elements of the genre in creative writing

Creative Writing Genre Guide – The Many Genres of Writing in The Creative Arts

Written by Scott Wilson

Like the hiss of a jagged sword slicing past your ear or the roar of a spacecraft entering the atmosphere of a strange planet, genre echos through every piece of creative writing.

Whether or not the author chooses consciously to conform to an existing genre or decides to break new ground, genre will attach to whatever they create. Even so-called non-genre, or literary, fiction is itself a sort of genre. Genre is a tool that is used by:

• Writers , to guide story and expectations
• Critics , to categorize and analyze creative works
• Publishers and Booksellers , to stock and market books to their target audiences
• Readers , to find and read works that align with their aesthetic preferences

Understanding and mastering genre is not optional for creative writers. But it’s not easy, either.

How Genre Defines Your Creative Writing Work

Genre is a hot topic in the world of creative writing. You won’t get far in the average creative writing program before you get into some kind of argument over how to classify some piece of work.

That’s because genre is necessarily subjective. There is no centralized Genre Board that puts a stamp inside the front cover of each new book that is released. The American Literature Association does not maintain an official list of genres that authors are required to choose from among before beginning their next story.

The reality of a serious writer is a reality of many voices, some of them belonging to the writer, some of them belonging to the world of readers at large. ~ Aberjhani

Our literary genres today are simply social conventions, conventions that evolve over time with community expectations and tropes. It’s impossible to come up with a genre writing definition that will satisfy everyone. At the same time, genre is descriptive enough to be indispensable for readers and writers alike.

Genre is so difficult to get a grip on because it is effectively a kind of rolling consensus.

Genre is defined by the authors themselves, by critics who seek to interpret works, by readers deciding what they like to read, and by publishers looking to market those works.

And those definitions change all the time.

The Rapid Evolution of Genre in Writing

Take the ancient and well-established genre of fantasy, for example. Myth and legend may be the oldest genres of fiction, stretching back to our earliest recorded works. The Epic of Gilgamesh and Beowulf both fall into the realm of fantasy.

But fantasy has evolved as its readers and writers have.

Fantasy writing today is nothing like what it was prior to Tolkien’s tales of Middle Earth reaching and shaping the expectations of readers. Epic works like The Lord of the Rings and the Chronicles of Narnia set a standard for their writing genre, and subsequent tales are inevitably judged by those standards.

With the pace of publishing increasing rapidly and the ease of finding literature to taste getting easier and easier, genre is evolving at a lightning pace.

Writing Sub-Genres Have Become Ever More Niche With the Internet

That kind of specificity comes with very distinctive expectations, however. Niche works are often expected by readers to follow a very specific formula—hit a certain set of plot points, come in at a particular word-count, feature a distinctive type of characters. If you’re aiming for success in the Highlander romance niche, you had better have an evil Englishman somewhere in the story—and heaven help you if there’s not a shirtless man in a kilt on the cover.

While this kind of narrow, formulaic approach is seen as a constraint by some authors, it represents a kind of feedback loop that allows writers to reach very specific audiences. If you plan to make a career out of creative writing, understanding and selling to the market is door you’ll need to open. Genre expectations give you the key.

The genre of writing you pick for any given story you choose to tell will define how it is viewed and what readers expect before you even put down the first word. So understanding how genres in writing work and how to use them in your own pieces is a key part of being a creative writer today.

Picking a Writing Genre Can Be Empowering for Creative Writers

Understanding what genre is and how genres are defined is the only way that you can understand how your own work will be perceived. And developing that kind of knowledge allows your writing to grow and operate on multiple levels as your stories unfold. Genre offers subtext to your stories. Adding a new entry to the catalog of any particular genre expands what the field has to say.

The many types of genres in writing offer an avenue for every writer to explore and expand their craft.

Equally important for some writers is the sense of context that genre creates for their writing. Not only can it help shape creative works by offering standards to aim at, but it also provides a set of expectations that can be subverted to critical effect. For example, The Red Badge of Courage by Stephen Crane would not have had the effect on readers that it did without a long tradition of glorious war stories from a genre that it mimicked, then up-ended with the hero’s cowardice.

Pure formless creativity and invention are wild and dangerous things. To develop a coherent story and a world that is true enough for readers to believe is a tricky business. Having a set of general rules to follow and expectations to meet brings focus.

Beyond that, the very act of channeling your imagination into a defined form and to tell your own story within those rules is a challenge that rewards the creative spirit. Finishing a novel can feel very much like clicking the last piece into place on a jigsaw puzzle. The picture on that puzzle is the genre. When everything lines up to match, your sense of satisfaction and accomplishment is immense.

Writing Genres Give Readers the Stories They Are Looking For

Those stores, and the publishers who print novels and magazines, live and die by genre sales. Some publishers either specialize in or dedicate certain of their imprints to particular genres. Editors, illustrators, and agents may also specialize by genre. Critics, industry awards, and writing groups are often dedicated to different genres. Even creative writing programs offer specializations or concentrations in certain writing genres.

Ultimately, however, genre in writing persists and is needed for the reader. The evolution of genres in writing has largely been in the hands of publishers and book sellers, all seeking to match works with groups of readers who will find them appealing.

Genre in Writing May Be Determined in Different Ways

Genres in writing are not absolutes. Any given work can fall into many different genres depending on how the term is being applied. For example, the two big categories of writing are the genres of poetry and prose. Every work will fall into one of those, as well as others.

The most common ways of categorizing genre are:

• By literary technique and style
• By setting or character type

Each of these different genres of writing will share certain characteristics, but may diverge through other categories. For example, there are works that have a common science fiction theme, but use technique and style more common to literary fiction. The Handmaid’s Tale , by Margaret Atwood, is one example… set in a dystopian future, it nonetheless develops characters and explores deep themes common to other classic works of literature.

In addition to crossing genres, creative writing works also may fall into sub-genres. The most writing genres evolve branches over time. In fact, science fiction, one of the biggest and most popular genre examples in writing today, is simply a sub-genre of the larger category of speculative fiction.

Sub-Genres Sprout From Pop-Culture in Unexpected Ways to Offer Something Uniquely Tailored to Every Audience

To give just one example of this process, consider the evolution of the genre of steampunk.

Steampunk is a sub-genre of cyberpunk, which already lies at the bottom of a long list of other sub-genres of fiction:

In addition, steampunk works almost all fall into the addition speculative fiction category of alternate history, since they imagine a historical era not as it was, but as it might have been. Some can be called Westerns; others are post-apocalyptic, taking another bite out of the dystopian genre apple.

The first proto-steampunk works were published in the ’70s and ‘80s by authors such as Tim Powers and James Blaylock, but it was 1990’s The Difference Engine , by William Gibson and Bruce Sterling that really kicked off steampunk as a genre—probably because Gibson and Sterling were also two of the prime movers in cyberpunk itself.

As steampunk caught on and became more popular, not only did newer works emerge to expand the genre (including its own sub-genres), but older novels that included or inspired the same elements were sometimes described as steampunk. Seminal works like H.G Wells’ The Time Machine and Jules Verne’s Twenty Thousand Leagues Under the Sea are sometimes found in lists of steampunk works.

Why not just do away with genre, and consider each piece on its own merits? Ultimately, many scholars and creative writing professionals are able to do just that.

In the same way that a rock musician can understand, appreciate, and adapt techniques from the classical world, good writers recognize and respect good writing craft, regardless of genre.

But genre is also a part of artistic judgement. A creative work can be assessed by how well or poorly it conforms to the expectations of the genre it is aimed at.

How To Succeed as a Creative Writer in Different Types of Writing Genres

To be clear, you don’t need to pick a genre lane if you don’t want to. Iain Banks had no problem at all jumping back and forth between epic sci-fi novels, psychologically complex literary fiction, rollicking travelogues, and even poetry. All of it earned critical acclaim.

When J.K. Rowling decided she needed a break from fantasy, she picked up the pen name of Robert Galbraith and popped over into crime fiction instead.

But most creative writers aren’t made of the same stuff as Banks or Rowling. It may be that a particular genre is what inspires you to write in the first place. Perhaps it’s a fascination with the subject matter that draws you in to a particular kind of world. Or maybe it’s just a raw commercial calculation, playing to the market and what is most publishable.

In any case, deciding the genre or genres you are interested in writing in is only one part of the process. Each genre has its own unique path to success.

The Many Genres of Writing in English Literature

To help you get started, we’ve got a whole list of writing genre guides that take you step-by-step through the process of becoming a successful writer in that field.

Literary Fiction

Literary fiction is the non-genre genre of creative writing. It includes works that are too non-traditional to fit cleanly in existing genres or that focuses on characterization and exploration of deep truths over conventional plot or narrative structures. Much of the pantheon of great novels and works that are used in teaching creative writing fall into the literary fiction genre.

Fantasy authors excel in creating imaginary worlds where fantastic creatures roam, magic and the supernatural shape character’s lives, and medieval settings call classic mythology to mind. Fantasy is one of the oldest of genres in both Eastern and Western writing traditions, and its popularity continues to ensure steady careers for well-trained fantasy writers.

There is a fascination with the macabre and surreal that keeps horror novels on the top-seller lists year after year. From Anne Rice to Stephen King, some of the most commercially successful modern authors have chosen this genre. And with classics from Shelley and Poe as part of the enduring tradition of literature, a career in horror offers creative writers a shot at both fortune and fame.

Mystery, or crime, fiction embraces a whole spectrum of entertaining works from Agatha Christie’s classic detective novels to the hard-boiled works of Dennis Lehane. Writers who have the talent to deliver an intricate plot and keep readers engaged with a steady stream of clues, but still make the reveal and resolution a rewarding surprise, have a bright future in the mystery genre.

The Western genre is both relatively new and distinctively American in nature. Following in the footsteps of Louis L’Amour and Max Brand is no easy task, but there is plenty of life in the humble Western, as works by Cormac McCarthy and Larry McMurtry have shown. Western writers may or may not need a ten-gallon hat, but the definitely need story-telling skills and a strong set of research skills.

Young Adult

Young adult works often combine other genres into stories that deal particularly with the interests and concerns of teenagers. Whether it’s a mix of fantasy and school, like Harry Potter , or pure works that explore contemporary problems and challenges like the classic The Outsiders , young adult novels can shape the perspectives and growth of a generation. Young adult writers have to develop not only a knack for telling stories cleanly and understandably, but also for tapping into the zeitgeist of their target audience. 

Science Fiction (Sci Fi)

Science fiction uses the prism of technology and time to explore both exciting theoretical science and social mores and consequences of humanity today. Science fiction is a genre that has a robust demand and strong traditions. Although it can be tough to break into sci-fi, studying creative writing offers the kind of analytical tools and techniques that can make it happen.

Short Story

The genre of short story is one rooted in length rather than subject. A short story can be told in almost any of the other genres listed here, but it is a form that requires its own set of skills and sensibilities. Creative writing degrees are one of the best places for writers to polish up their ability to deliver the crisp, clear, meaningful prose that is needed to build a successful short story.

Making people laugh is a rare skill in any kind of artistic endeavor. Comedic writing has a long and honorable history in the world of dramatic literature, serving as one of the first genres recognized by the Greeks. Comedy often crosses other genre boundaries, with tendrils in horror, science fiction, and crime. But pure comedies in the form of satire and parody serve important roles in social commentary as well as entertainment.

Historical Fiction

Writing historical fiction comes with a set of guard rails that play directly to the strengths of creative writers: research offers a glimpse of the world as it once was, and imagination fills out the humanity of those times. While the historical setting can be one grounded firmly in reality, like Hilary Mantel’s acclaimed Wolf Hall , it can also serve as a portal to the fantastical, as in Susanna Clarke’s incredible Jonathan Strange & Mr. Norrell .

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Top 10 Elements of Creative Writing: All you Need to Know

Learn the art of storytelling with our comprehensive blog on the Elements of Creative Writing. Discover the vital components that transform ordinary words into extraordinary tales. Dive into character development, plot intricacies, and more as we cover the core aspects of crafting captivating narratives. Read more to find out!

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Whether you're an aspiring novelist, a poet, or simply someone who loves to pen down your ideas, understanding the key Elements of Creative Writing can significantly enhance your skills. In this blog, we will explore the top 10 Elements of Creative Writing that are essential for creating compelling and impactful written works, along with tips. 

Table of Contents  

1) The i mportance of Creative Writing elements 

2) Top 10 Elements of Creative Writing 

   a)  Imagery and descriptive language  

   b)  Character development 

   c)  Plot structure 

   d)  Dialogue and conversations 

   e)  Point of View (POV) 

   f)  Setting and world-building 

   g)  Tone and Style 

   h)  Conflict and resolution 

   i)   Theme and symbolism  

   j)  Editing and revision 

3)  Conclusion 

The importance  of Creative Writing elements  

Creative writing isn't confined to the pages of novels or the lines of poetry; it's a fundamental human expression that predates recorded history. It has been a conduit for cultural preservation, knowledge transfer, and emotional catharsis. But how exactly mastering these elements can improve your writing?   

Every art has its tools, and Creative Writing is no different. The elements we'll delve into aren't just guidelines; they're the building blocks that transform your words from ordinary to extraordinary. By understanding and mastering these Creative Writing elements, you'll be equipped to craft narratives that draw readers in, keep them engaged, and leave an indelible mark on their minds and hearts. 

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Top 10 Elements of Creative Writing    

Generally, there are various Elements of Creative Writing, each possessing its own unique features. However, many forms of Creative Writing also share some common features. Here’s a detailed explanation of each element every Writer must follow:  

1) Imagery and d escriptive l anguage   

Imagery and descriptive language are the brushes with which writers paint vivid mental pictures for their readers. By skillfully weaving sensory details, you bring scenes to life and evoke emotions. The rustling leaves, the scent of freshly baked bread, the gritty texture of sand beneath one's feet—these details create a sensory symphony that immerses readers in your world.    

Metaphors, similes, and analogies act as bridges, connecting the familiar with the unfamiliar. Through them, you can compare the indescribable to the known, enriching your narrative with layers of meaning. Mastery of imagery and descriptive language transforms passive reading into an active experience where readers can taste, smell, hear, see, and feel the world you've created.   

Tips :   

a)  When selecting details, focus on the ones that have the most impact and avoid including unnecessary clutter.   

b)  Use metaphors and similes sparingly, making them truly resonate.   

c) T ailor your descriptions to the tone and mood of the scene or story. 

2) Character d evelopment   

Character development is the art of breathing life into your fictional personas. Well-crafted characters are not only relatable but also complex, with layers of personality, desires, flaws, and history. They drive the plot forward, compelling readers to invest emotionally in their journeys. Backstories provide context, explaining why characters behave the way they do.   

Effective character development allows readers to understand, empathise, and even dislike characters. The key lies in making them authentic and evolving. Just as people change, so should your characters. They learn, grow, and adapt, making their arcs believable and satisfying. The beauty of character development is in its ability to mirror the human experience, forging connections between fictional worlds and real hearts.  

a)  Explore your characters' pasts to understand their motivations and fears.  

b) Create a character profile detailing their appearance, background, and personality traits. 

c) Show character development through actions and decisions rather than telling.  

3) Plot s tructure   

Plot structure is the architecture that holds your narrative together. Think of it as a roller coaster, with highs and lows that keep readers engaged. The introduction sets the stage, introducing characters, settings, and the initial conflict. Rising action builds tension, propelling the story forward. At its peak is the climax, the turning point that determines the characters' fate.   

Falling action allows for a gradual untwisting of events, leading to the resolution. Effective plot structure balances pacing, ensuring readers remain intrigued without feeling rushed. Twists and turns add surprise, while cause-and-effect relationships maintain coherence. A well-structured plot keeps readers invested, eagerly flipping pages to discover what happens next.  

a)  Introduce the main conflict early to hook readers' curiosity.  

b) Use cliffhangers and unexpected twists to maintain suspense.  

c)  Ensure each scene contributes to character development or plot progression.  

4) Dialogue and c onversations   

Dialogue and conversations are windows into your characters' minds and hearts. Natural and dynamic dialogue conveys information and reveals personalities and relationships. Each character's speech patterns, vocabulary, and tone should be distinct, reflecting their backgrounds and emotions .   

Through dialogue, conflicts can be ignited, alliances forged, and secrets unveiled. Subtext—the unspoken thoughts beneath the spoken words—adds depth and intrigue. Conversations can quicken the story's pace, providing relief from dense narrative passages. Dialogue-driven scenes foster engagement, inviting readers to eavesdrop on captivating interactions that fuel the narrative's fire.  

a)  Listen to real conversations to capture natural rhythms and speech patterns.  

b)  Use interruptions and nonverbal cues to make dialogue dynamic.  

c)  Balance dialogue with narrative to avoid overwhelming the reader.  

5) Point of View (POV)  

Point of view (POV) is the lens through which your story is perceived. The choice of POV shapes the reader's relationship with characters and events. First-person offers intimacy, allowing readers to see the world through a character's eyes. Second person immerses readers directly into the narrative. Third person limited provides insight into a character's thoughts, while third-person omniscient offers a broader perspective.   

Consistency in POV is vital; changing viewpoints can confuse readers. The chosen POV influences what readers know and when they know it. It also affects emotional connection and empathy. Selecting the appropriate POV requires consideration of the story's needs and the desired reader experience.  

a)  Experiment with different POVs to find the best fit for your story.  

b)  Consider the level of intimacy and distance you want between characters and readers.  

c)  Be aware of the limitations and advantages of each POV.   

6) Setting and w orld- b uilding   

The setting isn't just a backdrop; it's a dynamic element that influences mood and plot. A well-defined setting isn't merely a stage but an active participant, influencing characters and events. You transport readers to a different reality through meticulous detail, allowing them to immerse themselves fully.  

Effective world-building extends beyond the physical, encompassing societal norms, rules, and even magic systems in speculative fiction. The environment can reflect themes and impact mood. Whether in a fantasy realm or a contemporary city, the authenticity of the setting enhances the reader's experience.   

a)  Research settings thoroughly to ensure accuracy and authenticity.  

b)  Show how characters interact with their environment to convey their experiences.  

c)  Create a sense of place by using unique and specific details.  

7)   Tone and style   

Tone and style are the fingerprints that make your writing uniquely yours. The tone is the distinctive way you express yourself through words—a combination of tone, diction, and syntax. It reflects your personality as an author. Style encompasses sentence structure, pacing, and word choice, influencing the overall feel of your work .   

A comedic style might employ wordplay and witty dialogue, while a dramatic style could use evocative descriptions and emotional introspection. Finding your voice and style involves self-discovery and experimenting with different approaches until you uncover what feels authentic. A strong voice and style leave an indelible mark on readers, making your work instantly recognisable   

a)  Read more to familiarise yourself with different writing styles.  

b)  Practice writing in different tones to discover your preferred voice.  

c)  Revise with a focus on refining your voice; eliminate elements that don't align. 

8)  Conflict and r esolution   

Conflict and resolution are the engine that drives your narrative forward. Conflict introduces challenges that characters must overcome, making their journeys compelling and relatable. There are various types of conflict—internal struggles within characters, external conflicts with other characters or nature, and interpersonal conflicts between characters. Conflict creates tension, propelling the story toward its climax.   

The resolution, whether happy or bittersweet, provides closure and offers insights into the characters' growth. Well-crafted conflicts test characters' limits, forcing them to confront their fears, flaws, and desires. Through the resolution, readers witness the transformation and the culmination of the character's arcs. 

a)  Vary the types of conflict to maintain reader engagement.  

b)  Build tension gradually; escalate the stakes as the story progresses.  

c)  Avoid convenient solutions; resolutions should arise from the characters' choices and actions.  

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9) Theme and symbolism  

Theme and symbolism lend depth and layers to your writing. Themes are the underlying ideas, beliefs, or messages that resonate with readers. They can explore love, friendship, power, or mortality, connecting the narrative to universal human experiences. Symbolism employs objects, actions, or concepts to convey abstract ideas, often adding an element of intrigue.  

A red rose might symbolize love or passion, while a broken mirror could represent self-perception. Themes and symbols intertwine, enriching the story's interpretation and emotional impact. Skilful use of theme and symbolism transforms a tale into an exploration of human nature and society.  

Tips:   

a)  Reflect on the themes that resonate with you and explore them in your writing.  

b)  Use recurring symbols to reinforce thematic elements.  

c)  Allow themes to emerge naturally from the characters' struggles and growth. 

10) Editing and r evisi on    

Editing and revising are the crucial phases that turn your initial draft into a polished masterpiece. Writing is rewriting; the initial draft is a raw exploration of ideas. Editing involves refining sentences for clarity, coherence, and flow. It ensures grammar and punctuation are correct. Revising delves deeper, examining plot holes, character consistency, and thematic resonance.  

Seeking feedback from peers or professionals is invaluable, offering fresh perspectives. The revision process is where your story truly comes to life. It's an opportunity to tighten narrative threads, enhance descriptions, and amplify emotions. Embrace the iterative nature of editing and revising; each pass brings your writing closer to its full potential.  

a) Revise in multiple passes, focusing on different aspects in each round.  

b)  Cut unnecessary details or scenes that don't contribute to the narrative.  

c)  Pay attention to grammar, punctuation, and spelling to ensure a polished final product.  

Conclusion   

Creative Writing is a journey of discovery, both for the Writer and the reader. In this blog post, we've explored the essential elements that constitute effective Creative Writing. From the foundation of imagination to the nuances of dialogue, style, and conflict, each element plays a pivotal role in crafting a compelling narrative. By mastering these top 10 Elements of Creative Writing, you'll be equipped to create stories that resonate, inspire, and captivate audiences.  

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What are the Genres of Creative Writing?

The Black Bear Review boasts about accepting work in all four literary genres, but what does that mean? In simplest terms, genres are used to organize, categorize, and classify literature. The four primary genres of creative writing are fiction, creative non-fiction, poetry, and drama.

Fiction:  The fiction genre includes all works conceived primarily out of the writer’s imagination. Although fiction may include some elements of reality (names of real-life towns or natural phenomena), it relies on make-believe events to drive plots that often parallel, rather than recite, real-life circumstances. Some examples of fiction form are the novel, short story, or novella.

Creative Non-Fiction:  Writers of creative non-fiction develop stories based on true to life events but often infuse their own personal views and experiences in their work. Creative non-fiction pieces go beyond fact to appeal to readers through story, experience, and imagery. Some examples of creative non-fiction forms are personal essays, book reviews, memoirs, interviews, and cultural criticisms.

Poetry:  Poetry includes writing meant to be heard out loud as well as read on the page. Although poetry can take many forms, its foundation is built on a balance of rhythm, imagery, metaphor, and other techniques used to communicate abstract ideas to readers. Poems may be structured (haikus, and sonnets), unstructured (free verse), or even appear to read as a narrative (prose poems).

Drama:  The genre of drama can include both the fictitious and the fact. In a drama, the story is primarily conveyed through dialogue between characters. It may reference sound and movement, but much is left to reader’s imaginations. Drama includes movie scripts, ten-minute plays, screenplays, and written stage productions.

* Much of the information in this article has been taken from “Imaginative Writing: The Elements of Craft” by Janet Burroway and “Write Moves” by Nancy Pagh. We recommend looking into these books for yourself. They’re excellent resources to add to any writer’s toolbox!

Copyright © 2020 Black Bear Review

Writing Nestling

What Is Creative Writing? (Definition & 11 Best Steps)

Creative writing is the celestial dance of words, an art form that transcends the ordinary to forge literary constellations that illuminate the human experience.

At its core, creative writing is a cosmic exploration of imagination, a journey into the uncharted realms where storytelling becomes a vehicle for self-expression, creativity, and connection.

It encompasses a diverse array of genres, from the poetic landscapes of verse to the intricate narratives of fiction and the introspective reflections of creative nonfiction.

Creative writing is both an ancient practice, rooted in the oral traditions of storytelling, and a contemporary force, shaped by the dynamic currents of literary movements and the digital age.

In this cosmic voyage of words, writers become cosmic architects, crafting worlds, characters, and emotions that resonate across the galaxies of human thought and emotion.

This exploration delves into the historical evolution, elements, genres, and the transformative process of creative writing, inviting both novice stargazers and seasoned explorers to embark on a literary odyssey through the cosmos of human imagination.

Table of Contents

What Is Creative Writing?

Creative writing is the process of expressing thoughts, ideas, and emotions through the artful use of language. Here’s a step-by-step breakdown:

Idea Generation

Start by brainstorming and generating ideas. This could be inspired by personal experiences, observations, or purely imaginative concepts.

Organize your thoughts and structure your writing. This might involve outlining the plot for a story, creating characters, or planning the flow of a poem.

Choosing a Form or Genre

Decide on the type of creative writing you want to pursue – whether it’s fiction, non-fiction, poetry, drama, or any other form.

Setting the Tone and Style

Define the tone and style of your writing. This could range from formal to informal, humorous to serious, depending on the intended effect.

Creating Characters or Themes

Develop characters, themes, or central ideas that will drive your narrative and engage your audience.

Begin writing your first draft. Allow yourself the freedom to explore ideas without worrying too much about perfection at this stage.

Review and revise your work. This involves refining your language, improving clarity, and ensuring your writing effectively communicates your intended message or story.

Pay attention to grammar, spelling, and punctuation. Edit your work to eliminate errors and enhance overall readability.

Seek feedback from peers, writing groups, or mentors. Constructive criticism can help you identify areas for improvement and refine your work.

Make final adjustments based on feedback and your own revisions. Polish your creative writing until you are satisfied with the result.

Publishing or Sharing

Decide whether you want to share your work publicly. This could involve submitting it to literary magazines, self-publishing, or simply sharing it with friends and family.

Creative writing is a dynamic and iterative process, allowing for continuous refinement and exploration of ideas.

Historical Evolution of Creative Writing

Embarking on a literary time-travel, the historical evolution of creative writing unfolds like an intricately woven tapestry, blending the whispers of ancient oral traditions with the bold strokes of individual expression that emerged during the Renaissance.

Picture storytellers captivating audiences with folk tales around ancient campfires, only to witness the metamorphosis into written words that took place during humanity’s transition from the spoken to the written word.

As the winds of change blew through literary landscapes, the Renaissance breathed life into personal narratives, and Romanticism embraced the turbulent storms of emotion.

Modernism then shattered conventional boundaries, paving the way for experimental forms that mirrored the tumultuous twentieth century.

Today, creative writing stands at the intersection of tradition and innovation, a dynamic force shaped by the echoes of the past and the untamed creativity of the present.

Origins in oral traditions

The origins of creative writing can be traced back to the rich tapestry of human storytelling woven through the fabric of oral traditions.

In the dim glow of ancient campfires, our ancestors spun tales that danced between reality and imagination, passing down knowledge, wisdom, and cultural identity from one generation to the next.

These oral narratives, often rooted in folklore and myths, were the heartbeat of communities, connecting individuals through shared stories.

From the captivating epics of Homer to the enchanting fairy tales whispered in the corners of the world, the oral tradition laid the foundation for the written word, embodying the essence of human creativity, imagination, and the innate desire to communicate through the power of narrative.

Development through literary movements

The historical journey of creative writing unfolds through the dynamic currents of literary movements, each a vibrant chapter in the evolution of human expression.

The Renaissance, a cultural rebirth, marked a pivotal shift as writers embraced the power of individual expression and departed from medieval constraints.

Romanticism followed, a tempest of emotion that stormed the structured landscapes of literature, championing nature, passion, and the sublime.

Modernism emerged as a bold departure from traditional forms, ushering in experimental narratives and fragmented perspectives that mirrored the complexities of the 20th century.

Today’s creative writing landscape, shaped by these movements, is a kaleidoscope of diverse voices and styles, a testament to the enduring influence of literary evolution on the human experience.

Elements of Creative Writing

Dive into the alchemy of creative writing, where the elements of storytelling blend and dance like cosmic particles in a celestial ballet.

Picture the plot and structure as the architectural skeleton, a blueprint for worlds yet to be born. Characters, like sentient constellations, come to life, breathing the very essence of authenticity into the narrative cosmos.

Amidst the vast expanse of setting and atmosphere, landscapes materialize like dreams, painting scenes that are both vivid and haunting.

Style and voice emerge as the enchanting melodies, each writer composing a unique symphony that resonates in the reader’s soul.

In this literary crucible, the elements fuse, giving birth to tales that are not just written but are crafted, where words become spells, and the act of creation is nothing short of magical.

Genres in Creative Writing

Step into the kaleidoscope of creative expression, where genres in creative writing are the vibrant hues that paint the literary canvas with boundless imagination.

Fiction, a realm where novel universes unfurl with every turn of the page, beckons explorers to traverse landscapes of intrigue and emotion.

Poetry, the language of the soul, weaves verses that resonate in the heart’s chambers, from the traditional sonnets to the avant-garde free forms that defy gravity.

Creative nonfiction becomes a literary mirror, reflecting the kaleidoscope of reality through memoirs and essays, blurring the lines between experience and artistry.

These genres are not mere labels; they are portals into worlds where storytelling transcends boundaries, and writers become architects of realms that captivate the mind, stir the emotions, and linger in the echoes of the reader’s imagination.

Fiction, the enchanting realm where the alchemy of words transforms imagination into reality, beckons readers into worlds unknown.

It is the literary tapestry where storytellers weave tales that dance on the precipice between reality and fantasy. Novels, the architects of this fantastical landscape, sculpt characters with palpable depth, crafting intricate plotlines that unfold like secrets waiting to be revealed.

From the classic works of timeless masters to the contemporary symphonies of emerging voices, fiction transcends time and space, inviting readers to escape the ordinary and venture into the extraordinary.

In this boundless expanse, emotions become tangible, and the echoes of imaginary footsteps resonate long after the last page is turned. Fiction is not merely a genre; it is a passport to alternate realities, a magic carpet that carries readers to places uncharted and emotions unexplored.

Poetry, the language of the heart and the echo of the soul, is an art form that transcends the boundaries of ordinary expression.

In the symphony of words, poets become maestros, conducting emotions and experiences into verses that sing with rhythm and grace.

From the structured elegance of traditional forms to the unbridled freedom of free verse, poetry captures the ineffable and distills it into the purest essence.

Every line is a brushstroke painting vivid imagery, and each stanza is a melody that resonates in the chambers of the reader’s spirit. Poets wield words like alchemists, transforming mundane moments into profound revelations.

In the delicate dance between language and emotion, poetry stands as a testament to the human capacity to turn the ordinary into the extraordinary, inviting readers to immerse themselves in the beauty of finely crafted language and the endless possibilities of the poetic imagination.

Creative Nonfiction

Creative nonfiction, a captivating blend of factual precision and artistic expression, serves as a literary bridge between the realms of truth and imagination.

In this genre, writers embark on a compelling journey of storytelling that mines the depths of reality to craft narratives as rich and engaging as any fiction.

From memoirs that illuminate the intricacies of personal experiences to thought-provoking essays that dissect the tapestry of the human condition, creative nonfiction is a mosaic of authenticity painted with the brushstrokes of literary finesse.

The genre encourages writers to artfully blur the lines between fact and narrative, weaving a tapestry that captures the essence of life in all its complexities.

It is a genre where truth is not merely recounted but elevated to the status of art, inviting readers to explore the profound and the ordinary with fresh eyes and a heightened appreciation for the power of storytelling.

The Creative Writing Process

Embark on the enigmatic odyssey of the creative writing process, where inspiration is a clandestine muse that whispers in the stillness of creativity.

The inception, a cosmic spark, ignites the imagination, unleashing a torrent of ideas that cascade like shooting stars across the writer’s mind. The drafting phase is a dance with chaos, a raw manifestation of thoughts and emotions onto the blank canvas of the page.

Yet, the revision process emerges as the phoenix rising from the literary ashes, where words transform and refine, revealing the alchemical magic of refining ideas into a harmonious narrative.

Seeking feedback becomes a cosmic conversation, where the writer navigates the cosmos of criticism to unveil hidden constellations in their work.

The creative writing process is not a linear trajectory but a celestial dance , where writers traverse the nebulae of creativity, forging galaxies of prose and poetry that linger in the reader’s universe long after the final punctuation mark.

Idea generation, the pulsating heartbeat of the creative process, invites writers into the boundless cosmos of imagination.

It is an ethereal dance with inspiration, where sparks of creativity ignite the mind like constellations in the night sky. Whether drawn from personal experiences, fleeting observations, or the whispers of dreams, ideas are the raw stardust that writers mold into narrative galaxies.

The process is as unpredictable as a meteor shower, with writers navigating the celestial expanse to capture elusive fragments of brilliance.

From the quiet corners of introspection to the cacophony of the world, the art of idea generation transforms the mundane into the extraordinary, inviting writers to embark on a cosmic odyssey where every fleeting notion has the potential to blossom into a literary supernova.

Drafting and Revising

Drafting and revising, the twin constellations of the writing process, encapsulate the transformative journey of turning nebulous ideas into polished prose.

In the initial act of drafting, writers plunge into the creative abyss, weaving words into a tapestry of raw emotions and vivid imagery.

It is an untamed exploration, where the exhilarating rush of creation takes precedence over perfection. Yet, the true alchemy occurs in the refining crucible of revision. Like a sculptor chiseling away excess stone to reveal a masterpiece, writers meticulously carve and reshape their narratives.

It is a dance with words, a delicate balancing act of preserving the authenticity of the initial draft while enhancing clarity, coherence, and resonance.

Revision is not merely correction; it is the conscious evolution of a narrative, where every nuanced change breathes new life into the prose.

The tandem of drafting and revising, akin to the ebb and flow of cosmic forces, is the dynamic heartbeat that propels a piece of writing from its embryonic stages to the polished brilliance that captivates the reader’s soul.

Publishing and Sharing

Publishing and sharing mark the culmination of a writer’s odyssey, where the crafted words are prepared to venture beyond the solitary realm of creation.

It is a moment of revelation, where the manuscript, once a private universe, prepares to meet the wider cosmos of readership.

The publishing process, be it through traditional avenues or the burgeoning world of self-publishing, involves the meticulous preparation of the work for public consumption.

The act of sharing becomes a cosmic ripple, as the writer’s voice resonates across the literary landscape, forging connections with readers who may find solace, inspiration, or sheer enjoyment in the words.

It is a dance of vulnerability and courage, as writers release their creations into the literary cosmos, hoping their narrative constellations will find a home in the hearts and minds of others.

The symbiotic relationship between writer and reader transforms the act of publishing into a shared cosmic experience, where words transcend the individual and become part of a collective literary universe.

Challenges and Rewards of Creative Writing

Navigating the cosmos of creative writing reveals a celestial dance of challenges and rewards, where each word penned is a step into the cosmic unknown.

The challenges emerge like elusive comets, from the gravitational pull of writer’s block threatening to derail creativity, to the constant cosmic quest for a harmonious balance between originality and marketability.

Yet, these challenges are the cosmic forge that tempers the writer’s mettle, honing resilience and creativity in the crucible of adversity.

The rewards, akin to dazzling supernovae, illuminate the journey. The cathartic joy of crafting a sentence that resonates, the cosmic connections formed with readers who find solace or delight in the prose – these are the celestial jewels that make the struggles worthwhile.

In the vast expanse of creative writing, challenges and rewards orbit each other like binary stars, their gravitational pull shaping the unique trajectory of every writer’s cosmic odyssey.

Overcoming writer’s block

Writer’s block, that elusive shadow cast over the creative landscape, can feel like navigating a cosmic void where inspiration is but a distant star.

It is the gravitational force that stymies the flow of words and leaves the writer stranded in a sea of blank pages. Yet, overcoming writer’s block is an act of cosmic resilience.

Writers embark on a journey through the nebulae of creativity, employing various strategies to break free from the entangled cosmic web.

Whether it’s the cosmic power of free writing to unravel mental knots or the meteoric inspiration found in changing the writing environment, overcoming writer’s block becomes a transformative process.

It is the writer’s spacecraft pushing through the cosmic fog, a testament to the indomitable spirit that seeks to create even in the face of cosmic resistance.

In this dance with the muse, writers rediscover the cosmic symphony of their imagination and emerge from the creative void with newfound brilliance.

Balancing originality and marketability

In the cosmic dance of creative writing, striking the delicate balance between originality and marketability is akin to navigating the gravitational forces of two celestial bodies.

Originality, the pulsating core of creativity, propels writers into uncharted literary realms, forging unique constellations of thought and expression.

Yet, the cosmic reality of marketability orbits nearby, where commercial considerations seek gravitational stability.

It’s an intricate interplay; too much originality may risk veering into the obscure, while an excessive focus on marketability might compromise the authenticity of the creative vision.

Writers become cosmic architects, constructing narratives that not only resonate with their individual voice but also align with the gravitational pull of audience preferences.

Balancing these cosmic forces is a perpetual challenge, requiring writers to dance on the edge of innovation while staying tethered to the gravitational pull of a wider readership.

In this cosmic balancing act, writers discover the celestial equilibrium where originality and marketability harmonize, creating literary galaxies that captivate both the cosmos of creativity and the earthly realms of audience engagement.

Impact of Creative Writing on Society

Creative writing is the cosmic echo of the human soul, resonating through the annals of time and leaving an indelible imprint on the fabric of society.

It serves as a literary constellation, illuminating the collective consciousness with narratives that mirror, challenge, and redefine societal values.

From ancient epics that shaped cultural identities to contemporary works that spark revolutions of thought, creative writing is a cosmic force that fosters empathy, dismantles prejudices, and holds a mirror to the complexities of the human experience.

It is the catalyst for societal metamorphosis, a cosmic dance that encourages dialogue, fuels revolutions, and shapes the very contours of cultural evolution.

In the vast cosmos of creative expression, the impact of writing is not merely confined to the pages; it permeates the collective psyche, becoming a celestial force that guides, questions, and ultimately shapes the destiny of societies on this cosmic voyage through time.

Educational and Professional Opportunities in Creative Writing

Embarking on the cosmic odyssey of creative writing isn’t just a journey into the realms of imagination; it’s a launchpad to educational and professional constellations that illuminate diverse career trajectories.

Creative writing programs become celestial academies, nurturing literary supernovae through workshops, mentorship, and the exploration of narrative galaxies.

The academic pursuit of the craft transforms writers into cosmic architects, honing not only their creativity but also the analytical skills essential for dissecting the intricacies of language.

Beyond the academic cosmos, the professional opportunities in creative writing are as vast as the universe itself.

Writers may navigate the celestial waters of journalism, become starry-eyed screenwriters crafting cinematic adventures, or soar as literary explorers, publishing novels that leave an indelible mark on the literary cosmos.

In the intersection of education and profession, creative writing unfolds as a cosmic tapestry where words aren’t just written but become portals to boundless opportunities in the vast expanse of the literary universe.

Frequently Asked Questions (FAQ) about What Is Creative Writing?

What exactly is creative writing, and how does it differ from other forms of writing.

Creative writing is the vibrant, expressive art of using words to craft narratives that go beyond mere conveyance of information. It stands apart by prioritizing imagination, self-expression, and often blurs the lines between reality and fiction.

How does the historical evolution of creative writing influence contemporary practices?

The historical journey of creative writing, from ancient oral traditions to the digital age, has shaped the very DNA of the craft. It influences contemporary practices by offering a rich tapestry of literary movements, styles, and themes that writers can draw inspiration from or subvert.

Can anyone become a creative writer, or is it a skill reserved for a select few?

Absolutely anyone can become a creative writer! While innate talent can be an asset, the essence of creative writing lies in practice, exploration, and the willingness to cultivate one’s unique voice and perspective.

What are the key elements that make up creative writing, and how do they contribute to the overall narrative?

The elements of creative writing, such as plot, characterization, setting, style, and voice, are the building blocks that construct the literary cosmos. They contribute by creating immersive worlds, memorable characters, and distinctive narratives that resonate with readers.

How can one overcome writer’s block, a common challenge in creative writing?

Overcoming writer’s block is like navigating through a cosmic fog. Strategies include engaging in free writing, changing the writing environment, seeking inspiration from different mediums, or simply taking a cosmic break to recharge creative energies.

Is creative writing limited to novels and poetry, or are there other genres to explore?

Creative writing spans a diverse universe of genres. While novels and poetry are prominent, there’s also creative nonfiction, flash fiction, screenplays, and more. The cosmos of creative writing is vast and welcomes exploration.

How does one balance the fine line between originality and marketability in creative writing?

Balancing originality and marketability requires navigating a cosmic dance. It involves maintaining authenticity while considering the audience’s preferences, creating a celestial equilibrium where the writer’s unique voice resonates within a broader readership.

What educational and professional opportunities are available in the field of creative writing?

The educational galaxy offers creative writing programs and degrees, nurturing writers with both theoretical knowledge and practical skills. Professionally, opportunities range from traditional publishing avenues to scriptwriting, journalism, and the expansive realm of digital content creation.

In conclusion, creative writing is a cosmic odyssey, an ever-expanding universe of imagination, expression, and connection.

From its ancient roots in oral traditions to the dynamic currents of contemporary literary movements, creative writing has evolved into a diverse and influential art form.

It is a transformative process that involves the careful balance of elements, the exploration of various genres, and the persistent journey through the challenges and rewards of crafting narratives.

Creative writing is not confined to the realms of novels and poetry; it encompasses a vast cosmos of possibilities, from memoirs to screenplays, flash fiction to creative nonfiction.

As writers embark on this celestial exploration, they become architects of worlds, sculptors of characters, and composers of narratives that resonate across the collective human experience.

The educational and professional opportunities within this realm further amplify its significance, turning creative writing into both a personal pursuit and a communal force shaping the literary landscape.

In the grand celestial tapestry of human expression, creative writing emerges as a luminous constellation, inviting writers and readers alike to traverse the cosmic expanse of imagination and storytelling.

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Genres of Writing: Definition, Examples, and 12 Types

What is the definition of Genre? 

Genre is a label that tells audience members what to expect from our stories.

It is a clear framework to catalog all stories and helps writers give audience members what they are hoping for—and more. The genres of writing choices are the most important ones we need to make.

When people use the term genre, they often refer to different story elements at different times. They might mean the content of the story, the medium through which the story is presented, or even its sales category.

Without clear definitions, these labels don’t help us deliver what readers want when they choose to read, watch, or listen to a particular story .

In the Story Grid Universe, we break genre into five clear categories to help us identify, meet, and innovate story requirements. Understanding genre helps us delight audiences by meeting their expectations in unexpected ways.

Download Our In-depth Guide to Genre

This 99-page book written by Story Grid founder Shawn Coyne, walks you step-by-step through each of the twelve genres and what you need in your story to make it work.

Genre Categories: Introducing the Story Grid Genre 5-Leaf Clover

The Story Grid Genre 5-Leaf Clover is the tool we use to define the genres of writing in our stories. Each of the five leaves helps us determine a different element of a story’s experience. It helps to think of the five categories visually, so we present them as a five-leaf clover. 

The goal of the Genre Five-Leaf Clover is to help us think about how each element or leaf comes together to form the global story. We can check our stories to make sure we are using the best combination possible to deliver a satisfying story experience.

By defining the specific genres and their conventions, we can start to look for each element within masterworks and study to understand ways of meeting these expectations within our own stories.

1. What is the Time Genre?

The TIME GENRE indicates how the reader experiences the time it takes to go from the beginning to the end of our stories. It answers how long the story will take to consume.

There are three categories of the Time Genre our stories can fall into: Short, Medium, and Long form.

Read more about the Time Genre .

2. What is the Structure Genre?

The STRUCTURE GENRE indicates to our reader who or what the change of the story will affect. It addresses whether the change will occur for a single AVATAR or throughout the whole system or context.

There are three categories of the Structure Genre our stories can fall into: Archplot, Miniplot, and Antiplot.

Read more about the Structure Genre .

3. What is the Style Genre?

The STYLE GENRE sets the tone for what the audience will experience during the story. It puts constraints on what we include in the story to keep a consistent feel so the audience does not get confused.

This genre leaf is divided into two broad categories and several mediums. The broad categories are Drama and Comedy. The mediums include Documentary, Musical, Dance, Literary, Theatrical, Cinematic, Epistolary, and Animation.

Read more about the Style Genre .

4. What is the Reality Genre?

The REALITY GENRE constrains the way the ALTERNATE WORLD of our story operates by establishing codes, laws, and norms. It dictates how much readers must suspend disbelief when building the worlds of our stories in their minds.

There are four categories of the Reality Genre our stories can fall into: Absurdism, Factualism, Realism, and Fantasy.

Read more about the Reality Genre .

5. What is the Content Genre?

The CONTENT GENRE defines what is contained in a story and specifically determines the need and VALUE at stake. It sets expectations for the reader using the FOUR CORE FRAMEWORK , CONVENTIONS , and OBLIGATORY MOMENTS . The Content Genre is divided into two sections: external and internal. 

The external content genres of writing are: 

Action Genre

An external story in the Action genre focuses on the protagonist’s sacrifice for positive movement along the death / life   VALUE spectrum while generating feelings of excitement in the reader. 

In Action stories, readers see the lengths the protagonist will go to protect themselves and/or other potential victims.

Read our in-depth article on the Action Genre .

An external story in the War genre focuses on the self-actualization of the protagonist through the expression of the gifts of love and self-sacrifice. Each AVATAR can act heroically by defending fellow warriors honorably in the face of horrific pain and loss.

Read our in-depth article on the War Genre .

Horror Genre

An external story in the Horror genre focuses on the ability of a protagonist to self-actualize through the expression of the gift of courage and selflessness in the face of fear. The Horror genre pits a single victim (even though there may be multiple AVATARS) against impossible odds and a supernatural, scientifically explainable or ambiguous monster possessed by evil and intent on annihilation.

Read our in-depth article on the Horror Genre.

Crime Genre

An external story in the Crime genre focuses on the Justice / Injustice spectrum while generating feelings in the reader of intrigue (solving the puzzle) and security or personal safety when the perpetrator is exposed.

Read our in-depth article on the Crime Genre .

Thriller Genre

An external story in the Thriller genre focuses on the protagonist’s need for safety. This leads the reader to identify with the protagonist, who seeks to defeat an antagonist that personifies evil. 

Thriller stories blend elements of three other genres as the powerful individual protagonist from the  ACTION  genre faces the embodiment of evil (the monster) from the  HORROR  genre in a story about unmasking an antagonist who has committed a crime against society, as in the  CRIME  genre. The protagonist ends up as a victim and faces damnation if they fail to identify and defeat the villain.

Read our in-depth article on the Thriller Genre .

Western/Eastern Genre

An external story in the Western or Eastern genres focuses on the conflict between the individual and society. It turns on the  subjugation / freedom  spectrum while generating feelings of intrigue in the reader.

Read our in-depth article on the Western/Eastern Genre .

An external story in the Love genre focuses on the need for connection in a variety of forms, including desire, commitment, and intimacy, allowing readers to identify with the lovers as protagonists and respond to the fulfillment of the couple’s fate on the hate-love spectrum with a feeling of romance.

Read our in-depth article on the Love Genre .

Performance Genre

An external story in the Performance genre focuses on the outward expression of the protagonist’s internal gifts and need for approval. It turns on the  shame / respect spectrum while generating feelings of triumph in the reader.

Read our in-depth article on the Performance Genre .

Society Genre

An external story in the Society genre focuses the protagonist’s need for recognition in a disenfranchised group. It turns on the impotence / power spectrum while generating feelings of triumph or righteous indignation depending on whether the Revolution succeeds or fails.

Read our in-depth article on the Society Genre .

The internal content genres of writing are:

An internal story in the Status genre focuses on the protagonist’s need for respect. These stories turn on the failure / success spectrum while generating feelings of admiration or pity in the reader, depending on the outcome.

Read our in-depth article on the Status Genre .

An internal story in the Morality genre focuses on the choice to act on behalf of ourselves or others and the consequences of that choice. It turns on the  selfishness / altruism  spectrum while providing feelings in the reader of satisfaction or contempt.

Read our in-depth article on the Morality Genre .

An internal story, Worldview genres focus on the lens through which we view the world and the consequences of those lens choices. It turns on the  naivete/sophistication  spectrum, while providing readers with feelings of relief at the protagonist’s emerging whole from a threat to their internal status quo, or pity for a less fortunate avatar.

Read our in-depth article on the Worldview Genre .

Additional Resources for Genres of Writing:

• Story Grid 101: The First Five Principles of the Story Grid Methodology by Shawn Coyne
• The Four Core Framework: Needs, Life Values, Emotions and Events in Storytelling by Shawn Coyne

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Elements of Story: How Genre Impacts the Importance of Five Story Elements

by Joslyn Chase | 0 comments

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Have you ever wondered how the elements of story impact your book's genre ? Do some elements of story have greater importance in a book because of the book's genre?

I can think of several times when I’ve gone to a restaurant and been served something so delicious that I chew slowly so I can experience how each of my senses is impacted by the food: from taste to smell to sight.

The level of importance the elements of story have on genre isn't so different. We all have certain tastes—factors that appeal to us in different ways on our taste buds—and it’s the same with our reading preferences. I came to understand this in a profound way when I worked for our local library system. Readers crave certain “flavors” and genre helps them define what they like and discover more of it.

How the five elements of story vary in level of importance  because  of the genre may impact your perspective—and in a good way, for writers trying to satisfy their target readers!

Looking at Genre From a Different Perspective

In my last article, Book Genre: Why Figuring Out Your Genre Will Help Your Story Succeed , I explored the reasons genre is so important to readers, writers, publishers, and marketers. I also pointed you to some resources to help you learn more about genre.

One superb way of studying genre is to focus on the obligatory scenes and conventions inherent in each genre.

I remember how excited I was when I discovered Shawn Coyne’s book The Story Grid . By the time I finished the first chapter, I knew my life as a writer was going to change in wonderful ways. The podcast is fabulous, too.

As much as I highly recommend studying these aspects of genre, in this article I’m going to take a different approach, by looking at genre according to the story’s components.

Five Elements of Story to Include In Your Book (And Consider When Determining Your Genre)

For the purposes of this article, I’m going to focus on five components that go into every story.

By plot , I mean the order of events that create the rise and fall of tension as the story progresses. This is where you’ll see those obligatory scenes make an appearance.

Ask yourself: what is the story arc of my plot, and how does this move the action of my story forward?

Setting must be well-developed through the five senses , the opinions, and the emotions of the POV character. Setting is also one of the elements of story that is important in making your story unique. Consider how the surroundings of your character's world can impact their actions and decisions.

You might also be interested in how to sketch setting in Scrivener, which we teach in this post .

Ask yourself: how is my story similar to others in its genre, but differs in setting? Why does this setting attract the readers of my genre?

3. Characters

The important characters in the story need to be memorable and engage reader emotions. In addition, the reader should not be in doubt about whose story it is—knowing the difference between what makes a protagonist , antagonist, and supporting characters can also be directly related to the genre.

Character development is crucial to any story, and undoubtedly one of the most important elements of story. This is what makes readers of your genre care about the book.

Ask yourself: how does the story arc challenge my protagonist, and why do my protagonist's wants and needs directly conflict with the antagonist(s)?

This is how you put words on paper. It has to do with factors like sentence length and structure, thick or thin texture, vocabulary, types of details and imagery, etc.

Style is one of those elements of story that is difficult to teach, but a good trick involves focusing on sentence length variation. For instance, Dr. Seuss had an extremely unique style that made his books timeless, which you might be interested in learning more about by reading the linked post.

Ask yourself: how do my sentences vary in length, and how does this support and develop a voice appropriate for my genre? For example, thriller suspense books will usually have shorter sentences, since there's higher action and readers of this genre naturally look for fast-paced reads.

Here, I mean character voice, rather than author voice. Surprised you! Didn't I?

I believe you can create character voice by various means, whereas author voice comes through best when you’re not trying to control it at all.

Like style, voice is one of the elements of story that is hard to teach.

Ask yourself: how do each of my characters sound different from one another? Why do their unique voices support the tone and depth of my book's genre?

P.S. If you're curious about how to strengthen the voice of your  characters , you might enjoy this post .

The 5 Elements in Action

When considering your book's genre, these five elements of story come into play in different ways. Now let’s take a look at some popular genres to see how they add up.

Romance is probably the biggest genre in terms of sales, numbers of books, and the readers who read them. It produces a massive amount of bestsellers and features a myriad of sub-genres which may slightly adjust the balance of these components.

In the romance genre, character comes first—by a long shot.

Readers must fall in love with the characters as the characters fall in love with each other.

The second component is plot . Leave out an important obligatory scene, like the “Meet Cute,” the “First Kiss,” or the “Proof of Love,” and romance readers will bring out the pitchforks.

Readers of your genre  want  these moments, and it's your job as the writer of this genre to understand not only the important elements of story, like plot obligatory scenes and conventions, but also how to apply them  into  the plot and structure .

Setting comes next, followed by style and voice. These last two are roughly interchangeable as to importance. If you’re determined to write romance, be careful not to overemphasize setting, style or voice—doing so will kick your romance into another genre, such as literary (which is strictly defined by its more descriptive, melodic prose), or historical fiction (basing setting and plot on something real in history).

Example: The Notebook

P.S. One more thought—romances must include a happy ending. Don't forget this!

Like in romance, character comes first with Mystery .

It is a critical component as the character and reader work closely together to solve the mystery.

Setting comes next, and includes the crime. You must pull the reader right into the story with sensory detail, opinion, and emotion. All of these are clearly defined by  the genre's target readers, all of whom are expecting a certain edge and suspense while unraveling the  why  of the mystery and crime.

The plot in a mystery is also hugely important because that’s where most of the clues are laid out. Voice and style can be almost neutral, kept very low-key, depending on the sub-genre of the mystery.

The ending must provide a solution—or at least a satisfying resolution—to the crime.

Examples: Agatha Christie books, Sherlock Holmes books 

Thrillers live and die on style . That’s number one, and encompasses the pacing necessary in a successful thriller.

Next comes plot. Most thrillers incorporate an intricate plot with lots of danger, but ensure that the good guys win, in the end.

Character, voice, and setting hold roughly equal positions of importance and can be tweaked up or down according to preference, as long as they don’t overpower style or plot.

Examples: The Da Vinci Code , The Girl on the Train ,  Gone Girl

As you might guess, the number one component of fantasy is setting .

The story takes place in a made-up world and pulling the reader into that world is all-important.

In positions two and three are plot and character. You can bring these two elements of story up or down as you please, but never elevate them with a higher importance than the unique, fresh contribution of setting to the story.

Style is important, but not critical and voice can be kept neutral, or not. But if you want your book to sell, you should make certain the good guys triumph in the end.

Examples:  The Name of the Wind , Harry Potter series ,   Uprooted    

Science Fiction

As in Fantasy, setting is the most essential component of science fiction—and can include style, in a way. Again, you are pulling the reader into a strange, new world and that setting is crucial to the telling of your story.

Next comes plot, the mechanics that come into play and drive the story forward.

Third is character, followed by voice in fourth place. These are notable elements of story in science fiction, but support the setting and plot rather than dominate the story.

And style can float up or down on the scale, depending on how you want to write it.

Example: Star Wars saga

Historical Fiction

It’s fairly obvious that setting will take the top position in the historical fiction genre.

Style and plot are next, and interchangeable in terms of importance.

Last come character and then voice, since the characters often support the historical event the plot is based on, and the voice is expected to have a somewhat literary tone.

Of course, the lower ranked components can slide up and down according to sub-genre and writer preference.

Examples:  The Nightingale ,  Water for Elephants ,  Before We Were Yours

Literary Fiction

The literary fiction genre calls for voice and style to the extreme—since  the prose is an acquired and important taste.

Readers and writers of literary fiction stories love to be enthralled by lush language, compelling characters, and exquisitely beautiful turns of phrase. But the voice and style of these books is expected to promote further discussion, which is also why it's not surprising to find these titles in school curriculum.

Character and setting follow voice and style, with plot holding the last position in most literary fiction. However, keep in mind that ALL elements of story are needed for a good book, literary fiction or any other genre.

Examples:  The Catcher in the Rye ,  To Kill a Mockingbird

Young Adult

Character is the most crucial component in a young adult book—the character must be of a certain age—which is also why most of these stories show a coming of age arc.

But voice runs a very close second. Very rarely do you find a YA book that isn't in first person limited point of view , since the attitude of the character is crucial to its uniqueness. Keep in mind, readers of YA fiction love a character with a strong, fresh, interesting voice and an opinion about everything.

Setting, plot, and style move up and down the spectrum, but never trump voice and character.

Examples:  The Fault in Our Stars ,  The Hate U Give ,  New Kid 

How to Use Elements of Story for Your Book's Recipe for Success

The next time you’re savoring a novel, consider how the different components are coming together—like ingredients in a recipe— to satisfy your target reader's craving for a certain type of story.

As a final reminder, these are:

All of them are crucial to defining your book's unique aspects, and while the level of importance in how they define your book (according to genre) varies, you need ALL of them to polish a book that your target readers will love.

For a more detailed study of this subject, consider taking the Genre Structure Workshop offered by WMG Publishing.

In my next article, we’ll take a look at how readjusting the amounts of these five crucial components can change the result from one genre to another, giving the story a different flavor and appealing to a different audience.

See you next time!

How do the elements of story work in your story? Do the genre analyses above hold true for your genre and book?  Tell us about it in the comments .

Today, pick one of the five elements of plot and practice it. Will you engage us with a vivid setting or introduce us to a new bold and sassy character?

Pull out your work in progress and write with a focus on one of the five elements. Or, choose an element and focus on it as you write a scene based on this prompt:

She'd expected climbing the mountain to be tough, but she hadn't bargained for this.

Write for fifteen minutes . When you're done, share your writing practice in the comments below , and don't forget to provide feedback for your fellow writers!

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Any day where she can send readers to the edge of their seats, prickling with suspense and chewing their fingernails to the nub, is a good day for Joslyn. Pick up her latest thriller, Steadman's Blind , an explosive read that will keep you turning pages to the end. No Rest: 14 Tales of Chilling Suspense , Joslyn's latest collection of short suspense, is available for free at joslynchase.com .

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18.3 Glance at Genre: Genre, Audience, Purpose, Organization

Learning outcomes.

By the end of this section, you will be able to:

• Identify key genre conventions, including structure, tone, and mechanics.
• Implement common formats and design features for different text types.
• Demonstrate how genre conventions vary and are shaped by purpose, culture, and expectation.

The multimodal genres of writing are based on the idea that modes work in different ways, with different outcomes, to create various vehicles for communication. By layering, or combining, modes, an author can make meaning and communicate through mixed modes what a single mode cannot on its own. Essentially, modes “cooperate” to communicate the author’s intent as they interweave meanings captured by each.

For example, think of a public service announcement about environmental conservation. A composer can create a linguistic text about the dangers of plastic pollution in oceans and support the ideas with knowledge of or expertise in the subject. Yet words alone may not communicate the message forcefully, particularly if the audience consists of people who have never considered the impact of pollution on the oceans. That composer, then, might combine the text with images of massive amounts of human-generated plastic waste littering a shoreline, thus strengthening the argument and enhancing meaning by touching on audience emotions. By using images to convey some of the message, the composer layers modes. The picture alone does not tell the whole story, but when combined with informational text, it enhances the viewer’s understanding of the issue. Modes, therefore, can be combined in various ways to communicate a rhetorical idea effectively.

Audience Awareness

As with any type of composition, knowing your audience (the readers and viewers for whom you are creating) will help you determine what information to include and what genre, mode(s), or media in which to present it. Consider your audience when choosing a composition’s tone (composer’s attitude toward the audience or subject), substance, and language. Considering the audience is critical not only in traditional academic writing but also in nearly any genre or mode you choose. Ask yourself these questions when analyzing your audience’s awareness:

• What (and how much) does the audience already know about the topic? The amount of background information needed can influence what genre, modes, and media types you include and how you use them. You don’t want to bore an audience with information that is common knowledge or overwhelm an audience with information they know nothing about.
• What is the audience’s viewpoint on the subject? Are you creating for a skeptical audience or one that largely agrees with your rhetorical arguments?
• How do you relate to your audience? Do you share cultural understanding, or are you presenting information or beliefs that will be unfamiliar? This information will help you shape the message, tone, and structure of the composition.

Understanding your audience allows you to choose rhetorical devices that reflect ethos (appeals to ethics: credibility), logos (appeals to logic: reason), and pathos (appeals to sympathy: emotion) to create contextually responsive compositions through multiple modes.

It important to address audience diversity in all types of composition, but the unique aspects of multimodal composition present particular opportunities and challenges. First, when you compose, you do so through your own cultural filter, formed from your experiences, gender, education, and other factors. Multimodal composition opens up the ability to develop your cultural filter through various methods. Think about images of your lived experiences, videos capturing cultural events, or even gestures in live performances. Also consider the diversity of your audience members and how that affects the content choices you make during composition. Avoiding ethnocentrism —the assumption that the customs, values, and beliefs of your culture are superior to others—is an important consideration when addressing your audience, as is using bias-free language, especially regarding ethnicity, gender, and abilities.

Blogs, Vlogs, and Creative Compositions

Among the modes available to you as a composer, blogs (regularly updated websites, usually run by an individual or a small group) have emerged as a significant genre in digital literature. The term blog , a combination of web and log , was coined in 1999 and gained rapid popularity in the early 2000s. In general, blogs have a relatively narrow focus on a topic or argument and present a distinctive structure that includes these features:

• A headline or title draws in potential readers. Headlines are meant to grab attention, be short, and accurately reflect the content of the blog post.
• An introduction hooks the reader, briefly introducing the topic and establishing the author’s credibility on the subject.
• Short paragraphs often are broken up by images, videos, or other media to make meaning and supplement or support the text content.
• The narrative is often composed in a style in which the author claims or demonstrates expertise.
• Media such as images, video, and infographics depict information graphically and break up text.
• Hyperlinks (links to other internet locations) to related content often serve as evidence supporting the author’s claim.
• A call to action provides clear and actionable instructions that engage the reader.

Blogs offer accessibility and an opportunity to make meaning in new ways. By integrating images and audiovisual media, you can develop a multimodal representation of arguments and ideas. Blogs also provide an outlet for conveying ideas through both personal and formal narratives and are used frequently in industries from entertainment to scientific research to government organizations.

Newer in the family of multimodal composition is the video blog, or vlog , a blog for which the medium is video. Vlogs usually combine video embedded in a website with supporting text, images, or other modes of communication. Vlogging often takes on a narrative structure, similar to other types of storytelling, with the added element of supplementary audio and video, including digital transitions that connect one idea or scene to another. Vlogs offer ample opportunities to mix modalities.

Vlogs give a literal voice to a composer, who typically narrates or speaks directly to the camera. Like a blogger, a vlog creator acts as an expert, telling a narrative story or using rhetoric to argue a point. Vlogs often strive to create an authentic and informal tone, similar to published blogs, inviting a stream-of-consciousness or interview-like style. Therefore, they often work well when targeted toward audiences for whom a casual mood is valuable and easily understood.

Other creative compositions include websites, digital or print newsletters, podcasts, and a wide variety of other content. Each composition type has its own best practices regarding structure and organization, often depending on the chosen modalities, the way they are used, and the intended audience. Whatever the mode, however, all multimodal writing has several characteristics in common, beginning with effective, intentional composition.

Effective Writing

Experimenting with modes and media is not an excuse for poorly developed writing that lacks focus, organization, thought, purpose, or attention to mechanics. Although multimodal compositions offer flexibility of expression, the content still must be presented in well-crafted, organized, and purposeful ways that reflect the author’s purpose and the audience’s needs.

• To be well-crafted, a composition should reflect the author’s use of literary devices to convey meaning, use of relevant connections, and acknowledgment of grammar and writing conventions.
• To be organized, a composition should reflect the author’s use of effective transitions and a logical structure appropriate to the chosen mode.
• To be purposeful, a composition should show that the author addresses the needs of the audience, uses rhetorical devices that advance the argument, and offers insightful understanding of the topic.

Organization of multimodal compositions refers to the sequence of message elements. You must decide which ideas require attention, how much and in what order, and which modalities create maximum impact on readers. While many types of formal and academic writing follow a prescribed format, or at least the general outline of one, the exciting and sometimes overwhelming features of multimodal possibilities open the door to any number of acceptable formats. Some of these are prescribed, and others more open ended; your job will inevitably be to determine when to follow a template and when to create something new. As the composer, you seek to structure media in ways that will enable the reader, or audience, to derive meaning. Even small changes in media, rhetorical appeal, and organization can alter the ways in which the audience participates in the construction of meaning.

Within a medium—for example, a video—you might include images, audio, and text. By shifting the organization, placement, and interaction among the modes, you change the structure of the video and therefore create varieties of meaning. Now, imagine you use that same structure of images, audio, and text, but change the medium to a slideshow. The impact on the audience will likely change with the change in medium. Consider the infamous opening scene of the horror movie The Shining (1980). The primary medium, video, shows a car driving through a mountainous region. After audio is added, however, the meaning of the multimodal composition changes, creating an emphasis on pace—management of dead air—and tone—attitude toward the subject—that communicates something new to the audience.

Exploring the Genre

These are the key terms and characteristics of multimodal texts.

• Alignment: the way in which elements such as text features, images, and particularly text are placed on a page. Text can be aligned at the left, center, or right. Alignment contributes to organization and how media transitions within a text.
• Audience: readers or viewers of the composition.
• Channel: a medium used to communicate a message. Often-used channels include websites, blogs, social media, print, audio, and video-hosting sites.
• Complementary: describes content that is different across two or more modes, both of which are necessary for understanding. Often audio and visual modes are complementary, with one making the other more meaningful.
• Emphasis: the elements in media that are most significant or pronounced. The emphasis choices have a major impact on the overall meaning of the text.
• Focus: a clear purpose for composition, also called the central idea, main point, or guiding principle. Focus should include the specific audience the composer is trying to influence.
• Layering: combining modes in a single composition.
• Layout: the organization of elements on a page, including text, images, shapes, and overall composition. Layout applies primarily to the visual mode.
• Media: the means and channels of reaching an audience (for example, image, website, song). A medium (singular form of media ) can contain multiple modes.
• Mode: the method of communication (linguistic, visual, audio, or spatial means of creating meaning). Media can incorporate more than one mode.
• Organization: the pattern of arrangement that allows a reader to understand text or images in a composition. Organization may be textual, visual, or spatial.
• Proximity: the relationship between objects in space, specifically how close to or far from one another they are. Proximity can show a relationship between elements and is often important in layout.
• Purpose: an author’s reason for writing a text, including the reasoning that accounts for which modes of presentation to use. Composers of multimodal texts may seek to persuade, inform, or entertain the audience.
• Repetition: a unifying feature, such as a pattern used more than once, in the way in which elements (text features, typeface, color, etc.) are used on a page. Repetition often indicates emphasis or a particular theme. Repetitions and patterns can help focus a composition, explore a theme, and emphasize important points.
• Supplementary: describes content that is different in two or more modes, where a composer uses one mode to convey primary understanding and the other(s) to support or extend understanding. Supplementary content should not be thought of as “extra,” for its purpose is to expand on the primary media.
• Text: written words. In multimodal composition, text can refer to a piece of communication as a whole, incorporating written words, images, sounds, and movement.
• Tone: the composer’s attitude toward the subject and/or the audience.
• Transitions: words, phrases, or audiovisual elements that help readers make connections between ideas in a multimodal text, including connections from sentence to sentence, paragraph to paragraph, and mode to mode. Transitions show relationships between ideas and help effectively organize a composition.

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What is a Genre? || Definition & Examples

"what is a genre": a literary guide for english students and teachers.

View the full series: The Oregon State Guide to English Literary Terms

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What is a Genre? Transcript (English and Spanish Subtitles Available in Video, Click Here for Spanish Transcript)

By Ehren Pflugfelder , Oregon State University Associate Professor of Rhetoric

12 February 2020

You know that moment when you’re watching a movie, and it’s been really captivating, and you’re getting interested in the characters, and a little bit lost in the story, when something shifts and you can sense what might happen next? Well in those moments, you might be experiencing what it’s like to recognize genre. And genre is a term frequently used to define the elements that repeat themselves in similar kinds of movies, books, television shows, music, and more.

I like to define genre. Genre? Jean? Jahnrah?

breakfast_at_tiffanys_kiss.jpg

Uh, let’s just go with genre (zhan-rah). OK. Genre is what some might call “typified rhetorical action” and what that means is that there are features that repeat again and again, over time, with few differences, in part because audiences expect certain things to happen or because they want certain kinds of experiences. Genre is the name we use to describe the categories that have developed over time for what we read, what we watch, and what we listen to. And the kinds of genres that exist in one culture at one time may not exist in another culture at another time – they’re constantly changing.

crazy_rich_asians_kiss.jpg

The main kinds of literary genre that you might be familiar with are fiction, poetry, and nonfiction. But those are the biggest categories we can think of, really. For example, non-fiction can encompass everything from a memoir, to a to a biography, to an instruction manual. All are kinds of non-fiction writing – the only thing that ties them together is that they’re not made up. The same is true for fiction and poetry, too, and when we read poetry or prose fiction, we, as the audience, have some expectations as to what should be included. That is, when we read fiction, we expect the narrative to be made up, and when we read poetry, we expect that the each line of a poem match with other lines in a particular way, or it rhyme in the manner of a  sonnet , or break rules of punctuation, or simply take us through a lot of figurative language in a very short amount of time.

But those are the big genre categories. Genre gets especially interesting when we find even smaller categories like action movies, or superhero action movies, or parody superhero action movies. So think of the superhero genre this way: there’s usually an evil villain trying to do something terrible that the superhero is going to try and stop; there’s usually smaller fight scenes throughout the movie and a big fight scene at the end where the superhero, or group of superheroes, triumph, often by using their superpowers. The reason I didn’t have to mention a SPOILER ALERT is because I didn’t give any of the plot away, and you all know that superhero movies follow this pattern. That narrative pattern , and all the other ways that we can describe other repeating features, are what makes up a genre.

What’s more is that more than one genre can exist at once. Think of Ant Man. It’s a superhero movie, an action movie, a comedy, and a parody of other superhero movies. In fact, parodies are where we really see how genres work. After all, the reason Ant Man is funny is because it’s making fun of our expectations of what a superhero movie should be – its making fun of the genre of superhero movies.

ant_man_image.jpg

We use these same terms and descriptions to analyze literary works, works of nonfiction, and poetry, too. So, if I want to understand gothic novels, like Frankenstein by Mary Shelley, or Dracula by Bran Stoker, I’m going to look for literary tropes that they share. Some of those tropes could be similar kinds of characters , plots, settings , or themes . Is there a creepy stranger in a cape? Is there danger lurking in the shadows? Is there a haunted castle? Are you encouraged to think of the sinister side of humanity? If so, you might be reading a gothic novel. When I analyze a genre, I’m likely to compare and contrast those features and try to understand how one novel adheres to the conventions of a particular genre or breaks away from our expectations and does something different. We can describe a genre by showing how similar features are repeated, and those elements include most any of the many literary terms that are featured in the other videos in this series. For a gothic novel, we might see metaphors  that connect events to scary or dangerous things, we might see foreshadowing of horrible events yet to come, or we might see a flashback to something terrifying that happened in them past and that changes how characters act in the present. All of these are features of a particular genre.

Now, one thing not to confuse with the idea of a genre is that of a medium. A medium is the form in which something is delivered, so we might say the medium of gothic novel is a printed book, or the medium of a superhero movie is that of film. Medium describes the kind of technology that is used to convey a story to us, but doesn’t necessarily help us understand the genre of what we’re reading or watching. People often ask me is email a genre of writing? And I respond by asking when writing an email if we’re required to write in a particular way. And for the most part, we’re not. In email, you can write a love letter, you can write an angry message to the company that sold you a dodgy product, or you can write a poem. Email itself might suggest certain kinds of writing – for example, you shouldn’t break up with someone through email – but it’s a medium that can hold lots of different genres – it itself is not a genre. Describing and analyzing genre is a powerful way to understand how narratives work, and a really useful way to make sense of stories and texts that surround us.

Want to cite this?

MLA Citation: Pflugfelder, Ehren. "What is a Genre?" Oregon State Guide to English Literary Terms, 12 Feb. 2020, Oregon State University, https://liberalarts.oregonstate.edu/wlf/what-genre . Accessed [insert date].

Further Resources for Teachers

Other examples of texts that parody the genres within which they work include Jorge Luis Borges's short story "Death and the Compass," Karen Russell's "Vampires in the Lemon Grove," Lewis Carroll's "Jabberwocky," Paolo Bacigalupi's "The Tamarisk Hunter," William Shakespeare's Sonnet 130, and Chris Ware's strange short graphic narrative "Thrilling Adventure Stories (I Guess)." For an example of a character who laughs at the genre he has found himself in, see our "What is a Flashback?" video.

Writing prompt: Select one of the above examples and explain how the author invokes the genre being parodied through the example's form or content. Next, try to explain the significance of the parody. What insight does the parody provide into the limitations of the genre? What tone or attitude does the poem or short story take towards the genre it parodies?

Interested in more video lessons? View the full series:

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Write or Left

(6 reviews)

Sybil Priebe, North Dakota State College of Science

Copyright Year: 2016

Last Update: 2022

ISBN 13: 9798783934094

Publisher: Sybil Priebe

Language: English

Formats Available

Conditions of use.

Learn more about reviews.

Reviewed by Corinne Ehrfurth, CE Instructor, Rochester Community & Technical College on 2/10/23

Priebe's book evocatively pushes the definition of "creative writing" to teach beyond the typical genres and modes. read more

Comprehensiveness rating: 5 see less

Priebe's book evocatively pushes the definition of "creative writing" to teach beyond the typical genres and modes.

Content Accuracy rating: 5

All the content looks accurate as well as engaging and thought-provoking.

Relevance/Longevity rating: 4

Leading with tweets could easily be replaced if this social media platform goes under after all the hullabaloo with Musk at the helm.

Clarity rating: 5

While Priebe's book plays off older texts with the ABCs, theses notes--such as the B, "inclusivity" (pg. 12), frames the textbook on a progressive scale that reaches outside notions of the pre-1980s literary canon. This textbook would not fit instructors concerned with a legacy and historical approach to creative writing.

Consistency rating: 5

The pattern of exercises, student examples, questions, tips or feedback continues throughout the entire textbook to provide modeling of habits, reasoning, and qualities of the genres of creative writing while also inviting classes of students to push the boundaries.

Modularity rating: 5

Hyper-modular with sound-bite like inclusions of tweets, call-out quotes, and other breaks in the text itself. The table of contents subdivides the last chapter into subheadings that the rest of the chapters could also be split into right away. Since the author cites herself (see a blog post on pg. 24 for example), some self-referential moments occur.

Organization/Structure/Flow rating: 5

The genre-based chapters provide a familiarity to long-time instructors of creative writing while also being student-friendly for writers who want to dive right away into something particular.

Interface rating: 4

The primary font choice becomes increasingly distracting the longer one reads, as it looks as if it's from a typewriter. Students with dyslexia might have greater issues reading this text when compared with other options.

Grammatical Errors rating: 4

Chapter titles and subtitles are not capitalized, which personally bothers me but fits the trendy style that might draw in younger students and less mature writers.

Cultural Relevance rating: 3

The more one reads this textbook, the less it makes good on its promise to include diverse voices since it features Walt Whitman and other typical canonical writers' excerpts as well as white people's or organization's tweets.

I especially enjoy how interactive this textbook would feel for writing students who want to hone and practice their craft.

Reviewed by Rachele Salvini, Emerging Writer Lecturer, Gettysburg College on 11/7/22

I decided to adopt Write or Left: an OER Book for Creative Writing Classes for my Introduction to Creative Writing classes for multiple reasons. The clarity and conciseness of the textbook makes it an excellent tool for college students who are... read more

I decided to adopt Write or Left: an OER Book for Creative Writing Classes for my Introduction to Creative Writing classes for multiple reasons. The clarity and conciseness of the textbook makes it an excellent tool for college students who are approaching writing creatively for the first time. I have used a few commercial textbooks and anthologies throughout the years, and while I found them to be extremely detailed and exhaustive, students seem to struggle with theoretical sections and they expressed difficulty understanding some of the anthologized readings. While most creative writing textbooks and anthologies might be extremely helpful for teachers, some of the selected readings might not be particularly accessible for students who are approaching reading literature as writers for the first time. However, the editors of Write or Left chose readings that seem to align with the taste and aesthetic that young writers find enjoyable or at least approachable.

Content Accuracy rating: 4

Introduction to Creative Writing is a class mostly based on workshops and lively discussions, but the students also need a foundational element — they need to familiarize themselves with a vocabulary that allows them to discuss writing. Write or Left provides brief and concise definitions that help the students navigate the vocabulary surrounding the particularities of poetry, fiction, creative nonfiction, and dramatic writing.

Relevance/Longevity rating: 3

While the book does not provide a wide or particularly updated range of readings for each genre, it covers the main concepts that students need to know to start talking about writing and workshopping each other’s work — which is, I think, the main purpose of the basic Introduction to Creative Writing course.

Write or Left is an excellent tool for students who are approaching creative writing for the first time and need to familiarize themselves with the most important terms to use during reading discussion and workshop. Notably, this book also covers more innovative aspects of creative writing — flash fiction and multimodal writing — to avoid a banal and cut-and-dry institutionalization of the four main genres, and show once again the fluid, regenerating, and ever-shifting nature of creative writing.

The textbook offers very clear and consistent definitions of terms that students of creative writing should get familiar with during an introductory course.

I am very excited with the briefness of the "theoretical" chapters, as students usually struggle with long chapters that break down the elements of craft in the four genres of creative writing. I would be happy to assign a whole chapter for the introductory class of each genre (each module).

I found it hard to make most commercial textbooks approachable for the students, who seem often confused by the readings or bored with the lengthy theoretical explanations of creative writing terms. This textbook might be implemented with readings chosen by the instructor, allowing the course to benefit from a personalized, unique approach to creative writing, which might feel more dynamic and adventurous than following a textbook or an anthology page by page. Write or Left might be a great tool for sections of Introduction to Creative Writing with a high student count, as instructors might struggle to find the time to workshop every student in each genre, and also cover the readings from a commercial textbook to make it worthwhile for students who spent a lot of money on it. In fact, a lot of Introduction to Creative Writing students might have to take Creative Writing as a requirement and not an elective course, so having them buy expensive textbooks that they might not really use throughout the semester and then ever again might be a waste.

Interface rating: 5

The textbook is extremely easy to access. I think the students will be very happy to access their book online for free.

Grammatical Errors rating: 5

I haven't found any grammatical errors.

Cultural Relevance rating: 4

The readings used as example might represent a wider range of experiences and identities, but overall I'm satisfied.

Reviewed by Yelizaveta Renfro, Assistant Professor of English, Saint Mary's College on 5/5/22

This book’s ambitious attempt to cover so much ground—fiction, poetry, nonfiction, drama, experimental fiction, and specialized genres like fantasy, science fiction, horror, and romance—is ultimately its biggest weakness. There is no way a single... read more

Comprehensiveness rating: 3 see less

This book’s ambitious attempt to cover so much ground—fiction, poetry, nonfiction, drama, experimental fiction, and specialized genres like fantasy, science fiction, horror, and romance—is ultimately its biggest weakness. There is no way a single textbook can adequately cover all of these areas (and especially a slim volume like this one). As a result, the book is only the most cursory exploration of these multiple creative forms, barely scratching the surface of the field of creative writing. I could not imagine assigning this book in any course that I teach at the college level. Even my introduction to creative course—which covers fiction, poetry, and creative nonfiction in one semester—requires a text that goes more deeply into these genres and that offers more substantial content.

I would like to see more precision and thoughtful wording, especially in defining terms. For example, the glossary definition of “fantasy” that is offered at the end of the book is, “the kind of writing that cannot take place in real life.” This is imprecise and even potentially confusing; doing the simplest internet search will yield a much a better definition. For much of the book, the information is not so much inaccurate as it is general and incomplete.

The general topics included in the book are certainly relevant, but an instructor using this text would need to supplement every step along the way. Not only are the explanations in some of the chapters too basic and brief, but the examples (when they exist at all) leave much to be desired, being limited mostly to older texts (nineteenth-century texts like an excerpt from Frankenstein or a story by Kate Chopin) or texts written by the instructor’s students (which are very typical of works produced by beginning creative writers). What students need most are high-quality, recent models for their own work. There are thousands of such works available online. While I understand that Priebe cannot reproduce these texts in her book, readers could still be pointed towards online literary journals that publish excellent creative writing.

Clarity rating: 4

The writing is generally clear, though as I noted elsewhere, definitions of terms could be more precise. The tone of the book is informal and friendly, making it easy to follow. I think that most student would find the book clear and accessible.

Consistency rating: 3

The book seems somewhat inconsistent in the depth of treatment it gives to different genres. For example, in the chapter on drama, there is an exhaustive discussion of the proper way to format a screenplay (the correct font and margins, rendering action and dialogue, and so forth), which makes up the majority of the chapter and strikes me as an unnecessary level of detail for beginning students (and the student example that is offered at the end of the chapter does not even adhere to these “proper formatting” rules). Meanwhile, other chapters are woefully lacking in necessary content. In the poetry chapter, for example, the poetic “forms” that are included seem arbitrary, and there is no real discussion of poetic meter. An introduction to poetry is incomplete without a basic overview of metrical feet.

Modularity rating: 4

In principle, it would be possible to use any of the chapters in this book as stand-alone readings for a course. Instructors could easily switch the order of the chapters around to suit their own progression through genres. The most useful chapter, in my option, is Chapter 10: Assignment and Project ideas, which offers a sizable collection of writing prompts, reading response activities, and portfolio ideas. While these are of varying usefulness and I would not offer them all as options for my students, some do stand out as excellent exercises.

Organization/Structure/Flow rating: 3

I did question the order of some of the chapters. For example, why does the chapter on flash fiction (a sub-genre of fiction) come before the general fiction chapter? And why does flash fiction have a chapter of its own, when there is barely any content? (The chapter is all of two and a half pages long.)

Interface rating: 3

The font in the pdf version that I read is not at all reader friendly and is hard on the eyes, in my opinion. I also found the screenshots of Tweets that lead off most chapters to be distracting and confusing, and the text offers no explanation or discussion of these, which adds to the impression that the book is a superficial hodgepodge, dropping in content without engaging with it.

Grammatical Errors rating: 3

While Priebe’s portion of the text is largely free of errors, the student texts that she includes do sometimes contain grammatical errors. While I understand the urge to present student writing as it is written, in a textbook I would expect writing that has been proofread.

This is a book that is at least aware of diversity/and inclusivity. In the opening chapter, Priebe lists the steps she has taken: “Most of the he/she pronouns have been flipped for they/them pronouns,” “‘White-sounding’ names have been replaced by more diverse ones,” “‘Husband’ or ‘wife’ have been replaced by ‘partner,’” and “The majority of examples in this book, by students or otherwise, are not written by white, heterosexual, cisgender men.” While I commend Priebe for her efforts, some of these moves strike me as cosmetic fixes, and the example published and student-written texts do not obviously reflect diverse perspectives (that is, they don’t explicitly tackle issues of race, gender, sexual orientation, ability, etc.). I would imagine that as Priebe continues to gather more information for future editions of this book, the diversity of voices represented will increase.

While I would not use this book in my college courses in its present form, I do think that is has a lot of potential and that future iterations of the book are likely to have enhanced content. As Priebe collects more student writing samples and as students fill in the numerous empty “Questions/Activities” sections that occur at the end of many chapters, this book may very well grow into a rich resource for creative writing instructors. I am planning to revisit this book in future editions to see what new material it has to offer.

Reviewed by Megan Green, Assistant Teaching Professor, Bowling Green State University on 4/25/22

This book offers a useful, concise guide for beginning creative writers. While many of the topics could be expanded upon, it fulfills its promise to offer only condensed snapshots of each subject. It would make a helpful addition to readings... read more

This book offers a useful, concise guide for beginning creative writers. While many of the topics could be expanded upon, it fulfills its promise to offer only condensed snapshots of each subject. It would make a helpful addition to readings chosen by a professor and to selective texts about elements that may require more insightful approaches and in-depth discussions. Chapters that may require additional readings for most introductory classes include the chapters about flash fiction and drama.

The content offers accurate, up-to-date information about creative writing.

Relevance/Longevity rating: 5

The chapter topics are highly relevant and up-to-date. I particularly enjoyed that the author chose to incorporate a chapter on multimodal works, which is something I have found numerous authors either glance over or fail to explore. Likewise, the choice to conclude with a section about how to get published offers relevant and significant points that students should be made aware of at an early stage.

Priebe implements small doses of humor throughout the book that are engaging (I do wish there were more, though!) and utilizes Plain Language to make the reading accessible.

Each chapter is structured identically, beginning with readings about the chapter's topics and ending with exercises.

Each chapter is short and could, in itself, be an easy reading assignment. However, chapters have smaller reading sections that can be assigned. Instructors should be aware that many exercises are written as thoughts to instructors rather than students and, thus, may require editing.

Each chapter offers concise readings over topics followed by exercises. Multiple exercises are listed so teachers can find one or two they would like to employ, and many are creative and effective at reiterating learning objectives.

The book is offered in multiple formats, including PDF, Word, and Google Doc. In the PDF version I perused, there were no interface issues.

There are a very few small mechanical and/or grammatical mistakes.

Cultural Relevance rating: 5

The author makes it a point to offer a variety of works in this textbook rather than canonical works that are oftentimes the labor of White male authors. Non-binary language also makes the text more inclusive.

The strongest element of this work is its suggested exercises, many of which may be used as in-class activities to further explore topics.

Reviewed by Clifford Buttram, Assistant Professor of Management, University of Saint Francis on 3/22/22

The discussion of key writing areas is organized in a smoothly flowing manner. From Poetry to Experimental and Children's Literature, the content was well organized and indexed efficiently for understanding and analysis. The book is neither too... read more

The discussion of key writing areas is organized in a smoothly flowing manner. From Poetry to Experimental and Children's Literature, the content was well organized and indexed efficiently for understanding and analysis. The book is neither too long or too short (page length) to still be quite effective.

While I'm not a Creative Writing expert, I found the book quite accurate regarding the elements of idea formation and flow from an author or writer's perspective. I've written three historical fiction books and am currently working on a ten novella set in the same category. In choosing to review this book, I found it's accuracy in how an author thinks, organizes, and creates scenarios to be very helpful. The many quotes and references helped me greatly in forming new ideas and writing strategies, even in one chapter or sub chapter of my current book. I found no bias in any chapters, however, the informative proved was both relevant and useful.

I feel this book is not only relevant, but highly useful as a handbook companion piece. Although the title refers to a textbook, I found its organization to be formatted in a more usable sense as a handbook. A reader could focus on one chapter, a few chapters, or the entire book as a strong and handy reference. Although I read the entire book, a particular focus for me were the Fiction, Drama, and Flash Fiction chapters. Each provided much needed guidance and advice for idea creation and tips to improve elemental writing.

The chapter organization was clear throughout the book. Each chapter utilized an introduction of the key topic, self-questions, reading strategies, and exercises. I also enjoyed the dispersed quotes throughout the chapters that helped to support the key points within the chapter.

As noted above, the consistency of each chapter (organization) helped ensure a stronger understanding and immersion into the specific area of writing by chapter. The author cleverly injects quotes, references, and definitions to combine an effort to improve the reader's ability to apply these concepts. Additionally, this allows for a more even flow of information, even in chapters that may not be in the reader's interest.

Each chapter is distinct, however, the coordination and organization of the entire book creates a crescendo effect for the reader. Although each chapter is specific, it can be both compartmentalized and utilized as a complete handbook. This modularity further enables a reader to use the book as a specific reference or a complete handbook/guide.

The book was well organized and logical. The reading was made easier by the flow of information and the combination of data, quotes, and references used throughout the book.

I did not note any interface issues.

I did not note any grammatical errors.

The text is neither culturally insensitive or offensive. I noted that the character/third person student examples were mostly benign which helped to decipher the author's intent. In Chapter 2, a section noted as 'Your Voice' spoke to holes in diversity when writing. I found this helpful for students to understand that not all areas of writing interest are not interesting to everyone. However, one should write to increase the value to the audience and the writer. I found this to be excellent advice and guidance.

I found the book to be an excellent resource for a creative writer. The final chapter discussed Children's Literature and how the previous chapters were applicable to this specific genre. The final chapter (Assignment and Project Ideas) was quite useful for a writer experiencing a block or one simply working a new idea. One recommendation would be to title the book as a Handbook or Reference Guide as the Table of Contents and structure is formatted to provide specific and detailed information on specific creative writing elements. At 168 pages, it has the length for a small textbook, but a better fit as a Handbook for creative writers of all genres. There are many ideas, strategies, and helpful tips throughout the book to help most writers think and write more clearly and effectively.

Reviewed by Justine Jackson Stone, Special Purpose Faculty, Radford University on 3/8/22

The book’s overall intention is to present condensed chapters on the various genres of creative writing, and while condensed, the content is too terse. Chapters one through eight are generalized approaches that provide basic information with some... read more

Comprehensiveness rating: 2 see less

The book’s overall intention is to present condensed chapters on the various genres of creative writing, and while condensed, the content is too terse. Chapters one through eight are generalized approaches that provide basic information with some examples few and far between. The chapter on flash fiction is brief, only lasting from pages 53-57. The textbook also appears to be incomplete, missing student writing examples in addition to other literary recommendations. In chapter nine, the large overview of different genres such as horror, young adult, etc. provides some recommended writers for students, but this is not consistent throughout the textbook. In order for students to improve their creative writing skills, they need to read. A recommended reading list would make this textbook more effective. The index is well-done and easy to read. The glossary could benefit from additional terms added, but it’s a good start for students to grasp the terminology.

The content is accurate. For a college-level course, however, some of the content is quite juvenile. For example, a writing prompt on page 100 asks the writer to “Tell the story of a dragon who owns a jelly bean factory in an experimental way.” This prompt seems far more appropriate for elementary and middle school students. If the author suggested this prompt as an activity for how to write a children’s book, I could understand its inclusion.

The content of the book is expansive but basic. Overall, the textbook will remain relevant, though a teacher using this book would need to find supplemental material to increase student understanding of the different categories of creative writing. In addition, chapter nine briefly discusses publication opportunities and includes instructions on how to publish directly through Amazon. I found this to be an odd inclusion and question if it is necessary.

Clarity rating: 3

The author uses a conversational and informal tone throughout, which students tend to appreciate. Terms are well-defined for a basic understanding, though more context or examples would deepen student learning. The author tends to share more of her own personal experiences with writing rather than those of her students, which I think misses the mark for her intended audience. In addition, her humor ranges from childish to lewd, which I found at times to be off-putting.

Consistency rating: 4

Terminology is included in each chapter, though due to the condescending nature of the textbook, instructors may consider using supplemental material. In chapter two, the author covers a few fundamentals of creative writing such as point of view, character, setting, etc. For an introduction to creative writing class, it may be necessary to expand these definitions as some students may not have prior knowledge of understanding of these terms. The framework is fairly solid though lacking in student examples. I do appreciate the ample inclusion of creative writing prompts as students tend to find these useful and fun.

Modularity rating: 3

The author effectively uses subheadings to organize information. Information was well-displayed, avoiding larger blocks of text. Each chapter was clearly laid out, and the index was easy to follow. The text is very self-referential to the author. In example 2 of chapter zero, one of the activities states the following: “When we write, we’re using the alphabet. Duh. Yet, how many times have we used these letters to organize or brainstorm? Try using the alphabet to brainstorm different things characters could say in different pieces of fiction and drama and nonfiction.” The author uses herself in this example, including statements such things as, ‘J = “Jeezus Marth and Mary… will you please hurry up?’ (p. 16). I think the exercise would have been more effective if a character bio was given and then examples were provided rather than assuming the reader knows anything about the author. In addition, phrases like ‘Duh’ and other slang can be confusing for students who do not speak English as a first language.

I do not think the chapters are effectively organized. The fiction chapter should come before the flash fiction chapter, and I would personally place nonfiction after fiction instead of drama coming next. In chapter two of the review of the elements, I would personally discuss character first before point of view. I also ponder if it would be better to know these terms first before doing creative exercises to have a basic foundation before students start writing.

Interface rating: 1

The inclusion of Twitter screen captures at the beginning of each chapter is grossly unnecessary. They do not add anything to the chapter context and do not fit well into the design. Without a caption to explain these pictures' inclusion, I do think students could find them confusing. As far as I can tell, there’s no text over the image or note that the images are decorative. The charts included in chapter zero may be useful to some, but I did not find them overly beneficial. Finally, I found the textbook fonts to be hard on the eyes while reading.

The text was mostly free of grammatical errors. The author sometimes uses internet text speech or ALL CAPS, which I find to be inappropriate for a college textbook. In one of the dialogue examples, the author writes, “’Oh.My.God. For real?’” (p. 16). In another example, the author writes, “Writer’s block can happen to ANYONE” (p. 22). There are other ways to create emphasis, and if we want students to be published, they should know how to emphasize their work without gimmicks.

The book does contain adult language which may not be appropriate for all readers. As far as inclusion goes, the author has made a point to be inclusive, stating on page 12: “'White-sounding’ names have been replaced by more diverse ones … ‘husband’ or ‘wife’ have been replaced by ‘partner’ … and ‘the majority of examples in this book, by students or otherwise, are not written by white, heterosexual, cisgender men.’” In addition, the author discusses “holes in diversity” in chapter two, which is an incredibly important topic to address.

Write or Left: an OER textbook for creative writing classes is the kitchen sink of creative writing books, and unfortunately, is too broad in scope to be effective. While the author clearly states this is an introductory textbook for creative writing classes “with condensed chapters,” the notion that a student should learn poetry, flash fiction, fiction, drama, nonfiction, and experimental writing in a single semester is haphazard. Rather than developing a solid foundation of each type of creative writing, students and teachers alike are expected to blitz through each chapter, complete some creative writing prompts, and miraculously be competent. Combine this with the notion that students shouldn’t be assigned grades for their creative writing (p. 13), and it’s no wonder academia often sneers at creative writing as a field of study. While I do applaud the author’s efforts to make this textbook more diverse and inclusive in its examples, I found the overall book greatly lacking in content to be effective in the classroom.

Table of Contents

• Chapter 1: Intro to Creative Writing
• Chapter 2: Review of Elements
• Chapter 3: Poetry 
• Chapter 4: Flash Fiction
• Chapter 5: Fiction 
• Chapter 6: Drama 
• Chapter 7: Nonfiction   
• Chapter 8: Experimental Literature
• Chapter 9: Final Chapter
• Chapter 10: Assignment and Project Ideas

Ancillary Material

About the book.

In this book, we'll go over some of the general principles of writing practices as well as advice and tips on how to write creatively, but mainly, you’ll be introduced to as many genres and categories as possible. We won’t get bogged down in doing the writing process “perfectly” or creating “perfect literature.” The goal is to learn about as many genres as possible, practice writing in those genres, and get feedback.

About the Contributors

Sybil Priebe lives in the upper Midwest with her partner-in-crime and crabby old cat. She teaches various composition courses at the North Dakota State College of Science in Wahpeton, ND. She likes books, bicycles, and blasphemy.

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• What are the main elements of creative writing?
• Self Publishing Guide

As the name implies, creative writing is a type of writing that extends beyond the traditional boundaries of normal, professional, academic, or technical writing.

Instead, it encompasses a wide range of genres and styles in both fiction and nonfiction writing, including storytelling, playwriting, poetry, prose, journalism, and more.

Read:  List of top 10 Online Dictionaries for Writers.

Though the definition is somewhat ambiguous, creative writing is generally defined as any type of writing that is original and expressive of oneself. It is usually distinguished by an emphasis on narrative craft, with an emphasis on elements such as character development, narrative, and plot, infusing its structure with imagination, invention, and story.

In this sense, creative writing can be defined as any writing of contemporary, original composition that is not bound by standard conventions and employs a wide range of elements in its craft. 

In an academic setting, creative writing classes are usually divided into fiction, poetry, or scriptwriting, with a focus on writing in an original style that is not defined by pre-existing structures and genres.

Here’s the list of top 9 elements of creative writing-

• Point of views

• Character

You may alsso like: 10 Effective Strategies to Improve Your Reading Habits

• Dialogues

Your characters can only be explained to an extent – to make your story more dynamic, the need of  dialogues  is abundant.  Dialogues  help people know the varieties of emotion in which the writer would convey certain sentences through a dialogues; also, it sets the characters’ personalities strongly.

• Narration

The  narration  helps you understand what all is happening together. Writing the scenes itself, the flesh of the world you’re building, is another important aspect of fiction writing.

Knowing what needs to be communicated is one of the most crucial writing methods in this. What are the folks wearing, and where are they from? What information does your target audience require? What can you omit without causing harm? A lot of unnecessary information slows down the pace of your piece.

The literary element setting involves the historical moment in time and geographic area in which a story takes place, and it helps create the main backdrop and mood for a story.  Setting  has been referred to as narrative world or milieu to incorporate a backdrop (particularly society) outside of the story’s immediate surroundings.  Setting elements  may include culture, historical period, location, and time. Setting, along with story, character, topic, and style, is regarded as a key component of fiction.

• Structure

Will you compose an ode or a sonnet, a ballad, a novel, a short tale, or a limerick? And, once you’ve made that decision, how do you deal with the particularities of these forms? Furthermore, how and why did you make that decision? The spacing, paragraph, or verse  structure  all contribute to the reader’s aesthetic experience. The  structure of your text  is the font play to display emphasis, distinct elements, or changes in different features.

Creating  conflict  is the cornerstone to effective narrative. The  conflict in a story  is established by the writer soon after the main character is introduced. Conflict is the catalyst for action and the beginning of a story. Every writer should understand how to create interesting conflict.

Read:  Sahitya Akademi Award: History, Nomination Process, History.

You can use six different sorts of conflict to move your story:

• Character vs. self
• Character vs. character
• Character vs. society
• Character vs. supernatural
• Character vs. technology
• Character vs. nature

What distinguishes creative writing from other types of writing is that the former always includes a  plot  of some kind – and a distinctive one. Yes, remakes are called  creative writing ; but, the majority of creative writers build their own plot based on their own unique ideas. There is no story without a storyline.

• Point of Views

You can express yourself in a variety of ways. However, the two most prevalent in creative writing are first person and third person.

• First Person – The narrator is the major character in this  point of view . This means that you will read sections beginning with “I” and recognize that the primary character is narrating the story.
• Second Person – This point of view is most typically employed in educational writing, such as this blog post, rather than creative writing. It’s  second person point of view  when you see the word “you” and the narrator is speaking directly to you.
• Third Person – There are several versions of this  point of view . Third person limited, third person many, and third person omniscient are all options. The first is commonly encountered. When speaking about the character you’re following, the narrator in third person limited uses “he/she/they.” Nobody else knows that character’s inner thoughts and feelings. It’s similar to first person, but instead of the character delivering the story, a narrator does. Third person multiple is similar to limited in that the narrator now knows various characters’ inner thoughts and feelings. The last form, third person omniscient, occurs when the narrator continues to use “he/she/they” but has complete knowledge. They know everything there is to know about everyone.

While non-creative writing can include conversation (as in interviews), it is not employed in the same manner that creative writing does. Aside from silent films, creative writing requires language to reinforce the tale.

A  theme  is the central topic of a piece in contemporary literary studies. The most popular modern definition of theme is an idea or point fundamental to a story that can often be summed up in a single word (e.g. love, death, betrayal). A story can have multiple themes.  Themes , which are usually inferred rather than addressed openly, frequently examine historically widespread or cross-culturally recognizable topics, such as ethical problems.

Read:  List of Most Prestigious Literary Awards in 2022

These elements are the soul of your story. Keeping them all in will help you create an enigmatic and alluring story that compels the readers to read your book.

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Creative Nonfiction: An Overview

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The Creative Nonfiction (CNF) genre can be rather elusive. It is focused on story, meaning it has a narrative plot with an inciting moment, rising action, climax and denoument, just like fiction. However, nonfiction only works if the story is based in truth, an accurate retelling of the author’s life experiences. The pieces can vary greatly in length, just as fiction can; anything from a book-length autobiography to a 500-word food blog post can fall within the genre.

Additionally, the genre borrows some aspects, in terms of voice, from poetry; poets generally look for truth and write about the realities they see. While there are many exceptions to this, such as the persona poem, the nonfiction genre depends on the writer’s ability to render their voice in a realistic fashion, just as poetry so often does. Writer Richard Terrill, in comparing the two forms, writes that the voice in creative nonfiction aims “to engage the empathy” of the reader; that, much like a poet, the writer uses “personal candor” to draw the reader in.

Creative Nonfiction encompasses many different forms of prose. As an emerging form, CNF is closely entwined with fiction. Many fiction writers make the cross-over to nonfiction occasionally, if only to write essays on the craft of fiction. This can be done fairly easily, since the ability to write good prose—beautiful description, realistic characters, musical sentences—is required in both genres.

So what, then, makes the literary nonfiction genre unique?

The first key element of nonfiction—perhaps the most crucial thing— is that the genre relies on the author’s ability to retell events that actually happened. The talented CNF writer will certainly use imagination and craft to relay what has happened and tell a story, but the story must be true. You may have heard the idiom that “truth is stranger than fiction;” this is an essential part of the genre. Events—coincidences, love stories, stories of loss—that may be expected or feel clichéd in fiction can be respected when they occur in real life .

A writer of Creative Nonfiction should always be on the lookout for material that can yield an essay; the world at-large is their subject matter. Additionally, because Creative Nonfiction is focused on reality, it relies on research to render events as accurately as possible. While it’s certainly true that fiction writers also research their subjects (especially in the case of historical fiction), CNF writers must be scrupulous in their attention to detail. Their work is somewhat akin to that of a journalist, and in fact, some journalism can fall under the umbrella of CNF as well. Writer Christopher Cokinos claims, “done correctly, lived well, delivered elegantly, such research uncovers not only facts of the world, but reveals and shapes the world of the writer” (93). In addition to traditional research methods, such as interviewing subjects or conducting database searches, he relays Kate Bernheimer’s claim that “A lifetime of reading is research:” any lived experience, even one that is read, can become material for the writer.

The other key element, the thing present in all successful nonfiction, is reflection. A person could have lived the most interesting life and had experiences completely unique to them, but without context—without reflection on how this life of experiences affected the writer—the reader is left with the feeling that the writer hasn’t learned anything, that the writer hasn’t grown. We need to see how the writer has grown because a large part of nonfiction’s appeal is the lessons it offers us, the models for ways of living: that the writer can survive a difficult or strange experience and learn from it. Sean Ironman writes that while “[r]eflection, or the second ‘I,’ is taught in every nonfiction course” (43), writers often find it incredibly hard to actually include reflection in their work. He expresses his frustration that “Students are stuck on the idea—an idea that’s not entirely wrong—that readers need to think” (43), that reflecting in their work would over-explain the ideas to the reader. Not so. Instead, reflection offers “the crucial scene of the writer writing the memoir” (44), of the present-day writer who is looking back on and retelling the past. In a moment of reflection, the author steps out of the story to show a different kind of scene, in which they are sitting at their computer or with their notebook in some quiet place, looking at where they are now, versus where they were then; thinking critically about what they’ve learned. This should ideally happen in small moments, maybe single sentences, interspersed throughout the piece. Without reflection, you have a collection of scenes open for interpretation—though they might add up to nothing.

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

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

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

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

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

Descriptive Imagery

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

activity: describe a lemon

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

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

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

Figurative Language

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

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

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

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

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

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

Freytag's Pyramid is in the public domain

Freytag's Pyramid: Chronological

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

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

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

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

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

In Medias Res

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

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

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

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

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

Nonlinear Narrative

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

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

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

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

Characterization

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

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

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

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

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

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

Point of View

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

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

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

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

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

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

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

mood: the emotional register a reader experiences.

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

A Non-Comprehensive Breakdown of POV

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

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

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

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

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

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

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

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

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

Contributors and Attributions

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

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