing the prequel. And I think there will be a prequel to the prequel. Do they all have to be written in the same tense? What about the POV? My debut novel is mostly in 3rd person POV. Do I need to do the same for all the books in this series? Sherrie

Sherrie Miranda’s historically based, coming of age, Adventure novel “Secrets & Lies in El Salvador” is about an American girl in war-torn El Salvador: http://tinyurl.com/klxbt4y Her husband made a video for her novel. He wrote the song too: https://www.youtube.com/watch?v=P11Ch5chkAc

Interesting question! Yes, I think it’s best to choose the same tense. Hunger Games is all in the same tense. It’s a bit different, since it’s a prequel, though. I’d definitely recommend keeping the same POV though.

John watches as his beloved house burns to the ground. He watches as flames lick out of the window of his trophy room. Images of his Star Wars figures flash across his mind, he and his nephew battling with the evil Emperor. Before the roof could fall in, he reaches out, turns the key in the ignition. With a blank face, he drives away.

Nice, determined. Where’s the past tense version?

I came, I saw, I conquered. Caesar insisting on his competence to do just that, even before he lands. His (arrogant) self confidence, if you will. An example of thinking positive in the extreme.

Present Walking in the deep, deserted, dark streets of London, where no soul was visible. Quietness was being intruded by coughing of a young man, chugging on his pipe. A lamppost seems to signal him to halt, where he stood leaning against the wall. Timelessly keeping a watch over his watch, waiting for some known or unknown. Every passing shadow lit a light of hope in his eyes, which the street lights also could not hide. Suddenly from nowhere a hand touched his back, making him numb with tears rolling his eyes. Turning seemed difficult for him at this time, even more than moving a rock. The touch & warmth, the breathing by his side was his younger brother, who he thought was not alive….

Past Deep, deserted, dark streets of London, where visibility of any soul was low, had seen a young man chugging on his pipe. His coughing had echoed to the highest point reaching to the deepest point in rebound. Lampposts dancing to the moonlight was left incomplete, due to the presence of this unknown. A bricked wall had lend his shoulder to him, where he ceaselessly kept a count over time. Shadows passed making his expressions grow more intense with time. Lamppost played a role of a spotlight, leading one aching soul to bond with another. A touch on his back was all what he groped, which melted him like an ice. He knew it was his younger brother, who he thought was never alive….

This is so evocative, Diya. I’m not sure “was being” works in the present tense, or “stood.” Should be “Quietness is” and “stands.” There are sever other mistakes in tense. Might be worthwhile to go back through and get clear on them. The past tense has a few issues as well, “knew it was his younger brother” should be “had known.” This piece is very dark and mysterious, though!

Thanks Joe, for this complete guide for writing in present or past tense. You’ve cleared up my doubts and I’m relieved that I have chosen to write my novel it in the past tense. I find it is easier to write in the past tense. I recently read a book written in the present tense and admire the author for her splendid novel. I’d love to imitate her but i dare not because I’d unconciously change the tense some place and not notice it. Better leave present tense alone. Past tense is okay for me.

I’m so glad this helped you realize you made the right choice for your novel. What was the book you finished that was in present tense?

The book I finished reading and enjoyed is titled ‘The Miniaturist by Jessie Burton.

I’ve heard of that, Lilian. It looks good!

Great Post. Here are is the exercise followed by a comment

Funny how life gives you these unexpected moments, as if to say, see? If you weren’t such a controlling, over scheduled sod you might actually enjoy life a little more. Don is just killing time in Piccadilly Circus, itself a kind of accident since his rental car wouldn’t be available till 5PM. Bloody hell, he said like a true Englishman, which he’s not. But it turns out to be kind of unforseen blessing. For there he is, browsing in a bookstore in Piccadilly, just that phrase seems to conjure such possibility, that he meets Angela. It must look to her as though he is hitting on her, chatting her up as they say in England, but he really did want to drink a coffee. And now, here they are in Starbucks, and the whole moment is starting to feel very datey to him.

Funny how life gives you these unexpected moments, as if to say, see? If you weren’t such a controlling, over scheduled sod you might actually enjoy life a little more. Don was just killing time in Piccadilly Circus, itself a kind of accident since his rental car wouldn’t be available till 5PM. Bloody hell, he said like a true Englishman, which he’s not. But it turned out to be kind of unforseen blessing. For there he was, browsing in a bookstore in Piccadilly, just that phrase seems to conjure such possibility, that he met Angela. It must have looked to her as though he was hitting on her, chatting her up as they say in England, but he really did want to drink a coffee. Then off they went to Starbucks, and the afternoon started to feel very datey to him.

I started my memoir in the present tense months ago, mostly because I liked the sound of it and was inspired by Michael Ian Black’s memoir, You’re Not Doing It Right. It is tricky to maintain the voice throughout, and sometimes I would unconsciously slip back into the past voice.

A good example is my chapter call A Social Dis-ease posted on the daily writing section of this site. ( https://thewritepractice.com/community/daily-writing/a-social-dis-ease-revision-of-earlier-posted-from-wdtath/ )

When I need to fill in the back story a bit, I switch back to the past. So far I have seen no reason to not continue, though I recently started a short story all in the past and it seems to be a lot easier to write somehow.

Dan de Angeli

I love the tone of this, Dan. Wry and critical. Very fun. Tenses look great! Funny how the first two lines are both in different tenses and yet remain, correctly, the same in both.

This was a very interesting post! However, again, I have to offer a critique: apostrophes can be evil when they’re used in wrong places (its vs it’s, writers vs writer’s).

Thanks Ash! Evil, perhaps not, but incorrect, definitely. I’ve fixed them. Thank you!

As I walk I’m careful where I put my feet, not wanting to step in some trash or trip over some litter, perhaps a child’s broken toy left lying. Now and then I stop to study the buildings around me, the tenement row houses and run-down apartment blocks. Cramped quarters where you try hard to shut your ears, not wanting to know about the shouts, cries, maybe even screams of your neighbours. Maybe hoping that it’s at least not the children getting the beating. But you tune it all out. You have enough problems of your own.

Snatches of conversation I’m hearing tell me a lot of immigrants are starting out life in Britain right here on these streets. How do they feel now about the Promised Land?

A gust of wind blows at my skirt and I smooth it down, trying to stay decently covered. Three black-haired, black eyed young men in a huddle look my way; one of them whistles. As I pass by they look me over, curious. I cringe a bit, then give myself a mental shake and straighten my shoulders. I’m not some teenage runaway; I have business here.

How did she end up on these streets? And why am I here, trying to find her? This is madness. Again I pray for a miracle: If she’d only somehow materialize in front of me, or I’d glimpse her down the block.

When I get to the street corner my eyes scan the sign posts, willing “Faust Street” to appear on one of them. Next time I’m taking a cab right to the door. No, I correct myself. There won’t be a next time. Ever.

Surely it can’t be much farther. I plod on, conscious that the daylight’s disappearing. I glance up into the murky sky and realize the fog is rolling in. What would it be like to be caught wandering these East End streets in a pea soup fog. My mind flips to the story of Jack the Ripper. I force myself to concentrate on my flower garden at home.

A man approaches, walking toward me, and something makes me look in his face. It’s not the scars that startle me, but the look in his eyes. Like a wolf sizing up a silly ewe. And I’m seeing myself very fitted to the role of lamb kebab.

At this moment finding her seems not half as important as it did an hour ago. All my being is crying to be out of this place, off these streets.

The man is so close to me now I can smell the stale tobacco on his clothes. He stops and eyes me too thoroughly. He seems to think he knows what I’m doing here. Well I’m not, mister! I take a several steps back.

“Where ye going’ lady? He reaches out his hand, gripping my arm with powerful fingers. I’d like ta get ta know ye.” He pulls me toward him.

Half a block behind him I see a bobby step out of a shop and look in our direction. Thank God!

I won’t replay this in third person. If I did, it would read much the same — except that I could describe the MC as she walked along. Now I’m just giving the indication that she’s female and of an age to attract male attention.

I commented on your website, Christine, but I enjoyed your writing very much in this piece. Good job!

Thanks. I love writing opening scenes. But…um… what should come next. Should she find her or shouldn’t she? This is probably why I haven’t written a literary novel yet. 😉

I don’t know. I would start from scratch on that. What I like most is the setting and, especially, the character’s voice.

Thanks again. You’ve set the wheels turning; I’m going to give this serious thought. If the city street can be anywhere…and the search can be for anyone… The voice I can do.

Thank YOU for reading LaCresha. Best!

Thanks for your feedback Joe…I know I’m far from being perfect, but such kind of light always makes the try worthwhile. I did feel present tense made me restricted, where past was easier though.

Interesting observation, Diya. Thank you for giving it a try! 🙂

It’s also important to note that present tense leaves a lot of mystery about the future and makes it so that anyone can die, even the main character. Where as in past tense first person (I did this. I did that.) We usually know the main character will survive because they have to live to tell the story. Of course, this can be worked around with past tense paired with an omnipotent narrator (They did this. They did that.)

I personally have no preference in reading but I notice that I always write in past tense. I guess it just makes more sense in my brain that an event would be recorded after the even happens, not as it is happening.

A London scene? Oh, goodness. I’ll give it my best shot.

Great point, Katherine! Yes past tense 1st person novels make it very difficult to kill your character! Still possible, of course, since many stories are narrated by ghosts or even letters left behind, but still… it’s rarer.

Yes, I’ve read a few present tense first persons that killed of their character, but I really do feel like it’s cheating. Those endings always make me angry for some reason, unless of course we already know that they’re a ghost though the story.

This was really helpful. I always tend to prefer the past tense over the perfect, but have noticed that more and more books seem to be venturing into the present tense. Perhaps, as you say, it is because it is like the movies.

Glad you found it helpful, Tanya. Do you have any present tense novels you have enjoyed?

All the light We Cannot See – but that is such an exceptional book in so many ways. The sentences are short and punchy like a blog post, but it’s superb writing because of the poetry – the choice of verbs is extraordinary.

Isn’t it great? Glad you’re enjoying it, Tanya. 🙂

I really like what Elizabeth McCracken says about present tense – that ‘a good present tense is really about texture, not time, and should be as rich and complicated and full of possibilities as the past tense’.

Thanks for the thought-provoking piece, Joe. So much to unpack here. Have shared it.

Great quote, Bridget. I really like that. Thank you for sharing it. And for sharing our article!

I don’t think you can blame articles on that, Martin. It’s so normal to drift between tenses. I read a lot of first drafts and I can tell you, switching tenses is the one of the most common mistakes I see.

I also am not saying this decision is easy. It’s not really supposed to be easy. But it IS important, otherwise I wouldn’t have devoted 2,700+ words to helping you figure it out. Honestly, it sounds like you need to spend some time alone thinking about which tense is best for your novel. And then stick to it. No one can make the decision for you, but you do have to decide.

Let me know if I can help.

I tried writing a story in the present tense for the first time after reading this article, and I found that I kept accidentally switching back to past tense and had to go back and correct myself several times. That’s probably because I am so familiar with stories told in the past tense that it feels like the default sense to me.

I believe I agree with the sentiment that “Present Tense Intensifies the Emotions”. It seems to provide a sort of immediacy with the emotional changes that a character undergoes because they aren’t telling us something that happened a long time ago, with embellishments and with the foresight of what happens next. Instead, you get to experience what happens to them as it happens, making the narration rawer and possibly more surprising.

Here’s my attempt: http://loonytales.blogspot.com/2016/01/beautiful.html

How is “The Hunger Games” well written present tense? Just look at the first sentence: “When I wake up, the other side of the bed is cold.” This is exactly what Pullman is talking about. The author thinks it means “When I woke up, the other side of the bed was cold.” but it actually means “Usually (or sometimes, or always) when I wake up, the other side of the bed is cold.” You can’t just find/replace the tenses, you have to think about their usual use. This could’ve been fixed by a simple “I awake and realize the other side of the bed is cold.” if only the author knew what she was doing. One of the reasons I couldn’t get through the book was that I couldn’t tell most of the time whether Catniss was coming or going. I couldn’t tell if she was planning to pick up the bow, was picking up the bow, had already picked up the bow… Finally I got tired of trying to figure out what the author actually intended it to mean and switched to a novel where the author was clear, precise and unambiguous.

Sorry you didn’t enjoy it, Catalina. Perhaps present tense is an acquired taste. You should try Rabbit, Run next!

Very enlightening and an invitation to read some great novels. Do you have a piece on past tense that is as detailed?

Not currently, David, although we may update this article in the future. Thank you for reading!

But when you write a how to article, the present tense is always the best and again the content of a how to article definitely is not a story but something that directs somebody to do something. Snapback Caps

When you are telling a story where the reader can not a part of it or wasn’t the part of it, past tense is best. But present tense make the reader feel that he too can be the part of the story.

I am a bit late to the discussion, maybe by two years, but maybe someone will read this. I am one of those people who will throw down a book in disgust if it is written in present tense, Charles Dickens or Salman Rushide not withstanding. Why?

Because, I imagine the narrator must be writing the narrative as it happens. Which means, the narrator has to be both observing and narrating at the same time. Unless it is Quantum Entanglement, I don’t see how that is possible- being at two places or two different timelines at the same time. The narrator can be omniscient, a time-traveler if you will, but then, I am human and I like to read about books that are written with human curiosities and aspirations. So, I not only see writing in the present tense as annoying, but I consider it plain wrong. I know many of us here will disagree, but consider this-

“I am the sum total of everything that went before me, of all I have been seen done, of everything done-to-me. I am everyone everything whose being-in-the-world affected was affected by mine. I am anything that happens after I’m gone which would not have happened if I had not come.- Salman Rushdie.”

This is more like a view into a letter that is written by Salman Rushdie. It is internal reflection. So it can be written in the present tense. In fact, past tense would have made it like Salman Rushdie was writing it as a ghost.

And consider this-

“A solemn consideration, when I enter a great city by night, that every one of those darkly clustered houses encloses its own secret; that every room in every one of them encloses its own secret; that every beating heart in the hundreds of thousands of breasts there, is, in some of its imaginings, a secret to the heart nearest it!- Charles Dickens.”

Again, this comes off as internal reflection, because of the ‘when’. If one had to write this as if this was happening in the present, one could attempt this-

“A solemn consideration, when I entered any great city by night, that every one of those darkly clustered houses enclosed its own secret; that every room in every one of them enclosed its own secret; that every beating heart in the hundreds of thousand of breasts there, was, in some of its imaginings, a secret to the heart nearest it!”

Still works.

Now lets consider this- again, an except from Dickens’s Great Expectations- “…

“Hold your noise!” cried a terrible voice, as a man started up from among the graves at the side of the church porch. “Keep still, you little devil, or I’ll cut your throat!”

A fearful man, all in coarse grey, with a great iron on his leg. A man with no hat, and with broken shoes, and with an old rag tied round his head. A man who had been soaked in water, and smothered in mud, and lamed by stones, and cut by flints, and stung by nettles, and torn by briars; who limped, and shivered, and glared and growled; and whose teeth chattered in his head as he seized me by the chin.

“O! Don’t cut my throat, sir,” I pleaded in terror. “Pray don’t do it, sir.” “Tell us your name!” said the man. “Quick!” “Pip, sir.” “Once more,” said the man, staring at me. “Give it mouth!” “Pip. Pip, sir!” “Show us where you live,” said the man. “Pint out the place!”

Let’s now attempt this in present tense-

“…

“Hold your noise!” cries a terrible voice, as a man starts up from among the graves at the side of the church porch. “Keep still, you little devil, or I’ll cut your throat!”

A fearful man, all in coarse grey, with a great iron on his leg. A man with no hat, and with broken shoes, and with an old rag tied round his head. A man who was soaked in water, and smothered in mud, and lamed by stones, and cut by flints, and stung by nettles, and torn by briars; who limps, and shivers, and glares and growls; and whose teeth chatters in his head as he seize me by the chin.

“O! Don’t cut my throat, sir,” I plead in terror. “Pray don’t do it, sir.” “Tell us your name!” says the man. “Quick!” “Pip, sir.” “Once more,” says the man, staring at me. “Give it mouth!” “Pip. Pip, sir!” “Show us where you live,” says the man. “Pint out the place!”

It doesn’t quite cut it. What’s wrong?

I am telling the story as it is happening to me! Will I? In the situation I am, when a man is terrorizing me, threatening to cut my throat? Will I tell you a story?

Nah, I think writing in present tense is a gross negligence on the part of the writer to respect his/her reader to be a discernible, self-respecting human, and therefore, the writer will then, be writing for an audience of people who have lost it in their heads. So, yes, I will throw the book down in disgust.

Hi, thank you for this article. I’m not a creative writer – I’m an art therapy Masters student looking to make my report on “creative inquiry” more interesting. I started writing it in the present tense to make it more personal, however, I felt out of my depth because it deserved more research and “know how”. Your article has helped me to appreciate the different qualities in past and present tense writing, so I’m sticking with past tense for now. I will, however, look up your recommended readings because you’ve sparked my interest! This is best article I’ve found and easiest to understand. All the best.

Is this sentence correct… “Tonya and Meg ask us for help moving that heavy box.” My teacher put it on a warm up for school and told us that it was incorrect, and that it was supposed to be ‘asked’ instead of ‘ask’. I think that he is wrong, but I’m not sure.

I’ll dump your book immediately if I see present tense. I hate it, and many others do also. When you tell a story, you instinctively tell it in the past tense. That’s what people expect. Telling it in the present tense is jarring. It’s like a radio announcer is reading it. In addition, most of the present tense writing I’ve seen switches to past tense willy-nilly.

I personally undoubtedly prefer past tense, however, I have issue with how to end it. It might be strange, but despite not writing in first person I don’t like the narrator to be outside of the story. I want an omniscient narrator, not for one of my characters to be retelling it, but if the story is told in past tense I don’t feel like it will ever be finished.

Trackbacks/Pingbacks

• The Runaway | Christine Composes - […] The Write Practice today asks up to write a scene about a young man or woman walking through London.…
• King Eats Caterpillar | Christine's Collection - […] prompts, maybe I can turn the tables, go back and post on a past writing prompt. And since The…
• How to choose the right tense for your novel: past tense vs. present tense | Toni Kennedy : A Writing Life - […] How to choose the right tense for your novel: past tense vs. present tense […]
• Links To Blog Posts on Writing – January 2016 | Anna Butler - […] How to Choose the RIGHT Tense for Your Novel – Joe Bunting at The Write Practice with some practical…
• Parallelism: Keep Your Verb Tenses Consistent - […] See how the verbs match tense and form? In this example, all the verbs are in their gerund form, leading…
• Writing Links Round Up 4/11-4/16 – B. Shaun Smith - […] How to Choose the RIGHT Tense for Your Novel […]
• Simple Steps to Writing a Novel | Dawn Ross - Aspiring Book Author - […] There are only two choices in writing tense: past tense or present tense. One would think that writing in…
• Parallelism: Keep Your Verb Tenses Consistent | Creative Writing - […] See how the verbs match tense and form? In this example, all the verbs are in their gerund form, leading…
• Tense about Tense – Tuesday Writers - […] to https://thewritepractice.com/past-tense-vs-present-tense/ most novels are written in past tense. That doesn’t seem right to me, but maybe most adult […]
• Past or Present: why tense matters in our writing, and how to use it well – Words like trees - […] new (even if it isn’t established enough to overwhelm the convention of the past tense). In this article, Joe…
• Should I write my story in present or past tense? – Writing Essentials by Ellen - […] from the past to the present – an issue we discussed in the previous post. Joe Bunting of The…
• The Case of the Inconsistent Tense | Edward Forrest Frank - […] When you are writing something, you need to decide whether you are going to use past tense, present tense,…
• Proofreading Your Novel: 8 Ways to Edit Your Final Draft | The Novel Smithy - […] How to Choose the Right Tense for Your Novel […]

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How to Write a Book Review: The Ultimate Guide

WHAT IS A BOOK REVIEW?

Traditionally, book reviews are evaluations of a recently published book in any genre. Usually, around the 500 to 700-word mark, they briefly describe a text’s main elements while appraising the work’s strengths and weaknesses. Published book reviews can appear in newspapers, magazines, and academic journals. They provide the reader with an overview of the book itself and indicate whether or not the reviewer would recommend the book to the reader.

WHAT IS THE PURPOSE OF A BOOK REVIEW?

There was a time when book reviews were a regular appearance in every quality newspaper and many periodicals. They were essential elements in whether or not a book would sell well. A review from a heavyweight critic could often be the deciding factor in whether a book became a bestseller or a damp squib. In the last few decades, however, the book review’s influence has waned considerably, with many potential book buyers preferring to consult customer reviews on Amazon, or sites like Goodreads, before buying. As a result, book review’s appearance in newspapers, journals, and digital media has become less frequent.

WHY BOTHER TEACHING STUDENTS TO WRITE BOOK REVIEWS AT ALL?

Even in the heyday of the book review’s influence, few students who learned the craft of writing a book review became literary critics! The real value of crafting a well-written book review for a student does not lie in their ability to impact book sales. Understanding how to produce a well-written book review helps students to:

●     Engage critically with a text

●     Critically evaluate a text

●     Respond personally to a range of different writing genres

●     Improve their own reading, writing, and thinking skills.

Not to Be Confused with a Book Report!

WHAT’S THE DIFFERENCE BETWEEN A BOOK REVIEW AND A BOOK REPORT?

While the terms are often used interchangeably, there are clear differences in both the purpose and the format of the two genres. Generally speaking, book reports aim to give a more detailed outline of what occurs in a book. A book report on a work of fiction will tend to give a comprehensive account of the characters, major plot lines, and themes in the book. Book reports are usually written around the K-12 age range, while book reviews tend not to be undertaken by those at the younger end of this age range due to the need for the higher-level critical skills required in writing them. At their highest expression, book reviews are written at the college level and by professional critics.

Learn how to write a book review step by step with our complete guide for students and teachers by familiarizing yourself with the structure and features.

BOOK REVIEW STRUCTURE

ANALYZE Evaluate the book with a critical mind.

THOROUGHNESS The whole is greater than the sum of all its parts. Review the book as a WHOLE.

COMPARE Where appropriate compare to similar texts and genres.

THUMBS UP OR DOWN? You are going to have to inevitably recommend or reject this book to potential readers.

BE CONSISTENT Take a stance and stick with it throughout your review.

FEATURES OF A BOOK REVIEW

PAST TENSE You are writing about a book you have already read.

EMOTIVE LANGUAGE Whatever your stance or opinion be passionate about it. Your audience will thank you for it.

VOICE Both active and passive voice are used in recounts.

A COMPLETE UNIT ON REVIEW AND ANALYSIS OF TEXTS

⭐ Make  MOVIES A MEANINGFUL PART OF YOUR CURRICULUM  with this engaging collection of tasks and tools your students will love. ⭐ All the hard work is done for you with  NO PREPARATION REQUIRED.

This collection of  21 INDEPENDENT TASKS  and  GRAPHIC ORGANIZERS  takes students beyond the hype, special effects and trailers to look at visual literacy from several perspectives offering DEEP LEARNING OPPORTUNITIES by watching a  SERIES, DOCUMENTARY, FILM, and even  VIDEO GAMES.

ELEMENTS OF A BOOK REVIEW

As with any of the writing genres we teach our students, a book review can be helpfully explained in terms of criteria. While there is much to the ‘art’ of writing, there is also, thankfully, a lot of the nuts and bolts that can be listed too. Have students consider the following elements before writing:

●     Title: Often, the title of the book review will correspond to the title of the text itself, but there may also be some examination of the title’s relevance. How does it fit into the purpose of the work as a whole? Does it convey a message or reveal larger themes explored within the work?

●     Author: Within the book review, there may be some discussion of who the author is and what they have written before, especially if it relates to the current work being reviewed. There may be some mention of the author’s style and what they are best known for. If the author has received any awards or prizes, this may also be mentioned within the body of the review.

●     Genre: A book review will identify the genre that the book belongs to, whether fiction or nonfiction, poetry, romance, science-fiction, history etc. The genre will likely tie in, too with who the intended audience for the book is and what the overall purpose of the work is.

●     Book Jacket / Cover: Often, a book’s cover will contain artwork that is worthy of comment. It may contain interesting details related to the text that contribute to, or detract from, the work as a whole.

●     Structure: The book’s structure will often be heavily informed by its genre. Have students examine how the book is organized before writing their review. Does it contain a preface from a guest editor, for example? Is it written in sections or chapters? Does it have a table of contents, index, glossary etc.? While all these details may not make it into the review itself, looking at how the book is structured may reveal some interesting aspects.

●     Publisher and Price: A book review will usually contain details of who publishes the book and its cost. A review will often provide details of where the book is available too.

BOOK REVIEW KEY ELEMENTS

As students read and engage with the work they will review, they will develop a sense of the shape their review will take. This will begin with the summary. Encourage students to take notes during the reading of the work that will help them in writing the summary that will form an essential part of their review. Aspects of the book they may wish to take notes on in a work of fiction may include:

●     Characters: Who are the main characters? What are their motivations? Are they convincingly drawn? Or are they empathetic characters?

●     Themes: What are the main themes of the work? Are there recurring motifs in the work? Is the exploration of the themes deep or surface only?

●     Style: What are the key aspects of the writer’s style? How does it fit into the wider literary world?

●     Plot: What is the story’s main catalyst? What happens in the rising action? What are the story’s subplots? 

A book review will generally begin with a short summary of the work itself. However, it is important not to give too much away, remind students – no spoilers, please! For nonfiction works, this may be a summary of the main arguments of the work, again, without giving too much detail away. In a work of fiction, a book review will often summarise up to the rising action of the piece without going beyond to reveal too much!

The summary should also provide some orientation for the reader. Given the nature of the purpose of a review, it is important that students’ consider their intended audience in the writing of their review. Readers will most likely not have read the book in question and will require some orientation. This is often achieved through introductions to the main characters, themes, primary arguments etc. This will help the reader to gauge whether or not the book is of interest to them.

Once your student has summarized the work, it is time to ‘review’ in earnest. At this point, the student should begin to detail their own opinion of the book. To do this well they should:

i. Make It Personal

Often when teaching essay writing we will talk to our students about the importance of climbing up and down the ladder of abstraction. Just as it is helpful to explore large, more abstract concepts in an essay by bringing it down to Earth, in a book review, it is important that students can relate the characters, themes, ideas etc to their own lives.

Book reviews are meant to be subjective. They are opinion pieces, and opinions grow out of our experiences of life. Encourage students to link the work they are writing about to their own personal life within the body of the review. By making this personal connection to the work, students contextualize their opinions for the readers and help them to understand whether the book will be of interest to them or not in the process.

ii. Make It Universal

Just as it is important to climb down the ladder of abstraction to show how the work relates to individual life, it is important to climb upwards on the ladder too. Students should endeavor to show how the ideas explored in the book relate to the wider world. The may be in the form of the universality of the underlying themes in a work of fiction or, for example, the international implications for arguments expressed in a work of nonfiction.

iii. Support Opinions with Evidence

A book review is a subjective piece of writing by its very nature. However, just because it is subjective does not mean that opinions do not need to be justified. Make sure students understand how to back up their opinions with various forms of evidence, for example, quotations, statistics, and the use of primary and secondary sources.

EDIT AND REVISE YOUR BOOK REVIEW

As with any writing genre, encourage students to polish things up with review and revision at the end. Encourage them to proofread and check for accurate spelling throughout, with particular attention to the author’s name, character names, publisher etc. 

It is good practice too for students to double-check their use of evidence. Are statements supported? Are the statistics used correctly? Are the quotations from the text accurate? Mistakes such as these uncorrected can do great damage to the value of a book review as they can undermine the reader’s confidence in the writer’s judgement.

The discipline of writing book reviews offers students opportunities to develop their writing skills and exercise their critical faculties. Book reviews can be valuable standalone activities or serve as a part of a series of activities engaging with a central text. They can also serve as an effective springboard into later discussion work based on the ideas and issues explored in a particular book. Though the book review does not hold the sway it once did in the mind’s of the reading public, it still serves as an effective teaching tool in our classrooms today.

Teaching Resources

Use our resources and tools to improve your student’s writing skills through proven teaching strategies.

BOOK REVIEW GRAPHIC ORGANIZER (TEMPLATE)

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Book and Movie review writing examples (Student Writing Samples)

Below are a collection of student writing samples of book reviews.  Click on the image to enlarge and explore them in greater detail.  Please take a moment to both read the movie or book review in detail but also the teacher and student guides which highlight some of the key elements of writing a text review

Please understand these student writing samples are not intended to be perfect examples for each age or grade level but a piece of writing for students and teachers to explore together to critically analyze to improve student writing skills and deepen their understanding of book review writing.

We would recommend reading the example either a year above and below, as well as the grade you are currently working with to gain a broader appreciation of this text type .

BOOK REVIEW VIDEO TUTORIALS

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How to Write a Book Review: A Comprehensive Tutorial With Examples

You don’t need to be a literary expert to craft captivating book reviews. With one in every three readers selecting books based on insightful reviews, your opinions can guide fellow bibliophiles toward their next literary adventure.

Learning how to write a book review will not only help you excel at your assigned tasks, but you’ll also contribute valuable insights to the book-loving community and turn your passion into a professional pursuit.

In this comprehensive guide,  PaperPerk  will walk you through a few simple steps to master the art of writing book reviews so you can confidently embark on this rewarding journey.

What is a Book Review?

A book review is a critical evaluation of a book, offering insights into its content, quality, and impact. It helps readers make informed decisions about whether to read the book.

Writing a book review as an assignment benefits students in multiple ways. Firstly, it teaches them how to write a book review by developing their analytical skills as they evaluate the content, themes, and writing style .

Secondly, it enhances their ability to express opinions and provide constructive criticism. Additionally, book review assignments expose students to various publications and genres, broadening their knowledge.

Furthermore, these tasks foster essential skills for academic success, like critical thinking and the ability to synthesize information. By now, we’re sure you want to learn how to write a book review, so let’s look at the book review template first.

Table of Contents

Book Review Template

How to write a book review- a step by step guide.

Check out these 5 straightforward steps for composing the best book review.

Step 1: Planning Your Book Review – The Art of Getting Started

You’ve decided to take the plunge and share your thoughts on a book that has captivated (or perhaps disappointed) you. Before you start book reviewing, let’s take a step back and plan your approach. Since knowing how to write a book review that’s both informative and engaging is an art in itself.

Choosing Your Literature

First things first, pick the book you want to review. This might seem like a no-brainer, but selecting a book that genuinely interests you will make the review process more enjoyable and your insights more authentic.

Crafting the Master Plan

Next, create an  outline  that covers all the essential points you want to discuss in your review. This will serve as the roadmap for your writing journey.

The Devil is in the Details

As you read, note any information that stands out, whether it overwhelms, underwhelms, or simply intrigues you. Pay attention to:

• The characters and their development
• The plot and its intricacies
• Any themes, symbols, or motifs you find noteworthy

Remember to reserve a body paragraph for each point you want to discuss.

The Key Questions to Ponder

When planning your book review, consider the following questions:

• What’s the plot (if any)? Understanding the driving force behind the book will help you craft a more effective review.
• Is the plot interesting? Did the book hold your attention and keep you turning the pages?
• Are the writing techniques effective? Does the author’s style captivate you, making you want to read (or reread) the text?
• Are the characters or the information believable? Do the characters/plot/information feel real, and can you relate to them?
• Would you recommend the book to anyone? Consider if the book is worthy of being recommended, whether to impress someone or to support a point in a literature class.
• What could improve? Always keep an eye out for areas that could be improved. Providing constructive criticism can enhance the quality of literature.

Step 2 – Crafting the Perfect Introduction to Write a Book Review

In this second step of “how to write a book review,” we’re focusing on the art of creating a powerful opening that will hook your audience and set the stage for your analysis.

Identify Your Book and Author

Begin by mentioning the book you’ve chosen, including its  title  and the author’s name. This informs your readers and establishes the subject of your review.

Ponder the Title

Next, discuss the mental images or emotions the book’s title evokes in your mind . This helps your readers understand your initial feelings and expectations before diving into the book.

Judge the Book by Its Cover (Just a Little)

Take a moment to talk about the book’s cover. Did it intrigue you? Did it hint at what to expect from the story or the author’s writing style? Sharing your thoughts on the cover can offer a unique perspective on how the book presents itself to potential readers.

Present Your Thesis

Now it’s time to introduce your thesis. This statement should be a concise and insightful summary of your opinion of the book. For example:

“Normal People” by Sally Rooney is a captivating portrayal of the complexities of human relationships, exploring themes of love, class, and self-discovery with exceptional depth and authenticity.

Ensure that your thesis is relevant to the points or quotes you plan to discuss throughout your review.

Incorporating these elements into your introduction will create a strong foundation for your book review. Your readers will be eager to learn more about your thoughts and insights on the book, setting the stage for a compelling and thought-provoking analysis.

How to Write a Book Review: Step 3 – Building Brilliant Body Paragraphs

You’ve planned your review and written an attention-grabbing introduction. Now it’s time for the main event: crafting the body paragraphs of your book review. In this step of “how to write a book review,” we’ll explore the art of constructing engaging and insightful body paragraphs that will keep your readers hooked.

Summarize Without Spoilers

Begin by summarizing a specific section of the book, not revealing any major plot twists or spoilers. Your goal is to give your readers a taste of the story without ruining surprises.

Support Your Viewpoint with Quotes

Next, choose three quotes from the book that support your viewpoint or opinion. These quotes should be relevant to the section you’re summarizing and help illustrate your thoughts on the book.

Analyze the Quotes

Write a summary of each quote in your own words, explaining how it made you feel or what it led you to think about the book or the author’s writing. This analysis should provide insight into your perspective and demonstrate your understanding of the text.

Structure Your Body Paragraphs

Dedicate one body paragraph to each quote, ensuring your writing is well-connected, coherent, and easy to understand.

For example:

• In  Jane Eyre , Charlotte Brontë writes, “I am no bird; and no net ensnares me.” This powerful statement highlights Jane’s fierce independence and refusal to be trapped by societal expectations.
• In  Normal People , Sally Rooney explores the complexities of love and friendship when she writes, “It was culture as class performance, literature fetishized for its ability to take educated people on false emotional journeys.” This quote reveals the author’s astute observations on the role of culture and class in shaping personal relationships.
• In  Wuthering Heights , Emily Brontë captures the tumultuous nature of love with the quote, “He’s more myself than I am. Whatever our souls are made of, his and mine are the same.” This poignant line emphasizes the deep, unbreakable bond between the story’s central characters.

By following these guidelines, you’ll create body paragraphs that are both captivating and insightful, enhancing your book review and providing your readers with a deeper understanding of the literary work. 

How to Write a Book Review: Step 4 – Crafting a Captivating Conclusion

You’ve navigated through planning, introductions, and body paragraphs with finesse. Now it’s time to wrap up your book review with a  conclusion that leaves a lasting impression . In this final step of “how to write a book review,” we’ll explore the art of writing a memorable and persuasive conclusion.

Summarize Your Analysis

Begin by summarizing the key points you’ve presented in the body paragraphs. This helps to remind your readers of the insights and arguments you’ve shared throughout your review.

Offer Your Final Conclusion

Next, provide a conclusion that reflects your overall feelings about the book. This is your chance to leave a lasting impression and persuade your readers to consider your perspective.

Address the Book’s Appeal

Now, answer the question: Is this book worth reading? Be clear about who would enjoy the book and who might not. Discuss the taste preferences and circumstances that make the book more appealing to some readers than others.

For example:  The Alchemist is a book that can enchant a young teen, but those who are already well-versed in classic literature might find it less engaging.

Be Subtle and Balanced

Avoid simply stating whether you “liked” or “disliked” the book. Instead, use nuanced language to convey your message. Highlight the pros and cons of reading the type of literature you’ve reviewed, offering a balanced perspective.

Bringing It All Together

By following these guidelines, you’ll craft a conclusion that leaves your readers with a clear understanding of your thoughts and opinions on the book. Your review will be a valuable resource for those considering whether to pick up the book, and your witty and insightful analysis will make your review a pleasure to read. So conquer the world of book reviews, one captivating conclusion at a time!

How to Write a Book Review: Step 5 – Rating the Book (Optional)

You’ve masterfully crafted your book review, from the introduction to the conclusion. But wait, there’s one more step you might consider before calling it a day: rating the book. In this optional step of “how to write a book review,” we’ll explore the benefits and methods of assigning a rating to the book you’ve reviewed.

Why Rate the Book?

Sometimes, when writing a professional book review, it may not be appropriate to state whether you liked or disliked the book. In such cases, assigning a rating can be an effective way to get your message across without explicitly sharing your personal opinion.

How to Rate the Book

There are various rating systems you can use to evaluate the book, such as:

• A star rating (e.g., 1 to 5 stars)
• A numerical score (e.g., 1 to 10)
• A letter grade (e.g., A+ to F)

Choose a rating system that best suits your style and the format of your review. Be consistent in your rating criteria, considering writing quality, character development, plot, and overall enjoyment.

Tips for Rating the Book

Here are some tips for rating the book effectively:

• Be honest: Your rating should reflect your true feelings about the book. Don’t inflate or deflate your rating based on external factors, such as the book’s popularity or the author’s reputation.
• Be fair:Consider the book’s merits and shortcomings when rating. Even if you didn’t enjoy the book, recognize its strengths and acknowledge them in your rating.
• Be clear: Explain the rationale behind your rating so your readers understand the factors that influenced your evaluation.

Wrapping Up

By including a rating in your book review, you provide your readers with an additional insight into your thoughts on the book. While this step is optional, it can be a valuable tool for conveying your message subtly yet effectively. So, rate those books confidently, adding a touch of wit and wisdom to your book reviews.

Additional Tips on How to Write a Book Review: A Guide

In this segment, we’ll explore additional tips on how to write a book review. Get ready to captivate your readers and make your review a memorable one!

Hook ’em with an Intriguing Introduction

Keep your introduction precise and to the point. Readers have the attention span of a goldfish these days, so don’t let them swim away in boredom. Start with a bang and keep them hooked!

Embrace the World of Fiction

When learning how to write a book review, remember that reviewing fiction is often more engaging and effective. If your professor hasn’t assigned you a specific book, dive into the realm of fiction and select a novel that piques your interest.

Opinionated with Gusto

Don’t shy away from adding your own opinion to your review. A good book review always features the writer’s viewpoint and constructive criticism. After all, your readers want to know what  you  think!

Express Your Love (or Lack Thereof)

If you adored the book, let your readers know! Use phrases like “I’ll definitely return to this book again” to convey your enthusiasm. Conversely, be honest but respectful even if the book wasn’t your cup of tea.

Templates and Examples and Expert Help: Your Trusty Sidekicks

Feeling lost? You can always get help from formats, book review examples or online  college paper writing service  platforms. These trusty sidekicks will help you navigate the world of book reviews with ease. 

Be a Champion for New Writers and Literature

Remember to uplift new writers and pieces of literature. If you want to suggest improvements, do so kindly and constructively. There’s no need to be mean about anyone’s books – we’re all in this literary adventure together!

Criticize with Clarity, Not Cruelty

When adding criticism to your review, be clear but not mean. Remember, there’s a fine line between constructive criticism and cruelty. Tread lightly and keep your reader’s feelings in mind.

Avoid the Comparison Trap

Resist the urge to compare one writer’s book with another. Every book holds its worth, and comparing them will only confuse your reader. Stick to discussing the book at hand, and let it shine in its own light.

Top 7 Mistakes and How to Avoid Them

Writing a book review can be a delightful and rewarding experience, especially when you balance analysis, wit, and personal insights. However, some common mistakes can kill the brilliance of your review. 

In this section of “how to write a book review,” we’ll explore the top 7 blunders writers commit and how to steer clear of them, with a dash of  modernist literature  examples and tips for students writing book reviews as assignments.

Succumbing to the Lure of Plot Summaries

Mistake: Diving headfirst into a plot summary instead of dissecting the book’s themes, characters, and writing style.

Example: “The Bell Jar chronicles the life of a young woman who experiences a mental breakdown.”

How to Avoid: Delve into the book’s deeper aspects, such as its portrayal of mental health, societal expectations, and the author’s distinctive narrative voice. Offer thoughtful insights and reflections, making your review a treasure trove of analysis.

Unleashing the Spoiler Kraken

Mistake: Spilling major plot twists or the ending without providing a spoiler warning, effectively ruining the reading experience for potential readers.

Example: “In Metamorphosis, the protagonist’s transformation into a monstrous insect leads to…”

How to Avoid: Tread carefully when discussing significant plot developments, and consider using spoiler warnings. Focus on the impact of these plot points on the overall narrative, character growth, or thematic resonance.

Riding the Personal Bias Express

Mistake: Allowing personal bias to hijack the review without providing sufficient evidence or reasoning to support opinions.

Example: “I detest books about existential crises, so The Sun Also Rises was a snoozefest.”

How to Avoid: While personal opinions are valid, it’s crucial to back them up with specific examples from the book. Discuss aspects like writing style, character development, or pacing to support your evaluation and provide a more balanced perspective.

Wielding the Vague Language Saber

Mistake: Resorting to generic, vague language that fails to capture the nuances of the book and can come across as clichéd.

Example: “This book was mind-blowing. It’s a must-read for everyone.”

How to Avoid: Use precise and descriptive language to express your thoughts. Employ specific examples and quotations to highlight memorable scenes, the author’s unique writing style, or the impact of the book’s themes on readers.

Ignoring the Contextualization Compass

Mistake: Neglecting to provide context about the author, genre, or cultural relevance of the book, leaving readers without a proper frame of reference.

Example: “This book is dull and unoriginal.”

How to Avoid: Offer readers a broader understanding by discussing the author’s background, the genre conventions the book adheres to or subverts, and any societal or historical contexts that inform the narrative. This helps readers appreciate the book’s uniqueness and relevance.

Overindulging in Personal Preferences

Mistake: Letting personal preferences overshadow an objective assessment of the book’s merits.

Example: “I don’t like stream-of-consciousness writing, so this book is automatically bad.”

How to Avoid: Acknowledge personal preferences but strive to evaluate the book objectively. Focus on the book’s strengths and weaknesses, considering how well it achieves its goals within its genre or intended audience.

Forgetting the Target Audience Telescope

Mistake: Failing to mention the book’s target audience or who might enjoy it, leading to confusion for potential readers.

Example: “This book is great for everyone.”

How to Avoid: Contemplate the book’s intended audience, genre, and themes. Mention who might particularly enjoy the book based on these factors, whether it’s fans of a specific genre, readers interested in character-driven stories, or those seeking thought-provoking narratives.

By dodging these common pitfalls, writers can craft insightful, balanced, and engaging book reviews that help readers make informed decisions about their reading choices.

These tips are particularly beneficial for students writing book reviews as assignments, as they ensure a well-rounded and thoughtful analysis.!

Many students requested us to cover how to write a book review. This thorough guide is sure to help you. At Paperperk, professionals are dedicated to helping students find their balance. We understand the importance of good grades, so we offer the finest writing service , ensuring students stay ahead of the curve. So seek expert help because only Paperperk is your perfect solution!

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Book Reviews

What this handout is about.

This handout will help you write a book review, a report or essay that offers a critical perspective on a text. It offers a process and suggests some strategies for writing book reviews.

What is a review?

A review is a critical evaluation of a text, event, object, or phenomenon. Reviews can consider books, articles, entire genres or fields of literature, architecture, art, fashion, restaurants, policies, exhibitions, performances, and many other forms. This handout will focus on book reviews. For a similar assignment, see our handout on literature reviews .

Above all, a review makes an argument. The most important element of a review is that it is a commentary, not merely a summary. It allows you to enter into dialogue and discussion with the work’s creator and with other audiences. You can offer agreement or disagreement and identify where you find the work exemplary or deficient in its knowledge, judgments, or organization. You should clearly state your opinion of the work in question, and that statement will probably resemble other types of academic writing, with a thesis statement, supporting body paragraphs, and a conclusion.

Typically, reviews are brief. In newspapers and academic journals, they rarely exceed 1000 words, although you may encounter lengthier assignments and extended commentaries. In either case, reviews need to be succinct. While they vary in tone, subject, and style, they share some common features:

• First, a review gives the reader a concise summary of the content. This includes a relevant description of the topic as well as its overall perspective, argument, or purpose.
• Second, and more importantly, a review offers a critical assessment of the content. This involves your reactions to the work under review: what strikes you as noteworthy, whether or not it was effective or persuasive, and how it enhanced your understanding of the issues at hand.
• Finally, in addition to analyzing the work, a review often suggests whether or not the audience would appreciate it.

Becoming an expert reviewer: three short examples

Reviewing can be a daunting task. Someone has asked for your opinion about something that you may feel unqualified to evaluate. Who are you to criticize Toni Morrison’s new book if you’ve never written a novel yourself, much less won a Nobel Prize? The point is that someone—a professor, a journal editor, peers in a study group—wants to know what you think about a particular work. You may not be (or feel like) an expert, but you need to pretend to be one for your particular audience. Nobody expects you to be the intellectual equal of the work’s creator, but your careful observations can provide you with the raw material to make reasoned judgments. Tactfully voicing agreement and disagreement, praise and criticism, is a valuable, challenging skill, and like many forms of writing, reviews require you to provide concrete evidence for your assertions.

Consider the following brief book review written for a history course on medieval Europe by a student who is fascinated with beer:

Judith Bennett’s Ale, Beer, and Brewsters in England: Women’s Work in a Changing World, 1300-1600, investigates how women used to brew and sell the majority of ale drunk in England. Historically, ale and beer (not milk, wine, or water) were important elements of the English diet. Ale brewing was low-skill and low status labor that was complimentary to women’s domestic responsibilities. In the early fifteenth century, brewers began to make ale with hops, and they called this new drink “beer.” This technique allowed brewers to produce their beverages at a lower cost and to sell it more easily, although women generally stopped brewing once the business became more profitable.

The student describes the subject of the book and provides an accurate summary of its contents. But the reader does not learn some key information expected from a review: the author’s argument, the student’s appraisal of the book and its argument, and whether or not the student would recommend the book. As a critical assessment, a book review should focus on opinions, not facts and details. Summary should be kept to a minimum, and specific details should serve to illustrate arguments.

Now consider a review of the same book written by a slightly more opinionated student:

Judith Bennett’s Ale, Beer, and Brewsters in England: Women’s Work in a Changing World, 1300-1600 was a colossal disappointment. I wanted to know about the rituals surrounding drinking in medieval England: the songs, the games, the parties. Bennett provided none of that information. I liked how the book showed ale and beer brewing as an economic activity, but the reader gets lost in the details of prices and wages. I was more interested in the private lives of the women brewsters. The book was divided into eight long chapters, and I can’t imagine why anyone would ever want to read it.

There’s no shortage of judgments in this review! But the student does not display a working knowledge of the book’s argument. The reader has a sense of what the student expected of the book, but no sense of what the author herself set out to prove. Although the student gives several reasons for the negative review, those examples do not clearly relate to each other as part of an overall evaluation—in other words, in support of a specific thesis. This review is indeed an assessment, but not a critical one.

Here is one final review of the same book:

One of feminism’s paradoxes—one that challenges many of its optimistic histories—is how patriarchy remains persistent over time. While Judith Bennett’s Ale, Beer, and Brewsters in England: Women’s Work in a Changing World, 1300-1600 recognizes medieval women as historical actors through their ale brewing, it also shows that female agency had its limits with the advent of beer. I had assumed that those limits were religious and political, but Bennett shows how a “patriarchal equilibrium” shut women out of economic life as well. Her analysis of women’s wages in ale and beer production proves that a change in women’s work does not equate to a change in working women’s status. Contemporary feminists and historians alike should read Bennett’s book and think twice when they crack open their next brewsky.

This student’s review avoids the problems of the previous two examples. It combines balanced opinion and concrete example, a critical assessment based on an explicitly stated rationale, and a recommendation to a potential audience. The reader gets a sense of what the book’s author intended to demonstrate. Moreover, the student refers to an argument about feminist history in general that places the book in a specific genre and that reaches out to a general audience. The example of analyzing wages illustrates an argument, the analysis engages significant intellectual debates, and the reasons for the overall positive review are plainly visible. The review offers criteria, opinions, and support with which the reader can agree or disagree.

Developing an assessment: before you write

There is no definitive method to writing a review, although some critical thinking about the work at hand is necessary before you actually begin writing. Thus, writing a review is a two-step process: developing an argument about the work under consideration, and making that argument as you write an organized and well-supported draft. See our handout on argument .

What follows is a series of questions to focus your thinking as you dig into the work at hand. While the questions specifically consider book reviews, you can easily transpose them to an analysis of performances, exhibitions, and other review subjects. Don’t feel obligated to address each of the questions; some will be more relevant than others to the book in question.

• What is the thesis—or main argument—of the book? If the author wanted you to get one idea from the book, what would it be? How does it compare or contrast to the world you know? What has the book accomplished?
• What exactly is the subject or topic of the book? Does the author cover the subject adequately? Does the author cover all aspects of the subject in a balanced fashion? What is the approach to the subject (topical, analytical, chronological, descriptive)?
• How does the author support their argument? What evidence do they use to prove their point? Do you find that evidence convincing? Why or why not? Does any of the author’s information (or conclusions) conflict with other books you’ve read, courses you’ve taken or just previous assumptions you had of the subject?
• How does the author structure their argument? What are the parts that make up the whole? Does the argument make sense? Does it persuade you? Why or why not?
• How has this book helped you understand the subject? Would you recommend the book to your reader?

Beyond the internal workings of the book, you may also consider some information about the author and the circumstances of the text’s production:

• Who is the author? Nationality, political persuasion, training, intellectual interests, personal history, and historical context may provide crucial details about how a work takes shape. Does it matter, for example, that the biographer was the subject’s best friend? What difference would it make if the author participated in the events they write about?
• What is the book’s genre? Out of what field does it emerge? Does it conform to or depart from the conventions of its genre? These questions can provide a historical or literary standard on which to base your evaluations. If you are reviewing the first book ever written on the subject, it will be important for your readers to know. Keep in mind, though, that naming “firsts”—alongside naming “bests” and “onlys”—can be a risky business unless you’re absolutely certain.

Writing the review

Once you have made your observations and assessments of the work under review, carefully survey your notes and attempt to unify your impressions into a statement that will describe the purpose or thesis of your review. Check out our handout on thesis statements . Then, outline the arguments that support your thesis.

Your arguments should develop the thesis in a logical manner. That logic, unlike more standard academic writing, may initially emphasize the author’s argument while you develop your own in the course of the review. The relative emphasis depends on the nature of the review: if readers may be more interested in the work itself, you may want to make the work and the author more prominent; if you want the review to be about your perspective and opinions, then you may structure the review to privilege your observations over (but never separate from) those of the work under review. What follows is just one of many ways to organize a review.

Introduction

Since most reviews are brief, many writers begin with a catchy quip or anecdote that succinctly delivers their argument. But you can introduce your review differently depending on the argument and audience. The Writing Center’s handout on introductions can help you find an approach that works. In general, you should include:

• The name of the author and the book title and the main theme.
• Relevant details about who the author is and where they stand in the genre or field of inquiry. You could also link the title to the subject to show how the title explains the subject matter.
• The context of the book and/or your review. Placing your review in a framework that makes sense to your audience alerts readers to your “take” on the book. Perhaps you want to situate a book about the Cuban revolution in the context of Cold War rivalries between the United States and the Soviet Union. Another reviewer might want to consider the book in the framework of Latin American social movements. Your choice of context informs your argument.
• The thesis of the book. If you are reviewing fiction, this may be difficult since novels, plays, and short stories rarely have explicit arguments. But identifying the book’s particular novelty, angle, or originality allows you to show what specific contribution the piece is trying to make.
• Your thesis about the book.

Summary of content

This should be brief, as analysis takes priority. In the course of making your assessment, you’ll hopefully be backing up your assertions with concrete evidence from the book, so some summary will be dispersed throughout other parts of the review.

The necessary amount of summary also depends on your audience. Graduate students, beware! If you are writing book reviews for colleagues—to prepare for comprehensive exams, for example—you may want to devote more attention to summarizing the book’s contents. If, on the other hand, your audience has already read the book—such as a class assignment on the same work—you may have more liberty to explore more subtle points and to emphasize your own argument. See our handout on summary for more tips.

Analysis and evaluation of the book

Your analysis and evaluation should be organized into paragraphs that deal with single aspects of your argument. This arrangement can be challenging when your purpose is to consider the book as a whole, but it can help you differentiate elements of your criticism and pair assertions with evidence more clearly. You do not necessarily need to work chronologically through the book as you discuss it. Given the argument you want to make, you can organize your paragraphs more usefully by themes, methods, or other elements of the book. If you find it useful to include comparisons to other books, keep them brief so that the book under review remains in the spotlight. Avoid excessive quotation and give a specific page reference in parentheses when you do quote. Remember that you can state many of the author’s points in your own words.

Sum up or restate your thesis or make the final judgment regarding the book. You should not introduce new evidence for your argument in the conclusion. You can, however, introduce new ideas that go beyond the book if they extend the logic of your own thesis. This paragraph needs to balance the book’s strengths and weaknesses in order to unify your evaluation. Did the body of your review have three negative paragraphs and one favorable one? What do they all add up to? The Writing Center’s handout on conclusions can help you make a final assessment.

Finally, a few general considerations:

• Review the book in front of you, not the book you wish the author had written. You can and should point out shortcomings or failures, but don’t criticize the book for not being something it was never intended to be.
• With any luck, the author of the book worked hard to find the right words to express her ideas. You should attempt to do the same. Precise language allows you to control the tone of your review.
• Never hesitate to challenge an assumption, approach, or argument. Be sure, however, to cite specific examples to back up your assertions carefully.
• Try to present a balanced argument about the value of the book for its audience. You’re entitled—and sometimes obligated—to voice strong agreement or disagreement. But keep in mind that a bad book takes as long to write as a good one, and every author deserves fair treatment. Harsh judgments are difficult to prove and can give readers the sense that you were unfair in your assessment.
• A great place to learn about book reviews is to look at examples. The New York Times Sunday Book Review and The New York Review of Books can show you how professional writers review books.

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial . We revise these tips periodically and welcome feedback.

Drewry, John. 1974. Writing Book Reviews. Boston: Greenwood Press.

Hoge, James. 1987. Literary Reviewing. Charlottesville: University Virginia of Press.

Sova, Dawn, and Harry Teitelbaum. 2002. How to Write Book Reports , 4th ed. Lawrenceville, NY: Thomson/Arco.

Walford, A.J. 1986. Reviews and Reviewing: A Guide. Phoenix: Oryx Press.

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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Home / Book Writing / Past Tense Writing: The Secret to This Popular Writing Style

Past Tense Writing: The Secret to This Popular Writing Style

The past tense is the most common tense in fiction writing, and it has been for some time. Deciding between the past or the present tense is one of the first decisions a writer must make before putting words down. And in order to make an informed decision, it's essential to know the ins and outs of past tense writing. 

• What the past tense is and why it's so common.
• How to write well in the past tense.
• Tips for keeping your tenses straight.

Table of contents

• Why is the Past Tense Used More Than the Present Tense?
• Simple Past Tense
• Past Perfect Tense
• Past Progressive Tense
• Past Perfect Progressive Tense
• Dialogue in the Past Tense
• Changing Tenses
• Using “Had” Judiciously
• Benefits of Past Tense
• Drawbacks of Past Tense
• Past Tense Writing: Conclusion

What is the Past Tense?

The past tense is a type of grammatical tense in which events are told as if they happened in the past. As readers, most of the fiction we've read is written in the past tense. You can easily identify this tense by the use of past tense verbs such as went, walked, said, sat, stood, drove, etc. 

Here's an example of the past tense:

She was waiting for the bus when she noticed the man. Something about his body language bothered her. She had seen him on the train, three rows down from her. She straightened as he approached , as if making herself look bigger would make him think twice if he did in fact mean her harm. But this was silly because she stood just a hair above five feet tall on her best day. The man passed on the sidewalk without a glance, leaving Uma feeling relief mixed with a dash of self-recrimination. She had been prone to anxiety for years, but this was getting ridiculous. 

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All the past tense verbs in the example above are in bold to illuminate what makes this passage past tense. 

When it comes to fiction writing, we can also use the present tense. But we'll focus on the past tense in this article because it's important to be familiar with this often-used tense before you decide in which style to write your story. 

When we tell each other stories, we naturally speak in the past tense. If you wanted to tell someone what happened to you at the store or at work, you wouldn't tell them about it as if it was happening right now. Because it happened in the past, you would tell them about it using the past tense.

This natural tendency is perhaps the best explanation for why writing fiction in the past tense is so common. While in recent years there have been several bestselling books written in the present tense, books written in the past tense are still much more common. In fact, this is sometimes called narrative tense, which indicates how prevalent it really is. 

And because it has been so common for so long, people are used to it. In fact, some readers find present-tense books so jarring that they won't even read them. 

So for any writer who wants to master their craft , learning to write in the past tense is essential. And within the past tense, there are four tenses with which to familiarize yourself. 

Writing Well in the Past Tense: The Four Tenses

One of the most common mistakes writers make (both new and experienced) is failing to use the correct tense. There are four primary tenses you'll use when writing in the past tense. These are simple past, past perfect, past progressive, and past perfect progressive. Let's take a look at each in turn (with examples). 

The simple past tense is the most common type of past tense you'll use when writing a novel or short story . You can think of the simple past tense (sometimes called past simple) as the “now” of your story. It helps the reader keep track of the story timeline, so it's where you will root the “present” of your story, even though it's written in the past tense.

The majority of your story will be told in the simple past, but there will likely be times when you'll need a different tense. Sometimes called a tense shift, this is all about making the order of things clear to the reader. And it all starts with the simple past tense. We can see this in action using an excerpt from the example above:

Something about his body language bothered her. 

There are other portions of the example that are in the simple past tense, as well:

She straightened as he approached . . .

The man passed on the sidewalk without a glance, leaving Uma feeling relief mixed with a dash of self-recrimination.

These passages describe action in the now of the story, without deviating to the future or the past of that now . But there are other passages that do deviate. Let's continue with the next tense to explore this more.  

Past perfect is used in novel writing to tell the reader about something that happened before the “now” of the simple past. Crucially, it always refers to something that happened and was completed before. Let's look at the passage from earlier again to see this in action: 

Something about the man's body language bothered her. She had seen him on the train, three rows down from her .

By using the word “had” in the bold sentence, we indicate to the reader that we're talking about something that happened in the past. If we didn't use the past perfect tense, instead sticking to the simple perfect, it would look like this: 

Something about the man's body language bothered her. She saw him on the train, three rows down from her. 

This seems like it's happening in the story's present. It can cause confusion. Is he on the train? Is she? Suddenly, the reader has to go back and try to figure out what's going on. They're taken out of the story, and that's the last thing we want. 

By using the past perfect, we can avoid any confusion and keep the chronology clear, therefore keeping the reader in the story . 

Sometimes called past continuous tense, this tense is used to indicate something that was continuing to happen at the time of mention. You can identify past progressive by the verbs “was” or “were” combined with an “ing” word. 

The past progressive tense is most often used in fiction to describe simultaneous or interrupted actions.  

She was waiting for the bus when she noticed the man.

While it's entirely possible to overuse the past progressive—especially when describing scenery — it does have its place. In the example above, it indicates an activity that was ongoing. The waiting was ongoing, and she didn't stop waiting just because she noticed the man. 

But let's try this without past continuous tense:

She waited for the bus when she noticed the man.  

Writing it this way can cause confusion. It sounds wrong because the chronology isn't clear. Of course, there are other ways to write this sentence without using past continuous. But sometimes, this tense is just what you need for concise writing. 

Lastly, we come to the past perfect progressive tense. Sometimes called past perfect continuous tense, this is used to show that something had happened for a certain amount of time in the past . Whereas the past perfect indicates that something happened once (“had seen him”), the past perfect progressive indicates that something happened over a length of time in the past. In our example, there's only one instance of this:

She had been prone to anxiety for years, but this was getting ridiculous.

The use of “had been” shows that her anxiety wasn't just a one-time thing. It was ongoing for years, even up to the story's “now.” 

This is also often used to indicate an ongoing action that was interrupted in the past: 

He had been reading for hours when the doorbell rang.

Tips for Writing in the Past Tense

Now that we've covered the four tenses you'll use when writing your novel in the past tense, let's look at some tips for using them. 

Even when writing your story in the past tense, your dialogue will be in the present tense . Because, to the characters in the story, it's still the present tense. 

This can get tricky, requiring you to switch between simple present tense and past simple tense while writing dialogue scenes. In fact, it can be easy to slip into the present tense when coming out of dialogue , so it's a good idea to pay close attention to these areas. 

Likewise, some authors get inside their POV characters' heads with internal dialogue. This should also be in the present, even though your character isn't really talking to anyone. Actually, you could make the argument that a character's internal dialogue is the character talking to him or herself. Either way, keep this in the present tense when the thoughts are verbatim. 

Some authors like to use italics to set these lines apart. Others use quotation marks. Some simply change tenses without any other outward signal to the reader that they're hearing the character's thoughts. Really, this is a matter of style and what works best for your genre. 

While changing tenses is expected when it comes to internal or external dialogue, it's not something that readers like much in other instances. 

It can be tempting to change from past to present tense during an action sequence. After all, the present tense seems to lend itself to fights and other dramatic scenes. But in the vast majority of cases, this will only result in reader confusion and possibly even bad reviews .

There is some debate as to whether to change tenses when writing about universal truths . For example:

Suddenly everything came back to him. He recalled it all. Everything he'd lost. He knew that two plus two equals four and that the Earth is round and that fire is hot. 

Suddenly everything came back to him. He recalled it all. Everything he'd lost. He knew that two plus two equaled four and that the Earth was round and that fire was hot. 

If your narrator is omniscient or breaks the fourth wall to talk to the reader, the first example would probably be acceptable. However, if your narrator is not omniscient and you are sticking close to your POV characters , the second example would probably be best. 

Really, there is no “rule” for writing about universal truths. Ultimately, it comes down to a choice of style and genre.  

As detailed above, you will probably be using the word “ had” in your novel for both past perfect and past perfect progressive. However, a pitfall to avoid is using it too often. If you're going to tell the reader about something that happened before your story's “now” by using “ had ,” you don't need to keep using it during that entire scene . 

For example, if you want to fill in some backstory to tell about what your character had been doing before the present moment, you can use one or two (no more than three) “ had s” to indicate to the reader that this happened in the story's past. This is known as switching the verb tense. 

Then, when you're getting ready to bring the narration back to the story's present, you can use one or two “ had s” again to indicate you're leaving. Here's an example:

As Terrence stepped out of the airport and into the blizzard, he thought about the last twenty-four hours. He had been trying to drown his sorrows before finally sucking it up and buying the plane ticket. He’d chosen a particularly dark and smelly biker pub in which to do his drinking. And as always seemed to be the case, he attracted trouble. 

The man who picked a fight with him outweighed him by a good fifty pounds, but size was only a determining factor when the other guy didn't know what he was doing. 

After the fight was over, Terrence tossed a crumpled fifty-pound note on the bar, hoping it would cover the damages. He had lurched down the street before finally catching a cab to the airport. 

Now, here he was, half a world away and facing more trouble. But unlike the guy at the bar, Terrence was actually looking for this trouble. 

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While that could use some cleaning up, you get the idea. You don't have to use the new verb tense every time once you've clearly established a foothold in the story's past. Use it a few times to get the point across, then a time or two more when you're coming back to the story's present. This will prevent all the “ had s” from slowing down the story. 

When you use the past tense in your creative writing, you can rest easy knowing that you won't alienate any readers. This is not always the case when writing in the present tense. While readers who don't like present-tense novels are out there, you won't often find readers that balk at a novel written in the past tense.

You also have more freedom when writing in the past tense. You can stretch or close the distance between your viewpoint character and narrator as the scene requires. If you want, you can even give a hint of what's to come, which is great for building tension. These things are much more difficult when writing in the literary present tense. 

There are many reasons to write your novel in the past tense, but it's always good to let the story influence this decision. Because there are certain drawbacks to writing in the past tense, as well. 

When compared to the present simple tense, the past tense can seem a little distant. It doesn't contain the immediacy and cinematic draw that the present tense does. For some stories, especially those that happen over a short period or that have only one viewpoint character, the present tense might be the better choice. 

It can also be easy to slip into passive voice when writing in the past tense. This is something to look out for when using the past tense. When we find ourselves writing “was” and “were” along with “ing” verbs, instead of using past participle verbs, we risk slowing the story down and taking agency away from the characters.

Although it may feel to us like we're writing about a past event when using the past tense in our novel, it often doesn't seem like this to the reader. To them, the story is unfolding as they read, and the fact that it's written in the past tense doesn't occur to most readers. This is why mastering the past tense is a worthy pursuit for any fiction writer. 

Using the correct verb tense can get a little complicated when shifting tenses. Luckily, as a reader, you likely already have an instinctual knowledge of how to write in this tense. By making it a point to study this tense, you can learn its ins and outs to determine with confidence if it's the right choice for your story.  

Dave Chesson

When I’m not sipping tea with princesses or lightsaber dueling with little Jedi, I’m a book marketing nut. Having consulted multiple publishing companies and NYT best-selling authors, I created Kindlepreneur to help authors sell more books. I’ve even been called “The Kindlepreneur” by Amazon publicly, and I’m here to help you with your author journey.

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March 9, 2018

Use of Tenses in Fiction: How to Pick the Right One

Fiction Writing Tips , Writing

change , creativity , grammar , literature , time , writing

The use of tenses in fiction (and writing in general) seems like a self-evident thing. You use the past tense when things happened in the past, the present tense when they happen in the present, and the future tense when they will happen in the future. It seems so simple, and yet picking the right tense at the right time is a crucial element for success in writing fiction.

You see, one major aspect that most writers don’t seem to grasp, is that a novel is  not  an exercise in writing “proper” English. Instead, a work of fiction is a necessary medium for an author’s thoughts to reach an audience. As a result, rules are secondary; affect is primary.

Still, even within a “playing-by-the-rules” context, the choice of the right tense isn’t always an obvious thing. In today’s article I’ll let you know how to pick the right tense at the right time. By “right”, we mean the tense that allows  affect  to be expressed. We are not concerned about “proper” English. We are concerned about affective power.

A very Quick Outline of Tenses

Before we talk about breaking the rules, we must know what the rules are. I’ve said that many times in my articles containing fiction writing tips , because it is important. If you’re interested in a truly scientific (i.e. the rules, pure and simple) volume on English grammar, I recommend  A Communicative Grammar of English , by Leech & Svartvik . For our purposes, I’ll offer a simple, just-the-basics, list.

Note : the following list is not exhaustive. There are several other tenses in the English language, but I do not include them since they are not very relevant for our discussion. For the purposes of this article, we are dealing with the use of tenses in fiction in terms of affect. For the same reason, my definitions/descriptions lean toward directions which will be useful further below, in our discussion on the right use of tenses in fiction. 

I play. The simplest tense of the English language. It indicates an action occurring in the present, or habitually.

Present Continuous

I am playing. Still referring to the present, with an emphasis on the duration or immediacy of the action.

Present Perfect

I have played. It describes an action that began at some undefined point and has finished in the present.

I played.  An action that began and finished at some point in the past.

I will play.  An action which has not occurred yet, but which will occur in the future.

Notable tenses that are absent from this list include Past Perfect ( I had played ), Past Continuous ( I was playing ) and Future Continuous ( I will be playing ). I don’t include them because they are comparatively more rare and, more importantly, they don’t affect…  affect  to the same extent. There are all kinds of other, more arcane constructions, especially if there are conditionals in the sentence. But we’ll stick to fiction, narrative, and style.

Using Tenses in Your Novel: Picking the Right One

Picking the main tense of your book.

The first thing to decide is the main tense which you will use throughout your book. Almost always, this is the past tense.

Mary opened the door. She saw John standing there. “Hi,” she said with a smile. “You’re here already.”

Every now and then, you might see a novel written in the present tense throughout, but it’s much more rare.

Mary opens the door. She sees John standing there. “Hi,” she says with a smile. “You’re here already.”

Personally, I favor the past tense. It’s for a reason that it’s so popular. Unless for stream-of-consciousness narratives, the present tense – if it’s the main tense of the novel – comes off as too immediate and “unprocessed”. However, this is precisely the reason why it can be very effective when it is used as an  accent  tense.

Picking Accent Tenses

Now we come to the real deal. Having picked a main tense, you can deploy  accent  tenses for creative purposes. In other words, by introducing a different tense in a paragraph, in a scene, or in a chapter, you create an  accent . You effectively draw the reader’s attention to there being a difference. The kind of affect you create depends on the way you deploy this narrative strategy.

The secret in the use of tenses in fiction (and knowing how to pick the right tense) is a result of understanding the emotional weight each tense brings to the scene. Let’s see this with some examples.

Example 1: Using the Present as an Accent Tense.

Let’s see a short, paragraph-level example.

I opened the door and entered the small bathroom. I stood in front of the mirror and looked in it. My eyes seemed tired, yet fully aware of the memories that came to drown me. My mother yells, she runs away from my father, but he catches up. He beats her mercilessly, and there is blackness. As I turned on the faucet and washed my hands, I realized I could not remember anymore.

The main tense is the past tense, but deploying present tense to indicate the person’s memories brings an immediacy to the scene which would’ve been absent without it. Try to imagine the same scene with past perfect ( My mother had yelled, she had run away from my father… ) and you will notice how much more impersonal or even cold it feels.

Technically speaking, past perfect would be a more “correct” tense to use. It would describe a scene that had occurred at some point in the past  before  the point surrounding it. In other words, since the narrative is in the past tense, to describe events from a time further past, you would need past perfect. But, as I explained, an author should focus on  affect , not strictly following rules. The use of tenses in fiction is a matter of conveying an emotion, a thought, or a state of mind.

Example 2: Using the Present and the Present Continuous as Accent Tenses

Let’s take the same example as above, with a slight variation.

I opened the door and entered the small bathroom. I stood in front of the mirror and looked in it. My eyes seemed tired, yet fully aware of the memories that came to drown me. My mother yells, she runs away from my father, but he catches up. He beats her mercilessly, but suddenly the bell is ringing. He stops. And there is blackness. As I turned on the faucet and washed my hands, I realized I could not remember anymore.

See what happened there? Present continuous allows you to essentially interject yet another level of depth. The main narrative (past tense) morphs into the character’s memories (present tense), but present continuous ( the bell is ringing ) feels akin to the reminiscent  itself  being “interrupted” by the bell ringing. Obviously enough, this adds even more immediacy to the scene.

Example 3: Using the Future Tense as an Accent Tense

This is less often used, but notice the effect it creates.

I opened the door and entered the small bathroom. I stood in front of the mirror and looked in it. My eyes seemed tired, yet fully aware of the memories that will come to drown me. My mother will yell, she will run away from my father, but he will catch up. He will beat her mercilessly. But suddenly, there is blackness. As I turned on the faucet and washed my hands, I realized I could not remember anymore.

It’s more subtle, but the future tense brings a sense of  inevitability and recurrence  to your narrative. Again, this isn’t 100% “by the book”. A phrase such as  My eyes seemed tired, yet fully aware of the memories that  would  come to drown me  is, strictly speaking, more correct. But it lacks the immediacy and emotional aspect of the future tense.

In a way, you can think of it like this: there is an  implied  passage to present tense (as in the first example, further above), with future tense used subsequently. You can perhaps notice the more overt passage to the present ( there is blackness ), before switching completely back to the main tense, that is, past.

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For most people, the idea of writing a book review conjures up images of boring academic assignments from their school or college days. Yet, this task isn’t just educational—it can be quite enjoyable and simple. All you need to do is read the book, take notes on all key elements, decide on your feelings, and follow a simple writing plan.  Imagine yourself on the same level as the author, with the power to influence whether your peers will pick up the book based on your critique. You might be familiar with the saying that suggests those who can’t create often critique. It’s a bit of an overstatement, but it’s through critiques and reviews that many trends are shaped and directions are steered. This is your chance to share your insights on the book, sparking conversations and potentially guiding someone to their new favorite novel.

What Is A Book Review?

A real book review is not just telling your friends that it’s an awesome read. Or garbage, if you’re less lucky. Remember how “American Idol” judges always explain why they admire performance or their reasons not to turn their chairs to a participant? This is exactly what you need to do in a well-written book review – become an honest judge. It’s where you get to examine the book’s essence, praise the high notes, and call out where it fell flat. Crafting a review is a blend of art and science, requiring you to combine personal feelings with an analytical perspective, making the genre distinctive in many respects.

As we move into how to compose such writing, remember it starts way before you pen down your first sentence. You’ve got to get in the zone, thinking about the book’s bigger picture and where it fits in the grand scheme of things. 

How To Write A Book Review: Before You Draft

Before we get into the nitty-gritty of writing a review, one critical step must be taken: actually read the book. And not just a lazy skim while you’re half-watching TV and looking at what’s new on Instagram. Get into the story forgetting about everything else, like on a treasure hunt, making notes on bits that make you laugh, frown, or just make you stop and think. Think of it like mapping out a new vacation location – you want to explore every intriguing place, not just the main tourist attractions. This way, you’re all set to write a review as rich and detailed as your reading experience.

So, while you’re reading and noting, keep in mind the following aspects of the story. They will equip you with a holistic understanding of the book, allowing you to craft an informative and engaging review.  

✍️ Understanding the Author

The journey into a book review starts with the author. Who are they? What’s their literary background? Exploring the writer’s style and distinguishing features can provide a richer context for your review. Some authors have a knack for vivid descriptions, others for witty dialogue. Knowing these can help you understand the book’s flavor and why certain creative choices were made.

📖 The Title

Next up, the title. It’s the first impression we get. Is it intriguing, misleading, or blatantly obvious? The title sets the tone and often hints at the book’s essence. Discussing the title in your review can spark interest and offer insights into the thematic depth of the book.

🎭 Genre and Style

Identifying the genre and style is essential. Is it a fast-paced thriller, a deeply researched biography, or a poetic journey through space and time? The genre informs the reader’s expectations and guides your critique, while the style is about the author’s approach to storytelling. We all know what to expect from Stephen King, and a new writer’s name on the cover may both make us look for something else, or pick it up with great interest.

💡 The Core Argument and Plot Dynamics

Every book has a backbone—its main argument or theme, around which the story revolves. Identifying this and noting how the author develops it through conflicts, character turns, and turning points is important. This analysis shows how the plot elements contribute to the book’s overall message.

💬 Evidence and Argumentation

Lastly, observe how the author supports their argument or theme throughout the book. Do they use historical context, scientific research, or character development? Understanding this can provide a deeper appreciation for the book’s craftsmanship and enrich your review with observations.

How To Do A Book Review: Writing Steps

With all the essential information at hand and, most importantly, your final opinion, feelings, and insights fully formed and eager to be shared, it’s time to start writing. The format of book reviews can vary based on several factors, such as the nature of the assignment, the length of the book under review, or any particular instructions provided by your teacher. Nonetheless, the structure of a review may be divided into many main components.

Introduction

Your opening lines are your hook: they should attract and inform. Start with a vivid statement or question related to the book’s theme or your overall impression. Introduce the book by mentioning its author, title, and a glimpse into its central theme or premise. This sets up your readers, giving them a taste of the book’s essence and why it matters.

Summary of Content

Here, clarify the book’s heart. Offer a brief overview of its main argument, plot, or purpose. Highlight the key points and themes without venturing into detailed narrative pathways. The goal is to provide a clear, concise map of the book’s journey, giving readers a solid understanding of its scope and focus. This is not the place for spoilers but for a foundation upon which your analysis will build.

Analysis and Evaluation

This section is the meat of your review, where your critical thinking shines. Discuss the book’s strengths and weaknesses, supported by examples. Evaluate the author’s success in conveying their message, the effectiveness of their narrative techniques, and the depth of characters and themes.

Be honest and nuanced in your critique, considering the book’s genre, intended audience, and objectives. This is where personal impressions become invaluable, offering a unique perspective that goes beyond the surface reading.

Circle back to your key takeaways and lay down your final verdict. Was it a masterpiece or a miss? This wrap-up is your chance to give readers the essence of what you think. To conclude your book review, weave in a final verdict that encapsulates your overall impression and the book’s impact on you. This is your chance to offer a brief, compelling summary of your thoughts and to make a clear recommendation. Consider posing a question or reflecting on the book’s place in a broader context to leave your readers with something to think about. Finally, sign off with a statement that reinforces your perspective, whether you’re urging readers to pick up the book or suggesting they pass. This closure is necessary to round off your review with a clear, memorable standpoint.

Throughout, keep your audience in mind—adjust your tone to speak their language. Focus on the core of the book, spotlighting only what truly matters. Organize your review for clarity, and don’t hold back on your personal take. It’s your view that could sway someone to read the book—or skip it.

Do and Don’t in Writing a Book Review

Even with the finest planning and a clear plan of action at each stage, unforeseen pitfalls are common. Some of them are trivial and will have no effect on the overall quality of the written work. However, why take a risk when you can get helpful advice on what to do and what to avoid while writing a book review?

What are the 4 parts of a book review?

A book review typically consists of four key parts:

• Introduction – Includes the book’s title, author, and a brief introduction to the book’s content and your thesis.
• Summary of Content – Provides a concise overview of the book’s main arguments, plot, and significant themes.
• Analysis and Evaluation – Critically assesses the strengths and weaknesses of the book, supported by examples from the text.
• Conclusion – Summarizes your thoughts, restates your overall impression, and includes your recommendation.

How do you write a good book review?

To write a good book review, engage thoroughly with the book, including taking notes on key moments. Start with an engaging introduction that includes essential information about the book. Provide a succinct summary of the content, and conduct a detailed analysis and evaluation with specific examples. Conclude with a clear recommendation. Maintain a tone that matches your audience and ensure clarity in your organization.

What are the five steps to writing a book review?

The five steps to writing a book review are reading, pre-writing, drafting, revising, finalizing. First, you read the book carefully, not just skimming through it but deeply engaging with the text. While reading, you need to gather information about the book and its author, and understand the book’s main arguments and themes. When you draft, start with an engaging introduction, follow with a concise summary, then a thorough analysis, and conclude effectively. Refine your content for clarity, flow, and impact when most of the review has been written. Make sure all arguments are backed by examples. Finally, ensure that the review is well-organized and free from errors, and that it speaks in a tone appropriate for your target audience.

Which should not be included in your book review?

Avoid including plot spoilers or an overly detailed summary that could ruin the book’s experience for new readers. Do not stray into personal anecdotes that are irrelevant to the book’s content. Also, avoid overly technical language if not writing for an academic audience.

What is a good sentence starter for a book review?

A good sentence starter for a book review could be: “In their compelling work, [Author’s Name] invites us into a world that,” or “With [Book Title], [Author’s Name] crafts a narrative that,”. These starters set the stage for discussing the book’s content and your analysis.

How long is a good book review?

A good book review is typically between 500 and 1000 words. This length allows enough space to provide a thorough critique while still being concise enough to hold the reader’s interest.

How do you end a book review?

End a book review by summarizing your key points and restating your overall impression or recommendation. You can conclude with a thoughtful comment or question that leaves the reader with something to ponder, reinforcing your perspective and providing closure.

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Writing tenses: 5 tips for past, present, future

Understanding how to use writing tenses is challenging. How do you mix past, present and future tense without making the reader giddy? What is the difference between ‘simple’ and ‘perfect’ tense? Read this simple guide for answers to these questions and more:

• Post author By Jordan
• 28 Comments on Writing tenses: 5 tips for past, present, future

What are the main writing tenses?

In English, we have so-called ‘simple’ and ‘perfect’ tenses in the past, present and future. The simple tense merely conveys action in the time narrated. For example:

Past (simple) tense: Sarah ran to the store. Present (simple) tense: Sarah runs to the store. Future (simple) tense: Sarah will run to the store

Perfect tense uses the different forms of the auxiliary verb ‘has’ plus the main verb to show actions that have taken place already (or will/may still take place). Here’s the above example sentence in each tense, in perfect form:

Past perfect: Sarah had run to the store. Present perfect: Sarah has run to the store. Future perfect: Sarah will have run to the store.

In the past perfect, Sarah’s run is an earlier event in a narrative past:

Sarah had run to the store many times uneventfully so she wasn’t at all prepared for what she saw that morning.

You could use the future perfect tense to show that Sarah’s plans will not impact on another event even further in the future. For example:

Sarah will have run to the store by the time you get here so we won’t be late.

(You could also say ‘Sarah will be back from the store by the time you get here so we won’t be late.’ This is a simpler option using the future tense with the infinitive ‘to be’.) Here are some tips for using the tenses in a novel:

1. Decide which writing tenses would work best for your story

The majority of novels are written using simple past tense and the third person:

She ran her usual route to the store, but as she rounded the corner she came upon a disturbing sight.

When you start drafting a novel or a scene, think about the merits of each tense. The present tense, for example, has the virtue of:

• Immediacy: The action unfolds in the same narrative moment as the reader experiences it (there is no temporal distance: Each action happens now)
• Simplicity: It’s undeniably easier to write ‘She runs her usual route to the store’ then to juggle all sorts of remote times using auxiliary verbs

Sometimes authors are especially creative in combining tense and POV. In Italo Calvino’s postmodern classic , If on a winter’s night a traveler ( 1979), the entire story is told in the present tense, in the second person. This has the effect of a ‘choose-your-own-adventure’ novel. To rewrite Sarah’s story in the same tense and POV:

You run your usual route to the store, but as you round the corner you come upon a disturbing sight.

This tense choice is smart for Calvino’s novel since it increases the puzzling nature of the story. In If on a winter’s night a traveler , you, the reader, are a character who buys Calvino’s novel If on a winter’s night a traveler , only to discover that there are pages missing. When you attempt to return it, you get sent on a wild goose chase after the book you want.

Tense itself can enliven an element of your story’s narration. In a thriller novel, for example, you can write tense scenes in first person, present tense for a sense of danger unfolding now . Tweet This

A muffled shot. He sits up in bed, tensed and listening. Can’t hear much other than the wind scraping branches along the gutter.

2. Avoid losing clarity when mixing tenses

Because stories show us chains and sequences of events, often we need to jump back and forth between earlier and present scenes and times. This is especially true in novels where characters’ memories form a crucial part of the narrative.

It’s confusing when an author changes tense in the middle of a scene. The fragmented break in continuity makes it hard to place actions in relation to each other. For example:

Sarah runs her usual route to the store. As she turned the corner, she came upon a disturbing scene.

This is wrong because the verbs do not consistently use the same tense , even though it is clear (from context) that Sarah’s run is a continuous action in a single scene.

Ursula K. Le Guin offers excellent advice on mixing past and present in her writing manual, Steering the Craft :

It is highly probable that if you go back and forth between past and present tense, if you switch the tense of your narrative frequently and without some kind of signal (a line break, a dingbat,a new chapter) your reader will get all mixed up as to what happened before what and what’s happening after which and when we are, or were, at the moment. Ursula K. Le Guin, Steering the Craft

In short, make sure there are clear breaks between sections set in different tenses and that actions in the same timeline don’t create confusion by using different tenses for the same scene’s continuous events.

These 10 exercises for practicing tenses provide a fun way to focus on mastering the basics.

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3: Mix the tenses for colour and variety

Le Guin raises a good point about writing tenses. Le Guin describes the downside of telling a story almost exclusively in present tense:

It all rather sounds alike…it’s bland, predictable, risk-free. All too often, it’s McProse. The wealth and complexity of our verb forms is part of the color of the language. Using only one tense is like having a whole set of oil paints and using only pink. Le Guin, Steering the Craft

Instead mix different tenses where appropriate, but signal changes between time settings:

For example:

That morning, she had run her usual route to the store. As she turned the corner, she had come upon a disturbing scene. Apart from the glass and metal sprayed across the road like some outgoing tide’s deposit, there were what looked like two stretchers, mostly eclipsed from view by a swarm of emergency workers. Now, safely home, she decided to lie down, all the while trying to get that scene out of her mind.

Mixing the tenses can help to show the cause and effect of interlocking events. The use of the past perfect to describe the scene of an accident in the example above is effective because the past perfect shows what is already complete. It gives it an irrevocable quality, the quality of a haunting, living-on-in-memory event. Finished, but not finished in the character’s mind’s eye.

4. Practice showing shadowy past or present actions using verb forms

In addition to simple and perfect tenses, there are different ‘moods’ that show verbs as hypothetical or possible actions. In addition to the indicative mood (‘she runs to the store’) there is also the subjunctive mood (‘If she runs to the store’) and the potential mood (‘she may run to the store’).

The different moods are useful because they can show possibilities and scenarios that might have happened, or might still happen, under different circumstances. Here are examples for correct uses for each of the tenses (in active voice):

Subjunctive mood:

Present tense: If she runs to the store… Past tense: If she ran to the store… Future tense: If she should run to the store… Present perfect tense: If she has run to the store… Past perfect tense: If she had run to the store… Future perfect tense: If she should have run to the store….

Think of this mood as setting up a possibility. For example: ‘If she runs to the store, she better be quick because we’re leaving in 5.’

The potential mood helps us show shadowy, more hypothetical, uncertain scenarios:

Present tense: She may run to the store. Present perfect tense: She may have run to the store. Past perfect: She might have run to the store.

In each of these examples, the action is a possibility and the mood (using the various forms of ‘may’) shows this.

These verb moods in conjunction with tense are useful. They help us describe situations in which a narrator or character does not have full knowledge of events, or is wondering how events might pan out. They help to build suspense in the build-up to finishing a book .

5. Practice rewriting paragraphs in different tenses

It’s often easiest to get the hang of tense by doing. Pick a paragraph by an author and rewrite in each of the tenses. Here, for example, is a paragraph from David Sedaris’ essay, ‘Buddy, Can you Spare a Tie?’:

The only expensive thing I actually wear is a navy blue cashmere sweater. It cost four hundred dollars and looks like it was wrestled from the mouth of a tiger. “What a shame,” the dry cleaner said the first time I brought it in. The sweater had been folded into a loaf-sized bundle, and she stroked it, the way you might a freshly dead rabbit. David Sedaris, ‘Buddy, Can you Spare a Tie?’ , When You Are Engulfed in Flames

Rewritten in past simple tense:

The only expensive thing I actually wore was a navy blue cashmere sweater. It cost four hundred dollars and looked like it was wrestled from the mouth of a tiger. “What a shame,” the dry cleaner said the first time I brought it in. The sweater was folded into a loaf-sized bundle, and she stroked it, the way you might a freshly dead rabbit.’

Here is the same passage in past perfect:

The only expensive thing I had actually worn was a navy blue cashmere sweater. It had cost four hundred dollars and had looked like it had been wrestled from the mouth of a tiger. “What a shame,” the dry cleaner had said, the first time I brought it in. The sweater had been folded into a loaf-sized bundle, and she had stroked it, the way you might a freshly dead rabbit.

The effect is of a character describing the defining experiences before another event (before buying an even more expensive item of clothing, for example). For example, you could write ‘Before I bought that lavish suit…’ before the paragraph.

To perfect writing tenses, make your own exercises and practice rewriting extracts from your story in each tense to see the changing effect this has on your narrative.

Do you need feedback on your use of tense in a story? Get novel help from our writing community or your own, experienced writing coach.

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• Tags how to write tense , tense and narration , writing tenses

Jordan is a writer, editor, community manager and product developer. He received his BA Honours in English Literature and his undergraduate in English Literature and Music from the University of Cape Town.

28 replies on “Writing tenses: 5 tips for past, present, future”

A fine explanation of tenses. A subject often ignored, having been overlooked except by students of language. In short, changes in tense are great aids to tension.

Thanks, Bob! It’s true that it’s not discussed as commonly as certain other topics such as characterization.

Reading such articles clear all the confusion. Thanks!

I have question though, I am writing in past tense, all the events are happening in past tense. But, say, my protagonist is in a situation where she has to decide something and she is anticipating something, in short, it’s future for her, how do we go about that.

She was still sitting on the same bench, as she didn’t want to leave the light. She was sure that ………………………………………………………………….

What I want to write here is, she knew that she will not find any cab at this hour. a. She was sure that she will not find any cab at this hour. b. She was sure that she was not going to any cab at this hour. c. She was sure that she couldn’t get a cab at this hour.

In my current scene, I am trying to show the thought process of the protagonist and I have encountered 2 or 3 places where I have come across this situation. Am I doing something wrong? Should I not come across such situation at all if I am writing in past tense?

I understand reading helps, but at this moment, my mind is blank and I am not able to recollect anything that I (must) have read.

Please suggest.

Hi Jayendra,

Thanks for your question and the feedback. Number a. would be incorrect because ‘will’ is in the simple future tense (it would be correct in ‘She is sure she will not find any cab at this hour’). B would be correct with a few small tweaks: ‘She was sure she wasn’t going to find any cab at such a late hour’ (or ‘…any cab so late at night.’) Incidentally, ‘this’ implies present, continuous time so it is a little jarring in past tense (hence the alternatives above). c. Similarly, this option would be better as ‘She was sure she wouldn’t find a cab at such a late hour.’ ‘Would not’ is the right past tense form here, in present tense it would be ‘will not’. It implies future action in relation to the present time of the narration.

I hope that helps!

Hey Bridget, thanks for your reply. It feels silly now. If I was able to come up with “could”, why couldn’t I think of “would”! 🙂

Thank you for this article. Tense has been driving me insane as it feels like there are hundreds of exceptions when it comes to usage of “simple present verbs” in past tense narratives. It makes me want to disregard the entire subject and rely on an editor to catch any mistakes that I don’t naturally leave out.

For example. When you said, “Past perfect: Sarah had run to the store.” “Run” is a present (simple) tense verb, which would make you think that it can’t be used at all in a past tense narrative, but it clearly can if you phrase it correctly. This holds true with literally dozens of other verbs, adverbs, and other “tense” related words. I’m finding my work being hampered by this as I literally stumble over myself thinking I buggered up a word in my narrative, only to later find out it was a perfectly acceptable usage. I’m really at the breaking point over this, and I’m close to just disregarding it all together and relying on pure instinct and proofreading, then review by an editor at a later date. Then of course, there’s the whole deal with acceptable tense shifting…

Am I incorrect for thinking this way? Will this kind of mindset bar me from any chance of ever getting published or even being given an offer by an agent? Is there room in this world for easily confusable writers? I don’t know, and I can’t imagine how confusing this must be for foreign speakers, either. As I’ve been speaking english all my life and writing as a hobby for nearly a decade.

Anyway, sorry for the rant. I actually do have an actual question. How do you use simple present tense usages of “being” when writing in second person past tense? Because the phrase, “You are…(whatever character’s name) comes up quite a bit. However, there’s no way to get around the fact that you have to use “are,” in the past tense continuous, and I can’t find any info on if that is correct or not.

I have a question. Would it be incorrect if my story is in first person point of view and narrated in the past tense, but the internal monologue of my narrator is in the present tense?

Ex. “Don’t you ever go anywhere else, Red?” My name isn’t Red. I can’t remember where that nickname came from. “I go to school.” I said. I could feel him rolling his eyes at me. I think he’s done that before. “Come with me today.” I looked at him then, a little puzzled. It was a bad idea and yet I said: “Okay.”

It sounds right in my head but I feel like the tenses are too all over the place to be correct. The narrator has memory problems so I want what he’s thinking to be read but I’m just not sure if this is correct. I’m more comfortable with past tense writing but should I switch to present tense?

I have the same question!

Hi Hannah, this comment slipped by, my sincere apologies for that.

Regarding your question, the tense switching does jolt the reader out of the story. If you’re more comfortable with past tense, I’d suggest putting the internal monologue in past, too. For example:

“I go to school,” I said. I could feel him rolling his eyes at me. He’d done that before.’ Similarly, for ‘I can’t remember where that nickname came form’, you could simplify it to make past tense less clunky as: ‘Where did that nickname come from?’

I hope your story is much further along now!

I’m a translator struggling with getting the past perfect correct in the story I’m working on. I find your article very helpful. Thank you 🙂

I have one question:

That morning, she had run her usual route to the store. As she turned the corner, she had come upon a disturbing scene. Apart from the glass and metal sprayed across the road like some outgoing tide’s deposit, there were what looked like two stretchers, mostly eclipsed from view by a swarm of emergency workers.

The above example sentences describe an event that had happened in the past from the narrator’s perspective, and that’s why the past perfect is used. Okay, no problem. But why isn’t everything in the past perfect? Why is it okay to leave some parts in simple past?

“As she turned the corner” instead of “As she had turned the corner” “there were what looked like two stretchers” instead of “there had been what looked two stretchers”

This is the exact issue I’m having in my story. When I put every single verb in the past perfect, the sentences sound very heavy, especially when the section describing the past event is long. But I’m not sure which parts are okay to leave in simple past.

Thank you for the feedback and for your question. You struck the exact reason there – stylistically, to put every single verb in past perfect does read clunkier and isn’t necessary. As long as there is a past-perfect verb establishing the time-frame of events, the rest of the events that are still contextually happening in the earlier time period don’t necessarily need past perfect. For example:

‘It happened last week. I had stopped by the vet shop to get my dog’s flea tablet [past perfect – prior action is established]. I was standing at the counter waiting to pay when I saw the new vet through the back entrance.’ If you wrote ‘I had been standing at the counter waiting to pay when I had seen the new vet…’ each instance of past perfect situates the action in a time period before the ‘main action’. Whereas the scene the narrator is describing is the main event unfolding after a prior action (stopping at the vet shop) situated before this encounter by past perfect tense.

There’s a useful article explaining past perfect further here: http://www.englishlessonsbrighton.co.uk/use-past-perfect-build-narratives/

Thank you so much for your quick response, Jordan! Your explanation and the link you shared are very helpful 😀

It’s a pleasure 🙂 Glad I could help! Good luck with your story.

Hi Jordan. I have a question regarding exceptions. Are there any? I’m busy writing a short and it currently starts out as “I live on the top floor of a two storey apartment complex.” I then proceed to recollect in past tense. The entire story takes place over the course of 1 night and ends with the protagonist still living there. I think – as I’m typing this out – I should probably change it to past tense right? The rest of story is written in past tense. I should treat the entire event as a recollection rather than get caught up in the fact that the protagonist is still currently living there. It just felt like I was setting it up as a “Once upon a time I lived on the top floor…” which is not really my intention. It’s part of series so “I” will still be living there. It just seemed like a nice opener using present tense. Any ideas on how I can achieve the same effect?

Thank you for sharing this interesting question. I can’t see any reason why you couldn’t begin and end on present. As long as the cuts between present and past are clear/signaled to your reader it should be fine. For example:

‘I live on the top floor of a two-storey apartment complex. You’ll know why I’ve shared this detail soon, as it connects to what I’m about to tell you about a strange event that happened two weeks ago.

I was….’

If you bookend a section in present tense this way, with a clear transition between the tenses using narration, it should be fine. The main thing with tenses is not to hop between tenses within the same narrative time-frame (for example ‘I am running down a dark street. I heard footsteps behind me.’ Here, there’s nothing to signal the passage between present and past and it’s confusing.

I hope this helps!

Hey! I’m a self-taught proofreader, not a writer myself (haven’t a creative bone in my body, sadly), and I’m having a great deal of difficulty learning present tense. Up until now, all the stories I’ve proofread have been in past tense, so I’m trying to teach myself how to correct tense errors.

However, many of the websites I’ve come across aren’t tutorials, they’re essays about why not to use present tense in fiction! Well, that’s up to the author to decide! The issue I’m having is mostly with knowing when to allow usage of past tense to go and when to correct it.

For instance, in this sentence: “Thrown by the jump in numbers, most viewers click back in the video just to double-check that Danny had indeed jumped from #3 to #6, before shrugging and continuing to watch.” I’m thinking that “had” needs to be “has”, but I’m not 100% sure. I like to be mostly sure before suggesting a change. Thanks. 🙂

Hi Tracy! Here the past perfect tense (‘had’) is acceptable because it describes an action completed before the present narrative time-frame (e.g. ‘I’m walking to the store now which had been closed this morning’ would be correct if the narrator were walking in the afternoon). If you wrote ‘I’m walking to the store now which has been closed this morning’ this would imply that it is still morning in the time of narration, due to ‘has’ here being in the present perfect tense (describing a past action or condition (‘being closed’) stretching into the present time).

‘Has’ in your example would read a little strangely as it could imply that Danny ‘has’ (in the present, continuing moment) jumped from #3 to #6.

I would say, since the video has already been recorded, that ‘had’ makes sense because Danny’s error (jumping from #3 to #6) ‘had’ been made at the time of recording, and had been viewed prior to the viewer’s realization. So both moments are squarely in the past rather than stretching into the present.

Does that make sense? 🙂 Tense will get you!

It absolutely does, thank you! I’m going to have to go back and reread certain things now, but I definitely understand this. So things that happened prior to the time frame in the story can be past tense, even in a present tense story! Thank you again, so very much, I’m trying so hard to learn this, but I just find it difficult. xD Your explanation certainly simplified it for me, though! ^_^

This post also sums up the differences very well: https://www.dailywritingtips.com/has-vs-had/

So, in short, can I use different tenses in my work of a story writing? In direct speech inverted commas are needed.Isn’t it?

MIXING PAST AND PRESENT TENSES

The following paragraph has a mixture of past and present tense. I believe it to be grammatically wrong but, to my mind, it doesn’t jar when I read it back and it gives the reader a sense of immediacy. My question is: Is it an absolute no-no or is there a degree of artist license here?

Archie flicked on the chainsaw’s master switch and pumped the primer a few times. Resting the saw on the ground he gave the cord a good hard yank. It clacked through its gears but didn’t catch. The second pull bit and snapped back stinging his fingers as it recoiled. “Son of a….” he yelped. The third pull sprung the chainsaw into life with a metallic shrill sending out a cloud of blue smoke that wafted across the laundry. Archie let it idle in a high pitched grumble and then tested it with a few pumps of the throttle that sent the chain shinning around the blade. “Seems okay” he yelled over the noise before killing the master switch. “I guess the real test will be half way through a tree.

Thank you for sharing that, there’s a great descriptive density to it and a clear sense of scene.

I’m curious as to why you think it mixes tenses? To my eyes, it’s all in past tense. You do have a participle phrase or two (e.g. ‘Resting the saw on the ground’) that provide a present/unfolding action, but these are used correctly within past tense for the overall narration (you do use it correctly to show one action that is ongoing during another – the finite verb ‘he gave…’ after that participle phrase still keeps the tense within past as expected).

It would be mixed if you had finite verbs in different tenses for events occurring in the same time-frame, e.g. ‘He rests the saw on the ground and gave the cord a good hard yank.’ This would be jarring because there would appear to be two different time-frames for actions unfolding within the same scene, thanks to present verb ‘rests’ and past verb ‘gave’. I hope this helps!

Great article, many thanks!

Brief question – when writing in the past tense, can you still use present tense for general statements? For example:

I woke up as usual at 5:47 station time when air supply unit number five, that occupied the majority of the level below our quarters, sprang into action, producing a constant humming that would last for the next eight hours. It is never completely quiet on a space station, there are always sounds, vibrations and audible movements, and you learn to live with it. It never bothered me, it was the only life I knew.

Hi Stephan, it’s a pleasure. I’m glad you found it helpful.

Thank you for sharing your question. That does scan fine. In the first instance, there is a participle phrase which creates the sense of a presently unfolding action within the past time-frame (‘producing a constant humming…’). This is correct usage.

Then the flip to present informs the reader of a general, ongoing state of affairs which is where we would use present tense. It depends on the site in time from which the narrator is speaking. If they are no longer living in the quarters when narrating this, then perhaps ‘It was never completely quiet on the space station…’ would make more sense (past tense for recounting conditions no longer being experienced). But if they are still based at the station, then present tense narration for a general state of affairs in their environment fits, as presumably it still isn’t ever completely quiet when they’re narrating this.

I hope this helps! Thanks for the great question.

Thank you for this article. I found it helpful. Both of my main characters at one point recall their dreams. Since they are recalling them, I would write them in past tense correct?

Hi Chelsea, it’s a pleasure! Not necessarily. I find authors often use present tense for this (especially if the main narration is in past tense). It would look something like:

But then I remembered the dream I had…

I’m standing in a wide, open field. I hear someone calling from the other side …

Present tense does create a sense of the unfolding moment that suits the sense of reenacting an interesting event, so personally I would lean towards that. I hope this helps. Just remember whichever tense you’re using to have a narrative link that clarifies that the narration is now crossing over into the dream description (in my example above, it’s the words ‘But then I remembered the dream I had).

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Ellen Brock

Professional freelance novel editor, pros and cons of writing your novel in past vs. present tense.

Should you write your novel in past or present tense? If you don’t have a default, “go to” tense that you write in, this is one of the first decisions a writer has to make when starting a new novel. There are certainly advantages and disadvantages to both tenses, but how do you choose? In this post, I explain the pros and cons of the two tenses and why you might choose one over the other.

Quick shout out to Writeditor reader Aimee for this awesome blog post idea!

Past Tense Pro: Tradition/Consider Your Reader

While MG and YA readers may embrace the present tense without distress, adult readers may not do the same. Though I don’t have any official statistics to share, my experience in person and across the web has been that most adults prefer the past tense and many are reluctant to (or flat out won’t) read present tense. So if there’s no good reason to use present tense, sticking to the past may be best.

Caveat: Many adult readers admit that well written present tense is not only enjoyable, but that they don’t even notice the fact that the novel is in the present tense. So if you’re a masterful present tense writer, go for it!

Present Tense Pro: Immediacy

Immediacy and a sense of closeness to the character are usually the two biggest advantages of using the present tense for a novel. When things are happening in the moment, it’s a lot easier to get the reader on the edge of their seat.

Caveat: If your novel does not contain much action, the immediacy of present tense is likely to become tiresome to the reader. The more action, plot twists and turns, and inherently exciting scenes, the more likely present tense will be an advantage.

Past Tense Pro: Moving Around in Time

In the past tense, you can tell your story in any order you want to. You can jump back and forth in time without using flashbacks. You can even start at the end and work backwards if you want to. This can lend a very strategic and artistic form to your story. Skipping time in past tense within a scene or chapter also tends to feel more natural and fluid than in present tense.

Present Tense Pro: A Focus on Voice

If you have a fantastic narrative voice, present tense can really give you the chance to show it off! Combining present tense with a first person point of view can give readers an exciting peek into your character’s psyche through their word choices, emotions, and thought process.

Caveat: This could just as easily be listed as a con. If you do not have an absolutely stellar narrative voice, the present tense can be very dry and tedious. In present tense, voice is more important in keeping the story interesting than it is in past tense.

Past Tense Pro: Less Mistakes

I wrote about this a long time ago, but it’s a vitally important factor to me (as an editor): past tense novels have less mistakes. Whenever a present tense novel lands on my desk, I settle in with my (virtual) red pen, knowing that I’ll be hacking and slashing away at tense errors on nearly every page. Present tense does not seem to come naturally to most writers, which leads them to flip-flop between past and present tense. Other errors are common too, such as flashbacks in present tense (They should be in the past tense since they’re in the past.).

Present Tense Con: Everyday Details

I tried to stay positive by focusing on the pros, but this one makes more sense as a con.

A common disadvantage of using the present tense is getting caught up in the everyday details of the character’s lives. Much more so than past tense, present tense novels tend to waste time explaining what characters are eating, how they made their food, the order of operations of their shower, how they choose their clothes, the process of commuting from one place to another, etc.  If you write in present tense, make sure you stick to relevant, interesting information only!

So Which Should You Choose?

Despite the many possible pitfalls and shortcomings of the present tense, when done well, I really enjoy it!  But in my opinion and experience, past tense is generally a better choice.  That said, if you have a fantastic and unique voice that you really want to show off, some interesting action that is better told with an “in the moment” feel, and a plot that does not need to move around in time, present tense can be interesting and exciting.

The bottom line is that you shouldn’t write in present tense just for the heck of it. It’s a narrative device, not an arbitrary decision. If you’re on the fence (especially if you’re writing for adults), I would go with past tense.

Also, please note that it is a myth that present tense makes your novel stand out. Check out these stats from the recent Pitch Wars contest. It gives you a pretty good indication of the kind of novels that are being shopped around right now. Take note of how many are in the present tense – it’s a lot!

What do you think about past vs. present tense?

If you have any more questions about tense or any ideas for blog topics, just leave a comment!

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5 thoughts on “ pros and cons of writing your novel in past vs. present tense ”.

I love this! I always have preferred writing in past tense, but recently, present tense has become so popular. I just think it’s so powerful for a story to have happened, rather than a story that is happening. I feel like the reader can trust it more. I have a literary review blog, so I’m always looking for new ideas and perspectives. Great post!

Thanks! I’m glad you liked it!

I never really understood present tense. I mean you’re telling a story that has happened, so how is it possible to write it in present tense? When I read ‘I see my wrinkles clearly in the mirror’ then I think ‘No you don’t, you’re writing a sentence.’ Where is my thinking mistake?

Thanks for writing this post. I nearly gag when someone recommends a book and I buy it online only to find it’s in present tense. Yes, I am an adult. I’ve written a novel of about 90,000 words. It’s unpublished and deserves to be. By the end of the 2nd draft I was no longer interested in the entire genre (Horror Fiction). Still, it was a valuable experience and it taught me such a lot. If only your blog had been around at the time, ’91-92, I could have saved so much time. I am now a happy subscriber! Cheers.

My first two books, Yaaländogs! Part I: Bar-LeDeuc (2002) and Pope on the Dole (2013) were written mostly in the present tense (there were some brief flashbacks/stories that required the past tense). My next two books, the first of which I’ll publish by the end of this year, will be written in the past tense. I’m not changing the tense because of lack of skill in the present tense, or because I’m weary of it, but rather because the stories in the next two books are more suitable for the past tense. It’s irrelevant to me what tense others are using. For me, tense is not an arbitrary decision, but one dictated by the needs of the story. I think your article made some good points. But I also think that writers who read such articles are missing an inner voice that directs them in how to write. Nevertheless, I enjoyed the article.

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Capstone Form and Style

Grammar and mechanics: verb tenses, most common verb tenses in academic writing.

According to corpus research, in academic writing, the three tenses used the most often are the simple present , the simple past , and the present perfect (Biber et al., 1999; Caplan, 2012). The next most common tense for capstone writers is the future ; the doctoral study/dissertation proposal at Walden is written in this tense for a study that will be conducted in the future. The blog post on What Verb Tenses Do You Need to Master for Academic Writing addresses these ideas as well.

Biber, D., Johansson, S., Leech, G., Conrad, S., & Finegan, E. (1999). Longman grammar of written and spoken English . Pearson. https://doi.org/10.1162/089120101300346831

Caplan, N. A. (2012). Grammar choices for graduate and professional writers . University of Michigan Press.

Simple present: Use the simple present to describe a general truth or a habitual action. This tense indicates that the statement is generally true in the past, present, and future.

• Example: Research methods include qualitative, quantitative, and mixed methods.

Simple past : Use the simple past tense to describe a completed action that took place at a specific point in the past (e.g., last year, 1 hour ago, last Sunday). In this example, the specific point of time in the past is 1998.

• Example: Zimbardo (1998) researched many aspects of social psychology.

Present perfect: Use the present perfect to indicate an action that occurred at a nonspecific time in the past. This action has relevance in the present. The present perfect is also sometimes used to introduce background information in a paragraph. After the first sentence, the tense shifts to the simple past.

• Example: Numerous researchers have used this method.
• Example: Many researchers have studied how small business owners can be successful beyond the initial few years in business. They found common themes among small business owners.

Future: Use the future to describe an action that will take place at a particular point in the future (at Walden, this is used especially when writing a proposal for a doctoral capstone study).

• Example: I will conduct semistructured interviews.

Keep in mind that verb tenses should be adjusted after the proposal after the research has been completed. See Verb Tense Considerations: Proposal to Final Study farther down on this page and this blog post about Revising the Proposal for the Final Capstone Document for more information.

APA Style Guidelines on Verb Tense

APA calls for consistency and accuracy in verb tense usage. In other words, avoid unnecessary shifts in verb tense within a paragraph or in adjacent paragraphs to help ensure smooth expression.

• Use the past tense (e.g., researchers presented ) or the present perfect (e.g., researchers have presented ) for the literature review and the description of the procedure if discussing past events.
• Use the past tense to describe the results (e.g., test scores improved significantly ).
• Use the present tense to discuss implications of the results and present conclusions (e.g., the results of the study show …).

Refer to the work of another researcher in the past.

• Patterson (2017) presented, found, stated, discovered…

However, there can be a shift to the present tense if the research findings still hold true:

• King (2016) found that revising a document three times improves the final grade.
• Smith (2018) discovered that the treatment is effective.

Verb Tense Guidelines When Referring to the Document Itself

To preview what is coming in the document or to explain what is happening at that moment in the document, use the present or future tense:

• In this study, I will describe …
• In this study, I describe …
• In the next chapter, I will discuss …
• In the next chapter, I discuss …

To refer back to information already covered, such as summaries of discussions that have already taken place or conclusions to chapters/sections, use the past tense:

• Chapter 1 included my original discussion of the research questions.
• In summary, in this section, I presented information on…

Simple Past Versus the Present Perfect

Rules for the use of the present perfect differ slightly in British and American English. Researchers have also found that among American English writers, sometimes individual preferences dictate whether the simple past or the present perfect is used. In other words, one American English writer may choose the simple past in a place where another American English writer may choose the present perfect.

Keep in mind, however, that the simple past is used for a completed action. It often is used with signal words such as yesterday, last week, 1 year ago, or in 2015 to indicate the specific time in the past when the action took place.

• I collected data in 2017 .
• All prospective participants signed an informed consent form in a 1-week period before data collection began.

The present perfect focuses more on an action that occurred without focusing on the specific time it happened. Note that the specific time is not given, just that the action has occurred.

• I have examined several possible research designs.

The present perfect focuses more on the result of the action.

• The panel of experts has completed the instrument validation.

The present perfect is often used with signal words such as since, already, just, until now, (not) yet, so far, ever, lately , or recently .

• I have already examined several possible research designs.
• The panel of experts has recently completed the instrument validation.
• Researchers have used this method since it was developed.

Also see the blog post on Choosing the Present Perfect Tense in Academic Writing for more information and examples.

Verb Tense Considerations: Proposal to Final Study

Unlike the proposal , where the writer describes a study not yet conducted, the final study is a report of what actually happened in the research or project study process, so the writer must revise the relevant portions of the proposal accordingly when incorporating them into the final capstone document. One essential step is to determine which verbs require a change in tense for logical and accurate reporting of the completed study. Although many sentences will shift from future to past tense, this shift is not appropriate in all cases. These guidelines address specific considerations for deciding where a shift in tense is necessary during this revision process.   

Future tense verbs that need to shift to past tense in the final study include those representing actions, decisions, or processes that happened after approval of the proposal, such as in the following examples:

Proposal: In this study, I will employ face-to-face interviews with key participants, reflexive notes, and a review of literature… Final study: In this study, I employed face-to-face interviews with key participants, reflexive notes, and a review of literature…

Proposal: The sample will consist of 10 to 20 graduate students who have completed at least three graduate courses in the past year. Final study: The sample consisted of 12 graduate students who had completed * at least three graduate courses in the past year. * Note the related verb tense shift from present perfect to past perfect in the second example.

Not all verbs require a shift in tense. Here are a few such cases:

• In this chapter, I describe … (or will describe … )
• NOT: In this chapter, I described …
• This study’s findings could lead to positive social change by… 
• The results of this study may serve to increase awareness of…
• Researchers have argued that the continued loss of experienced nurses will have negative effects on...
• As technology advances, future researchers will want to focus on…
• This professional development project will address the problem of…
• This systematic review will provide support for evidence-based best practices for…

Strategy for revising verb tense from proposal to final study:

• Use Ctrl+F (or Command+F on a Mac) or click the Find button under the Home tab to search for occurrences of the word will in the document.
• On a case-by-case basis, examine each statement containing will to determine whether revision is needed. Avoid using Replace All in the Find and Replace menu because, as noted above, not all uses of future tense refer to the proposal itself.
• Check the context in which the word will occurs to see if other revisions are warranted nearby.

Keep in mind that, although this strategy can make finding and revising proposal-specific language a bit easier, there is no substitute for careful, systematic proofreading of the document.

Final note and related resources:

Inadequate revision of verb tense and other proposal-specific language is among the Top 10 Reasons for Delays at the F&S Review , so taking the time for this process well before that stage is important.

Capstone writers should consult the Form and Style Checklist for this and other important aspects of revising the final study or project in preparation for the Form and Style Review .

Summary of English Verb Tenses

The 12 main tenses:

• Simple present : She writes every day.
• Present progressive: She is writing right now.
• Simple past : She wrote last night.
• Past progressive: She was writing when he called.
• Simple future : She will write tomorrow.
• Future progressive: She will be writing when you arrive.
• Present perfect : She has written Chapter 1.
• Present perfect progressive: She has been writing for 2 hours.
• Past perfect: She had written Chapter 3 before she started Chapter 4.
• Past perfect progressive: She had been writing for 2 hours before her friends arrived.
• Future perfect: She will have written Chapter 4 before she writes Chapter 5.
• Future perfect progressive: She will have been writing for 2 hours by the time her friends come over.

Conditionals:

Zero conditional (general truths/general habits).

• Example: If I have time, I write every day.

First conditional (possible or likely things in the future).

• Example: If I have time, I will write every day.

Second conditional (impossible things in the present/unlikely in the future).

• Example : If I had time, I would write every day.

Third conditional (things that did not happen in the past and their imaginary results)

• Example : If I had had time, I would have written every day.

Subjunctive : This form is sometimes used in that -clauses that are the object of certain verbs or follow certain adjectives. The form of the subjective is the simple form of the verb. It is the same for all persons and number.

• Example : I recommend that future researchers include other populations in their studies.
• Example: It is important that staff at the study site establish criteria for implementing study findings.
• Previous Page: Relative, Restrictive, and Nonrestrictive Clauses
• Next Page: Subject–Verb Agreement
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Present Tense or Past Tense? First Person or Third? Which to Use for Your Novel or Memoir

You’re getting ready to write your novel or memoir. How do you decide which tense you should use: past or present? In the case of a novel, you also need to decide whether to write in first person or third. These are common dilemmas and ones worth exploring, because selecting the right tense and point of view from the start will save you getting stuck part-way into the writing, unable to make that choice work for the remainder of your story.

The Problem with First Person

Let me tell you the problem that one of my author clients ran into, which illustrates the difficulty. She had written her entire novel in first person, present tense. She just liked the sound of present tense better, and thought the story would seem more intimate and personal written from the “I” perspective. Everything went smoothly until the very end of the manuscript, where she got stuck. The problem was that she wanted to show the sneaky activities of the main character’s cheating boyfriend. But she couldn’t write these using first person, because the girlfriend (main character), who was narrating the story, didn’t know what the boyfriend was up to!

The author couldn’t simply insert a couple of scenes at the end, told from the third-person perspective. Alternating points of view is permissible, but only if you do so in a consistent fashion, switching back and forth throughout the entire novel. What’s not okay is to suddenly, at the end, switch the point of view, or to switch it for just a small patch of the story. You either have to alternate the point of view consistently throughout the entire novel, or else stick with the same point of view throughout.

This problem caused the author to have to go back and do some substantial rewriting to overcome the difficulty her first-person narration had created. Of course, had she planned out the scenes of the novel before starting to write, she could have foreseen the problem ahead and constructed the story with several chapters written in third person, or in the first-person perspective of a second character. This would have allowed her to make the scenes at the end either third person or narrated from the viewpoint of another character who knew what the boyfriend was doing.

So think it through before you start: can all the scenes you need to craft be written from the first-person perspective of one of your characters? If not, write in third person, or else alternate your chapters so you have a mix of first person and third (or multiple characters narrating in first person).

If you’re writing a memoir, of course, which person to write in is not an issue, since memoirs are always written in first person.

The Perils of Present Tense

So what about tense? The same requirement of consistency that applies to point of view, also applies to tense. A lot of first-time authors feel that present tense sounds more immediate and exciting, so they attempt to write their novel or memoir entirely in the present. But that can land them in a ditch when they need to share some backstory. It also can make for grammatical challenges when they need to refer even briefly to something that happened in the past. In those instances, they need to revert to past tense, or to present-perfect tense, and that can get terribly messy. It’s hard to navigate correctly between tenses when switching is required, and writing the bulk of a story in present tense requires a lot of switching!

Let me give you an example. In the following passage, the memoir author initially writes in the present tense: the tense in which he chose to cast his story. But then he has to talk about something in the past, so he correctly switches to past tense for a couple of sentences. Unfortunately, he forgets to switch back to present tense when he’s done writing about the past. Eventually, he remembers, and ends the paragraph in the present tense. But meanwhile he’s created a big grammatical boo-boo.

Read the passage for yourself, and see if you can tell where he slips up: where he should have come back to present tense:

I ponder the many mysteries about Frederick. I wonder about his life. Did he ever marry, have children? How happy was his childhood? He had a way of explaining things that I naturally related to. Was his teaching ability an innate talent, or a skill he had worked to develop? Either way, I was starting to understand. At that moment, in the quiet of the sunrise, it starts to all make sense.

Did you catch it? Where he goes wrong is with the sentence beginning “He had a way …” Here is how the passage should have been written, for the tenses to be correct:

I ponder the many mysteries about Frederick. I wonder about his life. Did he ever marry, have children? How happy was his childhood? He has a way of explaining things that I naturally relate to. Is his teaching ability an innate talent, or a skill he worked to develop? Either way, I am starting to understand. At that moment, in the quiet of the sunrise, it starts to all make sense.

How to Solve the Dilemmas

Now here is my strong recommendation, authors: if you can’t easily and immediately tell where the writer went wrong in that passage I just shared, don’t start writing your story in present tense! It’s way easier to avoid serious grammatical mistakes if you simply tell the story in the naturally flowing, straightforward, past tense. Here’s how that passage would look if the author had chosen past tense for his memoir:

I pondered the many mysteries about Frederick. I wondered about his life. Did he ever marry, have children? How happy was his childhood? He had a way of explaining things that I naturally understood. Was his teaching ability an innate talent, or a skill he had worked to develop? Either way, I was starting to understand. At that moment, in the quiet of the sunrise, it started to all make sense.

Nice … simple … no switching. Yes!

What I’m saying is that while the option of casting your story in present tense can seem original and alluring, it’s a bear to carry out successfully. Unless you’re a master of complicated grammar, you’re going to make lots of mistakes. And it will cost you bundles to hire an editor for the time-consuming task of correcting your tenses line-by-line across the entire memoir or novel (if you can even find an editor willing to take on that tedious task). Unless you have a darn good reason not to, my advice is to write your story in past tense .

And about the matter of writing in first person? Third person is much more flexible for novelists. It won’t drive you into dead ends. You can get away with first person if you plan your scenes and chapters in advance, making sure either that first person will serve them all or else alternating with chapters that are third person. If you’re writing a memoir, though, you always write in first person.

Traditionally, novels are written in third person/past tense, and memoirs are written in first person/past tense. There’s a good reason for that. It works! Yes, you can “get creative” and digress from the standard way of storytelling. But if you do, you’re likely to run into problems with the writing, problems you must be grammatically and technically skilled enough to handle. Most authors aren’t, so do yourself a favor and choose wisely!

Jessi Rita Hoffman … book editing by an industry professional

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