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The ‘rule of three’ is as familiar to you and I as fairy tales like Goldilocks and the Three Bears, or genies who grant three wishes, or sayings like ‘good things come in threes’. It’s a rule we use all the time in everyday life. But what makes three such a magic number? And when it comes to fiction, how can we use the rule of three in writing?   In this article, we’ll cover:   What is the rule of three in writing?  Examples of the rule of three, and what it looks like in practice  Our tips and tricks for the rule of three as a writing principle  Frequently asked questions  So, what is the rule of three, and how do you use it to engage readers in your own writing?   What Is The Rule Of Three?  The ‘rule of three’ in writing is based on groups of three items being more memorable, emotionally resonant, and persuasive than simply one or two.   In literature, the scope is broad: from having the word ‘three’ in a novel’s title, to three characters’ points of view (POVs), or even just using a three-act plot structure. We’ll delve into these later, so stay tuned. But for now, why is the number three so established when it comes to storytelling?   To answer this question, I dug out my psychology textbooks and went trawling through the scientific research, as the overall consensus online is that three is the smallest grouping for pattern recognition in the human brain. Frustratingly, there’s not a lot of research to back this statement up.   What I did find was an excellent resource, The Rule of Three (or Four), and Pairs by Professor Dominic Cheetham, who expressed the same frustration and used his paper to explore the rule of three in writing (citing Ursula LeGuin, no less).   Cheetham’s takeaways on the rule of three in literature:   Repetition is an established memory aid.  Repetition can be used to signify importance, as in emotional intensity (and therefore significance).  Repetition is core to persuasion, especially the number three.    Cheetham posited that three reasons are more convincing than one; this is supported by a two-part study from Shu & Carlson (2014), who found that three claims were the ticket to consumer persuasion.   Cheetham went on to summarise that ‘the rule of three is not just a rule of three or four things together, but a rule of sequential repetition … in a clear and meaningful order’.   i.e. there is semantic progression, which can become more complex, or even humorous, once a pair primes us for a third list item.   So, there’s a little background on why the rule of three is used in literature, and in life more generally. Next, we’ll take a look at some examples.   General Examples Of The Rule Of Three  Our love of triads has led to great case studies on the rule of three in action. Let’s start with real-world examples.   Marketing  ‘I’m Lovin It’ McDonald’s 2003 slogan has just three words but has lasted for 19 years (the fast-food brand’s previous record was four years).   Did anyone else not know this jingle is a Justin Timberlake song?   \'Just Do It’ Another example of the power of three-word advertising slogans, Nike’s motto was inspired by the last words of a death row prisoner, and that resonance carried.   Public Service  ‘Stay home. Protect the NHS. Save lives.’ The UK government’s slogan from the COVID-19 lockdowns went for shock-factor with its implications.  ‘The truth, the whole truth, and nothing but the truth.’ The English common law oath is a judicial convention spanning the Western world.   Religion  The Fates: The Ancient Greek Moirai or Fates (Clotho, Lachesis, and Atropos) were said to spin the threads of birth, life, death, and ultimately, destiny.   The Holy Trinity: In Christianity, this is the Father, the Son, and the Holy Spirit (one God in three persons), invoked during the ritual of baptism.  The Three Wise Men who travelled to see the baby Jesus are another example of three figures in the Christian faith.   Proverbs  ‘Omne trium perfectum’ ‘Everything that comes in threes is perfect’ is a long-standing Latin declaration for the rule of three.   ‘Mizaru, kikazaru, iwazaru’ ‘See no evil, hear no evil, speak no evil’ is based on the Japanese pictorial maxim of the Three Wise Monkeys.   Phrases  ‘Ready, set, go’: This shorter, more effective version of ‘On your marks, get set, go’ shows the power of brevity (and three words).   ‘Blah, blah, blah’: For an even simpler example of a three-word phrase, this triple-single idiom has roots in a similar expression from the 1800s.   Examples Of The Rule Of Three In Writing  We’ve looked at general examples — now it’s time to examine some modern and classic examples of the rule of three in writing and the creative industries.   Fables And Fairy Tales  Circling back to Goldilocks and the Three Bears, this British fairy tale has more threes than you can poke three sticks at: three chairs, three bowls of porridge, three beds, and the eponymous three bears (who then go through the same chairs / porridge / beds shtick as Goldilocks, only to discover a pint-sized intruder in their midst). As you can tell, repetition here is key.   With slightly less repetition, the fable The Three Little Pigsincludes not only the three pigs, but also three houses built from increasingly hardy ingredients which they use to finally outsmart the Big Bad Wolf.   For a Norwegian example, De tre Bukkene Bruse or Three Billy Goats Gruff is another well-known fairy tale that employs three goats, each bigger than the last, to trick a hungry bridge-blocking troll. Literature  The category we’ve all been waiting for! And for our first example, you can’t go past Dickens’ novella A Christmas Carol. Here, the original Grinch, Ebenezer Scrooge, is visited by ​​three spirits: the Ghost of Christmas Past, the Ghost of Christmas Present, and the Ghost of Christmas Yet to Come. In terms of the rule of three in fiction writing, this story has the trifecta of repetition for memorability, big feelings, and of course, a dose of ghostly persuasion.   Les Trois Mousquetaires orThe Three Musketeers by French author Alexandre Dumas, which gets points for having the number three in its title, follows d\'Artagnan and his three swashbuckling heroes as they duel their way through Paris and London — for honour, naturally.   A less obvious example of the rule of three at work is by another Frenchman Jules Verne in his Around the World in Eighty Days. After travelling to India, Phineas Fogg’s group is a party of three; and when he returns to London, he’s hit with three final ordeals. The clincher? Fogg wins the book’s titular bet with three minutes to go.   Plays  In Shakespeare’s Macbeth, three witches (‘wayward sisters’) visit the Scottish General Macbeth with the prophecy that he will become king. As we know, this leads Macbeth down his dark, ambitious path, with tragic consequences. Unlike Dickens’ ghosts, the three witches spell trouble and temptation for Macbeth, their fateful words finally guiding his (stabbing) hand.   A scarily meta example is one by the master of murder mystery tales herself, Agatha Christie, aptly called Rule of Three. This triple bill of one-act plays includes Afternoon at the Seaside, The Rats and The Patient.  Not to make this about Shakespeare again, but if we’re talking plays, an oft-quoted line is his ‘Friends, romans, countrymen, lend me your ears’ from another well-known tragedy, Julius Caesar.   Film  Arguably the world’s most famous trilogy, the creator of the Star Wars films,George Lucas upped the ante by planning prequel and sequel trilogies for a total of nine films in the space opera. This opened up the three-act structure to a new, epic scale of storytelling — not to mention intellectual property.   The romantic comedy When Harry Met Sallyis a cult 80s film with a flair for the rule of three. The pair meet three times before becoming friends, and after the final New Year\'s Eve party, where — ***SPOILER ALERT*** — Harry declares his love for Sally and they kiss, they get married three months later.   Credit to Reddit for reminding me that each key character in Signs has an identifying trait or issue that rears its head three times before the end.  Television  The rule of three or ‘threefold law’ in modern-day witchcraft was front and centre in Charmed, with three key characters (even when Shannon Doherty exited the show in season three): the three Halliwell sisters, who used their magical \'power of three\' to fight supernatural baddies.   I’m including Schitt’s Creek in this list because: a.) it’s brilliant; b.) Moira Rose’s iconic ‘Sunrise Bay’ triple-slap is funnier than the Three Stooges’; and c.) there is even an episode called ‘The Throuple’, where David, Stevie, and Jake take their accidental dating triangle to its comical conclusion.   For anyone who watched The Lord of the Rings: The Rings of Power’s season one finale, the three Elven rings are another recent example.    How To Use The Rule Of Three  So, now we know why three is such a magic number: because it’s effective. But how do we use the rule of three in writing?   Here are three examples of how to use the rule of three:   Three-Act Structure  The simplest way to utilise the rule of three is with a three-act structure, which is a fancy way of saying your story should have a beginning to set things up, a middle for the confrontation of your central conflict, and an end where things are resolved. If you want to get technical, the three acts are as follows:  The first act begins with exposition (setting the scene), an inciting incident for the protagonist, and a turning point into act two.   Next comes the rising action, which leads into the story’s midpoint, as well as a turning point into act three; this is typically where the protagonist fails.   Finally, the last act follows with a pre-climax to build tension, before the actual climax, then denouement.   Example:   The Hunger Games by Suzanne Collins has a compelling three-act structure: Katniss volunteers as tribute for the Hunger Games; the Games start; and Katniss wins and goes home (albeit to more potential danger).   Tip: A great way to weave complexity is to include three characters, who move through your acts together but with differing points of view. Which leads us to…   Three Point-Of-View Characters  Creating three characters who all experience the plot of your story in different ways, with differing opinions or agendas, can make for an exciting read. This is especially effective if each character gets a point of view (POV); adding a third character adds some nuance to a dual narrative. Example:   This was done incredibly well in Tomi Adeyemi’s Children of Blood and Bone, which follows the POVs of protagonist Zelie, and siblings Amari and Inan. Outside of the book’s fresh concept and stellar execution, what makes this interesting is that one of the POV characters is ***SPOILER ALERT*** gravely injured in the finale.   Tip: Want even more complexity? Simply add a love triangle (and therefore conflict) between your three point-of-view characters. Stylistic Patterns  Finally, for the craft-lovers in our midst, there are also many ways to style your prose to incorporate the rule of three in writing. Stylistic patterns like a tricolon, hendiatris, or even something as simple as alliteration can be beneficial for your word choice.   Tricolon: This is when three words of a similar length or form are used as a means of emphasis or inspiration, frequently in political speeches.   Here’s an example from Barack Obama: ‘Our generation\'s task is to make these words, these rights, these values — of life, liberty and the pursuit of happiness — real’.  Hendiatris: Taking the tricolon a step further, hendiatris uses three words to communicate a core idea, again in speechwriting or marketing.   One of the biggest quotes of all time is Julius Caesar’s ‘Veni, vidi, vici’ or ‘I came, I saw, I conquered’ in Latin, after triumphing over Pontius.   Alliteration: This is when words beginning with the same letter (or sound) are used in quick succession for aesthetic effect.  This often appears in lists or when three adjectives are used. ‘While I nodded, nearly napping, suddenly there came a tapping’ from Edgar Allan Poe’s The Raven nails it.   Tip: Don’t overdo it. Literary devices like these can easily err into the dreaded flowery or purple prose if you’re not careful, so use them wisely.   Frequently Asked Questions  What Is The Rule Of Three In Persuasive Writing?  The rule of three in persuasive writing goes back to ancient times with Rhetoric by Aristotle, a three-book treatise on persuasion. According to the Greek philosopher, the ability to persuade relies on three factors in rhetoric: ethos, the speaker’s character and credibility; pathos, the listener’s emotional state; and logos, the actual argument when proving something is true.   What Does The Rule Of Three Do To The Reader?  The rule of three in writing is a successful literary technique because it makes stories memorable, emotionally impactful, and persuasive for readers. Grouping things in threes leverages the power of repetition to aid memory; denote emotional intensity or importance; and ease persuasion (research by Shu & Carlson (2014) found that three positive claims is the most effective for persuasion).   Where Does The Rule Of Three Come From?  The earliest known example of the rule of three in writing is Aristotle’s Rhetoric. The ancient Greek philosopher argued not only for three means of persuasion — ethos, pathos, and logos — but also for three genres of public speech, with such speeches involving a speaker, a topic, and a listener (sensing a pattern?). The best part — Rhetoric was a three-book discourse.   Writing Engaging, Compelling, Unforgettable Stories As you’ve learnt throughout this article, the rule of three isn’t just a rule of thumb — it’s a writing principle that can make your stories more memorable, emotionally resonant, and persuasive. Give the rule of three a try and let us know how it helped you in your own writing!  

Suspense, action, and darkness are three crucial elements of a gripping thriller. This guide will take you through the various types of thrillers out there, from psychological to political, and give you some top tips to create your own edge-of-the-seat whirlwind thriller novel.   What Is A Thriller? Thriller novels are generally plot-driven narratives, with complex, morally grey characters, featuring suspense, action, and an exploration of the dark side of human nature. Good thrillers are pacy and tight, leading the reader through a twisty plot and building to a breakneck speed.   What Is the Difference Between Thrillers, Mysteries and Suspense Fiction?  There are many crossover elements between thrillers, mysteries and suspense fiction. Things they are likely to all have in common include:  A focus on building tension  A fast pace  A plot revolving around crime  However, there are key differences as well. While mystery novels use a central question or investigation to move the plot forward, paying off with a reveal at the end of whodunnit, the thriller genre may not hide who the villains and antagonists are; they may even be a central focus of the plot.   A suspense novel may have a similar focus, but it is driven by character rather than action. Many, or even most, thrillers will have chases, surprise attacks, and a race against time… while suspense novels are often ‘quieter’ and focused on the interior experience of the characters.    That’s not to say that thrillers cannot have shocking revelations or complex characters! Let’s have a look at the different types of thrillers below.  Types Of Thrillers Psychological Thriller Along with action adventure and crime, psychological thrillers are one of the most well-recognised thriller subgenres. Psychological thrillers are focused on the inner lives of characters who find themselves drawn into dangerous and threatening situations, either through chance or through a personality flaw or obsession.   Her, Mira V. Shah’s upcoming domestic suspense debut, perfectly encapsulates the approach of having an obsession spiral out of control, which is so often taken in psychological thrillers. Rani’s obsession with her neighbour Natalie’s apparently perfect life escalates until both women’s lives are inextricably intertwined, and Rani has discovered that Natalie’s life might not be quite as idyllic as it seems. The tension and conflict that the two face provides the kind of gripping narrative that thrillers do so well, as the novel builds towards its inescapable conclusion.   Supernatural Thriller Supernatural thrillers are having a bit of a heyday recently, popularly revived as they have been by the Duffer Brothers’ wildly successful Netflix series, Stranger Things.   Drawing heavily on classic supernatural thrillers by writers such as Stephen King, Stranger Things fits well in this subgenre with its evocation of fear, tension and dread. Supernatural thrillers often contain elements of other genres, such as science-fiction, fantasy, horror, and the gothic. Threats in supernatural thrillers are often unknowable creatures, who cannot be reasoned with or understood from a human perspective, resulting in situations where the dread is turned up to 11 as the main characters battle forces that they can barely comprehend.   Political Thriller The essential ingredient of a political thriller is high stakes and plot twists. Many lives are at risk. High-level political figures are personally threatened. Often the protagonist is alone or becomes so – stripped of support, they must survive and defeat the antagonist(s) based on their wits and guts.  Stacey Abrams, best known for her political career in the United States, has also written a number of books under the pseudonym Selena Montgomery. Her most recent book, however, a political thriller titled While Justice Sleeps, is her first work of fiction published under her own name. The story follows law clerk Avery, who is plunged into a world of intrigue and conspiracies after her boss, a high-level judge, slips into a coma and leaves her in charge of his affairs. The stakes couldn’t be higher as the trail takes Avery all the way to the top, with elements of mystery and suspense coming in as she discovers the truth behind one of the judge’s most high-profile cases.   Action-Adventure Thriller Like political thrillers, action-adventure thrillers are high-paced, high-stakes, and high drama. Expect plenty of action set pieces, like chases, fights, and explosions (and more, averted at the last possible moment).   An example of this type of thriller is The Ninja Daughter, by Tori Eldridge. Lily Wong is a Chinese-Norwegian woman whose purpose in life is to defend abused women and children. The novel is full of thrills and action, including fight and chase scenes, with a central mystery that builds to an explosive climax. Cleverly riffing on the noir genre, Eldridge gives us a modern twist on the ‘femme fatale’ character, and this action thriller is full of excitement and tension.   Crime Thriller A crime thriller is a subset of the crime genre, and, along with the typical elements of a focus on crime and the subsequent investigation, has the exciting elements of a thriller, with conflict and tension fuelling the pace of the narrative. Legal thrillers are also part of the crime thriller subgenre, and they emphasise courtroom proceedings and the legal aspects of crime. Girl Zero, A. A. Dhand’s gritty and at times bleak crime thriller, utilises the central investigative element by having his main character, D. I. Harry Virdee, hunt for the murderer of his niece. The thriller element is brought in with the pacing, as Harry and his gangster brother have to race against time to stop a child trafficking gang.   Investigative Thriller Although this type of thriller may seem very similar to crime thrillers, the key difference is that the character leading the investigation is not from a traditional investigative background. While a crime thriller will typically have a protagonist who is a police officer, or attached to the police in some manner, an investigative thriller will likely have someone pursuing the truth from a more unconventional angle.   Dark Pines is the first of Will Dean’s Tuva Moodyson series, about a Deaf journalist in a small Swedish town who is drawn into a decades-old mystery when two hunters are found, murdered in a manner similar to an unsolved case from long ago. There is plenty of tension as Tuva grapples with the various conflicting loyalties of the villagers, as well as her desire to write the story of her career and break free from the life she feels trapped by.   Spy Thriller Twists and turns are the name of the game in spy thrillers, where the central character is often at the centre of a web of lies, deceit and cover-ups at the highest levels. Expect plenty of thrilling chase scenes, explosive conflicts, and death-defying escapes in this type of thriller, as well as continual surprises as motivations and loyalties are uncovered.   One of John Le Carré’s best-known spy thrillers is Tinker Tailor Soldier Spy, his 1974 novel starring his recurring character George Smiley. Smiley’s job in this book is to uncover a Soviet double agent within the British intelligence service. The trail leads him through twists and turns, through which almost no one can be trusted completely. There is plenty of elegantly executed suspense in Le Carré’s work, and a complex plot that is set against the background of a waning empire, nicely dovetailing with his ageing protagonist. Both provide additional tension as the plot is eventually untangled and the secrets Smiley has been chasing are exposed.   Historical Thriller Historical settings might be as far back as medieval times, as in Umberto Eco’s The Name of the Rose, or as recently as a few decades ago, like the TV series Life on Mars. These settings are often excellent for increasing tension, as modern sleuthing methods like CCTV and digital databases are non-existent, and characters may have to battle against limiting social roles as well.   A recent excellent historical novel is The Confessions of Frannie Langton, by Sara Collins. There are many thriller elements to this historical narrative, as the central character is on trial for a crime she cannot remember committing. As the child of an enslaved woman and her enslaver, Frannie is in a difficult social position. Although she is educated, she is also subject to the limitations and prejudices of racism, which impact how likely it is that her story will be believed. The historical setting of Collins’ novel allows her to delve into the dark side of humanity, as we also expect from thrillers. How To Write A Thriller So, how do you go about writing a good thriller? Looking at all the different types above, we can see that there are some commonalities among them that thriller writers should know.  1. Start With A Moment Of Change  Let us join your character at a moment of change in their life: whether that be a dramatic, explosive one (they’re hanging off a building! They’re chasing a suspect! They’ve been betrayed!) or a quiet, interior one (they’ve realised they’ve been mistaken about a small but crucial detail about their job/loved one/life), a character’s life is most interesting when it takes a turn.   2. Know What’s At Stake  It’s important early on that your readers know why your character’s goal is so important to them. If your character is working to uncover the truth about a murder, what is their personal connection to it? It simply being their job to investigate it isn’t quite enough. Perhaps it has some personal resonance with them due to a past experience, or there is a family or community connection. Perhaps they need to prove themselves in some way. Maybe there is a time pressure – thrillers often feature characters who have to race against time to solve something. Whatever the stakes are, make them personal in some way to your character.   3. Ensure We Care About The Characters  Some stakes are very high and quite abstract – saving a building/city/country. Giving the character a loved one who is also personally at risk in some way helps to make this threat immediate and personal and contextualises the larger threat. Equally, your character must be vulnerable in some way. As exciting as it is to read about a dapper hero skilfully knocking out bad guys, it becomes dull if there is no sense of personal danger to the character. Giving them something they love that is at risk is a good way to make them vulnerable, and ensure that the reader cares about them, too.  4. Gradually Increase The Suspense  Continually amp up the tension by gradually increasing the threat that the character faces. These threats can also be made more daunting if your character has few resources to work with – taking these away over the course of the narrative will enable you to ratchet up that edge-of-your-seat feeling that you want your readers to have! Keep your readers guessing. 5. Make Limitations Work For You  Whether it be something intrinsic to the setting, such as a lack of modern policing technology; something external to the character, such as social attitudes or previous attributes being withdrawn (think of those ‘you’ve gone too far, hand in your gun and your badge’ scenes); or something that rises from the characterisation itself, such as physical injuries or psychological states, limitations are key to stacking the odds against your protagonist.  6. Build Up To The Climax  Stacking the odds even higher is an excellent way to build to a climax. Your character should encounter ever-more daunting challenges, and be gradually stripped of help and resources until they are faced with overcoming something that seems insurmountable. Your reader won’t be able to put your story down!  7. Ensure The Ending Is Satisfying   A satisfying ending might come from a crime being solved - the perpetrators brought to justice. Or it might be a disaster averted, the day saved, the love interest suitably impressed. It might also be a situation where justice is not served, and the outcome isn\'t entirely what the character wanted. The satisfaction then comes from character development and the emotional arc of the protagonist, who has gone through trials and come out changed in some way. Although they might not have won the war, a personal victory will leave your reader satisfied with the journey.   Thriller Writing Tips These are our top tips for writing thrillers. Plot Twists. All should not be as it first seems: perhaps friends are not to be trusted, and rivals become allies. Perhaps your character’s understanding of the world is radically changed in some way with the discovery of key information.   All Is Lost. At some point, your character should be faced with their dark night of the soul – it will seem as though their goal will never be met, their resources are gone, and their life has changed for the worse. Bringing your character back from their personal abyss makes the ending that much more satisfying.   Play With Expectations. Much of the fun of a thriller is the unexpected elements of the plot. Embrace this by playing with your readers’ expectations. It might sound far-fetched for the hero of a spy thriller to be a Scottish granny, but Christopher Brookmyre made it happen in All Fun and Games Until Somebody Loses an Eye!  Frequently Asked Questions What Are The Key Elements Of A Thriller? Suspense, action and darkness are key elements in a thriller. Your readers expect thrills, tension, conflict, and an exploration of the darker side of human nature.  What Is The Structure Of A Thriller? A gripping thriller follows the classic three-act structure. In the first act, the character is introduced, and the plot is set up. The second act adds complications, and the character suffers failures but also gets closer to their goal. The third act is the final showdown – the character is faced with defeating someone or something, and they may or may not be victorious in the way they originally imagined.   What Makes A Thriller successful? Thrillers do just that – thrill. Readers want to be gripped, enthralled, fascinated, and horrified; they want to root for the success of the protagonist against all the odds. They want exciting events, overwhelming opposition, and a narrative that draws to a satisfying conclusion.   Writing Thrillers As we have seen in the various types of thrillers we’ve looked at, there are many thriller elements in lots of different types of narratives. Even if you’re not setting out to write a traditional thriller, you can still utilise a lot of the genre\'s elements in domestic suspense, historical fiction, and crime writing. Including the key thriller elements of suspense, action and darkness will add another dimension to any story, and provide your readers with a popular narrative style that will keep them gripped until the last page.  

Upmarket fiction combines the best aspects of literary fiction and commercial fiction; is sellable and successful; attracts an intelligent, loyal readership; and agents and commissioning editors love it. Does all this sound too good to be true? And what on earth does ‘upmarket fiction’ mean? Read on to find out.   In this article, I’ll explore what upmarket fiction is all about, and what agents and editors mean when they use the term. I’ll look at the differences and similarities between upmarket fiction, commercial fiction, and literary fiction, and I’ll give you several examples – without spoilers – so you can explore the category for yourself. Then you’ll get a set of practical steps to use if you want to write and sell upmarket fiction. What Is Upmarket Fiction? There are a number of categories used by agents and commissioning editors that describe the types of novels they are hoping to discover or aiming to sell, resulting in some rather general terms that can be confusing to writers, especially beginners.   These terms aren’t genres as such but are more to do with 1) the book’s readership; 2) the way language and/or storytelling are handled; and 3) how well they think a book will sell, based on others of the same type that have already been published. You might find the term ‘book club fiction’ on the manuscript wish list of a literary agent you\'re interested in querying, for example, which (at least on the face of it) describes the type of audience they hope will be attracted to the book, rather than its tropes, themes and ideas. These terms include:  Commercial fiction (relates to selling potential)  Literary fiction (relates to the use of language)  Women’s fiction (relates to potential audience)  Agents and editors sometimes use other categories, to do with how a book makes the reader feel. For example:  Up lit fiction, which is heart-warming, and emphasises empathy  Misery memoir, a rather derogatory term for unhappy life stories  When you first set out to write a novel, these terms are probably too broad to be useful, but they can be helpful when you come to redrafting or when you want to sell your book and need to describe it to others. Personally, I find this a relief to know!  Upmarket fiction is one such category. In fact, it’s a hybrid term. As you may have guessed from the introduction, upmarket fiction refers to a combination of commercial and literary fiction; it is strongly plotted but the language is also carefully crafted. It may include complex plotting, such as multiple viewpoints.   Upmarket fiction often appeals to readers who are in book clubs, which is why it\'s sometimes used interchangeably with the term book club fiction. Sometimes, but not always, upmarket fiction involves family dynamics or family secrets, using family and its shifting meanings as a framework for storytelling and as one of the main themes. Many examples involve life and death or mortality as a theme, too, possibly because – in order to create a strong plot – writers of upmarket fiction sometimes use crime to structure the story.   As upmarket fiction is more of a category than it is a genre, it can be broken down even further using terms like upmarket women\'s fiction and upmarket historical fiction. This can help readers and writers alike find the niche areas in which they want to surround themselves/write about. So, let’s compare upmarket fiction to both commercial fiction and literary fiction, to clarify what it is and how to write it.   Upmarket Fiction Vs Commercial Fiction Underpinning the categories I mentioned above are various assumptions – or a sort of tacit knowledge – about how a book will be written. For example, there’s an assumption that commercial fiction will have a strong hook and gripping plot and therefore will sell well. Commercial fiction is generally also genre fiction of some kind. It might be a romance, thriller, crime, sci fi, or fantasy, for instance, or a well-established subgenre or combination of genres, and will conform to genre tropes and expectations.  Commercial fiction is often found in supermarkets and airports as well as in bookshops. These books are likely to be real page-turners: the sort of novel you just have to keep reading to get to the end. Writers of commercial fiction achieve this in six main ways:  A strong – and clearly articulated – premise or hook. You could sum it up in a sentence or two, like an elevator pitch or a tagline for a Hollywood movie.  High-stakes – the consequences of the plot are life and death for the main characters, or, worse, the whole world/universe will be destroyed.   Cutting away from the action at exactly the moment the main character is in the most danger.  Introducing cleverly foreshadowed twists that the reader didn’t see coming.  Using ‘traditional’ genre expectations and conventions that the reader will recognise.   Economic use of language, keeping chapters short, with no room for beautifully crafted prose or for complex characters.   Upmarket fiction is considered to sell well precisely because it contains many of these elements of commercial fiction. In fact, upmarket fiction could be described as a kind of commercial fiction.   Upmarket fiction could include any or all of the facets above, apart from number 6. Upmarket fiction does employ beautifully crafted prose and complex characters, but they mustn’t get in the way of the page-turner plotting. The craft, the characterisation and the strong plot are intricately interwoven.  Upmarket novels must include numbers 1 and 2 – the strong premise and the high stakes – although the stakes might be more nuanced than life and death. They might relate to a metaphorical death: social death, or the death of one kind of life and the beginning of another, for example. Upmarket books may be less likely to include number 5 – or to stick to recognisable genre conventions – than other kinds of commercial fiction; in fact, they may well include cross-genre or multi-genre storytelling or play with the various fiction genres available.  Upmarket Fiction Vs Literary Fiction Literary fiction focuses on the beauty of language, on its literary heritage, and on complex characterisation. It might win prizes, but will have a smaller audience, and therefore it doesn\'t sell as well as commercial or genre fiction. You’ll likely only see literary novels in supermarkets or airports if they\'ve won a big prize.   Literary fiction explores themes and ideas that are bigger than the book itself, and that may have occupied writers, artists and philosophers for centuries, such as appearance and reality; loss; mortality; free will; criminality; identity; and war and peace. This is the biggest difference between literary and commercial fiction, as the latter doesn\'t delve into such themes. In terms of big themes, the two categories are polar opposites.   In literary fiction, the plot is not as important as the craft, the characters and the themes I mention above. We might be mesmerised by the language or caught up in the ideas, but we’re not reading to find out what happens next. Writers of literary fiction achieve this in six main ways:  Viewing the craft and process of writing as an art form – how long it takes to write doesn’t matter.    Using evocative imagery and carefully considered language.  Showing the influence of other (probably canonical) writers.  Creating thoughtful and thought-provoking, sometimes ponderous, characters.   Exploring big (sometimes called ‘universal’) themes. Making the reader think.  Letting the interaction of the characters create the plot, without needing a strong page-turning hook.  Upmarket fiction might do any or all of these with a few caveats, apart from number 6; these books need a strong plot as we said above. Arguably it does matter how long upmarket fiction takes to write, because, as it\'s a type of/is similar to commercial fiction, agents and editors might well expect the writer to produce a book every one to two years. (Try our article on how to write faster if you\'re looking for some guidance in this area.) Therefore, the language can’t be so considered and the characters so ponderous that it slows the pace. A varied pace will keep readers engaged.   If we created a chart and used it to list the key facets of commercial fiction and literary fiction, we could tick off which of those features would also be common in upmarket fiction. In fact, if you’re serious about writing and selling it, you might want to create a chart like that for yourself. You could then use your chart to discover examples of novels that fall into the upmarket category, such as those I’ve argued for below, remembering that they’ll always have a clear premise, strong plot, and well-crafted prose.   Examples Of Upmarket Fiction In this section, I\'ll take five examples that fit the description of ‘upmarket fiction’ and explain why they fit into this category.  The Children Of Men By P.D. James This near-future dystopian novel is based on the premise that humans are now infertile and face extinction, causing society to fracture. Although it probably predates the use of the term by publishing professionals (it was published in 1992), I’ve included The Children of Men because the novel has the strong premise and high stakes of commercial fiction and uses recognisable genre conventions, showing the influence of other writers in the genre, such as H.G. Wells and Aldous Huxley.  The characters are complex, and James uses the story to rewrite ideas about family and parenthood and to explore other ‘universal’ themes, such as hope and despair, and death and survival, making us think, but not to the extent that characterisation and theme get in the way of the plotting.   The Time Traveller’s Wife By Audrey Niffenegger This is both a love story and a time-travelling sci-fi adventure. It’s a kind of upmarket science fiction romance. The unpredictable time-jumping of Clare’s husband Henry gives the novel a clear framework, that both disrupts and re-establishes the narrative cohesion. In an innovative way, time travelling also provides the premise and the resolution, meaning the writer can continue to play with storytelling conventions. As with other examples, Niffenegger treats both family and mortality as important themes but also works them into the plot.   Everything I Never Told You By Celeste Ng This is a murder mystery as well as a family drama. When sixteen-year-old Lydia dies, her mother Marilyn wants someone to be held to account, and along the way, Ng explores themes such as race, prejudice, identity and the meaning of family.  The novel is pacy like a thriller but includes striking characters and complex plotting.  It’s a good example of upmarket fiction, because the use of language is evocative, moving and at times sensual, which is why I’ve included it here. For instance:  “All through the second lecture, Marilyn remembered the smell of his skin – clean and sharp, like the air after a rainstorm – and the feel of his hands at her waist, and even her palms grew warm.” (p. 38)  The Immortalists By Chloe Benjamin In this book, a psychic claims to be able to predict the day you’ll die. The novel tells the story of four New Yorkers after they visit the psychic as children. Again taking family as a theme, Benjamin uses multiple viewpoints, and the book reads like literary fiction, but the premise is so strong that we have to keep turning the pages.  The Seven Deaths Of Evelyn Hardcastle By Stuart Turton This book was described in a Guardian review as ‘a gift to the marketing department’ and that neatly sums up why upmarket fiction is so sought-after! Turton’s debut is multi-genre, and– like literary fiction– plays tribute to other writers of murder mysteries, such as Agatha Christie. Reminiscent of Groundhog Day and Cluedo, Turton gives us well-written characters and the novel is tightly plotted; in fact, the same review described the ‘mind-boggling complexity’ of its plot.  These are some examples that I think fit the description of upmarket fiction. They all feature a strong premise that would certainly be ‘a gift to the marketing department.’  How To Write Upmarket Fiction   Here are some key practical steps to consider when writing upmarket fiction.   1. Start With You Start with what you love to read, in terms of genre and subject matter, and with what intrigues you so much that you are willing to spend a year or more writing about it. Starting with the aim of writing upmarket fiction is too broad to be useful – starting with yourself is much more likely to yield promising results.   2. Become A Plotting Ninja Learn to plot. There are lots of guides to narrative structure out there, some of which are made especially for beginners. I’ve written one myself! They might seem formulaic– and they are before you bring your own specificity to them– but they will help you to shape your ideas. To cite just three examples: Nigel Watts’ Teach Yourself Writing a Novel will give you the essentials; Jessica Brody’s Save the Cat Writes a Novel is helpful when establishing the link between character and story; and Harry Bingham’s How to Write a Novel has a whole section on different kinds of plots and also contains advice on marketing your book from the get-go.   3. Plan Like An Expert You don’t have to plan in advance if you hate the idea. Plan as you go along if you like or after you have written the first draft. But to make the readers turn the pages, the plot has to work, therefore you need to plan at some point! If you’re wondering how to plan a novel, check out our step-by-step planning guide for more. 4. Cross Those Genres Consider combining two or more genres (like historical romance, for instance) but make sure they\'re genres you love to read and are interested in. Get specific by thinking in terms of subgenres. Audrey Niffenegger uses a particular kind of sci-fi – time travel – to make her plot work, for example. Remember that you can play around with genre when writing upmarket fiction, but this is also about what you love to read and write, not what you think you should write! It will be easier to play around with it if you love what you’re doing. Have fun with it.   5. Create Complex Characters Work on character development. Spend time with your main and secondary characters, so they feel like well-rounded human beings with quirks and contradictions. Write in the first person as your characters regularly even if you don’t plan to use the results in the finished novel– it helps you to get to know them.   6. Consider Using Multiple Viewpoints Got more than one compelling character? Good! Consider using dual or multiple viewpoints to tell your story. Read examples of stories told this way before you start writing. Try a spot of ‘method writing’. That is, write as if you were each of your main characters, telling the reader about the same event. If you’re stuck, use an existing story as a prompt. For example, write about the day we found a body in the lake, or the day we visited a fortune teller, or the day we found out I was pregnant (when the whole of humanity was supposedly infertile), or the day we realised I could time travel.  7. Answer These Questions To Nail Your Themes Decide which themes you will explore in advance, by considering which ‘universal’ ideas fascinate you the most. Not sure what to use? Answer these questions. What deep conversations have you been drawn into recently? Which nonfiction books and documentaries fascinate you? Which big life experiences have taught you the most?   8. Twisted Family Values Anyone? Consider using family dynamics and family secrets as part of your plot and as a way of connecting characters in the story. You don’t necessarily have to use this plotting device/theme when writing upmarket fiction, but it does seem to be a fairly common trope.  9. Death Makes For High Stakes Themes of death, dying and mortality also come up a lot in upmarket fiction and while this isn’t compulsory, it will automatically provide a way to ‘raise the stakes’; something you must do to draw the reader in.   10. Use Your Senses When You Make Your Tea/Coffee  Work on your writing style. In particular, practise sensory writing. For example, try this: stop regularly during the day – perhaps every time you have a cup of tea or coffee. Using all the senses available to you, observe the world around you and write quick descriptions based on each one.   Tips For Writing Upmarket Fiction Here are some quick tips for writing upmarket fiction:  Read plenty of examples of upmarket fiction to get a sense of the balance between literary fiction-type language and commercial fiction-type plotting.  Create a strong premise: can you sum the book up in a couple of sentences? Practise doing this with examples of upmarket fiction first. You don’t have to do it in advance.   Once you have the premise, use it to write a blurb. Both of these will help you to sell the book to others and to clarify your ideas for yourself.  Frequently Asked Questions  In this section, I’ll address and answer some of the most asked questions in relation to upmarket fiction.    What Are Examples Of Upmarket Fiction? Some examples of upmarket titles include Gillian Flynn’s Gone Girl, Khaled Hosseini’s The Kite Runner, Yann Martel’s The Life of Pi, Jodi Picoult’s My Sister’s Keeper, and The Lovely Bones by Alice Seabold.   What Is The Difference Between Literary And Upmarket Fiction? Literary fiction is preoccupied with the use of language, the craft of writing and situating itself amongst other literary works. It also involves the investigation of so-called ‘universal’ themes. Upmarket fiction uses evocative language and thought-provoking themes but is tightly plotted with a strong premise and so is considered more ‘sellable’ than literary fiction.  How Many Words Should An Upmarket Novel Be? It’s difficult to give a precise number as full-length novels can range from around 70,000 words to 120,000 or longer – 250,000 to 350,000 would be considered very long – but there is no hard and fast rule.   That said, commercial fiction tends to be on the shorter side, literary fiction could be long or short, and upmarket fiction tends to be in the middle of the range, at around 90 – 120,000 words long.   To get a sense of the sheer range of differing lengths, take a look at our article on novel word counts. Why Are Agents Interested In Upmarket Fiction? Upmarket fiction gives agents the best of both, or all, worlds. This category of novel attracts committed, loyal readers and is likely to be favoured by book groups, so upmarket fiction is usually considered book club fiction too. It’s well-plotted and well-crafted, meaning readers get drawn in.   All of that means that upmarket fiction sells well, and often converts well on the screen. In fact, almost all of the examples of upmarket fiction I’ve given in this post have been optioned for TV or film or adapted for the stage. In other words, it has commercial appeal.   Upmarket Fiction It’s so valuable for writers to explore the nuances of upmarket fiction, both in terms of reading it and writing it. It teaches us a lot about the perception of what sells well and what doesn’t and demonstrates what many agents and editors are looking for: a strong premise; complex characters; well-plotted, page-turner stories; and beautifully crafted prose.   I hope you enjoyed this article and will try some of these key practical steps. Let me know how you get on! 

Have you ever read a book that has kept you gripped throughout with its twisty or unique plot structure? Or perhaps you have been enthralled by a character-led story, that has fully engaged you in the minds and imaginations of others?  In this expert guide, we will explore the differences between character and plot-driven stories, learn how to decide which one to use, and we\'ll provide some tips to ensure you are using these methods in the best way possible.  Hopefully, by the end of this guide, you will be able to recognise the difference between character and plot-led stories and be able to use these skills to make your writing even stronger.  What Is A Character-Driven Story?  In short, a character-driven story is one where the focus will be more on character development than on the plot. In these stories, you are more likely to feel fully engaged with the character and become more focused on their personal journey.  In a character-led story, the emphasis is on the character\'s emotions and the reasons why they make the choices and decisions that they do.   How then, does this differ from a plot-driven story?   What Is A Plot-Driven Story?  In plot-driven writing, the story will be more focused on action, with a developed and exciting plot. As a reader, you will be drawn into the action and the twists and turns of the changing circumstances that influence and motivate the characters.   So how do you choose between writing a character-driven story versus a plot-driven one? Plot Driven Vs Character Driven: Choosing Between Them The key difference between a plot-driven story and a character-driven one is that in a character-led narrative, the focus is more on the thoughts and feelings of the protagonist and the decisions that they make. Whereas, in plot-driven narratives, the action and occurrences that unfold will be the main point of focus. When writing character-driven stories, the plot is the mechanism used to develop character, and in plot-led stories, the character is used to view and comment on the plot.  Very often the type of genre that you are writing will help you decide whether your story would work better as a plot-driven, or character-driven piece. Many crime and thriller books tend to be plot-driven, as they are focused on the turn of events occurring around the character. Sci-fi and mystery books also tend to lean into the plot-driven space. In literary fiction, the emphasis is often on character-driven stories which develop interesting and compelling characters. However, it is important to remember that there are no rules to this and there are always exceptions.  Here are a few things that you might wish to consider when deciding whether your story should be plot-driven or character-driven.  What genre are you writing in?  What is your usual writing style – do you like to develop your characters in depth, or are you more drawn to the action and environment?  What are the overall messages and themes of the story? What would you like your reader to take away and learn? Something about the character’s growth? Or something about the events and actions that surround them?  What type of books do you most enjoy reading?   Plot-Driven Story Examples  Below are some examples of excellent plot-driven stories:  Gone Girl – Gillian Flynn  Gone Girl is a twisty, pacey thriller that relies on its dark and enticing plot to keep its readers on edge. Tension is built via external circumstances and the characters are very much influenced by the events around them.  The Lord Of The Rings – J R R Tolkien   The Lord of the Rings, like many fantasies, has wonderful world-building and a strong, engaging plot to keep readers engaged. Characters in this story are very much motivated and influenced by external driving forces and the imagined world they exist in.  1984 – George Orwell   1984 is another example of a book where extreme world events and external factors influence and drive the interesting characters of the story, leading them to make certain decisions and actions.   Tips For Writing A Plot-Driven Story   Focus on the external conflict. What are your characters striving for? What are they up against? What obstacles will they face?  Focus on the hooks. Where are the plot twists? How can your surprise your reader and keep them hooked?  Ensure the structure is tight and the plot points are marked out. In a plot-heavy story, you need to ensure that the story arc is carefully considered.  Character-Driven Story Examples  Here are some stories with character-driven plots: Eleanor Oliphant Is Completely Fine – Gail Honeyman  This is a wonderful example of a book that truly focuses on a character’s development – exploring Eleanor\'s emotions and internal thoughts and using her moving backstory to drive the story forward.  Brick Lane – Monica Ali  Brick Lane is a wonderful character study, introducing a variety of vibrant and diverse individuals to the reader and exploring the complexity of real-life drama.  Breathing Lessons – Anne Tyler  Anne Tyler is an expert at writing character-led and emotive pieces of work. In this example, we can experience her character\'s emotional journey through both reflection and insight.  Tips For Writing A Character-Driven Story   Focus on the internal conflict. What is your character battling with emotionally? What are their goals? Fears? Desires?   Create a backstory to ensure that you truly understand your character and can make them more compelling and engaging to the reader.  Consider your characters’ motivations. What are they looking to achieve in the story? Will their desires be fulfilled?  Develop a strong voice. In character-led stories, we need to be able to connect strongly with the protagonist. Consider how you can make their voice distinctive and believable. Frequently Asked Questions   What Is The Difference Between A Plot-Driven And A Character-Driven Story?   In a plot-driven story, the focus is on the action and activity surrounding the character, and a well-developed plot with external conflicts that challenge the main characters is crucial. In a character-driven story, the focus will be on the character\'s journey – their thoughts, feelings and emotions, and the inner conflict they are experiencing.   In short, when writing character-led stories – the plot is the device used to develop character, but in plot-led stories, the character is used to view and comment on the plot.  What Is The Relationship Between Plot And Character?  The plot is the device which moves the story forward, and the character embarks on their journey through these plot points – experiencing challenges (both external and internal) and obstacles along the way.  How Can You Tell If A Story Is Character Driven?   You can tell a story is character driven if it\'s mainly focused on the character’s internal conflict. You are more likely to experience character-driven writing in literary books and real-life accounts.  Writing Your Story In summary, it is important, as a writer, to explore the nuances of both character and plot-driven stories to work out which one is the best fit for you. There are no hard and fast rules here. It may be that a character-driven story suits your need to explore the character more fully and produce internal conflict. Alternatively, you might be writing a story that relies on lots of external conflict and finely tuned action points – in this instance, a plot-driven story will possibly suit you best.  It\'s important to note that many stories work with a combination of character and plot-driven sections, where there\'s character reflection and development leading into moments of more plot-focused work. It might be that a hybrid model suits you better, and many books successfully use this method.   The best thing to do, as a writer, is to experiment and play. Get those words on the page. Plan your next scenes. How do you want your reader to feel, what journey do you want to take them on?  Ultimately, have fun working out if your story is plot-led or character-led. As long as it\'s a good story, that’s all that matters. 

We’ve had a Cinderella who’s tormented by her stepmother and step sisters to do household chores, until her life changes upon marrying the prince. We’ve also had a Cinderella who chooses her dream of being a fashion designer over marrying the prince. These are rather different, key plotlines to the same story of a damsel in distress.  Stories are essentially archetypes, or building blocks, upon which various plots can be structured. Pretty much whatever story we come up with, chances are, someone’s already written it.   Does that disappoint you? Don’t fret. It doesn’t mean your story is unoriginal, only that an archetype already exists for the narrative you’re taking your story through. That isn\'t surprising when you consider the fact that human beings have been telling stories since the beginning of time. When you think of a story you’d like to write, there are a few different ways it could go. Using a story type, consciously, is an excellent way to get started and stay true to and anchored in the authenticity of your plot.   In this article, we’ll not only help you understand what story types or plot lines are, but also guide you on how to use them consciously in your writing, and we’ll also look into the pros and cons of using them.   What Are The Main Story Types?  Many writers tout the brilliance of The Seven Basic Plots: Why We Tell Stories by Christopher Booker. The book is an essential guide for beginners looking to start somewhere and is an inspiration board for pros looking to feed their creative intellect. Even if you have never heard of this book, you will have come across these seven story types- the master plots- simply by reading various stories.   Here are the seven main story/plot types: Overcoming The Monster  Often, overcoming the monster isn’t literal. It could be a psychological overcoming of inner demons. It might not even be the main plot, but rather the subplot used to worsen a situation for the character(s). Whether the monster is literal or psychological, this plot type follows the arc of anticipation, frustration, and escape. The characters anticipate the arrival of the monster and they dream of defeating it, only to find out, to their utter frustration, that it’s nearly impossible to do. When they try harder, things only get nightmarishly bad, before something they do clicks and they’re able to defeat or escape the monster.    Rags To Riches  Nearly every famous and inspirational person that ever wrote an autobiography or memoir has used their rags-to-riches story as the narrative in their book. It’s one of the most relatable experiences – to be broke and then to gain success. Self-help gurus and life coaches frequently use this plotline to inspire and pump up the underdog.  The Quest  In the quest story type, the characters have a mission to complete – find an object/person or pursue an objective. And along the way, they’ll need to navigate obstacles, which is why adventure stories frequently fall under this category. These challenges may be nearly fatal, and the characters have to overcome them in order to accomplish their objective.  Voyage And Return  In a voyage and return story, the protagonist is literally sent to a foreign place from which they will return wiser and stronger. The unfamiliarity of the foreign place induces challenges for the protagonist to tackle. The idea here is to help the character grow into a more mature version of themselves, through varied life experiences in the new land. This type is featured in many stories. Rebirth  This one sounds almost religious, doesn’t it? Though it is, indeed, a prevalent concept in many religions across the world, a rebirth story arc can simply be about a transformation the protagonist undergoes. This is a narrative that focuses on the radical changes the character will have to make in order to have a good life and be happy. Even with a literal rendition of the rebirth storyline, the aim is still to get the character to change, grow and lead a better life this time around.   Comedy  Comedic plotlines are great tools for reflecting on the ways of society, no matter which century or decade, or which city or country we’re looking at. Comedy is usually induced through subversion, exaggeration, absurdity, and confusion.  Tragedy  Tragedy is like the antithesis of the ‘overcoming the monster’ plotline. The protagonists set themselves up for an epic failure. They fail to overcome the monster, so to speak. The main character decides that they must rise to a challenging situation, only for things to go wrong. The tragic story type is rife with emotional content and follows the arc of anticipation, frustration, and despair. Only, instead of an escape at the end, there’s pain and destruction.   Using Story Types: Pros And Cons  Story types are broad narrative categories that most stories can be pegged on. But they don\'t work for everyone. If you do use them, it\'s important to remember that you can veer away from them as much as you like. It\'s your story! Here are some of the pros and cons of using story types in your writing:  Pros  If you’re unsure what to write about, looking at story types for inspiration is a great start. They help you look at the big picture and the themes you could explore.   If you have your story type picked, then you have a general idea of the shape and the broadest arc of your story, which makes writing easier. If you\'ve lost momentum, and are eager to get writing again, story types can help you see if there’s a narrative you’ve not tried before.  If you\'ve finished your book and want to pitch it to an agent, you’ll need to know the broader storyline and major themes you’ve written about. So, knowing your story type(s) is essential.  Cons  If you’re a seasoned author, story types might be a little too basic.   Story types can feel restricting if you plan your plot in detail before you write. Some aspects may feel forced and inauthentic to your protagonist. (Remember, story types are guides, feel free to make adjustments!) Stories rarely ever contain just one narrative. Often, it’s a blend of many. Figuring out which one’s the master story type in your book can be confusing.  Examples Of Different Types Of Stories  Now that we’ve discussed what the seven types of stories can do for your writing, let’s explore a few examples.   The Pursuit Of Happyness  While Bram Stoker’s Dracula had the iconic vampire hunter Van Helsing slaying (the monster) Count Dracula, it might not always be so literal. It might not even be the main story type at play; it could be a subplot. The memoir The Pursuit Of Happyness is actually a single father’s rags-to-riches story, but throughout, the man tries to overcome his psychological ‘monster’ – fear of poverty and failure. His struggle to defeat his inner demons makes the story relatable and compelling.  King Richard  The 2021 film starring Will Smith, King Richard, does this rags-to-riches story of a classic underdog as humbly as possible. It’s all too easy for this type of story to get corny, but the movie’s plot avoids this by staying true to the storyline; it focuses on Venus Williams, instead of Serena Williams, and ends at the beginning (rather than the pinnacle) of the tennis player’s stellar career.   Eat, Pray, Love  The iconic memoir Eat, Pray, Love by Elizabeth Gilbert has the subtitle ‘one woman’s search for everything’. This effectively captures the ‘quest’ story type the memoir is anchored to. The protagonist travels around the world to shake things up and catapult herself into a more conscious life. The clarity in her writing is a reflection of how she’s anchored her story to the ‘quest’ narrative, making it a classic example of that story type. The Midnight Library  Matt Haig’s The Midnight Library is arguably the most soulful rendition of the ‘rebirth’ story type. Metaphysically so. Forlorn and hopeless, Nora Seed attempts suicide. In her near-death state, her soul goes into a library of all the lives she could ever live and she ultimately chooses the one that’s right for her. This rebirth narrative is candidly human and introspective.  Dark Matter  The thriller Dark Matter by Blake Crouch follows the ‘journey and return’ story type. The protagonist is content with his life, albeit wistful about not being ‘successful enough’. He is catapulted into his worst nightmare when that wistful thinking lands him in a life where he’s a celebrated particle physicist, but his wife is not his wife and his son was never born! This ‘journey and return’ narrative has you going on a mind-bending tour of the infinite possibilities resulting from longing and the fear of missing out.  Night  Elie Wiesel’s Night is perhaps one of the most gut-wrenching memoirs ever to be written about the Holocaust. That it is based on the ‘tragedy’ story type is a given; after all, it’s a sombre memory of the narrator Eliezer. Though the protagonist manages to escape the concentration camp in the end, there isn’t any true relief. He emerges traumatised and grief-stricken. The tragedy really comes through in the memoir’s rhetorical question: how do you deal with the failure of humanity, when you are its victim?  The Hitchhiker’s Guide To The Galaxy   If you haven’t read The Hitchhiker’s Guide To The Galaxy, then you haven’t lived! The 20th-century author Douglas Adams paired science fiction with the ‘comedy’ story type to explore the idiocy and selfishness of the human condition. When a character, who is abducted by his inter-galactic travelling friend, realises billions of people on earth have died to make way for a galactic freeway, but faints when he realises that there’s no such thing as McDonald’s anymore, you know this book is going to be entertaining.   How To Use Story Types As Inspiration  Using different types of stories consciously in your writing is a great way to get some momentum. Here\'s how you can utilise the seven story types:  If you are struggling to structure your book at the conceptual stage, then, all you need to do is figure out which one is your overarching story type, which one is your subplot, and what major themes you’ll be exploring under them. Eg: In Eat, Pray, Love, ‘quest’ is the overarching story type, ‘journey and return’ is the subplot, and eating-praying-loving are the major themes. The structure of this book is truly off the charts!  Combine two story types in an unlikely genre. Eg: The Hitchhiker’s Guide To The Galaxy clubs ‘comedy’ and ‘overcoming the monster in the science fiction genre. What an unlikely combination and delight!  Once you have figured out which story types are best for your book, try using different character\'s perspectives for inspiration: For ‘overcoming the monster’, play the faithful sidekick  For ‘rags to riches’, play the fairy godparent  For ‘the quest’, play the life coach  For ‘voyage and return’, play the travel assistant  For ‘comedy’, play the matchmaker  For ‘tragedy’, play the grief counsellor  For ‘rebirth’, play the initiating priest  Top Tips  If at the planning stage, the story types feel restrictive, that’s a good thing. This will keep you from overthinking and make things simpler. You can always add complexity later on! If you feel your story has more than one story type, then you’re probably right. All you need to do is figure out which one is the main story type and which one is the subplot.   Frequently Asked Questions  What Are The 7 Types Of Stories?  The 7 types of stories are ‘overcoming the monster’, ‘rags to riches’, ‘the quest’, ‘voyage/journey and return’, ‘rebirth’, ‘tragedy’, and ‘comedy’. What Are The Elements Of A Story?   In the broadest sense, a story is the bigger picture and the plot its finer details. A story generally consists of an overarching story type, a second story type as its subplot, two or three major themes, a clear voice, and character development. How Do You Write A Good Story?   A good story is more in the planning than the inspiration. Looking into the seven types of stories is a good way to shape your ideas. Then you can start writing, honing in on the key elements, and editing your story as you craft a book you can be proud of. Story Types Creative work of any kind can benefit from having a framework. Story types are vital for anchoring your plot. Whether or not you know the finer details of your plot yet, if you know the story types you’re going to use, you’re sure to have a strong foundation.

Fantasy is a vast literary genre that can be sub-categorised into many different subgenres including urban fantasy, fantasy romance, paranormal fantasy, and even sci-fi. As a fantasy author, there is nothing I enjoy writing and reading about more than worlds full of magic and monsters. Yet with so many different fantasy subgenres to choose from, it\'s often difficult for writers to know where to start when planning their own fantasy books. For me, the easiest way to differentiate between fantasy genres, is by looking at where the book is set. This means deciding whether a story is high fantasy or low fantasy. In this article, I will be exploring the difference between the two. We will be looking at fantasy world-building and comparing high fantasy vs low fantasy. I will also be providing you with a list of books and shows from each category. And hopefully, by the end of this article, you will know exactly what kind of world you\'ll want to set your own fantasy story in. What\'s The Difference Between High And Low Fantasy? Any novel that includes a level of the unbelievable (be it magic or monsters) is described as fantasy. The difference between high fantasy stories and low fantasy is simply the setting. Whereby all fantasy fiction includes characters who are doing unbelievable things (from talking to goblins and flying, to fighting dragons and performing magic) - only high fantasy is set in a make-believe world. Low fantasy, on the other hand, takes place in a real-world setting - although that doesn\'t mean it has to be any less fantastical! Let\'s take a look at each in more detail, starting with high fantasy novels. High Fantasy The high fantasy genre is a fun one to read, albeit a more convoluted and complicated one to write. The defining aspect of high fantasy is that the (usually) epic story is set in an alternative fictional world. A secondary world full of magical elements. This epic fantasy genre is very much inspired by Greek mythology and Norse mythology; masters of allegorical tales involving scary beasts and valiant heroes. A lot of high fantasy novels are set in a time that is reminiscent of our own medieval world; ie people travel on horses, drink tankards of ale, and fight with swords. Although that doesn\'t mean your high fantasy novel has to remain historically accurate. The beauty of writing fantasy is that nothing is stopping you from adding a modern twist to your world. 10 Characteristics Of High Fantasy A high fantasy story always takes place in a fictional setting that is very different to our own world. Its defining characteristics include: A fantasy fictional world A map (this helps readers imagine the landscape) A high page count A challenge or quest Many characters (with unusual names) Mythical creatures including monsters and other races Plenty of magic Battles and adventure High stakes (ie good versus evil, defeating the monster, returning victorious) An engaging plots with lots of twists and turns 10 High Fantasy Books You Should Read High fantasy literature can be enjoyed by all ages and genders. There are some great examples of modern fantasy fiction out there, including high fantasy that is both diverse and original. When you think of a traditional fantasy story, many automatically think of Tolkein, Greek mythology and fairy tales. But there are some extraordinary modern high fantasy books out there that are better than many classics. High fantasy also dominates the Young Adult readership market as it gives writers the opportunity to explore themes that are a lot more relatable to young people today. Here are ten very different high fantasy stories to enjoy: Strange the Dreamer by Laini Taylor The Chronicles of Narnia by C S Lewis The Name of the Wind by Patrick Rothfuss The Discworld novels by Terry Pratchett A Court of Thorns and Roses by Sarah J Maas Assassin’s Apprentice by Robin Hobb Truthwitch by Susan Dennard Children of Blood and Bone by Tomi Adeyemi To Kill A Kingdom by Alexandra Christo A Curse So Dark And Lonely by Brigid Kemmerer 5 High Fantasy Examples On Screen Many high fantasy movies and shows have been adapted from novels. Because they are set in a fantasy world unlike our own, many of these stories also veer into science fiction, such as Star Wars and Dune. Below is a list of movies and television series that perfectly capture the wonder and intricate world-building of high fantasy, allowing viewers to witness the wonder of these worlds visually. Lord Of The Rings Tolkien\'s middle earth has long been seen as the ultimate example of a high fantasy imaginary world. Tolkien not only created an unforgettable fantastical world but also populated it with imaginary races, history and even languages. In Peter Jackson\'s movie adaptation that world is brought to life in an epic way. The Witcher Adapted first from Andrzej Sapkowski\'s novel, then made into a computer game, The Witcher also became a Netflix sensation. Set in a medieval-like world full of humans, monsters, and witches, it follows the adventures of Geralt of Rivia - a mutated monster-hunter for hire. Shadow And Bone Leigh Bardugos\' Shadow and Bone trilogy was merged with her Six of Crows duology and turned into a much-loved Netflix fantasy series. In this Russian-inspired world Grisha are able to do various types of magic and monsters lurk in the very real darkness. Game Of Thrones A Game of Thrones is the first novel in A Song of Ice and Fire, a series of fantasy novels by American author George R. R. Martin. The popular high fantasy series was adapted by HBO and became one of the best-loved fantasy series on TV. Again, the author chose to create a world that looks a little like ours but is medieval in style... but with dragons and ice zombies! His Dark Materials His Dark Materials is a trilogy of fantasy novels by Philip Pullman adapted for the BBC and HBO. A coming-of-age story about two children wandering through a series of parallel universes, His Dark Materials is a great example of high fantasy literature for younger readers. Now we\'ve established what high fantasy looks like, let\'s take a look at the other type of fantasy genre - low fantasy fiction. Low Fantasy As opposed to high fantasy, low fantasy is set in our primary world. Sometimes low fantasy is referred to as intrusion fantasy because the magical and fantastical elements in the novel \'intrude\' into our real world. Fantasy genres such as urban fantasy, historical fantasy, time slip, dark fantasy, superhero, contemporary fantasy, magical realism, and paranormal fantasy all fall under the category of low fantasy. In these stories you have fantastical elements, such as monsters and characters with magical powers, living in the world as we know it (be it the world now or in the past). 10 Characteristics Of Low Fantasy Low fantasy stories can be a lot of fun to write as you can twist reality as we know it, adding magic to an otherwise normal world. You also don\'t have to go to the trouble of creating a brand new fantasy setting as you can base your magic and mayhem in the same world where we all currently live. The defining characteristics of low fantasy include: A modern life full of fantasy elements A magic system hidden in our own world Characters with supernatural elements living a modern life Normal human characters who may, or may not, be aware that magic and monsters exist in our world Unlike high fantasy stories, low fantasy doesn\'t need epic battles or big quests as the \'magic in our own world\' element is often intriguing enough for readers. 10 Low Fantasy Books You Should Read As a writer of low fantasy I really enjoy injecting magic into our real world, especially when readers say how those fantastical twists help them see very normal things in a more magical way. Low fantasy books can include mythical creatures (devils, angels, vampires and dragons), as well as time travel, superheroes, and even a distortion of history as we know it. Here are ten (very different) low fantasy novels you may enjoy: Good Omens by Terry Pratchett and Neil Gaiman The Atlas Six by Olivia Blake Vampires of Moscow by Caedis Knight Ninth House by Laigh Bardugo The Binding by Bridget Collins The Path Keeper by N J Simmonds No Gods, No Monsters by Cadwell Turnbull The Time Traveler\'s Wife by Audrey Niffenegger Midnight Riot by Ben Aaronovitch The Starless Sea by Erin Morgenstern 5 Low Fantasy Examples On Screen Low fantasy is a fun way of pushing fantastical boundaries and stretching reality in a way that makes people believe in the unbelievable. Popular examples of low fantasy on screen include: True Blood Set in the American Deep South, True Blood is an adaptation of The Southern Vampire Mysteries by bestselling author Charlaine Harris. It follows the paranormal adventures of a mind-reading barmaid who navigates a world where vampires have been accepted into everyday society. The Boys This dark comedy series (adapted from a comic book) takes a look at what would happen if people lived amongst us with supernatural powers - and how that power could so easily be corrupted. Harry Potter Everyone is familiar with the story of Harry Potter, a boy who discovers he\'s a wizard. It\'s an epic tale for children set in a magical boarding school, where good versus evil, including plenty of fun mythical beasts (both good and bad). Outlander A historical fantasy series of impossible love. Claire Beauchamp Randall, a married nurse from World War II, mysteriously goes back in time to 18th century Scotland where she falls in love with a Highland warrior. Raising Dion Another comic book adaptation, Raising Dion is about a widowed single mom who discovers that her son has superpowers. She must figure out how to raise him safely and responsibly in a world full of danger. Frequently Asked Questions What Is High Fantasy Vs Low Fantasy? High and low fantasy are the two main categories of fantasy. High fantasy refers to epic fantasy which is set in an alternate world. It typically includes lots of magical elements, fantastical creatures, and unusual technology. Whereas low fantasy is when magical creatures and elements intrude upon the regular world. What Are Common Fantasy Elements? Some of the main elements of fantasy are magical systems, world-building, a well-crafted cast of characters, a quest, and the endless battle of good vs evil. World\'s Apart Writing fantasy stories involves a lot of imagination, time, and research - but creating both original worlds, and magical worlds within our own, can bring a huge amount of pleasure to both writers and their readers. I hope you have had as much fun learning about high fantasy vs low fantasy as I have had writing this article, and that it has inspired and helped you decide where you will be setting your next fantasy novel. Good luck and have fun creating exciting and unforgettable worlds!

For many of us, books and reading provide a means of both leisure and pleasure- a way to escape the everyday and into the world of literature. This is no truer than in speculative fiction. A collection of genres that puts the ‘creative’ in creative writing, the imaginative nature of speculative fiction sets our minds free to envision worlds, people and cultures different from our own. It’s the broad-mindedness that results from such thinking that makes speculative fiction so truly special.   In this article, we’ll cover:   What is speculative fiction (and what isn’t)?  The history of speculative fiction  Subgenres of speculative fiction  Examples of speculative fiction  How to write speculative fiction  Top tips for speculative fiction writing  Frequently asked questions (FAQs)  So, just what is speculative fiction, and how can you depict imaginative realms in your own stories?   What Is Speculative Fiction?  Speculative fiction is an umbrella term, or ‘super-genre’, for genre fiction about things that don’t exist in our world. It asks questions, and often the question is, ‘what if?’. Contemporary speculative fiction has subgenres like science fiction (sci-fi), fantasy, dystopian fiction and more.   Historically, speculative fiction has been a nebulous literary term. We’ll look at why in ‘The History Of Speculative Fiction’ below, but for now, it’s a term that’s evolved since its inception, progressing alongside the novels it aims to describe. Even today, there’s still debate about what is considered speculative fiction.   For example, Margaret Atwood states that ‘speculative fiction is a way of dealing with possibilities that are inherent in our society now, but which have not yet been fully enacted’. Atwood, with speculative fiction successes like The Handmaid’s Tale, is certainly an authority; and yet at the same time, we must acknowledge that such definitions limit speculative fiction to ideas overtly grounded in real-world context. As a result, this omits secondary-world stories like Tolkien’s The Lord of the Rings (despite its setting being ‘Middle-earth’), which fantasy fans might argue firmly belongs in the realm of the speculative.   This is where definitions of speculative fiction diverge, and it comes down to a question of emphasis. Revisiting our definition above, if your focus is on ‘things that don’t exist in our world’, then like Atwood, you may prefer the challenges of a narrower definition. If, however, your focus is ‘things that don’t exist in our world’, then it’s likely your interests sit at the broader end of the speculative spectrum.   When it comes to a term that’s as fluid and eclectic as speculative fiction is, perhaps a better question to ask is: what isn’t speculative fiction?   What Is Not Speculative Fiction?  Speculative fiction represents concepts that err outside the bounds of our real world in some way, whether great or small. So, what doesn’t speculative fiction cover? Here are three examples:   Historical fiction where the only speculative element is a fictional character that doesn’t affect chronicled events.  Horror fiction with fictional antagonists that aren’t paranormal in nature — think serial killers as opposed to vampires, werewolves, zombies etc.   ‘Mundane science fiction’, a sci-fi subgenre founded by Geoff Ryman and the Clarion West Class of 2004, which limits its scope to Earth-based worlds, no aliens or interstellar travel, and only pre-existing or plausible technology. This is akin to hard science fiction, which focuses on technical accuracy.   If you’re into sci-fi, Ryman and co.’s ‘Mundane Manifesto’ is brilliant (case in point: calling the genre’s tropes a “bonfire of the stupidities”). Definitely recommended reading.   The topic of sci-fi is an excellent segue back into the history of speculative fiction, so let’s take a brief look at that now.   The History Of Speculative Fiction   The idea behind speculative fiction — to ask ‘what if?’, and remark on a world that may have been, that is or that could be — is one that goes back to the classics.   A well-cited example is Medea, a tragedy by ancient Greek playwright Euripides, who explored the sorceress Medea murdering her own children for revenge — whereas in versions of the legend, she was not directly responsible. Euripides used speculation to write an alternate history.   A less famous example is the cleverly-titled novella A True Story, a fiction work by Lucian of Samosata in the second century. Similar to Euripides, Lucian was an ancient Greek writer, but one who speculated on fantastical space travel and war, not to mention aliens. Lucian became the first writer of his time to openly pen fiction (and satirical fiction at that, given the title vs. topics).   Another example is Shakespeare’s A Midsummer Night\'s Dream, which unites the Greek hero Theseus of Athens, the Amazonian Queen Hippolyta, and King Oberon and Queen Titania of the Fairies alongside other characters. Nowadays, the play is known as speculative fiction, despite the phrase not existing then.   Bonus example: I’m going to add one more here, simply because it’s amazing. Margaret Cavendish’s The Blazing World is a speculative work from 1666 about a utopian society, accessible through a portal in the North Pole. Utter genius.   The term ‘speculative fiction’ was eventually coined by author Robert Heinlein in 1941 and publicised in his 1947 essay, On the Writing of Speculative Fiction. Heinlein, a science fiction writer, argued that unlike the pulp sci-fi of his time, speculative fiction focused on human-centred reactions to posed scientific or technological problems, and deserved the artistic merit of literary fiction. Sci-fi’s close association with speculative fiction is largely thanks to Heinlein.   As successful authors like Margaret Atwood and Ursula Le Guin weighed in on such delineations (Le Guin has argued for abandoning genres altogether), speculative fiction expanded into particular genres like fantasy, dystopian fiction and more. Today, speculative fiction’s family of subgenres make it a broad literary term in keeping with the evolution of its stories. It’s to these subgenres that we’ll turn next.   Subgenres Of Speculative Fiction  Science Fiction  Given sci-fi’s relationship to speculative fiction, it’s a good subgenre to start with. Science fiction with speculative elements uses advanced technology like interstellar travel, which can lead to encounters with extraterrestrials. It employs tropes like teleportation, parallel worlds or alternate universes, time travel and even magic; space operas, as a subset of sci-fi stories, are particularly grand in scale. Such speculative leaps are precisely what mundane sci-fi opposes, as they’re deemed too unlikely to ever happen in the real world.   Fantasy Fiction  Fantasy is a purely speculative genre of fiction, where concepts are fantastical because of the inclusion of magical powers, mythical creatures etc. Like sci-fi, fantasy exists on a spectrum from low fantasy based in the real world, to high or epic fantasy (eg. ‘sword and sorcery’ fantasy) set in alternate or secondary worlds. Fantasy fiction also includes many subgenres like dark fantasy, fables, fairy tales, urban fantasy and magical realism.   Science Fiction Fantasy   As you might guess, sci-fi fantasy is a blend of science fiction and fantasy stories, wherein the sci-fi also has fantasy elements such as magic and myth.   Superhero Fiction  While we’re still thinking about sci-fi, consider superhero fiction like DC’s alien superhero Superman, or Marvel’s many superheroes eg. the Avengers. While tales about beings with superhuman powers fighting evil supervillains could easily be categorised as fantasy or paranormal, superhero stories have become a behemoth in their own right — just look at the world’s devoted comic-based fandoms.   Paranormal Fiction  Similar to superhero fiction, paranormal fiction could also be classed as fantasy, but the sheer volume of topics and titles has culminated in its own recognised genre. Paranormal fiction tells of secret phenomena that generally defy science and the natural world, involving creatures from fables, folklore, fairy tales and pop culture eg. vampires, werewolves, zombies, witches. It can also include psychic abilities like levitation and telepathy. This particular genre has many subgenres, such as paranormal romance, which has produced multiple international bestsellers, particularly in the young adult (YA) category.   Supernatural Fiction  Like the paranormal genre, supernatural fiction also eludes scientific explanation, focusing on death and the afterlife — with heavenly deities like gods/goddesses and angels, as well as resurrection, reincarnation and the soul. Subgenres include supernatural horror and thrillers; ghost, gothic and weird fiction; and anything else of a spiritual nature that morphs into the macabre.   Utopian Fiction  Utopian fiction centres on the concept of an ideal world, and the potential impact of human beings on these seemingly perfect civilisations.   Dystopian Fiction  Conversely, dystopian novels depict governments and societies, often totalitarian, where people’s suffering is as rampant as the injustice at its core. Such speculative literature often sets stories in places not normally equated with bleak future states.   Apocalyptic Fiction  Apocalyptic fiction involves disasters that end in large-scale population death and destruction. Stories involve catastrophic events like meteorological disasters, nuclear wars or pandemic diseases, centring on characters fighting to survive.   Post-Apocalyptic Fiction  If the apocalyptic genre is ‘before’, then post-apocalyptic fiction is the ‘after’ of these monumentally devastating events. Any characters that survived must now learn to endure the consequences of the apocalypse, which can range from a nuclear holocaust to societal breakdown, and may include paranormal aspects.   Alternate History Fiction  As we saw in Euripides’ Medea, alternate history fiction provides a fork in the road to explore historical events and their potential for lives unled.   Examples Of Speculative Fiction  The Expanse Series By James S. A. Corey  This hard sci-fi modern classic, starting with the first novel Leviathan Wakes, speculates about humans colonising the solar system without interstellar travel eg. Mars and the Asteroid Belt beyond it — but with Earth and Mars in conflict.   A Song Of Ice And Fire Series By George R. R. Martin  We’ve already mentioned Tolkien, so let’s look at Martin’s epic fantasy works, also known as the TV adaptation Game of Thrones. You can’t get more speculative than situating this fictional ‘War of the Roses’ alongside dragons, sorcery and ice zombies.   Dune Series By Frank Herbert  An older classic and fantastical space opera, the titular first novel and its series are a sci-fi fantasy of grandeur. Unlike The Expanse, Dune does have interstellar travel, as well as magic, alien sandworms, a prophecy and the mystical Spice Melange.   Warbringer By Leigh Bardugo  YA fantasy bestseller Bardugo picks up the mantle of depicting Wonder Woman in a comic novelisation of Diana’s origin story. Prior to becoming the superheroine we all know and love, the novel sees her befriend a descendant of Helen of Troy.   The Vampire Chronicles Series By Anne Rice  Before the TV series hits our screens, revisit Rice’s fully-realised paranormal world of vampire mythology in the series’ first novel Interview With The Vampire, which is not only a cultural phenomenon but also a masterwork of the genre.   The Call Of Cthulhu And Other Weird Stories By H. P. Lovecraft  Lovecraft’s supernatural The Call of Cthulhu is one of his best-known stories, and features a kraken-like creature with wings — complete with a cult of worshippers — and the power to drive people insane through subconscious control.   Gulliver\'s Travels By Jonathan Swift  A stinging satire of adventure travel that helped birth the novel format, Swift’s protagonist journeys to far-flung locales where he meets philosophers, scientists, mages, immortals, and intellectually superior horses ruling over humans.  1984 By George Orwell  You could well argue there’s no more relevant dystopian tale than Orwell’s 1984 — and we’re 38 years on from that fateful year. Yet here we are, still grappling with the same totalitarian fears; the unfortunate hallmark of a truly well-crafted tale.   World War Z By Max Brooks  Given the last example, it’s not surprising we’ve made it to the zombie apocalypse; though Brooks’ novel is simultaneously post-apocalyptic, with its 10-year span that begins with rumours of a new pandemic from China (sound familiar?).   The Stand By Stephen King  Following on from a zombie pandemic, let’s get a little more real with fiction master King’s actual pandemic novel, a post-apocalyptic tale of an influenza-based plague that (wait for it) kills 99.4% of the population. Cue civilisation imploding.   The Man In The High Castle By Philip K. Dick  Finally, we end on an alternate history classic, with Dick speculating, ‘what if Germany had won World War II?’. The answer to this question sets the novel in an America where New York is Nazi territory and Japan rules over California.   How To Write Speculative Fiction  Now that we’re clear on what speculative fiction is (and what it isn’t), how do you go about creating these world-bending stories for yourself?   Here are our 5 steps to writing speculative fiction:   1. Form Your Idea  Your first step is to identify an idea for a story. Speculative fiction deals in ‘what if’s, so let’s start there. Here’s an example you may already be familiar with.  Margaret Atwood’s idea for The Handmaid’s Tale came from a conversation with a friend in the 1980s about feminism and women being outside the home, and those who wanted to reverse the trend. Atwood wondered what it would take to do that, and in answering her question, the world of Gilead and its handmaids was born.   Whether you subscribe to Atwood’s definition of speculative fiction or not, mining current events, society, culture, and the latest research for good ideas to build a concept from will grant you many an interesting ‘what if’ to ponder.   2. Do Your Research  Despite the fantastical nature of speculative fiction, if your story is in any way based on the real world, it’s likely you’ll need to do some research, such as when writing sci-fi stories inspired by science or technology. Not all science fiction will need this as a prerequisite, but grounding such stories with real things tends to strengthen them.   There’s also a point to be made here about sensitivity. If you’re broaching topics that involve those in a minority, potentially triggering subjects or cultural taboos, it’s important to do your due diligence as a professional in the writing community. And that means doing your research and crafting authentic portrayals.   3. Build Your World  If you’re like me, this is the fun part. World-building, particularly in fantasy, looks top-down at the world you’re creating — from the realm’s geography, to its people and civilisations. This also includes society, politics, the economy and technology; which in turn means defining warfare, and what magic or myths to include.   That said, your world-building doesn’t need to be complex. The key is consistency, and rules with discernable stakes (which also aid your central conflict). Within the realm of the speculative, as in fantasy or dystopias, defining your magical systems or the rules your society is based on will help readers navigate your story.   For more on world-building, see our ‘Top Tips For Speculative Fiction Writing’ below in the section following this one.  4. Outline Your Story  So, you’ve got an idea, and you’ve done your research and world-building. Great! Now comes your story outline. This can be as simple or as granular as you like, depending on whether you’re a ‘pantser’ or a ‘plotter’ when it comes to planning. Either way, the reason for outlining in speculative fiction is to clarify your world and its consequences for your characters, and then build your arc.   Think about the idea you’ve come up with and how it impacts your main character. Are they high or low on the food chain of the world you’ve developed? Where do you want them to end up, and how? What are the main problems that they’ll face? Asking yourself these questions will help you plan your story’s outline. Need help? Check out our article on plot points.   5. Write!  For the plotters amongst us, your research, world-building and outline should equip you with more than enough to get started. For the pantsers, this will be where you finally dispense with all the planning and just write. So, what are you waiting for?   Pro tip: Some people recommend writing first thing in the morning or late at night — essentially, when our thoughts are more free-flowing — for creative effect.   Top Tips For Speculative Fiction Writing  What if you really want to try your hand at speculative fiction- but you just can’t seem to make the words happen? We’ve got you covered.   Here are 3 more tips and tricks for writing speculative fiction stories:  1. Brainstorm   This is where you try and think of as many ideas as possible without judging them, then tease out the golden thread of a story. You don’t need to do it all in one sitting, but your goal is to look for new and unexpected combinations and connections.   One way to do this is by thinking about conversations eg. like Margaret Atwood, or eavesdropping on new ones in cafes, on public transport, at the park, anywhere; all for the sake of potential inspiration, and to get you asking questions that can lead to intriguing tangents, and eventually stories.   Here’s my own method: handwrite your brain dump of ideas, if you can, as there’s something about physically jotting them down; it probably facilitates the next step. Then, go do something else- ideally, something manual like cleaning, exercising, showering, or driving (Spielberg gets his best ideas on the road). And finally… wait. When your mind is quiet, like when meditating or on the verge of falling asleep, that’s when your best ideas will strike.   Or, why not use one of our sci-fi writing prompts or our fantasy prompts as a jumping-off point? 2. Research Building Your World  If going directly from researching to world-building is too much of a jump, don’t worry. The internet has a plethora of resources to help you build your world.   Brandon Sanderson, author of bestselling fantasy and sci-fi stories like the Mistborn series, has entire YouTube playlists devoted to his writing process. As part of his 2020 creative writing lectures at US Brigham Young University, check out his world-building part one and part two videos.   Another writer of bestselling speculative fiction eg. the Broken Earth trilogy, N.K. Jemisin is a fantasy and sci-fi author with superb educational content; her website hosts a great presentation from one of her webinars.   World Anvil is a resource I’ve been recommended on Twitter more times than I can count for world-building, whether for writing fiction or D&D-style RPGs (that’s ‘Dungeons and Dragons’ and role-playing games, for you non-nerds). A word of warning: get ready for more links than you can poke a sword at.   Why not check out our articles on world-building or have a look at our upcoming events or courses that will help you get started? 3. Read, Read, Read   This is a wonderful tip, particularly if speculative fiction is new to you (and if you’re a bookworm, all the better): immerse yourself in the greats. Writing isn’t just rewriting, as they say- it’s reading, and reading speculative classics, modern or otherwise, can give you the hit of inspiration you need to think outside the box. So, jump back to the ‘Examples Of Speculative Fiction’ above, and add them to your to-be-read (TBR) list for a heady dose of speculation. Frequently Asked Questions  What Is Speculative Fiction?  Speculative fiction refers to genre-based fiction with concepts grounded in things that don’t exist in the world as we know it. An umbrella term, it includes genres like fantasy, dystopian and science fiction (which it was originally associated with), and covers imaginative stories of conjecture that ask questions, particularly ‘what if?’. Speculative fiction has evolved since its twentieth-century inception to become the creative ‘super-genre’ it’s known as today.   What Is The Main Purpose Of Speculative Fiction?  The purpose of speculative fiction is, unsurprisingly, to speculate: to think, to guess,  and to ask questions (eg. ‘what if?’) of the world we live in, its history and its future. Speculative fiction then explores the answers to these questions through stories of varying imaginative degrees. Like reading more generally, speculative fiction can be a form of entertainment and escape. Where it differs from literary fiction is perhaps in its attempt to not only illuminate the human condition, but also challenge our own world views and understanding of them- with the goal of deeper personal insight.   What Is The Difference Between Science Fiction And Speculative Fiction?  Science fiction (sci-fi) is a genre within the ‘super-genre’ of speculative fiction, and tells stories about science and technology with outer space as a frequent theme. ‘Speculative fiction’ as a term has been strongly connected with science fiction since its inception and popularisation by Robert Heinlein in 1941 and 1947, who was himself a science fiction author. Heinlein argued that speculative fiction was a subset of sci-fi more slanted towards literary fiction, unlike the formulaic pulp sci-fi of his day. Today, speculative fiction has expanded to include genres like fantasy and more.   Is Magical Realism Speculative Fiction?  Magical realism, as a subgenre of fantasy fiction, can be classified, like fantasy and science fiction, under the broad ‘supergenre’ of speculative fiction. Magical realism can be speculative as the fantastical elements of such fictional worlds exist beyond the realm of our own. This, however, does depend on your definition of speculative fiction being less strict than author Margaret Atwood’s, which leans into real-world societal scenarios that have not yet come to pass (such as in her speculative novel and bestseller The Handmaid’s Tale).   Writing Speculative Fiction Stories As you’ve seen throughout this article, speculative fiction is a broad literary term. But more importantly, speculative fiction isn’t just an assortment of other genres- it’s a way of telling visionary stories that excite and inspire us as engaged readers, in a world that sometimes fails to. Speculative fiction highlights the awe of exploring other realms and other ideas, and in doing so, reflects something back to us: the limitless potential of the human imagination.   And, happily, that’s something we don’t need to speculate about.  

From a young age, I gravitated towards anything that might spook or scare me, finding a thrill in the fear and the curling of toes, drawn always to the dark and the gothic. I am still the same today, and people have been fascinated with these fictional worlds filled with ghosts - where usually your imagination alone can be your worst enemy - for hundreds of years. There is psychology behind this, but we won’t go into that here. Instead, let’s celebrate the genre that sets hearts racing, that makes characters out of eerie settings and that lets you explore that space beyond reality.   Our love of the gothic must surely come from the exploration of unknown worlds, dark places and the supernatural; all those things that are usually out of reach for us but that we can leave safely behind once we close the pages. It’s a genre that has reinvented itself many times over the centuries and birthed numerous sub-genres, and which still to this day attracts readers of all ages.   In this guide, we will discuss all things gothic literature, its inner workings and its influence on our wider cultures, taking a look at key tropes, themes and motifs. And if you aspire to be a gothic writer yourself, this guide will show you everything you need to know about gothic fiction and its essential ingredients.  What Is Gothic Literature? There are many definitions of what gothic literature is, but all state that it is a story of fear and terror with emotional extremes and dark themes. It has regularly been used as a literary device to highlight social issues and injustices, which is possibly one reason for its enduring popularity.   Gothic literature rose from the Romantic period of the eighteenth century and you can trace its roots to the architecture of medieval Europe, with buildings that were full of intricate details and cavernous spaces, and ornate decoration that gave us gargoyles and grotesque waterspouts - foreboding spaces that looked like they had a story to tell. Romanticism was characterised by emotion and individualism, nature and the glorification of medieval times. Gothicism embraced these elements, too, but it focused more on the darker side of humanity, particularly evil, sin and purgatory.   The root of gothic literature is widely attributed to Horace Walpole’s Castle of Otranto in 1765 - he even put the word ‘gothic’ in the subtitle of the second edition. But what did that word mean to him all those years ago? It meant ‘barbarous’ and ‘deriving from the Middle Ages’, not words we might associate with it now, but from his novel trick, he spawned an entirely new genre. One which included the supernatural, the classic gothic tropes of doors closing and floorboards squeaking, and most importantly a frightening old building.  This is the heart of gothic fiction - the things that lurk in the corners both in reality and in the mind. But it was the gothic stories of vulnerability and conflict that were relatable to society, and so gothic literature flourished.  Let’s take a closer look at the elements that make up gothic fiction.  Key Elements Of Gothic Literature Place  Probably the most important part of the gothic novel is the setting. Most will think instantly of castles and gloomy houses, of heaths and moors, of isolated, dark corners of the world. Many gothic novels contain a haunted house or building, but in reality, the house comes to represent more than just bricks and mortar. It is a mirror of the mind, of compartmentalising, of locking away the truths of a life, before the lies and deceit come back to haunt our characters.   Physically, too, the setting typical of gothic literature is hidden, pulling our characters further from society and further from help, leaving them to the elements of the Earth and the evil that might be seeking them.   Think of Jonathan Harker becoming trapped in Count Dracula’s castle, or the secrets of Manderley in Rebecca, or the brooding, sweeping moors of Wuthering Heights. The place becomes a character, influencing our protagonist from the first page.  The Supernatural  Can we call gothic fiction gothic without a ghost or two? Or at least the threat of a ghost? Sometimes, simply, it is all in the mind, but this is where gothic literature stands apart from all other genres - your imagination does the work for you. What might be there is often far scarier than reality. But what gothic literature does so well is present us with a world of doubt, particularly about the supernatural and spiritual. It presents the possibility of things beyond reason and breaks down the limits of our everyday lives.  Ghosts bring with them a demand, a curse or a plea. Out of their proper time and place, they disrupt our sense of what is present and what is past, but more about this later.  Atmosphere  Gothic literature is dripping in atmosphere, probably more so than any other genre. Place, as mentioned above, plays a big part in the setting of the atmosphere, but it goes much deeper than that. Atmosphere comes from the writer’s tone and use of language, from the implied, from the internal and external conflicts, from the characters themselves, and from the building of suspense and mystery.  Often, too, the atmosphere created is claustrophobic. Settings are small, with little opportunity to escape.  Secret Places  Gothic literature is full of secret places - rooms, entire wings, attics. Places that are out of bounds for the protagonist and which, like a child drawn to a jar of sweets, call out for them to go there against all better judgement. What if Belle hadn’t gone to the forbidden west wing and found the rose in Beauty and the Beast? And let’s not forget the secret places in our characters’ minds. They are often places that a reader won’t want to go to either.  Damsels  When we look at the classic gothic novels, a damsel in distress is usually a central part, and this plays into the regular gothic theme of an imbalance of power - women were seen as weaker and often victims of violent acts.   In an opposite way, women are also often portrayed as evil, possessed characters in contrast to their perceived motherly qualities.  Time  Time plays a key part in gothic fiction. There is a preoccupation with glorifying the past. It is typical for there to be elements of the past clashing with the present, bringing with it threat, terror and truth. But it isn’t simply a case of the past catching up with the characters. The past will invariably be accompanied by the uncanny - something frighteningly unfamiliar. The past literally deranges the present.   Terror Vs Horror  There is a clear difference between a reader who enjoys being terrorised and a reader who enjoys being horrified, and here lies the difference between gothic fiction and horror fiction. Ann Radcliffe, a pioneering gothic writer from the late eighteenth century said that terror merely suggests horrific things rather than showing them. Terror is concerned with the psychological experience of being full of fear and dread and thus recognising human limits. She said:  Terror and Horror are so far opposite, that the first expands the soul and awakens the faculties to a high degree of life; the other contracts, freezes and nearly annihilates them. Ann Radcliffe There is a subtlety to gothic stories that allows the mind to wander, a mere hint or suggestion is often enough for us to believe.   Melodrama  Gothic fiction is dramatic because the stakes are high. Characters are usually troubled, with bad things happening to them and around them. Expect much swooning, fainting and screaming. They often, also, have troubled minds.  Burdened Male Protagonist  The men in classic gothic literature are usually wealthy, entitled, and hold a lot of power. Or they may be burdened by a mad wife they need to hide away, or required to marry somebody they don’t love. They represent the best and worst of society and often must face the demon within them in their search for peace. A perfect example of the burdened male protagonist is Maxim from Rebecca by Daphne Du Maurier.  Death  When we think about gothic stories, death is usually a central part of it. Deaths in the past, the threat of imminent death of the protagonist or wider characters, the death of a way of life, even. Let’s look at the opening of Sing, Unburied, Sing by Jesmyn Ward:  I like to think I know what death is. I like to think it’s something I could look at straight. When Pop tell me he need my help and I see that black knife slid into the belt of his pants, I follow Pop out the house, try to keep my back straight, my shoulders even as a hanger; that’s how Pop walks. I try to look like this is normal and boring so Pop will think I’ve earned these thirteen years, so Pop will know I’m ready to pull what needs to be pulled, separate innards from muscle, organs from cavities. I want Pop to know I can get bloody. Today is my birthday. Sing, Unburied, Sing by Jesmyn Ward Those two opening lines set the tone of this novel perfectly. Death is the theme of this beautifully devastating Southern Gothic novel, and that is something that is made clear from the start. I don’t think it is possible to have gothic without death.  Key Tropes In Gothic Fiction Gothic fiction has a set of tropes that are seen over and over again. These are devices used in every novel that the reader will recognise instantly. Here are some of the main ones:   Lights The flickering of lights points to something otherworldly in control. Or a light in an abandoned place tells you something is there that shouldn’t be.   Weather Nothing says gothic more than inclement weather. A good thunderstorm suggests impending doom, high winds are disorienting for our characters and imply godly forces are in play. Typically, classic English gothic texts take place on windy, barren and isolated moors, but by contrast, the sub-genre novels of the Southern Gothic are set in heat-sweltered southern US states, using the dusty, dry environments to show isolation in a different way. These are places that are hard to endure.  Noises Things that go bump in the night. There is always a noise that might draw your character from their bed in the dead of night to investigate. And, of course, you know that is the last thing they should be doing.   Laughter There is truly nothing spookier than hearing a child laugh from somewhere deep in the heart of a gloomy, abandoned house. It is a definite sign that something bad has happened there and you should likely run the other way.  Animals Savage nature- crows, ravens, and wolves have all been vilified in gothic fiction, used as symbols to impress the coming darkness.  Imprisoned Characters There is nothing more gothic-esque than an imprisoned character. Think of Mr Rochester’s wife locked away in the attic in Jane Eyre by Charlotte Bronte, or of Paul Sheldon in Stephen King’s Misery being held captive by a crazed fan.  Key Themes In Gothic Literature What I love more than anything about gothic fiction are the themes that are tackled. A ghost story is never simply a ghost story, a story of madness is never simply a description of insanity. Gothic writers want to convey their message through the story and the underlying meaning of the story - the theme. And the themes of gothic literature draw attention to the very dark side of humanity. Here are some of the main themes of Gothicism:  Appearance vs Reality  Doppelganger/Duality of humanity  Isolation and seclusion  Challenging gender roles  Imbalance of power  Corruption of innocence  Place  Romance  Injustice  Searching for the truth  Gothic Fiction Motifs Motifs are recurring symbolic references that a writer uses to convey an idea. Gothic fiction is full of them, and writers use them repeatedly throughout their novels to reinforce the point they are trying to make. Here are some of the main gothic motifs:  Dreams, nightmares and visions  Mistaken Identity  Omens and prophecies  Light vs darkness  Secrets  Madness  The Uncanny  Examples Of Gothic Tales Some of the greatest stories have been spawned by the gothic genre. Let’s look at the most popular classic gothic novels.  The Castle of Otranto by Horace Walpole is considered the first gothic novel, written in 1764. Set in a haunted castle, the novel combines Walpole’s love of medieval and terror.  The Mysteries of Udolpho by Ann Radcliffe, written in 1794, combines the typical gothic tropes with the author’s love of gothic romance. There’s a crumbling castle, a villainous man, supernatural happenings and a persecuted heroine. Frankenstein by Mary Shelley is a story known the world over. Here we have the archetypal mad scientist and his monstrous creation. The novel centres around Victor’s isolation from society as he delves deeper and deeper into his studies and experiments, losing sight of his responsibilities through his determination to achieve something memorable.  In The Hunchback of Notre Dame by Victor Hugo, the setting in the gothic Notre Dame Cathedral is a full homage to gothic architecture. The classic gothic novel tackles the medieval sin of lust and presents it as natural, at the same time challenging our perception of beauty and what it means to judge people on appearances.   The Fall of the House of Usher by Edgar Allen Poe is considered by some to be the start of the Southern Gothic sub-genre. It has the personified house (“There I could see reflected in the water a clear picture of the dead trees, and of the house and its empty eye-like windows.”), the madness, the typical gothic tropes listed above. But at the heart of this story is decline - the house is split between crumbling walls and perfection, which mirrors the well-being of the characters, the individual, the Usher bloodline, the familial and the collective South.  Wuthering Heights by Emily Bronte hits all the right gothic notes - an eerie, gloomy setting, with the potential of ghosts intervening in the present. Again, this classic tale combines Romanticism with Gothicism.  The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson is the ultimate gothic story concerning the duality of human nature.   Although not always thought to be a true gothic novel, The Picture of Dorian Gray by Oscar Wilde contains the symbol of the devil, devil pacts, and the motif of an ever-changing painting, representing the change in Dorian as his character ages. Dorian’s terror lies in his need to stay forever young and maintain his youthful beauty - a need that takes him down a murderous path.  Dracula by Bram Stoker is probably one of the best-known examples of vampire fiction. But as with all good gothic tales, the themes are what elevate it from simply a blood-sucking story. It draws a picture of Victorian society and the need to lock away people deemed mad or insane, especially the more regularly afflicted women. Isolation and madness are closely linked in this novel, as is the Christian belief of freeing your soul for heaven, which is prominent in many of the works of early gothic writers. The Turn of the Screw by Henry James is a true ghost story with all the gothic elements you would expect - ambiguity about the presence of ghosts, external views vs internal feelings, perception vs reality, and secrets in all the characters.  Now let’s take a closer look at some important contemporary gothic novels from the last hundred years.  Rebecca By Daphne Du Maurier Rebecca is probably one of the best novels ever written (bold statement, I know!) and is a perfect example of contemporary gothic. The novel takes us to Manderley, an imposing home on the isolated Devon coast where the unnamed narrator takes over the role of Mistress of the house. But lurking in every corner is the memory of her husband’s dead wife, Rebecca. Again, the past impacts the present, but the novel really is a masterclass of gothic literature. It addresses themes of isolation, which is such a common thread through the genre, and imprisonment, both literal and of the mind. But the novel particularly excels at linking these themes with place. Manderley is a character in itself which imprints its shackles on the narrator’s mind, sending her to the brink of insanity (helped along nicely by the trickery of Mrs Danvers, of course). Du Maurier creates an atmosphere of threat (a key gothic element mentioned above) as the narrator arrives at Manderley:  …on either side of us was a wall of colour, blood-red, reaching far above our heads. We were amongst the rhododendrons. There was something bewildering, even shocking, about the suddenness of their discovery. The woods had not prepared me for them. They startled me with their crimson faces, massed one upon the other in incredible profusion, showing no leaf, no twig, nothing but the slaughterous red, luscious and fantastic, unlike any rhododendron plant I had seen before….And these were monsters, rearing to the sky, massed like a battalion, too beautiful I thought, too powerful; they were not plants at all. Rebecca by Daphne Du Maurier Can you see how Du Maurier personifies the rhododendrons, creating something threatening from something usually natural and beautiful? This sets up how Manderley will control the protagonist.   Power and control is another theme of Rebecca, but it is rarely physical power that is shown, but rather knowledge wielded over those who are less informed. How can you ever take control if you know nothing of what has come before and those around you know everything? The power will always be with them, regardless of their social status. And this plays into the feelings of isolation and imprisonment for the narrator.  The Haunting Of Hill House By Shirley Jackson No live organism can continue for long to exist sanely under conditions of absolute reality; even larks and katydids are supposed, by some, to dream. Hill House, not sane, stood by itself against its hills, holding darkness within; it had stood so for eighty years and might stand for eighty more. Within, walls continued upright, bricks met neatly, floors were firm, and doors were sensibly shut; silence lay steadily against the wood and stone of Hill House, and whatever walked there, walked alone. The Haunting of Hill House by Shirley Jackson Please, do come in…. or maybe not? This is the opening of The Haunting of Hill House by Shirley Jackson, and here we have the master at work again. A perfect haunted house novel that hits all the right gothic notes.   Beloved By Toni Morrison  I couldn’t write an article about gothic fiction without including Toni Morrison’s Beloved. This is a pure southern gothic novel that forces readers to face the long-lasting, damaging impact of slavery. It doesn’t shy away from brutality, and has all the elements of gothic fiction that you would expect - death, a haunted house, a ghost, and a past impacting on the present.   124 was spiteful. Full of baby’s venom. The women in the house knew it and so did the children. For years each put up with the spite in his own way, but by 1873 Sethe and her daughter Denver were its only victims. The grandmother, Baby Suggs, was dead, and the sons, Howard and Buglar, had run away by the time they were thirteen years old - as soon as merely looking in a mirror shattered it (that was the signal for Buglar); as soon as two tiny handprints appeared in the cake (that was it for Howard). Neither boy waited to see more. Beloved by Toni Morrison The Woman In Black By Susan Hill  There is a deep, creeping sense of dread in The Woman in Black, which Susan Hill conjures so well with her atmospheric writing. Eel Marsh House is a typical gothic building, claustrophobic, spooky and isolated, and Hill uses all the classic gothic tropes that readers of the genre would expect to great effect.   So I thought that night, as I laid my head on the soft pillow and fell eventually into a restless, shadowy sleep, across which figures came and went, troubling me, so that once or twice I half-woke myself, as I cried out or spoke a few incoherent words, I sweated, I turned and turned about, trying to free myself from the nightmares, to escape from my own semi-conscious sense of dread and foreboding, and all the time, piercing through the surface of my dreams, came the terrified whinnying of the pony and the crying and calling of that child over and over, while I stood, helpless in the mist, my feet held fast, my body pulled back, and while behind me, though I could not see, only sense her dark presence, hovered the woman. The Woman in Black by Susan Hill The Last House On Needless Street By Catriona Ward This very recent novel (2021) crosses many genres in my opinion. It is a psychological thriller with moments of pure horror, but it also ticks many of the gothic notes, too. There’s a house, for a start, and this house is boarded up and very creepy. There are bad things that happen there. There’s a cat narrator requiring readers to suspend their disbelief. There are grotesque happenings. But more importantly, there is a past that plays into the present, and that is at the heart of every gothic story.   The past is close tonight. The membrane of time bulges and strains. I hear Mommy in the kitchen, talking to the Chihuahua lady. Mommy’s telling her about the thing with the mouse. That was where all this started. I stop up my ears and turn the TV up, but I can still hear her voice. I remember everything about the thing with the mouse, which is unusual. My memory is Swiss cheese, in general. The Last House On Needless Street by Catriona Ward I can’t say much more about this novel because I wouldn’t want to ruin the brilliance of it - but please do read it.  Gothic novels are as popular now as they have ever been, so let’s discuss why that might be.  The Gothic Genre’s Prevailing Popularity The gothic genre has gone through many revamps and spawned many sub-genres over the centuries, such as Southern Gothic and psychological gothic horror, but it is still as popular today as it ever was. We, as inquisitive humans, want to explore the possibility of the ‘other’, the unknown that brings us fear, and literature is a great way to do that. But Gothicism also shines a light on the injustices of society, which again is a huge draw for readers. There is real depth to the storytelling that goes far deeper than simply the hauntings of a ghost or the blood-sucking of vampires.   Gothicism can be seen across the world, accessible to all cultures, all with their own histories to retell through the uncanny. A whole fashion exists around the world of the undead, and let’s not forget the other forms in which the gothic is celebrated - film and television, poetry, art, music, and computer games. I don’t see gothic literature going anywhere and I’m excited to see how it transforms itself as societies shift around the world.  But put simply, I think we will always have an obsession and interest in the past, and that is why I think Gothicism will endure as it shines its light in all the dark corners of humanity.  Frequently Asked Questions What Are The Five Main Elements Of Gothic Literature? Gothic novels all have a few major elements in common:   A dark and gloomy setting, such as a castle or house  A threatening atmosphere  Supernatural elements, such as a ghost, or the idea of one  Terror that plays with your perception of reality  Death  What Is Considered Gothic Literature? Gothic stories are those that fill readers with terror. They will follow a set of gothic tropes employed to spook and haunt both characters and readers, and they will invariably be set in haunted houses or castles, or in isolated places full of foreboding.   Why Is It Called Gothic Literature? Gothic literature derives from the gothic architecture of medieval times, based on a love and admiration of that period of time.  What Makes A Good Gothic Story? A good gothic story will have a gloomy setting, lots of atmosphere, supernatural elements, and a sense of terror. It will play with the readers\' idea of reality and the bounds of humanity, it will terrorise and spook, it will clash the past and the present, and it will challenge a reader’s understanding of society.  Writing Gothic Fiction Gothic literature has a long and rich history and has had a huge bearing on wider culture across the centuries. As gothic writers, it is important to understand this history, to know what has come before and therefore what readers might expect from us as we pen our own gothic stories. But, of course, to know the rules is to also know how to effectively break and invert them. Let’s keep telling these dark and twisted stories so that in centuries to come the art of Gothicism is still very much alive, unlike the ghosts that might grace those pages.

Have you always wanted to write a historical novel but wondered what that specific literary genre includes? Perhaps you\'re looking for inspiration to create your historical characters? In this guide to historical fiction, I will be discussing what the term means, the various sub-genres of historical fiction, plus top writing tips from successful historical fiction authors, and a summary of all the places you can find inspiration for your own novel. First thing\'s first... What Is Historical Fiction? The historical fiction genre is fiction set during a historical time period. Although some of the events that take place in the book may be based on real events, with a story set against a historically accurate setting - the book is generally populated by fictional characters and is therefore categorised as a work of fiction. Historical fiction includes any books set in the past. That means your book can take place during the ice age, the American Civil War, World War II, or even 1970. A rule of thumb is that if a novel is set more than 50 years in the past it\'s classified as \'historical\'. Although the setting and descriptions of that time should remain historically accurate, the fictional elements can include the events that take place and (most certainly) the characters. Who Is Historical Fiction Written For? Everyone and anyone! Historical fiction caters for adults and children of every age and gender. Because it\'s not pure fiction - elements of it must remain historically accurate - authors are able to adapt it for every age. For instance, you can write a historical fiction book about World War II that caters to all types of audiences: Children: The Skylark\'s War by Hilary McKay and When Hitler Stole Pink Rabbit by Judith Kerr Young adults/teens: The Boy Who Dared by Susan Campbell and Once by Morris Gleitzman Adults looking for historical satire: Catch-22 by Joseph Heller and Slaughterhouse-Five by Kurt Vonnegut Adults wanting poignancy: All the Light We Cannot See by Anthony Doerr and The Night Watch by Sarah Waters The beauty of historically fictional stories is that you can take any historical period and add your own concept, and depending on the audience and their needs, each book can be totally different. What Historical Fiction Is Not Just because historical fiction includes a historical era, do not get it confused with biographical novels, books that were contemporary in their time but are now classics, or non-fiction books written about a certain time in history. When considering writing historical fiction, first ask yourself whether you will be adding fictional elements or keeping it all facts. Why Write Historical Fiction? When it comes to creative writing, and penning your own historical fiction novel, it\'s important to understand exactly who you are writing for and what you want to say. Some people choose to write historical novels because they are interested in specific historical events or eras and want to explore them further through their fiction. Others enjoy the challenge of combining the real past with fictional characters. Alternatively, if you don\'t wish to set your entire book in the past you can write a variety of speculative fiction and have books that time hop (ie time travel novels) or ones that include dual storylines or flashbacks. Different Historical Fiction Genres There are many different types of historical fiction books. Below is a list of some of the most popular along with examples of novels from that sub-genre. As I mentioned above, you don\'t have to stick to just one specific genre in order to inject a little history into your novel - mix them up! Why not write historical romantic adventures, or historical science fiction with LGBT themes? It\'s important that historical fiction is written by as many people from different backgrounds as possible. To understand our future we must understand our past, and to do so effectively we need to hear everyone\'s voices and see the world through the eyes of everyone who came before us.Let\'s look at some sub-genres: Historical Romance Example: The Bridgerton series by Julia Quinn This is by far the most popular genre of all historical fiction. Whether your hero is falling in love with Regency aristocracy, or a Victorian orphan, many readers enjoy being transported to a time in history where lovers, and love, looked very different. Biographical Historical Fiction Example: Angela\'s Ashes by Frank McCourt Not all biographies have to read like boring history textbooks. Many biographical authors take a real historical figure, or a time in their own life, and weave stories amongst the facts. You have to be careful not to re-write someone\'s history, but if you are basing your memoirs on your own life or real family members it\'s okay (with their permission) to add a few fictional twists and turns to make the story more compelling. Historical Fantasy/Science Fiction Example: Outlander series by Diana Gabaldon Historical fantasy and science fiction is a genre that combines fantasy set against the backdrop of a real time, and/or place, in history. It\'s a fun way to add a sprinkle of magic to real historical events and places of interest. Perhaps you want to have dragons fighting alongside Romans in the arena; or write about Cleopatra having magical powers; or have a character who has the ability to jump from century to century. Playing with history this way through fiction can be very rewarding and opens up countless possibilities. Historical Mysteries Example: A Plague on Both Your Houses (Matthew Bartholomew series) by Susanna Gregory  Everyone loves a whodunit - but setting your mystery against the backdrop of a historical time or place adds an extra level of fun and intrigue. Historical Horror Example: The Spirit Engineer by A J West This genre is one of my favourites because there\'s nothing creepier than adding an extra layer of dread to a time in history that was already difficult. In C J Cooke\'s Gothic The Ghost Woods, the author tackles the difficult topic of mother and baby homes and adoption in 1950s and \'60s Britain - set in an eerie mansion beside a haunted forest. Historical Adventures Example: The City of Brass by S. A. Chakraborty When writing historical fiction there are so many events and settings that lend themselves well to action. Whether you are writing about a battle, a quest, or an exploration, you can pick from real events that you embellish, or create your own adventure set in a time period that interests you. LGBT And Diverse Historical Fiction Example: The Mercies by Kiran Millwood Hargrave Diversity of every kind has always been part of history. Some readers are surprised when they come across a historical fiction novel where the hero isn\'t white or the love isn\'t heteronormative - but history proves that this was not rare and deserves to be seen and celebrated. Tipping the Velvet by Sarah Waters is the perfect example of a successful queer historical fiction debut. Set in England during the 1890s, it tells the story of a young woman who falls in love with a male impersonator. When writing diverse historical fiction remember that the characters and the plot must, as always, take centre stage - with the theme and historical setting woven through. Children\'s Historical Fiction Example: When Hitler Stole Pink Rabbit by Judith Kerr The best way to educate children of all ages on history and the way we lived a long time ago is through the joy of storytelling. From The Book Thief to Last of his Name, any time in history can be brought alive for children through storybooks. 5 Elements Needed For Writing Historical Fiction When planning your fictional historical novel there are five important aspects that you need to be aware of before you start writing. 1. Pick A Time Period You can\'t write a historical fiction novel without first choosing a time in history (or more than one time). Historical context is vital for all historical fiction stories as without accuracy you may as well call the novel a fantasy inspired by a certain era. Choose a time in our historical past that resonated with you, and that excites you, as you will be doing a lot of research. If it bores you, then your writing will also bore the reader. Choose a time period that makes you hungry for more! 2. Choose A Historically Accurate Setting Many places are considered historical - others are merely old. Whether you are inspired by a certain castle, monument, natural area or even a place that no longer exists, adding a backdrop that people are familiar with in your book can really ground a reader. Your historical novel only works if the setting and the time period work side by side, and suit the sub-genre. For instance, a Regency romance set in a grand English stately home works really well. Whereas an Egyptian adventure story set in Finland may be a little harder to pull off! 3. Base It On A Historic Event Once you have your chosen period in time and your setting, you\'re free to create your characters and plot. But before that, some writers like to centre their novels around certain historic events. The most important aspect of this is that the historical facts you feature in your book must accurately reflect what really happened at that event. If you\'re writing historical fantasy then it\'s okay to twist things up, but if you intend for your fictional events to be accurate then it\'s very important that you do your research - which means reading as much as you can on the subject and watching documentaries, listening to podcasts, and talking to experts in that era. 4. Create Memorable Main Characters It goes without saying that every memorable book is full of memorable characters. Although you may wish to base some of your characters on real historical figures, the fact you are writing fiction means you are free to create your own characters. It\'s very important that your characters speak, dress and behave appropriately for that time period - but equally, never forget that their sensibilities, emotions, and interactions with others won\'t be too different to how we all still act today. When creating characters also remember that class, social standing and rank were a lot more defined back in the day. Ensure that, before writing your characters, you are familiar with what was (and wasn\'t) acceptable in that time, the foibles and interests of that time period, and create a storyline that fits that era. 5. Make Sure You Know Your Genre Lastly, make sure you know who you are writing for. You may well want to write a historical novel about the Crimean War - but the tone, language, and plot will change dramatically depending on whether you are writing it for a child or an adult, or whether it\'s a romance, adventure or mystery. Top Tips For Writing Historical Fiction The only difference between writing historical fiction and any other genre is that research is key. Getting your historical sources right can be the difference between a good book and a great one. To represent true history, a writer must ensure they know the epoch in which their book is set inside out. They also must enjoy what they are writing about, because they will have to fully immerse themselves in that world for a long time. Let\'s take a look at some other tips top historical fiction authors shared with me for this article: Historical Fiction Authors Share Their Writing Secrets I find it useful to write a plan for my stories, because it guides me to the research I\'ll need. Having to stop and research while writing can really hamper your feel for the flow and plot. Not researching can undermine your work, so getting started early really helps. A J West, author of The Spirit Engineer Always remember that people are people no matter what century they\'re in. For my debut, I made the mistake of thinking I needed to be an expert in the subject matter to the extent that my story was almost overwhelmed by research. The research needs to complement the character\'s storyline. Please don\'t do what I did and go off on a tangent about 17th-century table looms because a character mentioned it in passing! Stacey Thomas, author of The Revels I find reading contemporary fiction written during the time period more helpful than academic texts. Partly for getting dialogue right, but also just a sense of how people used their time and their priorities in life. Mathew West, author of The House Of Footsteps My biggest tip is to only write what you’re absolutely passionate about. Readers can feel that in their bones, and will buy into your story because of your informed enthusiasm. Jacquie Roberts, author of the Quintus Valerius Roman Britain mystery novels I think it’s important to consider what you’re writing. Is it so deeply immersed in the period that you want it to present as if it could have been written by a contemporary author, or is it more modern, or even subversive of the norms of the period? That will affect style. Rosie Andrew, author of The Leviathan For me, I try to really enjoy going down those rabbit holes, exploring details about food, clothes, events that may or may not be relevant. But don\'t be afraid to never actually use any of it in the writing. It\'s still a wonderful way of immersing oneself in the period. Lucy Ashe, 2023 debut novelist The story is the important thing whenever it\'s set, so try not to get bogged down in details. As in all fiction, you want to present great characters with great problems, the historical is just another tool to help you do that. Lizzie Page, author of The Orphanage It’s important to find a way in, to root yourself into the story. My first novel, Rebecca’s Choice, was set in the house my grandparents lived in, where I played as a kid, a house I loved. I took it back to the 1890s and threw research and imagination into the mix. Heidi Gallacher, author of Rebecca\'s Choice 5 Popular Historical Fiction Tropes Like with most genres of books, readers of historical fiction enjoy certain tropes in their stories. Here are five of the most common tropes you may want to include in your own work. 1. Book\'s Titular Hero Returns Much like the parable of the prodigal son, many historical fiction novels love to feature the hero returning home. Perhaps they have been away at war, or on a voyage, or have returned to the family home with a new bride. How have they changed? What secrets are they hiding? What has changed in their absence? 2. Young Woman Determined Many books set in the past enjoy showing women in a time where they had very little autonomy, and having them take back some of that power. Whether that may be a poor widower getting revenge, an orphan girl marrying into a rich family, or a woman out to prove herself against men or a higher class. 3. Wrong Woman This is another popular trope. Perhaps the \'wrong woman\' is a gentleman bringing home a new bride that is about to shake things up for his family. Or perhaps a woman is mistaken for someone she is not. 4. Rags To Riches Much like the story of Aladdin, everyone loves a tale where a person with nothing rises to a higher rank and makes a success of their life. 5. Feuding Families Shakespeare started it with Romeo and Juliet, and now this trope can be found in most genres. Featuring feuding families works really well in the historical fiction genre because there were many times in the past when class put pressure on established and successful families to dominate society. Where To Find Inspiration Are you currently writing historical fiction? You will be surprised how easy it is to find inspiration for your historical stories in the current day. Movies & TV There is no shortage of costume dramas on television and in movies (old and new) that will help you with both plot ideas and research. From the hair, fashion and make-up of the leading ladies, to the historical events that shape the lives of your characters, you can have a lot of fun taking notes while watching your favourite period dramas (not to mention it\'s a great excuse to sit and watch TV all day)! It\'s also useful to make a note of how they spoke back then and the mannerisms of the characters, to help shape your own characters. Real Events There\'s nothing like true events from historical times to make you realise truth can be stranger than fiction. Many authors base their historical fiction novels on an event or a character that once existed, and then filled in the gaps. Whether you are exploring difficult times such as the slave trade or The Great Depression, or more wondrous and niche events such as the invention of the hot air balloon, or the Victorian obsession with seances, there\'s a lot of information to be found online, in libraries and history books. Basing your book on real-life events can be easier in a way, as you have a solid platform from which to launch. But it also means you must be very careful and accurate with your research to ensure you get all the facts right (unless you are writing historical fantasy - in which case you can bend the truth at your whim). Historical Setting Use your book as the perfect excuse to travel. When I was writing Son of Secrets (the second book of my fantasy series) I visited the fabulous Fiesole in Tuscany, Italy. My series is full of past life flashbacks, and I wanted to feature one life set in Roman times. Visiting the setting of my novel was so much more evocative than simply Googling as I got to see not just the sights and history (I visited lots of museums) but experience the smells, the sounds and the general awe of the place. Visiting a place in the past made writing my scenes a lot easier and much more poignant. Museums If you are writing about a specific time in history, museums and working museums (where people are dressed up as characters from that era) can really help. Whether you are researching ancient kings of Egypt at the British Museum, or Jane Austen\'s own house museum in Hampshire, not only will you be inspired by the artefacts and information on display, but you also have access to experts who will be more than happy to talk about their favourite subjects Galleries Likewise, art gives us a unique glimpse into a far-off time. Whether you are at an art gallery for story inspiration or to research fashion and setting, it\'s a great place to soak up the style of a bygone era. In the final book of my fantasy trilogy, Children of Shadows, I was inspired by the painting Primavera - I spent some time imagining the lives of two of the models Botticelli used for the painting and featured them as characters in my book. The beauty of writing historical fiction is that you\'re free to introduce any character you wish, as long as the way you paint that period in time remains accurate. Old Books Visit your local library and read as many books as you can - not just books about the era that interests you but those written during that time. Seeing things from the point of view of an author (what was seen as important, thrilling, scandalous, or story-worthy back then) will give you a glimpse into how you too should approach your story. And remember historical novels are not always set in Europe or America. Contemporary western literature dates back hundreds of years and can be a great source of inspiration, but likewise, there are many other works from all around the world that may inspire you. Interview Someone Who Was There If you are writing historical fiction set in the past seventy years, why not interview someone who actually lived back then? A real person\'s life experience will enable you to re-live historical events through the eyes of someone who was actually there. Likewise, you can watch interviews on YouTube. I recently watched a 1990s interview of a woman who had survived the Titanic. It was fascinating to hear someone who was really there recount the horror of that fateful night. Family History A fiction writer will always draw inspiration from the people in their own lives - whether they mean to or not. A flick through an old family photo album or a chat with your great aunt may well uncover some great ideas for your next novel. Sometimes family members have old relics and antiques that they will want to show you, or outfits from decades ago. Most of these items will probably come with their own story attached. You may even discover some family secrets you never knew about! Likewise, signing up for sites like Ancestry.com can help you trace your family tree, enabling you to see photos and documents from long-forgotten relatives. So go and speak to the eldest person in your family and ask them questions. You never know what you may walk away with! The Author\'s Imagination Many authors pluck ideas out of thin air, using the \'what if?\' method of brainstorming. It\'s a very easy technique. All you have to do is think of a situation and ask \'what if?\' Although this is popular for those writing contemporary genre, you can use modern-day scenarios to inspire your historical fiction too. For instance, you may be sitting on a train and see a woman accidentally pick up the wrong piece of luggage and ask yourself \'what if two characters in my book did that... except it\'s 1899 and they are on the Orient Express... and one is a spy?\' Frequently Asked Questions What Is Historical Fiction? Historical fiction is a genre of novel whereby the author is inspired by a real historical event or period in history and uses that as the backdrop of their book. Unlike historical non-fiction, where the book will be a factual account of a person or era in history, historical fiction is simply set in that time or inspired by something that happened in the past - the author is free to twist and change it at their will. What Is A Historical Fiction Example? Historical fiction can include more than one sub-genre. An example may be a historical romance series such as Bridgerton, set in the Regency era (which has gone on to be a top-grossing Netflix production), it can also include historical fantasy such as Outlander (also a big TV hit) or something a little more serious. What Are 3 Characteristics Of Historical Fiction? 1. Historical Accuracy It\'s very important that authors of historical fiction do their research. Unless you are writing fantasy and have purposely misrepresented a certain time period, your book will lose credibility if you do not portray that era accurately. 2. Authenticity Be authentic. It really helps to have a genuine love of a certain time in history if you choose to write about it. 3. Sensitivity An author must be sensitive when writing historical fiction; especially if they are focusing on diverse characters or contentious issues. For this reason, I would strongly recommend all writers (especially those writing historical fiction) use sensitivity readers and consult experts from that era. As a writer, you don\'t want your book to lose credibility because you are either insensitive or inaccurate. In Summary Historical fiction is a fun, fascinating and varied genre, covering many different themes and styles - for every age and reader. I hope you have found my guide to writing historical fiction both interesting and informative, and I hope your books will one day make it into an article just like this one!

When it comes to writing, people often focus on plot, character, and setting, but the emotional landscape you create in your story is important too. In this guide, you’re going to learn ten ways to convey emotions in your writing, so you can create unforgettable characters and delight your readers, immediately drawing them into your stories.   You’ll get a set of practical techniques to use, whatever kind of story you’re telling, many of which I didn’t know about when I wrote my first two novels. We’ll look at why characters are key when it comes to writing emotion and achieving emotional mastery, then I’ll answer three of the most frequently asked questions about emotions in writing.   Why Are Emotions Important In Writing? As story creators, we want readers to identify with our characters and immerse themselves in our story worlds, so they get hooked and keep reading. We do that using emotion. Emotion also helps readers gain understanding and perspective from different viewpoints, as well as providing an opportunity for them to escape from the ‘real world’ for a while.   There are three types of emotion in writing:   Emotion experienced by you, the writerEmotion experienced by the character  And an emotional response from the reader These are different things. For example, you might feel impatient to finish writing a scene, while your main character is in love, and you\'re aiming for the reader to feel suspicious. Or perhaps you’re in love with your characters, your point of view character feels guilty, and you want your reader to be desperate find out what happens next.  Consider your own emotions and whether they are ending up on the page. Here’s a fairly common example: a writer feels bored and therefore writes a scene where the characters are bored, which will bore her readers. I’m using a negative to make a point – so bear with me!  You can address how you are feeling by using Julia Cameron’s Morning Pages, and by learning self-care for writers; both of which are outside the scope of this guide. Or see our article on writing and burnout for more self-care tips. There is a way of using your own emotional experiences to your advantage when writing emotions, using a theatrical technique called ‘emotion memory’ – more on that later.  Going back to the example of the bored writer writing a boring scene that bores the reader, the solution to this problem is to consider upfront what emotional effect you want to have on your reader, asking:  What do you want your reader to experience?   The best way to create an emotional response in your reader is to have them identify with your characters and fully immerse themselves in their world. If you’re telling any kind of story, whether you’re a playwright, a screenwriter, a memoirist or a novelist, the steps are the same:   Decide what you want the reader to experience. Get the reader to identify with your main characters.  Easier said than done, right? Keep reading!  Focus On Your Characters  We’ve established that, when conveying emotion in writing, the most crucial thing to consider is how to get readers to respond to your characters. Here’s one way to do that. I call it the C.A.S.E. method for short, which stands for contradictions, action, sympathy and empathy:  Well-rounded, authentic characters, just like all human beings, will have contradictions. Contradictions make characters seem real and therefore relatable. Readers like characters who take action, and who do something about the dilemma they’re in.   Initially, readers will sympathise with the main character, and want to know what happens next.  As the problems deepen, readers empathise with the character and wonder what they would do in the same situation. Empathy happens as a result of the first three.  Here’s an example from the psychological thriller Wrong Place, Wrong Time by Gillian McAllister (2022):  The main character, Jen, feels guilty about not being a good mother, but at the same time, she’s prepared to do anything to help her son. (Contradiction)  Jen tries to solve the seemingly impossible problem she faces. (Action) We feel sorry for her because of what happens at the beginning of the book and as a result – I won’t give it away. (Sympathy)  We can stand in her shoes and see the world through her eyes because of the vivid detail McAllister uses and because of the compelling dilemma Jen faces. We wonder what we would do in a similar situation. (Empathy)  Character contradictions, action, sympathy and empathy work together. If one is missing, it feels like something is wrong! All four will affect your readers\' emotions and elicit a response in them, leading to emotional engagement – and they’ll want to keep reading.   How To Convey Emotion In Writing   So you know you need C.A.S.E., but also, in order for readers to engage, the emotions your characters experience must seem authentic. How do you do that? I’m glad you asked! Here are ten ways to convey emotion in your writing. You can use:  Observation from life Emotion memory The body  The whole message Emotional leakage Idioms Imagery Form Emotion encyclopaedias The objective correlative  1. Use Observations From Life During your day-to-day life, observe how you and others experience and exhibit emotions. What goes on in your body and mind and in your environment? What behaviours and words are associated with the emotion? If you work with other people, this technique is particularly useful. Take a breath, observe, and note down what happened later. Over time you’ll create a resource you can draw on when you’re writing. There are instances where it wouldn’t be appropriate to step back and observe in the moment, of course, but you can still make notes later. I’ve put observation first because it’s the most important.  2. Use Emotion Memory Emotion memory is a technique developed by the theatre director Stanislavski, where actors recall experiencing an emotion to enact it authentically on stage. It’s where method acting comes from! There’s a section on Stanislavski in Dramatic Techniques for Creative Writers by Jules Horne (2018) in case you want to follow this up. Here’s how to use emotion memory in your writing:  Recall a memory in as much detail as possible, using the senses.  Start small: use the memory of leaves falling from trees in a park or the hottest day in summer or your earliest memory of the festive season, for instance.  Don’t do this with troubling memories at first, and if you do want to explore more difficult or intense emotions, have someone around to talk to, plus the support of a writing group.  Now imagine you can connect to a character’s (made up) memories in a similar way. Use memory in your writing to convey the feelings that came up as you or your character remembered the past.  3. Use The Body Both observation from life and emotion memory will help with this one. Write about internal and external bodily sensations. When your character is angry, for example, where in their body do they feel it? If someone slaps them across the face, they might feel pain from the slap, and a hot sensation in the chest, or they may experience tunnel vision. Hint at these bodily experiences during the relevant scene.   For example, in the opening sequence of The Namesake – depicting the birth of the main character – Jhumpa Lahiri shows us Ashima’s emotions using:   Her contractions,  The people around her,  Her memories.   In fact, Lahiri uses observation from life, emotion memory, and the body both to show us how Ashima might be feeling as she goes into labour, and to evoke an emotional response in the reader. There’s only one paragraph where we’re told directly how she feels – ‘astonished’ and ‘terrified’ – and even that’s in the context of a recent memory. In other words, the opening of The Namesake is also a good example of communicating emotion using show not tell. You can read the opening via the ‘look inside’ feature on online bookstores.  4. Use The Whole Message   In his book Persuasion: The Art of Influencing People (2013), James Borg discusses research by sociolinguistics experts that shows:   “a [spoken] message could be classified as 55 per cent visual (non-verbal), 38 per cent vocal (such things as tone or voice, rhythm, inflection) and 7 per cent verbal (meaning the actual words used).” (p. 58)  Only 7% of spoken communication comes from the meaning of the words! When we hear people talk, we are all used to looking for clues from other sources. Your readers will do this too and will bring some of that experience to bear on your story. This means that using a character’s tone of voice and behaviour to show that they are angry or embarrassed – or even using body language instead of dialogue – will work much better than simply telling us about it.  5. Use ‘Emotional Leakage’   Related to the idea of using the ‘whole message’, James Borg also tells us that we communicate in intentional and unintentional ways. This is good news for fiction writers, because unintended ‘emotional leakage’ (body language, gestures, fleeting expressions) can give away how a character is feeling inside. For example, body language might undermine what a character is saying, showing us how they are truly feeling. Because we’re used to looking for the 93% of a message that isn’t verbal, we’ll attribute more meaning to body language than to the words a character speaks.   James Borg has also written another book, called Body Language (2008), where he explores this idea further.   We communicate through context, too: through personal circumstances, social status and presentation, through clothes, hair and personal grooming, for instance. In a story, if a character’s presentation is out of the ordinary for the situation, or conflicts with their supposed social status, this immediately causes intrigue.   For instance, when a character who looks as if he spent the night under a hedge turns up as the replacement vicar at a wedding service, the reader will wonder what’s going on and why. Your character\'s thoughts and contexts can usefully contradict other aspects of what they say and do, so you can use context and ‘emotional leakage’ together. For example, if a character turns up to her daughter’s wedding with two black-eyes and a hangover and tells everyone she’s fine, the reader will know that\'s not the case.   Agatha Christie frequently uses emotional leakage to indicate how her characters are really feeling, but also to trick us with misdirection and red herrings.   For instance, near the beginning of Sad Cypress (1940), Mrs Welman’s two nurses are talking over tea, and we get a scene involving mainly dialogue. We learn that “Nurse O’Brien pursed her lips and put her head on one side” and a few lines later “over their steaming cups the women drew a little closer together.”   A few paragraphs further on, we hear that Mrs Welman woke in the night asking for a photograph of Lewis, a handsome man who was not her husband. Christie tells us that “Nurse Hopkins had a long nose, and the end of it quivered a little with pleasurable emotion.”  The two nurses are acting as if they are proper while we know they are gossiping. What’s more, the reader is listening in, sharing in the gossip.   6. Use Idioms Used sparingly, idioms are a handy shortcut: readers will know what you mean. \'Her heart sank\', for example, lets us know the bodily sensation and the emotion in three words. More interestingly, you can play with idioms. Rewrite them. Invent your own. Write the opposite. However, don’t rely solely on idioms to convey emotion, and avoid using idioms repeatedly. Some emotional idioms are so well-worn they’ve become clichés: a ray of light representing hope, for instance. Generally, if it’s difficult to imagine it happening to you or in front of you, or if it doesn’t communicate what you want to say in enough depth, it’s probably a cliché, so is best avoided.   7. Use Imagery What is the emotion like when it happens to you or your character? Observation from life and emotion memory will help once again. For example, in my first novel I described a character feeling mortified by saying she ‘went cold slowly, like someone was pouring cold custard over [her] head.’ In the same novel, I described emotional pain which was ‘like a stone in the middle of [her] chest.’ In both of these examples, I was using an image to describe the bodily sensation experienced by the character, which would then (hopefully) convey the emotion to the reader without naming it.   Years after my second novel was published, I realised I was far too fond of using balloon images. For instance, ‘Alex felt as deflated as a popped balloon’, and ‘Mrs Brown’s face [hovered] in front of her like a balloon’, and ‘the words bursting out of her mouth like balloons.’   Unfortunately, when I want to convey emotions, I immediately think of cold custard, stones, and balloons, like I’ve invented my own personal clichés! So be aware that you may have to ‘murder your darlings’ if you grow too fond of particular images like I did. In my current work-in-progress, I’m having to edit for internal stones and balloon images – I managed to avoid the custard!  Ask yourself how deep you want to go: to convey deep emotion, use your own imagery. To avoid slowing the pace, use quick idioms, but do so sparingly.   8. Use Form   You don’t have to be writing concrete poetry or avant-garde fiction to use form to convey emotion. This simply means invoking an emotional reaction in your reader – usually to illustrate how a character is feeling – using the shape of the writing. You could create a fast pace and short clipped sentences to show anger, and give us poignancy and sadness using a slow pace and long sentences, for example.   At the beginning of Jośe Saramago\'s novel Blindness the dialogue isn’t punctuated, creating a sense of confusion after a character goes blind. Saramago replicates what it would be like to suddenly go blind – to hear voices but not know who is talking – so that the reader’s confusion matches the character’s.  9. Use Emotion Encyclopaedias I’ve left emotion encyclopaedias and resources until near the end of this list of techniques because you need to use at least a couple of the others in conjunction with them. However, doing some research is useful, especially if your POV character is experiencing things that you never have, and if they are very different to you.   You can find lists of emotions online. For example, google ‘emotion wheels’ or ‘feeling wheel’ and you’ll likely find a diagram you can download and put up on the wall in your writing space. You can use the emotions on the wheel to brainstorm how a character experiencing that emotion might behave or what body language they might display or what bodily sensations they might notice.   Emotion reference books for writers include: The Emotion Thesaurus by Becca Puglisi and Angela Ackerman (2019), Body Beats to Build On: A Fiction Writer\'s Resource by April Gardner (2019) and Character Reactions from Head to Toe by Valerie Howard (2019).  10. Use An Objective Correlative The objective correlative, or what we called the OC where I used to teach, was made famous by T.S. Eliot. In fact, Eliot said the objective correlative was the only way to communicate an emotion to a reader, which is why I’ve left it till last. There’s no need to read up on literary the theory unless you want to; as readers and viewers we’re used to seeing this technique in action, especially in films.   It’s where a writer uses a thing – an object or a place or event (even the weather) – to invoke an emotional response in the reader, and therefore, in a story, to demonstrate how a character feels, without mentioning the emotion. Earlier I said that using a ray of sunlight to suggest hope is a bit of a cliché. It’s also an example of the OC. Watch a few Hollywood blockbusters and see if you can spot some more over-used examples of the objective correlative! They are often weather or nature-related.  Here’s another example. If I tell you that a character walked home in the rain, got soaked by a passing car, only to discover they were locked out of their house, you’ll probably assume they feel miserable. There’s nothing intrinsic about water or losing your keys that means you have to feel miserable. The OC works for two reasons, because the reader or viewer:  Puts themselves in the character’s shoes almost automatically – we ask how we would feel if the same thing happened to us. Assumes that you’re showing us this rain-soaked character for a reason, otherwise why would they be there? Elements of a story are supposed to communicate something – so we attribute meaning to them.  Notice how, for the OC to work, you have to use show rather than tell. In fact, the objective correlative is, at least partly, a formal way of saying ‘show don’t tell’. Conversely, if you’re not sure how to show instead of tell, then try the OC. Use a thing to represent an emotion.  Emotional Writing: Top Tips  Here are three top tips for conveying and evoking emotion in writing:  1.  If you try any of the above techniques, make it observation from life. Stepping back and observing the life around you will help more than anything else.   2. Remember that your emotional response, your readers’, and your characters’ are all different, but will have an impact on each other.   3. As with all things in writing, conveying emotion is about balance. Think about whether you want the pace to slow down or speed up, for example, when editing a scene.   Frequently Asked Questions In this section I’ll answer three of the most asked questions in relation to emotions in writing:   How do you show emotions in dialogue? What are emotional beats in writing? Why is emotion important in literature?  How Do You Show Emotions In Dialogue? When writing dialogue it’s often better to show your reader your character’s emotions by embedding small details and actions between the lines of speech. The scene from Sad Cypress by Agatha Christie that I mentioned earlier is an example of this. You’re also giving the reader the chance to visualise where the characters are in space. By the way, it’s usually better not to use adverbs after speech tags, which are a ‘tell’ rather than a ‘show.’   Embedding a lot of action and detail in dialogue slows the pace, so consider how fast you want the scene to move and vary the pace across the story as a whole.    Occasionally use the following during the dialogue to show us the emotion:  body language,  facial expressions,  interaction with the environment internal bodily sensations (quick ones, from the point of view character)   What Are Emotional Beats In Writing?  Embedding small details and actions between the lines of speech can be described as ‘adding emotional beats’ to your dialogue. That is, moments of pause where you show us your character\'s feelings and what they\'re experiencing, even when it’s only a raised eyebrow.   At a structural level, emotional beats are the moments when a character has an emotional response to an event, and it motivates them to take action. Emotional beats are, therefore, like the character taking a breath before continuing to solve the dilemma set up at the beginning of the story.   You’ll want a character to be doing something active during the emotional response. Being overcome by grief or realising they’re in love while working on the checkout at a supermarket or arranging flowers in a hospital, for example, works better than the same thing happening when they are lying in bed or watching TV.   Why Is Emotion Important In Literature? We turn to stories to entertain us and also to help us to make sense of the world. Emotions are important in literature because they help us to understand people better, enabling us to practise empathy and problem-solving through reading. In fact, researchers have proved that literature graduates are more empathetic! Deep emotions transport us into the world of the story, allowing us to fully immerse ourselves and escape our ‘real world’ problems for a while.   From a writing point of view, we can use emotions to draw readers into the story and keep them hooked. If your story lacks emotional impact, it’s likely you need to work on the characterisation and on ‘show not tell’. If you want to learn to evoke emotion, start there.   And Finally... I hope you have enjoyed this guide and that it will help you to develop the confidence to try different ways of expressing intense emotion through your writing. It’s such a thrill to hear a reader say that your work has affected them. Remember that characterisation and achieving an emotional impact on your reader are key to conveying emotion, so put aside some time to try out the ten techniques listed with this in mind.  Don’t forget – the emotional effect you want to achieve will come through redrafting. So keep going!  

According to storytelling legend Robert McKee, ‘nothing moves forward in a story except through conflict’. Yet conflict is something we tend to avoid in everyday life — so it can feel strange to subject our beloved characters to the strife that comes with dramatic conflict, especially for new writers. The good news? Your discomfort isn’t for nothing. In fact, a central conflict is the first and foremost ingredient in writing compelling stories. The aim of this guide is to show you how to include it in your writing.   In this article, we’ll cover:  The definition of the term \'central conflict\' The different types of central conflict: internal, external, and the various subcategories Our tips and tricks for creating a central conflict  Frequently asked questions So, what is a central conflict, and how do you use it to craft a propulsive narrative in your stories?   What Is Central Conflict?   Central conflict is when a main character’s strongest desire is met by an equally strong internal or external obstacle.   The best way I’ve seen this explained is in Immediate Fiction by Jerry Cleaver (who as you might guess, is all about getting stories moving, fast). Cleaver states, ‘to create conflict, the kind that’s needed to move story, you must have two elements — a want and an obstacle’. In other words:   Want + Obstacle = CONFLICT  Simple, right? However, there is one condition. The character’s ‘want’ and ‘obstacle’ both have to be strong, so strong that they’ll fight tooth and nail to beat each other. If either the want or the obstacle is weak or unbalanced, the conflict will be too, and the driving force of the story will suffer.   Apply this idea to any classic story, and you get the central conflict definition above. But why is central conflict so important?  What Is The Purpose Of Central Conflict?  The purpose of central conflict is two-fold. At a micro level, your main conflict is the problem your character is trying to solve, starting with the story’s inciting incident and resulting in their actions (or inaction). So, conflict in a story guides your plot. Zooming out to a macro level, your character’s actions in the face of their want and obstacle are what drive the narrative. It’s why your main character should own the central conflict: because they’re in the driver’s seat of your narrative, and as readers, we view your story’s progression through them.   Why does this matter? Well, Cleaver’s got a nifty equation for that too:  Conflict + Action + Resolution = STORY  A major central conflict is one of the core elements of successful storytelling. Conflict forces characters to act, and these actions show us who they are, what they value, and how they think — particularly in adverse situations. Without conflict, nothing happens, and we get bored. There are no stakes, no reason for readers to invest their time or emotions, and no payoff. Without conflict, we disengage. So, we need the push-and-pull of a main character propelled into action against a staunchly opposed force. It’s what gets and keeps us reading.   The Different Types Of Central Conflict   Central conflict can be divided into two categories: internal and external conflicts. External conflict is when a main character is set against another character, society, technology, nature, or even powers like fate or supernatural forces. In contrast, internal conflict is usually a form of self-conflict, which sees a character in opposition with themselves.   Internal Conflict  Character Vs. Self  When the central conflict of a story is between the main character and themselves, it’s often with their own mind (eg. a moral conflict), or specific to mental health (trauma, addiction etc). Internal conflict is often used to shape the narrative of a literary or dramatic character in novels where the focus is on character development over plot. In the case of speculative fiction, these internal conflicts can even be within sub-genres like werewolf tales, where characters may fight against their full-moon affliction. There\'s often one main internal conflict in a story, which is generally only resolved at the very end. Examples:  A classic example of character vs. self as a central conflict is Hamlet, where the play’s titular protagonist wrestles with deciding whether to fulfil his dead father’s wish and kill his murderous uncle.   Another is Rule of Wolves by Leigh Bardugo, where Nikolai is the charming king with a demon inside, and Zoya is his beautiful but bitter army general, wrestling with childhood trauma as a young woman. This is a good example of dual points of view wherein characters’ internal conflicts contrast.   External Conflict  Character Vs. Character  The character vs. character central conflict is a tale as old as every tale ever; it’s why we love hero underdogs and love to hate dastardly villains. In many cases, this acts as the story\'s central conflict. And while this conflict is routinely depicted as the fight between good and evil, it’s also used to depict opposing forces in everything from romantic dramas, to soap operas, and crime thrillers (think the textbook serial-killer antagonist). Examples:  Scott Lynch’s The Lies of Locke Lamora is a character vs. character conflict where master thief Locke swears vengeance on the gang boss who murdered his childhood friends.  In the Throne of Glass series by Sarah J. Maas, the protagonist, Celeana/Aelin faces off against four villains. This gives the seven-book series the room to pursue each conflict, with other characters also layering their own.   Character Vs. Society  An obvious example of this central conflict is a character working against a dystopian government or institution eg. the law, but it can also include pressure from societal norms and traditions, or alternatively, taboos. The protagonist in these scenarios is usually an outsider; a rebel who sits apart from the collective, resisting society’s demands to uphold the status quo — sometimes violently.   Examples:  A classic example is 1984 by George Orwell, where Winston’s job is to rewrite history in a chillingly-envisioned London, under the control of the totalitarian government, The Party.   Brandon Sanderson’s The Final Empire is another epic fantasy. Here, the Skaa live in misery as slaves under the thousand-year-old Lord Ruler’s empire, until a rebel escapes his prison and starts a revolution.   Character Vs. Technology  In a character vs. technology central conflict, the enemy is science and progress, or the pursuit of it eg. inventions (like robots or artificial intelligence) evolving beyond human control. These stories entertain philosophical questions of morality, humanity and consciousness, and religion, with scientists often accused of ‘playing God’. As technology continues to advance, such tales can feel topical, even cautionary.   Examples:  In Mary Shelley’s Frankenstein, the primary theme of creation is told through Dr. Frankenstein, where character vs. technology is his conflict; this is in contrast with the major central conflict for the monster (character vs. society).   I, Robot by Isaac Asimov is an influential collection of short stories within this conflict, and also science fiction. He defines the Three Laws of Robotics that protect humans, and then pushes them to their limits.   Character Vs. Nature  When your character’s battle is with the environment, weather or wildlife, it’s a nature conflict. In the past, this was often centred on the sea or deserted islands, with the challenge of survival against an untamed, unbeatable force. For a main character struggling alone, you can also layer external and internal conflict.  Examples:  In terms of classics, you can’t go past Herman Melville’s Moby Dick, where Ahab’s obsession with the whale that claimed his leg drives him to set sail to hunt the animal down, at all costs.   Another sci-fi example is The Martian by Andy Weir, which sees astronaut Mark stranded alone on Mars, struggling to survive until Earth’s next mission touches down on the red planet.   Character Vs. Fate  Character vs. fate is a well-trodden central conflict, beloved in Greek myth with stories of characters, deities and prophecies. As a conflict, it’s effective at exploring determinism vs. free will for protagonists on seemingly pre-ordained paths. Can they escape their fortune? Will they try? Or will they just wait for fate to claim them, like in the old Greek tragedies? These questions captivate us still.   Examples:  The Wheel of Time by Robert Jordan is a high fantasy example of character vs. fate, where Moiraine searches for the prophesied Dragon Reborn, humanity’s weapon against the Dark One.   The concept (and conflict) in Kristin Cashore’s ‘Graceling’ is that Katsa is born with a killing Grace — a rare, exceptional skill — and must rebel against the king exploiting her fate for a deadly advantage.   Character Vs. Supernatural   A favourite for writers of speculative fiction, the supernatural conflict is all about the unknown (or partially known). This is where stereotypical ideas of ghosts, witches, vampires, werewolves, zombies, gods (and demons), superheroes, and aliens come out to play in the arena of the strange or inexplicable.   Examples:  Jennifer Saint’s Ariadne is a feminist retelling of the Greek myth of Theseus and the Minotaur, also adding gods and demigods to the plot.   The Expanse series by James S. A. Corey is set in a world where humanity has colonised the solar system. And while there are lots of different conflicts, Captain Jim Holden’s is with a mind-bending alien.   How To Create A Central Conflict For Your Story  If you’re already writing, perhaps one of the above main conflicts stands out clearly. But if you haven’t started yet, think about the nugget of an idea you want to pursue. Is it a character, a plot type, or a setting? Going back to want + obstacle, what is the obstacle to a potential main character’s desire that sounds like one of the central conflicts? Go with the most explosive want + obstacle for surefire conflict.   Here are 6 more tips and tricks for creating a central conflict:  Big Obstacles Make For Big Stakes It’s not just about your main character achieving their desire. It’s also about their opposition — the obstacle — doggedly persisting. What’s at stake if your character doesn’t get what they want? Ideally, the opposition winning, with extreme consequences.   Align (Or Misalign) The Conflict With Your Protagonist’s Wants Say your central conflict is your character vs. fate. What if they don’t believe in destiny, actively seeking to act against it? This layer of character vs. self will add tension and weight to their decisions, and make your story more interesting.   Vary Your Characters’ Attitudes Towards The Conflict Your secondary characters won’t always align with your protagonist on how to solve your major conflict. In fact, they may argue about courses of action or even take matters into their own hands ie. layering character vs. character conflict.   Things Have To Keep Getting Worse An excellent way to do this is by staggering your conflict’s development throughout your plot points. If you’re using something like Christopher Booker’s ‘The Seven Basic Plots’, it’s easy, as each plot has a framework for ratcheting up the tension as you progress.   Your Central Conflict Must Be Worthy Of Your Themes This is about not minimising conflict — because when you finally know what your story is about, your conflict will need to be complex enough to carry the themes you’re addressing. Make your central conflict strong, and make it difficult.   Don’t Just Layer Conflict, Layer Obstacles Take a cue from real life: there’s often more than one obstacle to achieving something; smaller, less important obstacles, but obstacles all the same. So, brainstorm what else could stop your main character from getting what they want, and add these in, too.  Frequently Asked Questions  What Is An Example Of Central Conflict?  An example of central conflict is Brandon Sanderson’s The Final Empire (and the rest of the books in Mistborn Era One). The ‘character vs. society’ conflict in this epic fantasy sees the Skaa living in misery as slaves under the thousand-year-old Lord Ruler and his evil ministries, until a Skaa rebel named Kelsier escapes the empire’s prison and starts a revolution.   How Do You Identify A Central Conflict?  To identify a central conflict in a story, ask yourself what the main character’s biggest challenge is: what do they overcome by the end of the story? If the answer is themselves, the central conflict is internal (character vs. self). Otherwise, it’s external (character vs. character, society, technology, nature, fate or supernatural).   What Is A Central Conflict And Climax?  A central conflict and climax refers to a story’s inciting incident, its central conflict that advances the plot’s points, and how the story’s climax is resolved. Here, the central conflict is defined as when a main character’s strongest desire is met by an equally strong internal or external obstacle.   Crafting Central Conflicts As you’ve learnt throughout this guide, central conflict really is the first and foremost ingredient to writing captivating stories. So, ensure that what your character wants and the obstacle to obtaining it are strong, balanced, and directly opposed for a central conflict that hooks readers until your very last page.  

Have you ever felt a lump in your throat as you watched a charity advert depicting suffering animals? Stayed up a little later to finish a book, heart racing as you willed the protagonist to succeed against the odds? Felt inspired by a speech calling for justice and change? Then you have experienced pathos – writing that creates an emotional response.   In this guide, you’ll learn about the origins of our understanding of pathos, read our pathos definition, see how it relates to persuasive writing, and discover how pathos is used to evoke emotion in literature.   What Is Pathos? Pathos is language that appeals to our feelings, causing strong emotional responses.   You will come across pathos every day, particularly in advertisements. That billboard showing a beach holiday paradise, inspiring longing and envy? The series that you just have to watch one more episode of, because you are so invested in the characters? Any time our emotions are engaged, we are experiencing pathos.   The word ‘pathos’ itself comes from the Greek for ‘experience’, or ‘suffering’. Aristotle, a Greek philosopher who lived in 384-322 BCE, wrote about the power of pathos in Rhetoric, which was about the art of persuasion. Aristotle defined pathos as language which can draw emotions and affect people’s judgement, and is, therefore, a powerful method of persuasion, along with ethos and logos.   How Does Pathos Relate To Ethos And Logos? Pathos is just one rhetorical appeal. The other two aspects of rhetoric are ethos (credibility) and logos (logic). Ideally, all three are used to make a strong and persuasive argument.   Ethos is important because it must be present for you to trust the speaker. To persuade, the audience must be convinced of the speaker’s authority or knowledge, and believe that what they are saying is reliable. Ethos can be achieved in a number of ways – by setting out credentials, by explaining their personal experience with the topic via a personal anecdote, and even by the way the speaker presents themselves. An audience’s perception of the morality and personal history of the speaker impacts ethos – we are unlikely to find a serial adulterer reliable on the topic of the importance of marriage and faithfulness, for example.   Logos, meanwhile, is the use of logic to persuade. Including facts, statistics, and logical argument is to use logos. These provide evidence to support points that seem objective and unarguable (though we all know that facts and evidence can be presented in ways that serve a particular point of view).   Aristotle’s Rhetoric demonstrated the need for pathos to work alongside logos and ethos to build an argument. Let’s look at exactly how we might do this.   How Is Pathos Used To Build An Argument? Strong emotional responses make an audience personally invested in a topic, and therefore more susceptible to persuasion. Ideally, rhetoric should employ pathos, ethos and logos in tandem. Facts and statistics presented dryly from a speaker you don’t trust will do little to persuade an audience, as will an appeal to emotion without anything to back it up. Let’s look at some successful examples of pathos in persuasive writing.   In The News/Articles Louise Tickle’s article on accommodation for care leavers in The Guardian evokes our feelings in its eye-catching headline: ‘We are failing children in care – and they are dying in our streets’. This headline works on a number of levels – the protectiveness that the word ‘children’ inspires, the sympathy created by the word ‘failing’, and the appalled horror when we read the word ‘dying’. More subtly, the use of the pronoun ‘our’ means we feel some personal responsibility and perhaps even guilt when considering how these vulnerable young people are being treated. This pathos example is an effective one, as the headline drives a desire for change in the reader, who may go on to support policies or initiatives that would create that change.  In Leanna First-Arai’s article ‘Young Workers are Bridging the Climate and Labour Movements’, published in Teen Vogue, we can see the interplay of creating negative, then positive pathos. At first, the reader feels sympathy and dismay: “Young people have grown up in a chilling environment for labour, with their working lives preceded by decades of union disintegration.” Then, however, First-Arai builds hope and a sense of anticipation for a brighter future: “In the past few years, though, young people have reinvigorated the strike tactic in creative new ways.” Aristotle made the point that pathos is particularly effective when emotions are paired: sadness then happiness, despair then hope. Taking the reader on a moving emotional journey creates a strong connection and adds to the effectiveness of the piece’s persuasive force.  In Politics And Activism Political speeches also make use of pathos to persuade. MP Mhairi Black’s speech to the UK Parliament in May of 2022 makes use of pathos to create a chilling effect: “But most terrifying of all […] is that this government literally want to get rid of the Human Rights Act. And that begs the question, for who do they think rights have gone too far? Do you know how scary it is to sit at home and wonder if it’s you? Is it your rights that are up for grabs?” Often, political speeches contextualise an issue that might feel remote or abstract, by making it personal and drawing on the audience\'s emotions. As we see here, the use of rhetorical questions and the personal pronoun ‘you’ brings the issue home, encouraging a listener to reflect on how they might feel in that situation.  Poet and activist Lynae Vanee’s speech on climate injustice is a rallying call to indignant anger and a desire for change: “Calling communities riddled with convenience stores, gas stations, with only maybe a Walmart or Kroger ‘ghetto’ and actually they\'re just food deserts […] that\'s why it\'s called climate injustice and that\'s why this fight is not just about saving the trees.” Vanee’s use of pathos prompts a desire in listeners to effect change, a powerful tool in political speechmaking.   How Is Pathos Used In Writing?  Pathos is not only used in persuasive writing. A primary aim of creative writing of all types is to provoke emotion in a reader or audience. We can find pathos in screenplays, novels, short stories, and poetry. Let’s look at a few examples.   Akwaeke Emezi’s novel Freshwater creates pathos memorably in an early scene where Ada fails to keep her younger cousin safe: “Añuli looked left, then broke free and darted, small, six, across the road.” The focus on how small and young Añuli is brings home her vulnerability to the reader, adding impact to our fear and worry.   Pathos is used by Kirstin Innes in her novel Scabby Queen to add resonance to the title itself. A character explains the card game of the same name: “The queen goes round and round, and the object is to get rid of her – pass her on to the next one as quickly as you can.” The reader becomes aware that the central character, Clio, is the ‘scabby queen’ as her various relationships disintegrate, lending further poignancy to her situation.   At the conclusion of Vanessa Kisuule’s poem Hollow, the reader is left with a mix of emotions, and a sense of changing perspectives. Inspired by the toppling of the statue of Edward Colston, the poem ends:  But as you landed a piece of you fell off broke away and inside nothing but air. This whole timeYou were hollow. Hollow by Vanessa Kisuule A quiet and understated conclusion, the lines nevertheless leave a lasting impact – perhaps reflectiveness, maybe the bittersweet satisfaction of an overdue change.   Kimiko Hahn’s poem The Dream of a Lacquer Box explores the complexity of her connection to Japanese culture as she dreams about what might be inside her mother’s lacquer box. The list of objects that could be inside, followed by questions (“am I wishing for Mother? searching for Sister?/Just hoping to give something Japanese to my daughters?”) allows the reader to relate to Hahn’s feelings, and empathise with her desire to belong.   In Bong Joon-ho’s film Parasite, the audience sympathises strongly with the Kim family when they are forced to hide under a coffee table so as not to reveal their presence in the Parks’ house. While there, the Parks discuss how badly they think Kim Ki-taek – the Parks’ chauffeur – smells. A close up on Ki-taek’s face engages the audience’s sympathy, as does the small, dark space he is in, representing metaphorically to the audience how trapped Ki-taek is in this stratified society.   Pathos is also used to create a sense of joy and triumph. At the end of the British film Pride, busloads of Welsh miners turn up unexpectedly in support of a pride march. The triumphant music and surprise and happiness on the characters’ faces add to a sense of joy and delight for the audience, emphasised by the text onscreen confirming that this was a real historical event.   Pathos Examples From Literature In literature, writers use pathos to help readers connect more deeply to characters, so that the writing resonates more strongly, and so that the themes and ideas being explored are meaningful and impactful. Here’s some further examples of how pathos is used effectively in books.   A Tale For The Time Being By Ruth Ozeki The predicament of Nao, a bullied Japanese schoolgirl, is made all the more distressing with the author’s use of metaphor: “The minute he turned his back, they would start to move in. Have you ever seen those nature documentaries where they show a pack of wild hyenas moving in to kill a wildebeest or a baby gazelle?” Likening Nao to a helpless animal surrounded by predators communicates powerfully to the reader just how vicious the bullying is, and heightens our sense of empathy for her.   Lanny By Max Porter In this short novel, Lanny’s dad is woken up suddenly and becomes convinced there’s an intruder in his house: “I have no actual defensive power, I am not brave, I do not fight, have never fought, I work in asset management and only fight in subtle ways on Microsoft Outlook. I’m terrified.” Here, Porter effectively weaves humour with fear as he describes the ridiculous, yet scary, situation.   The Song Of Achilles By Madeline Miller Appropriately for a novel inspired by Greek mythology, Miller’s The Song of Achilles has pathos in spades. The ending, where lovers Achilles and Patroclus are reunited in death, is a particularly effective example: “In the darkness, two shadows, reaching through the hopeless, heavy dusk. Their hands meet, and light spills out in a flood, like a hundred golden urns pouring out the sun.” The reader’s eyes are sure to be pouring out tears here, as the cathartic climax creates a bittersweet sense of loss, relief, and joy.   Tips For Using Pathos In Your Own Writing  Using the examples above, we can see that there are several ways to use pathos in your own writing.    Use emotive word choice and techniques like metaphors and similes to evoke feelings. Think of the bullied Nao being likened to prey in Ruth Ozeki’s The Tale for the Time Being.  You can use pathos to help readers better understand and sympathise with an anti-hero. Consider Killmonger’s backstory of loss and abandonment in the film Black Panther, which allows the audience to understand what drives him.  Creating pathos is like conducting an orchestra. Tweak your language here and there to create a variety of emotional responses in your audience, before building to a crescendo.   Frequently Asked Questions What Type Of Literary Device Is Pathos? Pathos is the use of language to create an emotional response in readers. It is also one of the three key components of rhetoric, or the art of persuasion, the others being ethos (credibility) and logos (logic).   What Are Examples Of Pathos? Some examples of pathos are: An advert for a rescue charity which shows images of dogs looking alone and uncared for is an example of pathos, as it makes us feel sympathy and a desire to help.  A film with a triumphant ending where the hero wins against the odds is another example – the audience feels a happy, satisfied joy.  A story which puts a character in a dangerous situation engages our sense of worry and fear, using the reader’s connection to the character to create pathos.  What Is A Simple Definition Of Pathos? Pathos is the appeal to emotion. It can be created in writing, speech and in visual media. The aim is to persuade an audience through an emotional appeal, or to evoke emotion in response to a piece of writing or art.   Pathos In Writing If you want to grab your readers by the feels, pathos is the way to go. Using language to create sympathy, despair, and fear; or laughter, joy, and triumph, will add impact to your writing and leave a lasting impression on your reader.   Remember that bringing your readers through a variety of feelings adds to the overall impact – just as in rhetoric, pathos is nothing without logos and ethos; in storytelling, one-note emotional appeals will quickly lose their resonance. Use pathos to take your readers through a spectrum of human emotion – remember that the root of the word ‘pathos’ is ‘experience’.  

In short, urban fantasy does what it says on the tin; it’s a genre of literature where fantasy is set against what can be considered an urban backdrop or a fantasy story that is set in a city or suburb. Note that I’ve said “what can be considered,” meaning the fantasy doesn’t have to be set in New York or Chicago (existing cities) for it to be considered urban, it can be set in a made-up place as long as it fits an urban description. Often, like in the case of Gotham City, you will see fantastical places mirroring, or inspired by, real-life urban settings. In this guide, you will learn what the urban fantasy genre is, how to recognise the urban fantasy genre, and discover our top tips for writing it. We will cover how urban fantasy stories rose to popularity and the difference between urban fantasy and other fantasy sub-genres such as paranormal romance. What Is Urban Fantasy?  (This Time With Feeling) Simply put, urban fantasy is fantasy set in a city or modern residential setting, but more often than not the urban setting becomes another character and provides a gritty nature/aesthetic to the story that readers of urban fantasy have come to love and seek out. Think about it, what would the Sookie Stackhouse (Trueblood) novels or TV series be like if they weren’t set against Louisiana backwater towns? Would Buffy have the same vibe if she lived in a woodsy fantasy world, or if it was set in medieval times? Would Percy Jackson be the same popular series if Percy simply ventured to Olympus rather than the Greek Gods existing in, and interacting with, modern-day America (which is the best part of the series)? Urban fantasy has a kind of asphalt colouration to it and the name of the genre speaks more to the aesthetic of the story than anything else. The backdrop aesthetic in an urban fantasy is really important, and the look and feel of the setting often play a key role in the story; the setting in urban fantasy is an important character. For this reason, the urban setting needs to be very well developed. What Is The Difference Between Urban Fantasy And Paranormal Romance?  Many books today fit neatly in both the urban fantasy sub-genre AND the paranormal romance category and there is a great deal of overlap between both genres, especially in the self-publishing sector. With that said the two genres are not mutually exclusive, they just happen to overlap. Paranormal romance is a genre that combines fantastical characters such as vampires, werewolves, shifters, faeries, goblins, and witches, and puts romance at the front and centre of the storyline. It is important to remember that urban fantasy and paranormal romance are not synonymous; one focuses on romance and the other is set against an urban backdrop but does not require romance. There are just as many urban fantasy novels with romance as there are without. Both options are valid and it is up to you to decide whether romance will play an integral part in your story.   Key Elements Of Urban Fantasy  There are common elements that you will see in urban fantasy novels, however, it’s important to know your book can still fit in the genre without these elements as long as it\'s set against the backdrop of an urban setting which then plays a significant part in the story. Common elements of the genre include:   A dark aesthetic (very rarely bright and sunny aesthetic)  Derelict cityscapes (not countryside/ house on the prairie settings)  Magic, fantastical, or sci-fi elements  Poverty or a disadvantaged class  Thriller-like vibes (crimes being solved, mysteries)  Combat (think Divergent or The Hunger Games)  City problems (rats, undergrounds, clashes with local bodies of authority)  Paranormal creatures  Dystopian elements   Urban clothing (leather, heavy-duty clothes, uniforms)  Fantastical and supernatural elements   Romance subplots   A character living in two worlds (the normal urban world and the fantastical underlayer world that they are aware of)  Examples Of Urban Fantasy Here are a few examples of some YA and adult urban fantasy novels:   Rivers of London by Ben Aaronovitch  Neverwhere by Neil Gaiman  American Gods by Neil Gaiman  Daughter of Smoke and Bone by Laini Taylor  House of Sky and Breath by Sarah J Maas  City of Bones by Cassandra Clare  Percy Jackson and the Lightning Thief by Rick Riordan  Vampire Academy by Richelle Meade  Wicked Lovely by Mellissa Maar  Crave by Tracy Wolf  The Alex Craft series by Kalayna Price   The Mercy Thompson series by Patricia Briggs   The Jane Yellowrock series by Faith Hunter  Urban Fantasy And YA As you can see, YA fiction is heavily present on the list. That’s because YA books very often intersect with urban fantasy as urban fantasy is very popular amongst teen readers; hence some of the most recognisable urban fantasy titles are also in the YA genre.  Often urban fantasy explores the idea, ‘what if X fantastical beings lived among us?’ The blend of taking a character who is used to their modern world (one that we the reader also recognise) and showing them a side of their world they were not aware of, is very popular in the genre.  Books Which Aren\'t Examples Of Urban Fantasy And here are a few famous books that might be considered urban fantasy but aren’t:  The Harry Potter series by J.K Rowling  The Chronicles of Narnia by C.S. Lewis  The Lord of the Rings series by J.R.R. Tolkien  These books do not have the key elements of the urban fantasy sub-genre. Of course, these classics are heavy in fantasy however they lack the integral urban setting to qualify for the urban fantasy genre, despite featuring cities at times. Harry Potter, though from the urban world, spends very little time in it and most of the books take place entirely in the magical world. Though some people would probably argue that Harry Potter does spend some time in the urban world, it’s too little to put the book in the urban fantasy genre.   Tips For Writing Urban Fantasy There are many ways to write urban fantasy books but here are some tips:   Turn The Setting Into A Character In the books I co-write (Blood Web Chronicles by Caedis Knight) the cities the books are based in play a huge role; in Vampires of Moscow and Witches of Barcelona the urban backdrops function as important characters. Meaning the books would just not be the same without those cities. The urban backdrop in urban fantasy stories cannot be static, it has to be a living breathing thing. For example, if your fantasy is set in New York, but there are only a handful of mentions of the city, then you are not serving the genre justice. Use the city on every level possible- atmosphere, characterisation, plot development.   Make sure to research your setting (if it’s a real city) and use good descriptions to characterise it. Make sure your chosen setting is constantly serving the story. Maybe ask yourself the question, how does this setting push the story further? How does it aid the main character’s development? How does the city stand in the way of the characters\' goals? If your main character grew up in this city, how did it shape them? Think about how important Sunnydale is in Buffy the Vampire Slayer, and how its position on the Hellmouth plays a large role in Buffy’s life and her development as the main character. Buffy’s entire life- who she dates, who she becomes, her traumas and triumphs, are defined by Sunnydale and the Hellmouth.   Recognise And Utilise Fantasy Tropes When adding paranormal or fantastical creatures ask yourself how they interact with the setting. How does the setting serve them? Where do they hide? How does (or doesn’t) the city provide for them? Where do they hang out? How does this setting characterise and shape their lives?  Think about the tropes in the fantasy books you\'ve read, and adjust them to make them your own. A helpful tip is to print a map of the city or draw one (quality doesn’t matter here) and decide where in the city your different factions or paranormal groups prefer to dwell and why. You can use Google Maps to save locations and create an entire real-life map of where your characters (and villains) spend their time. This could help you with your writing and as a bonus be shared with your readers down the line.   Read A Lot Of Urban Fantasy For Inspiration Urban fantasy is an ever-growing genre that has been amassing popularity quickly in recent years. Because urban fantasy lovers tend to read widely in the genre, it’s a good idea to read (and research) a number of urban fantasies so that you know you are getting it right. More importantly, you will get inspired when it comes to designing your own urban setting.   Create Pinterest Boards With Urban Aesthetics What does the dingy New York bar where your werewolves hang out look like? What does your city hall look like? Where are you drawing inspiration for your urban tunnels or derelict factories?  Design The Elements That Go Hand In Hand With Your Urban Setting What do people eat in this city? What do people wear? You might get caught up in your fantasy plot and forget to truly colour the urban backdrop. When I think about fantasy set in New Orleans I instantly think about the food. Currently, in our Caedis Knight series we are writing about werewolves in Berlin, and though Berlin is a slightly derelict gloomy city perfect for urban fantasy, we have been careful to include all the colourful food- Pink Berliner Weise beers, the world’s best kebabs, fresh Baklava from the Neukoln district- all to add colour and warmth to the story. It’s important to remember that cities are not just architecture- they are food, music, events, crime, nature and a million other things you must include in your book. Similarly, if you are writing urban fantasy that\'s dystopian and your setting is truly all doom and gloom, explore that! Explore what people eat in this impoverished society and how they survive; dig deep into the darkness of this setting and how that relates to the characters.   Frequently Asked Questions   What Are Some Examples Of Urban Fantasy?  Some examples of popular urban fantasy include American Gods by Neil Gaiman, the Shadowhunter series by Cassandra Clare, and the Southern Vampire Stories (Sookie Stackhouse novels) by Charlaine Harris.  What Is The Difference Between Fantasy And Urban Fantasy?  Urban fantasy is a sub-genre in which the fantasy plotline plays out against an urban backdrop and the urban setting plays an important role. All urban fantasy sits in the fantasy genre but not all fantasy is urban.   What Are The Elements Of Urban Fantasy?  Elements of urban fantasy include a dark noir feel, the city as a character, mysteries and crime solving, combat, romantic sub-plots, derelict settings, fantastical characters and paranormal characters. They also often involve a character with a foot in both worlds.  Writing Urban Fantasy It is very beneficial for authors to explore the sub-genre of urban fantasy as it’s a genre that keeps rising in popularity. Not to be confused with paranormal romance, urban fantasy has earned its place as one of the highest-selling sub-genres in fantasy and one of the most lucrative indie sub-genres on Amazon. It’s a great genre to consider if you are passionate about fantastical plots and characters but wish to set your story against a gritty urban modern backdrop. Most importantly, be prepared to treat your chosen urban setting as an important character in your plot. 

Science fiction and fantasy are my go-to, both for reading and watching on television, but also when writing my own stories. I always thought I understood the difference between these genres, so imagine my surprise when my science fiction book was marketed by my publishers as fantasy.   In hindsight, this misunderstanding wasn’t surprising. Fantasy and science fiction as genres have considerable overlap. But understanding what makes these genres distinct will enable you to hone your writing to the right audience, enhancing reader enjoyment and helping at the marketing stage. So let’s explore the specific elements of both genres, what makes the genres different and the same, and why this understanding is so important.  What Is Science Fiction?  If you were anything like me as a kid and switched off during science lessons, then a quick Google will remind you that science is the study of the physical and natural world through experiments, observations, and measurement. So the science fiction genre is exactly as it sounds: fiction grown from scientific principles and theory. A weaving of storytelling with the laws of nature and physics.   Science fiction explores scenarios that are possible, at least with scientific advancement, making them all the more relatable and frightening. For someone science-adverse (like me,) it turns something stale into something wonderful and intriguing, binding science to emotions, humanity, the imagination, and ethical quandaries. I didn’t enjoy science as a student, but my rucksack was brimmed with science fiction novels by the likes of Asimov and Orwell.  The Key Elements Of Science Fiction  Science fiction tends to embrace advanced technology such as time travel or space travel, and/or a dystopian setting, where society embodies grave injustices or suffering. These science fiction elements allow readers to explore important, often scary, ethical or theoretical questions from the safety and comfort of their sofas. For example, will the ability to alter the past help or harm people? How can we spot the warning signs and stop our society from completely disregarding the rights of women? How can scientific development aid good and evil in this world and beyond?   Examples Of Science Fiction Stories  A Clockwork Orange By Anthony Burgess   A novel set in a dystopian world where criminality can be influenced by behavioural principles. This story draws on the psychological theory of behaviourism, but also poses a broader ethical question: is freedom of choice more important than the prevention of evil? This story blew my sixteen-year-old mind.  Station 11 By Emily St. John Mandel  A brilliant novel about a terrifying new virus. Sound familiar? This novel was written pre-covid, demonstrating how science fiction can be so grounded in reality, that it often has a predictive quality.  The Secret Deep By Lindsay Galvin  A wonderful example of middle-grade science fiction, wherein the DNA of mermaid-type creatures is used to enable people to breathe underwater. Such a great book for making science interesting for children.  Starship Troopers By Robert A. Heinlein  This exciting novel is a great example of military science fiction, a subgenre of science fiction that focuses on weapons and war. This genre is particularly scary as technological advancements are moving so quickly, that some of these ideas may soon be a reality.  The Loneliest Girl In The Universe By Lauren James  This brilliant YA novel is not only set in space, a popular science fiction setting, but was apparently inspired by a question on special relativity from Lauren’s university physics course (for those who don’t know, special relativity is a theory explaining how speed affects mass, time and space.) It’s a lovely example of how science fiction is often birthed from real-world ‘what if… ?’ questions.  The Martian By Andy Weir  This novel follows an astronaut\'s struggle to survive on Mars. This is a great example of hard science fiction, a subgenre that embraces scientific accuracy.  What Is Fantasy?  Unlike science fiction, fantasy deals with the impossible. Think magic and the supernatural. As such, it’s firmly rooted in the imagination rather than in science and natural laws.   The Key Elements Of Fantasy  The main elements of fantasy are mythical creatures, magical worlds, and the supernatural. These elements are so distinct from the real world, that they allow the reader complete escapism from the mundane. They also fully engage the imagination, something that has been shown time and time again to improve children’s development. However, as adults, we tend to move away from imaginative play and fantasy worlds, and as we conform to society, so too can our dreams and creativity. Fantasy novels allow us to tap back into this freeing, fun, and creative state, where anything is possible. Extensive world-building is another vital element of the fantasy genre, and writers often create entirely new histories, languages, religions, and cultures. For my soon-to-be-published young adult fantasy novel, I devised a new religion and went as far as writing a handbook; a level of worldbuilding that isn’t unusual for fantasy writers.  World building makes the impossible believable and results in a deeply immersive experience for the writer, and ultimately, the reader. There’s a reason fantasy has some of the biggest fandoms like Twilight and Lord of The Rings. Not only do they inspire grown-up imaginative play, but the vastness of the imagined worlds encourages exploration through clubs, fanfiction, and fanart.   Examples Of Fantasy Stories  The Priory Of The Orange Tree By Samantha Shannon  This feminist reimagining of George and the dragon is a novel rich with world-building and mythical creatures. The original tale is from the 11th century, demonstrating the longevity of the fantasy genre, probably because our capacity to imagine and dream is a central part of our humanity that transcends time.  Pan’s Labyrinth This beautiful film shows how fantasy can be combined with real-life history. In this case, mythical creatures and magical quests are blended with the very real Spanish Civil War.  The Last Days Of Jack Sparks By Jason Arnopp  This clever novel follows an arrogant journalist to his death after he angers the devil during an exorcism. It falls into the fantasy genre because it deals with the supernatural, yet it also falls into several other genres including horror, thriller, and suspense.   Snowglobe By Amy Wilson  This beautiful story about a girl who can jump between worlds contained within snowglobes shows how fantasy fiction can help children explore big issues in a safe way. In this case; loss, coming of age, and the responsibility that accompanies power.  The Gilded Ones By Namina Forna  This thrilling young adult fantasy novel is about the persecution of supernatural creatures, specifically demons, by mankind. The story is told from the point of view of a demon, flipping the traditional idea that demons are evil on its head. It’s particularly original and immersive and explores themes of the \'other\' and of embracing difference.   Fantasy Vs Science Fiction   The main difference between fantasy and science fiction is that fantasy deals with the impossible, whereas science fiction deals with the possible. Fantasy features magic and monsters, the realm of the imagination, and science fiction is grounded in scientific principles. Both genres need internal consistency and logic, but in fantasy, the writer creates the rules, whereas, in science fiction, nature and physics dictate the rules.  In spite of these differences, significant overlap remains. Both science fiction and fantasy imagine worlds different from our own, and both deal with the hypothetical. Indeed, the similarities are so pronounced, it isn’t uncommon to blend both categories resulting in a genre known as science fantasy or fantasy science fiction. A great example of this is Star Wars. The setting is space, yet the force is magical.  Another key similarity is that the imagined elements of the external world heighten the internal conflicts and the goals of the protagonist. For example, in my fantasy novel, Antigua de Fortune of the High Seas, the main character must embrace her magical powers in order to heal the rift between magical sea creatures and mankind. At its core, her character arc is simple: you do you. But it wouldn’t be nearly so exciting if her self-discovery didn’t involve ocean magic.  Understanding these differences enables writers to tailor their books for specific audiences, therefore enhancing sales and reader enjoyment. This becomes especially important during marketing, ensuring your book reaches the target audience. Indeed, classification can be decided at the marketing stage, like in my debut novel, as the publisher considers which market is more buoyant or better suited to the story.  Frequently Asked Questions  How Are Fantasy And Science Fiction Similar?  Both fantasy and science fiction imagine worlds that are different from our own and deal with questions of ‘what if?’ As such, they both encourage the reader to keep an open mind – perhaps this is why both genres are particularly good at exploring broader ethical, philosophical, and emotional themes.  Both genres often blend existing history or culture with new and imagined elements, and also use the external elements of the genre, be that monsters or technology, to heighten the stakes and the internal conflict of the protagonist.  Can Science Fiction Also Be Fantasy?  Absolutely. Science fiction can have magical or supernatural elements. Think The Time Machine by H.G Wells, where the protagonist time travels to a fantasy land. Likewise, fantasy can include scientific elements, for example, The Avengers utilises advanced technology.   This blending of genres can be called science fantasy or fantasy science fiction. Sometimes the classification happens at the marketing stage, a decision informed by the popularity of a genre at the time of publication.  Can Science Fiction Have Magic?  Another resounding yes! Whilst you’re unlikely to find magic systems in hard science fiction, magic can exist in soft science fiction and other science fiction genres. Think Avatar, which is set in space, explores genetic engineering and contains elements of military science fiction, yet also contains a soul tree, central to the Na’vi’s spiritual belief system.  Also, supernatural powers can originate from science (think The X-Men by Jack Kirby and Stan Lee) and magic can arise from technology or affect technology, sometimes known as technomancy or technomagic. An example of this is The Last Days of Jack Sparks, by Jason Arnopp, where supernatural forces hijack social media.   Science Fiction Vs Fantasy: The Take Home  Both genres have huge merits. The plausibility of science fiction means the story falls closer to home, making the hypothetical all the scarier, whereas fantasy allows the reader to escape reality and tap back into a time when make-believe was encouraged.   Whilst it’s important to understand the differences and similarities between the genres, the most important thing is to write what works for your story and what sparks your own imagination.   Now that you understand the difference and similarities between these wonderful genres, you can unleash your creativity and let your imagination run wild. 

Everyone loves a great fantasy story; from classics such as The Hobbit, Alice\'s Adventures in Wonderland, and The Lion, The Witch, And the Wardrobe, to recent bestsellers such as Her Majesty\'s Royal Coven, Nevernight, and Cinderella Is Dead, there\'s something for everyone. I\'m the author of six fantasy books and have been writing this genre for over eight years. There\'s nothing I love more than bringing the impossible to life! Although writing fantasy can be so much fun, for first-time fantasy writers it can also be a little overwhelming. So in this article, I will be sharing my top tips as to what makes a great fantasy book, and what to avoid. I will also be explaining how to write fantasy plots, craft characters, and build your fantastical worlds. Before we start, let\'s talk genre... What Is The Fantasy Genre? Fantasy fiction, in short, is fiction that centres around the impossible. That can include everything from talking animals, time travel, parallel universes, mythical beasts, and of course a compelling fantasy world full of magic. Fantasy novels and sci-fi are often confused with one another as both genres involve things that don\'t exist in the modern world. The easiest way to differentiate the two is to remember that sci-fi tends to revolve around science and the environment (including dystopian end-of-the-world storylines, aliens, adventures in space, and anything involving technology), whereas fantasy is magical. Good old-fashioned magic that has no grounding in science. Fantasy Subgenres Fantasy is a very broad term that describes all fantastical literature, but as you can imagine there\'s a big difference between a book set in an imaginary world full of elves and dragons, and a book set in today\'s world but with characters that happen to be able to do magic. This is why, with such a vast array of fantasy books available, the genre is split up into many subgenres (all of which apply to children\'s books, middle grade and young adult categories). High/ Epic Fantasy Low Fantasy Portal Fantasy Urban Fantasy / Contemporary Fantasy Paranormal / Paranormal Romance Fantasy Romance Superhero fantasy Sword and Sorcery / Heroic Fantasy Medieval Fantasy / Arthurian Fantasy Historical Fantasy Comic Fantasy Science Fantasy Grimdark Fantasy Gothic Fantasy / Dark Fantasy The New Weird Speculative Fiction Horror / The Gothic Fairy Tales / Fables/ Fairy Tale Retellings Dystopian Fiction Magical Realism Let us look in more detail at the three fantasy subgenres - epic fantasy, paranormal, and Gothic. High/Epic Fantasy According to The A to Z of Fantasy Literature,  \"high fantasy\" was coined by Lloyd Alexander in 1971 and was further developed by Kenneth J. Zahorski and Robert H. Boyer, who stated that \"high fantasy consists entirely of fiction set in secondary worlds, while the \'low fantasy\' with which it is immediately contrasted consists of fiction set in the primary world.\" In other words, high fantasy novels contain very few things you may expect to find in the modern world. Instead of guns and cars, the bad guy may use magic and a flying monster to kill on the move. Instead of living in houses, the characters may live in holes in the ground, caves, or tree structures. Instead of being human, the book cast may be made up of elves, dragons, unicorns, and other mythical beasts (or creatures the author has made up themselves). Because of the limitless possibilities in regards to what these worlds can contain, not to mention the world-building and backstories required to make them come to life, many high/epic fantasy novels are part of a fantasy series and they often contain an extremely high word count. Examples Of Epic Fantasy Novels A Game of Thrones by George R R Martin The Hobbit and Lord of the Rings by J R R Tolkien Children of Blood and Bone by Tomi Adeyemi The Chronicles of Narnia by C S Lewis Eragon by Christopher Paolini Strange The Dreamer byLaini Taylor The Mists of Avalon by Marion Zimmer Bradley A Court of Thorns and Roses by Sarah J. Maas Paranormal / Supernatural Fantasy Paranormal fantasy includes supernatural elements. Instead of dragons and elves, you may have vampires, zombies, witches, werewolves, ghosts and any other creature that uses magic or defies death. Normally these creatures persecute humans, and they can often live in the modern world. Other times the paranormal elements may be combined with genres such as romance, history, horror, and urban fantasy. In my series, The Path Keeper (N J Simmonds), I have angels living amongst us. And in my co-written, paranormal romance novel Vampires of Moscow (Caedis Knight), our protagonist is a truth-seeking witch and undercover journalist investigating crimes in Russia\'s paranormal hidden world. Examples Of Paranormal Fantasy Novels The Once and Future Witches by Alix E Harrow Good Omens by Terry Pratchett and Neil Gaiman A Song Below Water byBethany C. Morrow Pet Sematary by Stephen King Vampire Academy by Richelle Mead City of Bones by Cassandra Clare The Twilight Saga by Stephenie Meyer Warm Bodies by Isaac Marion Gothic Fantasy The term \'gothic\' in fiction is generally applied to fantasy and horror. With fantasy, the \'fear and haunting\' aspect is connected to something supernatural and not of this world. Whereas with horror, it doesn\'t have to have a paranormal element to it, the eeriness may simply be attributed to the protagonist\'s psychological fears or another human. For instance, the gothic novels Rebecca and Wuthering Heights are categorised as such due to the characters feeling haunted and the setting being so remote. But nothing fantastical is at play. Generally, gothic fantasy books are set somewhere creepy; a forest, an old mansion, a deserted manor house, or a windswept, secluded location. Gothic fantasy either involves magic and/or supernatural beings - think witches, vampires, or even a portal to another world. Many gothic classics have been retold by contemporary writers and given a fantastical twist (this is very popular in YA). An example of this is Within These Wicked Walls(Lauren Blackwood) - an Ethiopian retelling of Jane Eyre. Examples Of Gothic Fantasy Novels Interview with a Vampire by Anne Rice The Night Circus by Erin Morgenstern Dracula by Bram Stoker Gallant by V E Schwab Mexican Gothic by Silvia Moreno-Garcia Ninth House by Leigh Bardugo The Lighthouse Witches by C J Cooke Frankenstein by Mary Shelley Fantasy Writing Styles If you are about to start writing your first fantasy novel you may well be a little intimidated by the task ahead of you. With so many fantastic fantastical novels gracing the bookshelves, it\'s hard to choose what kind of voice and style you would like to give to your work. Luckily, like with most books, your fantasy writing style can vary. There are no set rules as to how to write a fantasy novel. Let\'s take a look at some of the different ways you can approach your story. You Can Be Wise And Poetic “Stories have changed, my dear boy,” the man in the grey suit says, his voice almost imperceptibly sad. “There are no more battles between good and evil, no monsters to slay, no maidens in need of rescue. Most maidens are perfectly capable of rescuing themselves in my experience, at least the ones worth something, in any case. There are no longer simple tales with quests and beasts and happy endings. The quests lack clarity of goal or path. The beasts take different forms and are difficult to recognize for what they are. And there are never really endings, happy or otherwise. Things keep overlapping and blur, your story is part of your sister’s story is part of many other stories, and there is no telling where any of them may lead. Good and evil are a great deal more complex than a princess and a dragon, or a wolf and a scarlet-clad little girl. And is not the dragon the hero of his own story? Is not the wolf simply acting as a wolf should act? Though perhaps it is a singular wolf who goes to such lengths as to dress as a grandmother to toy with its prey.” The Night Circus by Erin Morgenstern You Can Be Witty And Satirical Some humans would do anything to see if it was possible to do it. If you put a large switch in some cave somewhere, with a sign on it saying \'End-of-the-World Switch. PLEASE DO NOT TOUCH\', the paint wouldn\'t even have time to dry. Thief of Time by Terry Pratchett You Can Write From Multiple Points Of View (George R R Martin writes from 9 points of view in A Game of Thrones, and many more as the series progresses) \"I don\'t even know who my mother was,\" Jon said. \"Some woman, no doubt. Most of them are.\" He favored Jon with a rueful grin. \"Remember this, boy. All dwarfs may be bastards, yet not all bastards need be dwarfs.\" And with that he turned and sauntered back into the feast, whistling a tune. When he opened the door, the light from within threw his shadow clear across the yard, and for just a moment Tyrion Lannister stood tall as a king. A Game of Thrones by George R.R. Martin You Can Go Back And Forth Through Time Long ago, men went to sea, and women waited for them, standing on the edge of the water, scanning the horizon for the tiny ship. Now I wait for Henry. He vanishes unwillingly, without warning. I wait for him. Each moment that I wait feels like a year, an eternity. Each moment is as slow and transparent as glass. Through each moment I can see infinite moments lined up, waiting. Why has he gone where I cannot follow? The Time Traveler\'s Wife by Audrey Niffenegger The Only Limit Is Your Imagination If anything, fantasy allows you even more creative ways to write your story as there are no limitations in terms of what is realistic. As long as your book makes sense within the parameters of your own world lore, your own rules, then you are free to be as expressive as you like. You want to write your story from the the point of view of a dragon? Go for it. You want to tell the story in three different ways, as it plays out across three different parallel universes? Why not? You want to include weather that doesn\'t even exist? Eat your heart out! Let\'s take a look at some of the fun things famous fantasy writers have done to make their work memorable and unique: J R R Tolkien created a whole new language in Lord of the Rings. Terry Pratchett had Death talking in capital letters and desperate for a vacation in Mort. Dhonielle Clayton created tiny mini pets, like elephants, that were small enough to fit in teacups in The Belles. Lewis Carroll featured a giant caterpillar smoking a hookah in Alice\'s Adventures in Wonderland. Stephanie Meyer didn\'t keep her vampires out of the sun for fear of death in Twilight, but instead made them sparkle. How Many Words Is A Fantasy Novel? The answer to this is, \'a lot more words than most genres.\' Writing fantasy means creating creatures, worlds, names, words and magical elements that don\'t already exist in reality, not to mention conducting a ton of research. For that reason alone, this genre takes a lot longer to write and tends to be a lot chunkier. Word Counts Of Famous Fantasy Novels Here are a few examples of fantasy word counts: Harry Potter and The Philosopher\'s Stone - 77,000 Storm Front - 84,000 A Song Below Water - 101,000 The Raven Boys - 113,000 Graceling - 114,000 Six of Crows - 137,000 Eragon - 156,000 The Magicians - 157,000 Eye of the Word - 310,000 And these are just standalone fantasy books (middle grade and YA books being somewhat fewer words than adult fantasy or epic fantasy). A series can be a lot longer! What Do Agents And Editors Look For? My own trilogy included 116,000 words for The Path Keeper, 125,000 for Son of Secrets, and a whopping 148,000 words for Children of Shadows. It\'s normal for book-length to grow as the series does. Although do note that most agents and editors aren\'t interested in looking at a fantasy novel that exceeds 120,000 words. So if this is your first book, try and keep the word count as low as possible. 100,000 is a good number. 5 Things That Make A Great Fantasy Novel With so much to consider when it comes to penning your fantasy story, the number one thing you need to do is grab your reader\'s attention. But fantasy readers have expectations, and there are five crucial things they all expect the fantasy novel to contain. 1. Magic Systems This is such an important element because you can\'t have a fantasy story with no magic. From middle grade series, like Harry Potter, to the science fantasy, such as Star Wars, every well-loved fantasy story includes some kind of magic. So think carefully as to how yours works. The good news is that you don\'t have to stick to any preconceived ideas of what magic is. Your characters don\'t have to use wands. Maybe they are able to steal magic from others, or they\'re on a quest to find it, or it arrives in a gift-wrapped box on their birthday. Maybe the magic is passed down through generations, or it only works for a day, or perhaps everyone in their community has a different ability. Whatever you choose to do, the most important part of creating a magic system is that you are consistent and those reading your novel have a clear idea of how the magic works. 2. World Building A fantasy novel is generally set in either a fictional universe or it\'s full of magical elements intertwined in real life. I could write an entire article about fantasy world-building - but for now, I\'ll stick to the basics. When creating an imaginary world it\'s fundamentally important to know everything about it. Changes are you won\'t use 90% of your information, but to know it means your story will be more believable. It doesn\'t matter if your world is another planet, somewhere like Middle Earth, or our own world but with hidden supernatural portals - a believable world is what will keep readers hooked. Connect with all five senses, think about who lives there, how that world functions, how your characters interact with it, and how to tie it into the story. 3. Complex Cast Of Characters Whether your book features humans, supernatural entities, or mythical creatures, a good fantasy novel needs believable characters that readers can empathise with. No one is going to relate to a blue-skinned werewolf who eats worms - but perhaps they will if that werewolf is trying to protect its young or has been rejected by a love interest. So whatever your cast of characters looks like, make sure you add a little humanity to them so your readers still root for them. 4. The Quest No fantasy novel is complete without the hero\'s journey; your main character needs a challenge, a quest, a problem... because your book is about them trying to solve it. It\'s as easy (and as complicated) as that. Character development is key to all stories, but never more so than in this genre. So think about the character\'s arc. Who they are before they set out on their mission should be very different to who they are when the quest has been fulfilled. When writing a series, it always helps to know what will happen in the last book so that everything you are working towards comes together at the end. Every book has a beginning, middle, and end - and the entire series should too. This means you may need one overarching theme for the series, with each book focusing on individual battles/quests/challenges ultimately leading to your character reaching their final goal. 5. Nemesis - Good Vs Evil Every fantasy story needs a baddie or someone/something to rebel against and fear. That may be the government or king, it may be a physical monster, or perhaps even Satan himself. A nemesis is a great foil character too. Their evil attributes should highlight the hero\'s worthy attributes. Your main character should still be flawed, no one is perfect, but ultimately good must overcome evil. 5 Things That Make A Fantasy Novel Bad Many a novice writer makes the fundamental mistake of coming up with a great idea and jumping straight into the deep end of their book. Fantasy stories need planning, research, and lots of time. The deeper you go, the stronger the story. Here are some common mistakes. 1. Lack Of Consistency When writing fantasy it\'s a lot harder to write freely without having an end goal. By all means, you can do that when you\'re still at the exploration stage, but there are so many fantastical elements to keep track of (where your book is set, magical elements, character building, myths, monsters) that it\'s too easy to confuse yourself. When you confuse yourself, you confuse the reader. Or worse, they get bored and stop reading! So make extensive notes about how your magic works, list key names and places, draw pictures and maps, create mood boards, and ensure you are consistent throughout. 2. Too Many / Not Enough Tropes There are no consistent rules in writing, but readers of certain genres do expect to see the tropes they love. If your fantasy story doesn\'t have enough tropes, readers will be left disappointed. Likewise, if your fantasy characters are predictable and the book reads like a long list of unoriginal scenarios, that\'s just boring. Try and get the balance right! Popular Fantasy Tropes Damsel In Distress The Secret Heir Mistaken Identity Nemesis Dead Parents/Loved Ones. Dark Lord Training Sequences The Quest Good vs Evil Magic! Mix it up and play about with tropes. Perhaps the damsel in distress rescues herself, or the monster is the good guy and the wise sage is not on the hero\'s side, or the hero IS the Dark Lord. 3. No Visuals Fantasy readers love to be thrown into a magical world they\'ve never encountered before - but sometimes it\'s hard to imagine it. This is why fan art is so popular in this genre. A good fantasy book needs a great cover designer (this goes for self-publishing as well as traditional) and if possible a map of your kingdom(s). Even if the diagrams and pictures are just on your author website. Many great books include visuals that look like medieval maps - personally, I love them even more if the sea includes giant squid! 4. Prejudice Fantasy authors are often influenced by the classics, but a lot of prejudice can be found in older books that readers (quite rightly) don\'t want to read today. This is where beta readers and sensitivity readers come in. Be careful when explaining characteristics and skin colour, even having the bad guy wearing black and the good guy wearing white can be problematic. Also be careful about cultural appropriation in terms of setting, characteristics, customs, and attributes. 5. Bad Pacing A good fantasy story needs to keep you hooked from the beginning to the very end. That means your pacing needs to be right. Fantasy stories need to show the following, in this order: Set the scene (What is the hero\'s life like? What does they have to lose?) Show the inciting incident (What is the challenge they have been set?) Step into another world (Sometimes literally, sometimes in terms of a new experience or journey) Introduce new characters (Companion, nemesis, wise sage etc) Face challenges and obstacles... (Training, battles, monsters) ...interspersed with calmer moments (Introspection, dialogue, romance scenes, false hope) Lose it all (Someone dies, the hero fails, they no longer want to carry on) Find courage (Draw from what they have learned on their journey, help from unexpected places) Achieve their goal (Beat the baddie, find the treasure, rescue their love, save the world) Return home a changed person (Here we must see how the hero has changed and also mirror the opening scene) If you dwell too long on any of these scenes or rush past any crucial steps, the story will lose its flow. No one wants to read a battle scene that lasts for 5 chapters or read 300 pages building up to a kiss that never happens. So consider pacing when plotting your novel and ensure everything happens at exactly the right time, for exactly the right amount of time. Frequently Asked Questions What Are The 5 Elements Of Fantasy? Magic System World Building Complex Characters The Quest Good vs Evil How Do You Write A Fantasy Character? Fantasy characters need to be larger than life, which means you can really go to town and be inventive. Give characters creative/unusual names. Give them interesting skills or powers. Make sure they are all different to one another (what characteristics do they have that make them unique?) Ensure that by the end of the book they have changed/learned a lesson. Don\'t be cliche or prejudiced when describing culture, physical features, and customs. If they are not human, ensure they still have some humanity to them so readers can empathise and relate. Make your hero likeable - even if they are flawed. We need to want them to win! What Is A Fantasy Example? The dictionary definition of \'fantasy\' is: The creative imagination; unrestrained fancy. To imagine; visualise. An unnatural or bizarre mental image; illusion; phantasm. In other words, fantastical literature involves any type of person, magic, or world that couldn\'t/doesn\'t exist in our own known reality; magical powers, monsters and creatures from your own imagination, everyday things/people/animals doing things they don\'t normally do (growing, talking, floating) and worlds that are unlike our own. When writing fantasy, the possibilities are endless! Time To Get Writing If you have managed to get to the end of this very long article then congratulations, you are now ready to tackle your fantasy novel or short stories like a pro. I hope you found it useful. Good luck and have fun - a whole new magical world of novel writing awaits you!

Many authors began their love of storytelling by reading comics as children. Everything from The Beano and Marvel comics, to manga and graphic novels, all play a part in enriching the minds of the young and the young-at-heart. And the best thing about comic books is that you don\'t have to stop reading them once you grow up (in fact, many are written specifically for adults) but you can have a go at writing your own! I began my fiction writing career as a fantasy author, yet some of the best fun I\'ve had in my career has been seeing my characters come to life in a fantasy YA manga story I wrote for Big Bang! Manga. The process was eye-opening, and working with a talented team of illustrators and editors meant that it truly was a collaborative project. In this article, I will be discussing how to write a comic book, everything you need to know before you start writing, and the best way to get your comic book published. What Is A Comic Book? A comic book is a story told using a series of illustrated pictures and panel descriptions. Unlike a novel, it includes very little writing, with most of the story presented in pictorial form as a series of sequential images. Comic books can be about absolutely anything, the most popular genres include: HorrorParanormalFantasySci-fiTraditional superhero genre (such as Marvel or DC comics)RomanceEroticaHistorical The joy of comic books and graphic novels is that many have been turned into TV series and movies. Some of the most famous include: The Marvel franchise (Captain America, Black Panther, Spider Man, Incredible Hulk)DC Comics (Batman, The Joker, Birds of Prey, The Flash)The Walking DeadLuciferSandmanHeartstopperThe Boys They can also be turned into video games and even novels. How Is A Comic Book Different To Manga And Graphic Novels? Although manga, comic books and graphic novels are all stories told in pictorial form with minimal writing, there are some points of differentiation. Manga literally means \'comic book\' in Japanese. Unlike the US comics where many are designed and drawn in the Marvel style and printed in colour, manga is printed in black and white and drawn in a distinct Japanese style. It\'s also worth noting that manga is not the same thing as anime. Although both are equally important to Japanese culture and entertainment, manga refers only to Japanese comics, and anime refers to Japanese animation. Although many manga stories are turned into anime. Graphic novels, on the other hand, can be illustrated in any style but are most commonly just the one story (unlike comics and manga that can include more than one story serialisation per edition). They are usually bound too, like a book, as opposed to stapled/stitched like a magazine. Do You Need To Illustrate Your Own Comics? The quick answer to this is no. Many talented illustrators choose to also write their own comics, but if you are a great artist but not confident about your writing - or one of many comic book writers who struggle to draw - you\'ll be pleased to hear that most comics are created as a collaborative project. A comic book team can consist of anything between one to six people: Writer: They come up with the initial story idea, the plot and characters, character arcs, and write the dialogue and story captions. Artist: Brings the characters and writer\'s words/worlds to life. Sometimes many different illustrators can share this role... Penciller: Specialises in drawing the outlines of the character and their creation. Inker: They create the style of the comic, giving it its distinct look. Colourist: They add the colour. Letterist: Create the lettering for the dialogue, captions and sound effects. Sometimes one artist specialises in just the backgrounds and another in the characters. This all depends on how much budget the comic book creator has and how important the series is. Editor: Usually the one who commissions the writer and artist, the person with the bigger vision for the story/series, who understands the audience best, and checks for inconsistencies and continuity issues. How Many Pages And Panels Does A Comic Book Have? An entire comic book can have between 32 to 48 pages, although the number of pages can vary as long as the pages are in multiples of four (for printing reasons, as they are folded down the middle). Although some comics may be made up of more than one story running concurrently, so the comic itself may be made up of 48 pages but that part of the story may only need to be 16 pages. Each page is made up of panels that contain images depicting the story. Some pages may only have one picture, some may contain up to nine. The average is five and it\'s best to vary it as you don\'t want to crowd the page with too many images or bore the reader with repetition. Where Do You Start? When I first started writing comics I had no idea where to start - all I knew was that my editor loved my story idea and was confident that it would make a great magical fantasy story for teens. I learned so much on my journey which I will be sharing with you all. In this easy 10-step guide, I\'ll be explaining all the different things you need to consider before you start writing - from coming up with ideas, to getting your comic book out in the world. 1. Learn The Language You can\'t start writing a comic book without understanding the terminology - especially if you\'ll be working with an experienced illustrator and editor. Here are a list of words that may crop up as you discuss your comic book with your team so that you\'re all on the same page. Panel A panel is the space in which the picture (and dialogue) sits. A comic writer can request panels of any shape or size as long as it fits on a page: square, round, triangular, narrow vertical, shallow horizontal, diagonal, etc. In many cases, the writer will suggest what must happen on that page and the illustrator will decide what kind of panels will work best. This may vary depending on the style and genre of the comic book. Here\'s a list of the different types of panels you may have in your comic: An inset is a panel contained within a larger panel.A bleed panel is when the artwork comes out of the frame, or “bleeds” off the edge of the page. This may be on one side or more and is often used for dramatic or ironic effect.A full-page panel is called a splash and takes up a full page - whether within a panel or bleeding out of the panel. These are normally for big scenes that either need to make a large impact or include a lot of detail.A giant splash panel covering two facing pages is called a double-page spread. Like the one above it is often used to really wow the readers. Borders are lines (sometimes heavy and black, sometimes thinner) that surround the panel. If it\'s a square panel it may look like a box. Sometimes the art can pop outside panel borders for a hint of drama. You can even have images with no borders and they still count as one panel. Sometimes you may get an awkward panel, one that is different from the others or doesn\'t quite fit in a space. It\'s down to the illustrator to understand how much room they have to work with and interpret your story visually. Lettering Lettering refers to any text on the comic\'s page. Most lettering is either used for: Dialogue (what the characters are saying)Captions (the author explaining what is happening, ie \'ten minutes later\')Sound effects (BAM! WHOOSH! CRASH! etc) You can also express how a character is speaking by the way the letters are drawn. Bold lettering emphasises certain words, and large letters in dialogue represent shouting (and, likewise, small dialogue lettering can mean the characters are whispering). Dialogue and caption lettering are traditionally all uppercase, although nowadays artists vary the way lettering is used and it can be less formulaic, with some creators using both upper and lowercase. Display lettering includes sound effects and text that\'s not inside a speech bubble or caption (ie license plates, a text message on a phone, road names etc.). Lettering and the placement of speech bubbles is crucial to the design of a comic book page. Speech Bubbles/Word Balloons A speech bubble or word balloon is normally a round shape containing dialogue, usually with a tail that points to the speaker. Bubbles without a tail often represent “voice-over” or off-panel dialogue. Much like panels, speech bubbles are drawn in various shapes, the most common being ovoid. Different shapes can be used to denote different characters or moods. Although don\'t confuse your readers by mixing up the bubble/balloon shapes too much. Best to stick to one style that represents what you are trying to convey and be consistent. Thought Balloon These are similar to speech bubbles except they represent what a character is thinking. Thought bubbles are almost always cloud-like in style with a \'tail\' that looks like trails of bubbles. Don\'t be tempted to have panel after panel of internal dialogue as comic books rely on action to keep the readers turning the pages. Caption This is a narration tool to move the story along (ie “Earlier that day...”), or off-panel dialogue. Captions are normally in rectangular borders, but they can also be borderless or floating letters. Sound Effects (SFX) Comic books are famous for their dramatic sound effects represented by stylised lettering (think retro Batman and his KAPOW! fight scenes). Most sound effects are floating letters and are incorporated into the imagery. As I mentioned with the captions and thought bubbles, the overuse of sound effects is distracting. Only use them for specific sounds, such as large sounds like explosions and punches, or small sounds like a creepy door creaking shut or the sound of someone panting. Borders Borders are the lines that surround panels, speech and thought bubbles, and captions. Various styles and line weights can be used to reflect different effects or moods. If the illustrator wants to depict anger or panic they may use a rough or jagged border; likewise thin, wavy borders represent weakness or spookiness; you can have “electric” speech marks and tails to show someone is speaking on the radio, TV, or telephone; and flashbacks can be shown by using rounded panel corners or uneven borders. Gutter The gutter is the space, usually white, between and around the panels. Some artists may use colour between the panels to denote a certain mood or flashback. 2. Get A Team Together Now you know what you are talking about, it\'s time to get your team together. If you are working with a comic book editor they may have already matched you with an artist, if not it\'s time to do some research. Before you attack that blank page look at other comic books in the genre in which you want to write and see who the artist is. Or check out the portfolio of illustrators on social media. Many illustrators would be excited and flattered that you have picked them to work with you, but remember they expect to be paid a fair fee and they may also ask about your credentials and story ideas before they choose to work with you. 3. Come Up With Great Story Ideas This leads me on to the most important aspect of writing a comic book; the big idea. If you don\'t have an original concept, then it\'s going to be a lot harder to sell your work! Remember that readers expect the same thing from a comic script that they do from a traditional book, movie, or play. A comic book story structure is normally based on the traditional three-act structure - a clear beginning, middle, and end. Your audience will also expect a subplot, character development; precise, carefully considered dialogue and narration; and a theme (especially if you choose to create a superhero comic). Think about a plot outline based on the genre you are writing. Look at what people enjoy, but keep your story original too. Readers expect certain archetypes and tropes depending on the genre. The superhero normally wins and defeats evil, the wise sage teaches the young hero, and the boy gets the girl (or gets the boy, or simply learns to love himself). Sometimes it\'s fun to twist up archetypes and tropes. Look at what The Boys did to the general depiction of the superhero genre. 4. Think Visually (And Long Term) It is absolutely vital that your story is visual. Visual storytelling means that your story can be told with as few words as possible. A traditional book could easily centre around the thoughts of someone pontificating on their couch all day, but that would make a very boring comic (and the artist wouldn\'t want to draw hundreds of identical panels all day). So think about what the characters do, what the world you are building looks like, the expressions on the characters\' faces, and how you transition from scene to scene. 5. Develop The Characters Talking of character development, it\'s really important you know your main character inside out. When I was writing my manga I wrote an entire backstory about each character (including secondary characters) so that when it came to briefing the artist they really got a feel for what they looked like. Think about the character arc too. Your main character should be very different at the beginning of the story than they are at the end (think Spider Man going from weedy school kid to fighting crime). 6. Write The Script Pages Next, you need to write the script. A complete script consists of a story layout per page, broken down by panels. The artist may decide how many panels they need, but as a writer, it\'s good to bear in mind where the dialogue goes, where captions go, and which panels can be just images. You may also want to add notes for the artist (such as \'the woods get darker with each step\' etc). 7. Make Dialogue Realistic Writing a comic book script isn\'t as easy as you may think. Dialogue is so sparse that it\'s really really important you are succinct, precise and realistic as possible. Remember that many things can be conveyed simply by facial expressions, actions or a quick caption. 8. Brief The Illustrator If you are creating the artwork for your own comic book then you can skip this stage, but for those of us who don\'t draw (or, in my case, DO draw but not in the style required) you will be working with a comic book artist. Artists need to be totally in sync with the writer so that whatever images live inside the storyteller\'s head come to life on the page thanks to the artist. So make sure to send them sample script pages before you start, along with a very clear idea of what you are looking for. When I wrote my manga, set in a London council estate, I sent the Indonesian artist lots of reference photos (and had to explain that Big Ben would not be visible in the background). I also created mood boards per character, found photos of how I imagined them to look, and went back and forth with the editor and artist until the characters matched what I saw in my head. 9. Review Panel Descriptions It will take many drafts of the comic to get it right, and most writers work with their editor until each page is perfect before the artist begins to draw. The lettering is usually left until last so that once the images are in place the writer can tweak the dialogue to fit the frame. 10. Get Your Work Out There When everyone is happy with the comic, you\'re done. Hurray! Except now you have to find your readers. If you are commissioned by an editor then you\'re good to go, but if you are an independent creator it\'s time to think about distribution. Who Publishes Comic Books? Very few comic book publishers accept unsolicited submissions. Make a list of comic book and graphic novel publishers who publish work similar to yours, or research authors and publishers that would make great comparisons for your work. Although Marvel and DC are at the top of most comic book creator\'s dream list, it is very rare for first-timers to get picked up by the big guys. So approach independent and smaller presses and work your way up.Before you submit samples of your work to publishing houses, ensure you first read their submission guidelines. Visit their website and see if they accept unsolicited submissions, (meaning you send them the work even if they haven\'t requested it or you don\'t have an agent). If you need an agent then research which are on the lookout for work like yours. In both cases, remember to make your covering letter short and professional and to include artistic samples along with the story. Do It Yourself Many comic book creators have had success starting out on their own. Alice Oseman crowdfunded her Heartstopper online webcomic, it was bought out by top publisher Hatchette and turned into a graphic novel, and has gone on to be a huge hit on Netflix. Why not start your own free webcomic to build your readership base, offering each instalment via a newsletter? Or use your webcomic to expand on the stories or characters in the book, enticing viewers to buy the \"real thing\" (a comic book you can print and distribute yourself via your website or sites such as Etsy or Amazon). Frequently Asked Questions How Much Money Does A Comic Book Writer Make? Like any kind of writing job, payment can vary. If you are self-publishing your comic book you may not receive anything until your series picks up and you create a decent following. The median salary of comic book writers and artists is $36,500-$42,000. Although many earn per page or receive an advance per comic/project. Needless to say the more proficient and successful you are, the more you can earn. So keep going! How Many Pages Should A Comic Book Be? The number of pages in a comic book can vary from 32-48, although each story within the comic may be as short as 16, and a graphic novel may be longer. It\'s important to remember that manga and comic book pages must always be divisible by four because of the way they are printed, folded and stitched. Make A Splash In The Comic Book World! Now you know all you need to create your first comic book, it\'s time to put pen to paper and get your team together. But it\'s important to remember that most comic book creators started off right at the bottom; very few people land their first comic book writing gig at DC or Marvel. So focus on getting to know the industry, building your audience, and writing/creating as many stories as you can. Who knows? Your idea may one day not only be someone\'s favourite comic book series but may also be their favourite TV series too!

What kind of writing style do I have? Do I even have one?   At some point or the other in your own writing life, you will have found yourself gazing off into the space, a far-off look on your face, wondering if you’ll ever write like Ernest Hemingway or Anne Lamott.   You wouldn’t be the first, and you won’t be the last.   Developing a writing style comes with much practice and that could take years. But playing around with style and experimenting with it only takes a few hours. If you ask me, one of the best ways to try and develop a writing style is to have fun with it.   Enter lyrical style.   Nope, you don’t need to be a songwriter or lyricist to do that. Nope, you don’t need to write lyric poetry either. All you need is your writing spirit, and of course, your ability to have fun. Think of it as a creative writing exercise.  In this article, I’ll take you through what lyrical style in prose writing is all about, detail some simple ways of using it in your writing, and provide some great examples of lyrical style in prose writing.  What Is Lyrical Style In Writing?  Good prose writing comes in various shapes, sizes, and styles. When prose is written in an evocative, poetic, and rhythmic manner, it is known as lyrical style. As a style, it\'s often thought of in regard to lyric poetry, but it can be utilised in many types of writing. It often has a beat to it, or a tongue-twister quality, or at least a descriptive poesy to evoke a certain emotion in the reader.   It’s why we can still recall several verses from Shakespeare’s sonnets and Keats’ odes, if not the full poems. For prose to have the same impact it requires the author to hone that craft with a sense of joy and expertise in equal measure. If you can recall, word-for-word, a specific line or a few lines or an entire paragraph from a book, then, chances are it was the lyrical style that stuck with you.  Examples Of Lyrical Style  A key element in this style of writing is harnessing beat, structure and length from words, phrases and sentences. This is done by consciously deciding the rhythm, cadence, and length of the sentences. There’s a chance rhythm might vary depending on your own dialect of English, especially if your mother tongue or commonly spoken language is not English, as rhythm depends on how stressed syllables are used (which varies with how English is spoken).   Rhythm  Rhythm is common in lyric poems (and poetry in general), of course. But it\'s quite rare in prose. When authors do manage to pull it off, they pull it off with such flair that you’re bound to remember their lines for ages to come. Contrary to what you might think, it doesn’t have to be a romance novel you’re writing to use lyrical style to great effect. Ernest Hemingway does this to elaborate on the setting for his novel A Farewell To Arms – the roar of World War I in an otherwise idyllic Italian village:   The plain was rich with crops; there were many orchards of fruit trees and beyond the plain the mountains were brown and bare. There was fighting in the mountains and at night we could see the flashes from the artillery. In the dark it was like summer lightning, but the nights were cool and there was not the feeling of a storm coming.  A Farewell To Arms by Ernest Hemingway This is arguably the simplest use of rhythm and pacing without resorting to ornate language. The rhythm, in fact, adds to the dread the reader feels for the dwellers of the village. And if you were to rearrange the lines into verses, they’d read much like lyric poetry:   The plain was rich with crops;   there were many orchards of fruit trees  and beyond the plain the mountains were brown and bare.  There was fighting in the mountains  and at night we could see the flashes from the artillery.  In the dark it was like summer lightning,  but the nights were cool  and there was not the feeling of a storm coming.  A Farewell To Arms by Ernest Hemingway Cadence  Cadence is how words are grouped together – as standalone phrases or joined by conjunctions and accentuated by punctuations. If there’s one author who does this with flair, it’s Anne Lamott. In her New York Times bestseller Bird By Bird, she writes:  Writing and reading decrease our sense of isolation. They deepen and widen and expand our sense of life: they feed the soul. Bird By Bird by Anne Lamott Two things stand out here, right away. One: how Lamott uses cadence to evoke a certain emotion in the reader. Two: how that usage amplifies the meaning of her prose. The first sentence is short, giving the reader that sense of isolation. The second sentence conveys the expansiveness she’s talking about, by way of using the conjunction ‘and’ twice, and the colon. The double ‘and’ expands the sentence, while the colon opens up a gateway for something phenomenal – feeding the soul. In this instance, Lamott has essentially garnered expansiveness from her use of lyrical style in prose writing. What makes this sweeter is that the prose is all about writing itself and what it’s capable of evoking in us!  Length Of Sentence  Sentence length is, of course, in reference to the number of words you choose to put before a full-stop.  Believe it or not, Barack Obama, former President of the USA is quite the prolific writer himself and uses lyrical prose to great effect in his memoir A Promised Land. As can be expected, politics is a prominent theme in the book, and yet, where he intends to move the reader, he capitalises on the length of sentences (particularly long sentences) as the carrier of that impact. In describing a trip to The Great Wall Of China, he writes:  The day was cold, the wind cutting, the sun a dim watermark on the gray sky, and no one said much as we trudged up the steep stone ramparts that snaked along the mountain’s spine. A Promised Land by Barack Obama If that isn’t a lengthy sentence, then I don’t know what is. The only thing as lengthy as that sentence is perhaps how time seemed to drag for Obama on that trip! The sombre weather, the grim locale and the silence between Obama and his co-travellers all add to what must have been one long hike up the mountain.   Repetition Of Sounds  The length of the sentence is not the only thing adding style to Obama’s prose, though. I’d be surprised if you didn’t notice the repeating sounds of ‘d’, ‘t’, and ‘s’. It actually helps add that touch of witty sense of humour we know Obama to have. This leads us to the next aspect of lyrical style – sounds.   When it comes to the repetition of sounds, there are three poetic devices – assonance (or repeated vowel sounds in multiple words), consonance (or repeated consonant sounds in multiple words), and alliteration (or repeated consonant sounds at the beginning of multiple words).  Repeating consonants and vowels in a verse or even a whole stanza isn’t a new thing for poets and repetition is particularly prominent in lyric poetry. If anything, it’s expected. When writers of prose do it, however, it’s often a conscious move. Using poetic techniques/devices like assonance, consonance, and alliteration can bring beauty to prose. In fact, the inherent beat they create is highly effective in drawing readers’ attention to a particular piece of description, adding a bit of theatrics to the ordinary.   Take this extract for instance:  He looked exactly as much as usual—all pink and silver as to skin and hair, all straightness and starch as to figure and dress—the man in the world least connected with anything unpleasant. The Wings Of Dove by Henry James This is a line from American-born British author Henry James’ novel The Wings Of Dove. I, for one, am carried away by how ‘as much as usual’ maintains a kind of tempo with ‘with anything unpleasant’, and ‘skin and hair’ with ‘figure and dress’. The innate rhythm is obvious, just as the character’s “properness” is evident from his dressing sense. James’ use of assonance here, with varying ‘a’ sound, makes the reader picture a prim – perhaps even prude – person.    How To Use Lyrical Style In Your Writing  It sure is fun to incorporate lyrical style into your own writing; it makes writing almost musical and creates sentences that resemble song lyrics. Bear in mind though, that the lyrical quality doesn’t come from sounds alone. The visual you create using this technique is just as important; if anything, the sounds are meant to aid you in amplifying the visual. So, don’t lose sight of the sacred rule – show, don’t tell.   If you use alliteration and consonance but end up telling the reader what to feel, then, then all the poetic and lyrical quality would be futile. Don’t tell the reader Mr. Numpty felt foolish. Show the reader how Mr. Numpty found a feather on his stroll, thought it lucky, and took it for a sign, until he looked further ahead to see several flocks of birds.   As invigorating as it might be to play with lyrical prose writing, be cautious of making it too purple. Purple prose is basically writing which is so excessively ornate that it takes the reader away from the story and fixates them on the ornate description. It is essentially an overdose of adjectives, adverbs, metaphors and poetic devices that take away an intelligent reader’s joy in experiencing the story. Imagine asking someone for direction and that person instantly bursts into a mode of singing the direction. The singing might be great, but it might not let you gather the directions you need. You’d be lost between the keys and notes!   Here’s a popular example of purple prose, an extract from the 1830 novel Paul Clifford by Edward Bulwer-Lytton:  It was a dark and stormy night; the rain fell in torrents—except at occasional intervals, when it was checked by a violent gust of wind which swept up the streets (for it is in London that our scene lies), rattling along the housetops, and fiercely agitating the scanty flame of the lamps that struggled against the darkness.  Paul Clifford by Edward Bulwer-Lytton Why tell us that it was a dark and stormy night, when the rest of the description shows just that? Why say violent gust of wind, when gust already conveys how violent the wind must have been? Why say fiercely agitating, when agitating by itself does the job? And why, oh why, do we need to be told that the scene is set in London; I mean, why else was this scene written anyway!  Now, let’s look at lyrical writing with metaphors that could easily have turned purple but didn’t, because the author knew where to pull the reigns. Sandhya Menon’s When Dimple Met Rishi is a young adult fiction debut; and yet, the restraint Menon shows in this writing is commendable:   His eyes reminded her of old apothecary bottles, deep brown, when the sunlight hit them and turned them almost amber. Dimple loved vintage things. She followed a bunch of vintage photography accounts on Instagram, and old apothecary bottles were a favorite subject.  When Dimple Met Rishi by Sandhya Menon Do you see the difference between purple prose and lyrical writing? On a scale of Ernest Hemingway to Edward Bulwer-Lytton, you want to fall closer to the former, where lyrical prose is concerned. Less purple, more lavender. In essence, grandiose, flowery, and sugary are all fine, and might even be necessary when the scene or setting calls for it, but redundancy is not.   Descriptions of nature are a common pitfall for purple prose; we writers tend to get carried away by the majesty of the landscape and the opportunity to use sensory language. Sometimes, it’s the character’s grand introduction that becomes entwined with purple prose. Nearly every writer, especially in the beginning of their career is bound to write purple prose, and even think it reads great. But that’s absolutely okay; it’s a learning curve, almost a rite of passage. If your prose is purple at the drafting stage, then let it be purple. At the stage of editing, though, make sure to rewrite and adjust the tint to a softer hue. Let your writing breathe. Top Tips For Writing Lyrically  Weigh the importance of the passage before deciding on its rhythm, cadence, length of sentences and repetitive sounds.   Think of how you want to use different punctuation to evoke different emotions in the reader.  Don’t overdo alliteration, consonance and assonance, unless you’re aiming to sound silly on purpose.   Purple or lavender, at the draft stage, make sure not to take yourself too seriously. Have fun with lyrical writing and let your words flow.  At the editing stage, ensure you read your work with the hawk eyes of an editor. Weed out the redundancies, hysterics and melodrama.  Read James McCreet’s column ‘Under The Microscope’ in Writing magazine every month. He dissects 300 words for style and also suggests rewrites.  Read contemporary poems, if you don’t already. Our modern poets have a great flair for pulling off lyrical style, without overdosing the reader on beauty. You could also look at lyric poetry in particular for some inspiration. Benefits Of Lyrical Style In Prose  No writer uses lyrical style exclusively throughout their story. That would be an overkill, turning the writing purple. The idea behind using lyrical style in prose is to try and spruce up your own writing, all the while having a bit of fun. Lyrical prose writing is simply one of the many tools in a writer’s kit of creativity.   Here are some of the ways in which you can benefit from trying lyrical prose in your writing:  If your writing has a hard quality, then you might want to occasionally change it up with a bit of lyrical style where the text allows it.  When a character is not easily likeable, but you’d like your reader to stick up for them, you could ease the reader in, using lyrical prose to introduce that character.  Lyrical writing works very well when you want to use irony in your story. It adds a layer of emphasis on the subtle humour you’re trying to pull off.  Frequently Asked Questions How Do You Write Prose Beautifully?  If you’d like to write evocative prose, then learn to view every sentence as a story, in and of itself. And yet, you can’t let it take the reader away from your actual story. Knowing how to let your writing breathe is just as important. It’s a balance, one that you can learn to maintain through rigorous rounds of self-editing.   What Is Lyrical Writing?  When prose comes with rhythm, cadence, repetition of sounds and conscious sentence lengths, it makes for lyrical writing. Cadence is my personal favourite, a lyrical writing technique I’m practising consciously. I love how sentence structuring and punctuations can play a major role in evoking the emotion the text itself attempts.     What Is Purple Prose?  Purple is known as a colour of royalty, and as its name suggests, purple prose is the excessively grandiose or ornate quality of descriptive writing. It is often ridden with an overdose of metaphors, redundant adjectives and adverbs, and verbosity. It tends to remove the reader from the story, and instead indulge them in the extravagant beauty of the language itself. 

‘After all, tomorrow is another day!’  These words concluded the popular Gone with the Wind. Endings can pack a lot of power. They can make or break novels and films. Some authors like to keep the door open for the reader’s interpretation while others like to tie a ribbon on everything. No matter what kind of ending you come up with, it should ultimately make sense.   In the article, I\'ll teach you how to end a story, give you some examples of story endings, and detail the different types of endings. Why Are Story Endings Important?  A lot of stock is put into writing an enticing beginning for your novel because that\'s what\'s going to convince a literary agent or publisher to look at your work, and more importantly, get a reader to keep reading your book. However, equally important, or sometimes more so, is being able to properly end your novel too.   In this past decade, the world has changed drastically. Social media apps are vying for people’s attention, and in the midst of this technology boom, it has become more important than ever to write books that are fast-paced, and logical in their endings. An ending that doesn’t make sense can easily frustrate a reader, sometimes enough to put them off the rest of the author’s works. Therefore, it has become of great importance for an ending to be satisfying. It doesn’t have to be a happy ending; a sad ending can be effective too. It just has to be an ending that leaves the reader with the sense that all the time they invested in the book was worth it. Let’s look at all the different ways in which you can end your own story. Types Of Endings Resolved Ending  Often known as one of the most popular and well-loved endings, the resolved ending basically leaves nothing behind and ties a bow on everything. We don’t need to wonder anymore about the fate of the characters as all of that\'s explained and all loose ends are tied up.   A good example of a resolved ending is Apples Never Fall by Liane Moriarty. The Delaney family love each other dearly, but there are cracks in every family. When Joy Delaney goes missing, it throws the lives of her husband and four adult kids into disarray. Moriarty is known for her family-based suspense novels, and in this novel, it\'s made abundantly clear where Joy has been after she returns to her family. All the remaining plot threads are resolved with a nice happy ending for the reader.   However, having a resolved ending doesn’t necessarily mean a happy one. It could be a tragic ending, but if all the loose ends have been tied, then it’s a resolved one too. If you’re thinking of a resolved ending for your novel, then you’ll definitely need to make sure that you’ve answered all of the burning questions the reader might have.   Unresolved Ending  This kind of ending is usually very common when writing a trilogy or series. The door is usually left open for the reader to anticipate what might happen in the next part. These endings are also used to great effect by TV series as they need something to lure the viewer back for the next episode. An example of an unresolved ending is from Harry Potter and the Goblet of Fire. Although a lot of questions about the Triwizard Tournament and Harry Potter’s involvement in it are answered, the ending still raises more questions than ever. For example, what will happen now that Lord Voldemort’s back? That alone surpasses the idea of the tournament. If you’re planning to write a series, then an unresolved ending (which some may call a cliffhanger) would work really well for you. Ambiguous Ending  An ambiguous ending is very different from an unresolved one as it’s open to interpretation by the readers. They get to decide what might happen next in the characters’ lives. Although some closure is provided by the author, there is a small window left open. The film, Inception, probably contains one of the most famous ambiguous endings in recent times. In the film, all Cobb (Leonardo di Caprio) wants is to be with his kids in the real world. When he finally gets the chance to do just that, viewers are still left to interpret whether this is all actually happening in the real world or not.  Ambiguous endings can be interesting, but there\'s always the threat of frustrating your reader/viewer. It might be wise to explore the works of authors who have attempted these endings before trying it for yourself. If not done right, it may mean that the reader won\'t pick up your book again.   Unexpected/Surprising Ending A very popular type of ending for mystery and suspense novels is the surprising/unexpected ending. In this one, the reader\'s led to believe that the story is going in a certain direction, but at the last moment, there\'s a twist. Behind Her Eyes by Sarah Pinborough is an excellent example of a novel with a twist you won’t see coming. Adele/Rob has been in love with David for a long time, but David\'s married to Louise. Through something called astral projection, Adele/Rob takes on Louise’s body while Louise is forced into Adele/Rob’s. The twist that follows is one that will shock readers.   Often a staple in crime/suspense novels, this ending is not as easy to achieve as it seems. If you’re planning to write a twist ending, then you must be sure that the twist doesn\'t come out of the blue. It has to be somewhat rooted in reality, and while it may not be expected, it shouldn’t be so unrealistic that it has nothing to do with the plot whatsoever. It must be believable or else it will just infuriate the reader.  Suspense Ending  Often mistaken for an unexpected ending, a suspense ending is something that does justice to the overall pace and plot of the novel, delivers on suspense, and makes the novel a satisfying read. A good example of this is Gone Girl by Gillian Flynn. Documenting the lives of Amy and Nick Dunne, the novel became a major bestseller due to its compelling plot twists. Towards the end of the novel, it\'s clear that after staging a disappearance, Amy has returned to her husband, Nick, and is also pregnant, which forces Nick to stay with her.   Not every book can be like Gone Girl, but it is possible to maintain suspense and offer an ending that pays homage to the opening.   Tied Ending  A tied ending is when the story comes full circle i.e. it ends right where it started. It\'s often used to document a hero’s journey and show how they’ve reached where they are today because of the way things began for them. This is a commonly used ending in crime fiction today where the main character is shown to be involved in something in the present and then the story takes us into the past to show how it all came about. Alias Grace by Margaret Atwood is a good example of this; we are introduced to Grace Marks who has been in prison for eight years, and that\'s when we delve into her past to see how she got to this point in time.   Readers are often interested in finding out what brought the character to this juncture in life. In many ways, Gone Girl could also be called a tied ending.   Expanded Ending   This type of ending is where there is an epilogue. The epilogue features a time far removed from the current story and explains what happens to the main characters during that time. An excellent and very popular example of an expanded ending would be Harry Potter and the Deathly Hallows Part 2. In the epilogue, the story jumps several years to reveal the three protagonists all grown up as they help their respective children onto the Hogwarts Express.   If you’re writing a novel that doesn’t allow you to tie up all the threads immediately, then having an epilogue is generally a good idea. It offers the readers a good window into what happens to the characters and leaves them satisfied.   How To Write A Satisfying Ending Your novel’s opening might impress readers, but it\'s the ending of your novel that will make them your fans. One of the tricks to writing a good ending is to devote as much time to it (if not more) as you’ve devoted to the beginning. Here\'s how to end a story in a satisfying way:  Know Your Ending Before You Write It A lot of writers like to think that they will come up with an ending while they’re writing the book, but often enough, that\'s not the case. Instead of being stuck or coming up with an inferior ending, it\'s better to know how your story ends from the start. Just have an end goal in sight. It doesn’t matter if you head for it straight or take a convoluted path. The goal should be the same.   Try Different Endings Before You Zero In On The One You Want You’ll often find that a lot of films have alternate endings. That is precisely because it\'s good to have options. You don’t want to back yourself into a corner. Before you start writing your ending, experiment with different ideas that are floating in your head. If you like, you can actually write different endings before choosing the one you think works best.   Make Sure The Ending Is Believable We are sometimes so engrossed in creating the biggest twist possible that we ignore a very important thing… believability. Your ending doesn’t have to be a happy one. It just has to be a convincing one. If there’s a twist, it should be within the bounds of reason. If it\'s so outlandish that it has nothing to do with the main plot, the reader will feel cheated.   Emotions Matter A reader invests a great deal of time and effort into reading a novel. It goes without saying that they want to be satisfied after reading a book. Make it worth their while. Your ending is basically the main character’s story coming to an end, so the presence of emotions is necessary. It will heighten the overall experience for the reader.   Plenty Of Tension Just like emotions, tension is an essential component of a good ending. A novel generally follows a linear path with the tension reaching a crescendo as the novel ends. That is exactly what you should be doing. If the stakes are high, make them higher. Give your main character plenty of obstacles. That\'s how you’ll create a book that is truly ‘unputdownable’.   Make Sure The Hero Takes Centre Stage Sometimes, writers end up giving the spotlight to secondary characters whilst ending a book. That isn’t a wise option. No matter what happens, your main character should always take centre stage in the ending. The novel is essentially about them, so the ending should be about them too.   Make Sure You Resolve The Conflict Every book has a central conflict that needs to be resolved. For suspense novels, it might be the ultimate ‘secret’. For crime novels, it’s finding the ‘killer’. Therefore, it\'s essential that an ending resolves the overall conflict in the novel.   Have A Fresh Perspective Even if things are headed towards a predictable climax, you have the ability to use a fresh perspective. Give things a twist. Even if it’s the generic plot of boy meets girls and eventually, they get married, you can pack enough tension and suspense in it that the reader won’t quite know how the two people will end up together.   Create A Lasting Impression Think about the impression you want to leave on the reader. Is your book about creating lasting social change or is it about hope and the power of love? Figure it out and make sure you offer that in your ending.   Know When To End Sometimes, a writer can get so engrossed in writing their story’s ending that they forget how long the book has become. Although every book is unique, it\'s up to the writer to decide how much is too much. You don’t want to overdo things and dilute the overall experience.   It\'s pretty clear that a novel’s ending matters as much as its beginning, if not more. Often, it\'s the ending that lingers in the reader\'s mind and helps them decide whether they want to read other books by the author. If in doubt, having beta readers give you their honest opinion is an excellent idea. Frequently Asked Questions  How Do You End The Last Sentence Of A Story?  The last sentence of a book captures its essence and should send out a lasting message to the reader. For example, in Gone with the Wind, the final sentence is one of hope whereas, in some crime novels, the final sentence alludes to things that are yet to come. It\'s important to recognise the theme of your novel and the overall tone, and end it accordingly. The last sentence can often make or break a book.   What Makes A Good Ending?  A good ending is one that stays true to the overall theme of the novel and makes sense. It should satisfy the reader and offer the main character a chance to shine one last time. It doesn’t have to be a happy ending. It just has to be convincing so that the reader doesn’t feel cheated. A good ending has tension and excitement but also resolves the central conflict in the book. How Do You End A Book?  There are several ways to end a book and your decision to end your novel a certain way depends on various factors, like the kind of book you’re writing. Suggestions for how to end a story or book include:  A resolved ending  Unresolved ending   Ambiguous ending  Unexpected/surprise ending  Tied ending  Suspense ending  Expanded ending  Ultimately, the decision to end a book a certain way depends on the author, but it\'s always worth noting that readers don’t appreciate an ending that doesn’t make sense to them or just comes out of the blue.  

Readers often choose a book they want to read based on what \'mood\' they are in - and, in turn, how that book will make them feel. There are so many different ways a book can make you feel - you may want to read something that puts you in an eerie mood, a cheerful mood, whimsical mood, or a romantic mood. In this article, we will be looking at mood examples and how the right mood words can create emotional responses in your readers. I will explain the difference between mood and tone, and how to utilise both effectively to engage the reader and leave them feeling the exact emotion you intended. Discover how to become a better writer and get people\'s emotions evoked through your writing. What Is Mood? Mood refers to how a reader feels as a result of an author\'s tone used to evoke more than one mood. Mood and tone are sometimes confused. Tone in writing often refers to the author/protagonist\'s feelings and how they\'re expressed on the page, whereas mood is how the reader feels as the result of the tone used by the author to affect mood. For example, the tone an author has used may be described as ‘immersive’, ‘dark’, ‘compelling’. The tone of how the author portrays a character on the page helps you identify the mood of a book. But don’t get tone, or mood, confused with ‘author voice’. If you are writing a thriller, for instance, you want the reader to feel unnerved. Maybe you want them to feel mistrusting of your main character. For instance, if you were to start the book with \'it was a dark and stormy night\' and use short sentences, the mood (feeling for the reader) is immediately one of unease and apprehension. When writing your first draft make a note of how you want your reader to feel, then look at the different ways you can achieve that. Why Is Creating Mood Important? It doesn’t matter if you\'re writing a hilarious rom com, or a spooky gothic thriller, your end goal is the same - you are creating mood. But why is that important? Because if you can evoke emotion, your reader is more likely to remember your story long after they turn the final page. The reader experiences different moods in different genres, which is a huge part of their experience. Examples Of Mood In A Story The mood of a story is determined by using different words, imagery, and tone. Let\'s study different moods in writing with the following examples: Example One: Agatha Christie is one of my favourite authors because she truly makes me feel something. The others went upstairs, a slow unwilling procession. If this had been an old house, with creaking wood, and dark shadows, and heavily panelled walls, there might have been an eerie feeling. But this house was the essence of modernity. There were no dark corners – no possible sliding panels – it was flooded with electric light – everything was new and bright and shining. There was nothing hidden in this house, nothing concealed. It had no atmosphere about it. Somehow, that was the most frightening thing of all. They exchanged good-nights on the upper landing. Each of them went into his or her own room, and each of them automatically, almost without conscious thought, locked the door… And Then There Were None by Agatha Christie What Christie has done here is incredibly clever. Her setting and atmosphere deliberately do not match the mood she is creating. The modern, open and safe atmosphere of the house should be a non-threatening location; but readers are left feeling uneasy. Christie is deliberately creating a mood of unease by way of subverting expectations (but more on this later). The reader is left with a sense of foreboding and fear, despite the setting being typically welcoming. The clever placement of the characters automatically ‘locking the door’ makes the reader feel fear. Example Two: Alice in Wonderland is glorious in so many ways, but in this case, Carroll is also an expert when it comes to creating mood on the page. It’s done in such a subtle manner that as children, we can\'t immediately see why it makes us feel a certain way. \"It was much pleasanter at home,\" thought poor Alice, \"when one wasn\'t always growing larger and smaller, and being ordered about by mice and rabbits. I almost wish I hadn\'t gone down that rabbit-hole—and yet—and yet—it\'s rather curious, you know, this sort of life!\" Alice’s Adventures in Wonderland by Lewis Carroll Carroll uses whimsical settings and descriptions to create an extravagant world. We already know this world is fantastical, but what is it about the writing that evokes a feeling of childhood innocence and wonder in the reader? Take a look at this second example: She stretched herself up on tiptoe, and peeped over the edge of the mushroom, and her eyes immediately met those of a large caterpillar, that was sitting on the top with its arms folded, quietly smoking a long hookah, and taking not the smallest notice of her or of anything else.Alice’s Adventures in Wonderland by Lewis Carroll We know, from the description, that Alice could and should evoke a sense of danger; a new world she doesn’t recognise and a life she doesn’t know or understand. Instead, we are left feeling excited. Example Three: Trying to create a mood of sorrow, despair and grief on the page can be incredibly difficult. So, here’s how it went in God’s Heart: The six or seven or ten of us walked/wheeled in, grazed at a decrepit selection of cookies and lemonade, sat down in the Circle of Trust, and listened to Patrick recount for the thousandth time his depressingly miserable life story…The Fault in Our Stars by John Green This excerpt is the perfect example of how a few words can help create a deliberate mood on the page. The placement of ‘walked/wheeled’ evokes sadness within the reader. The use of the word ‘decrepit’, not describing the lives that inhabit the room, but the cookies, is so powerful. Even more so because these are descriptions through the eyes of a teenager. How To Establish Your Story’s Mood There are many ways to establish and create mood in fiction. For me, I follow the rule of four. SettingToneThemeLanguage Here\'s how you can establish mood. Using Setting The setting of a book and how you use all three different aspects of immersive setting can heavily influence the story’s mood. Be it that you juxtapose a calm setting to evoke a sense of fear or foreboding, or lean into a setting to expose emotions such as innocence or love. Setting can be your best friend. It’s also the perfect way to ‘show don’t tell’ and allow your reader to truly feel. Using Tone Mood and Tone are two different techniques and can easily be confused. However, once you have understood the difference, tweaking the tone in your writing can very quickly establish the mood of your novel. Using Themes Establishing a theme for your book is one of the fundamentals of plotting, but solidifying your theme will help describe the mood. If you are writing a coming-of-age novel, the overall mood of the book may be hopeful, romantic, innocent even. If you are writing about grief, the overall mood of the book will lean more towards the ‘sad’ end of the spectrum. Making sure you nail down your theme will go a long way to helping you ensure there is mood on the page. Using Language As you can see from the example with John Green, language matters. The words we use matter. We spend our lives trying to twist the same twenty-six letters into words that will elicit an emotional response, so the words we choose matter. Tips For Creating A Particular Mood Knowing how to create mood is one thing, but how do you go about doing that in practical terms? Mood Boards Creating a mood board during your planning and plotting stages will keep you on track. Use pictures, words and images that create a particular mood you want your readers to experience. Keep it close at hand and refer back to it throughout each draft. (Pinterest is great for this). Brainstorm Mood Related Words Draw a ‘spider diagram’ and put the mood you want your reader to experience at the centre. Explore all the words, emotions and settings you associate with that mood. Subvert Expectations Subverting expectations is a way to break the ‘traditional’ rules or expectations in writing to create something new and fresh. It might be easy to always go with the expected, but as writers, we hate the expected. So why not think about shaking things up a bit? Think outside the box. Instead of having your love story set in a romantic location, why not create a creepy mood, or flip that ghost story with a nod towards humour or a happy mood. Twist your narrative and create a scene that no one is expecting. Having a great plot, twists and shocks and even deep characterisation means nothing at all if you don’t leave the reader feeling something. Frequently Asked Questions What Are Moods In Literature? Mood in literature is when an author uses tone in their writing in such a way that it leaves the reader experiencing certain emotions at the end of the novel. What Is An Example Of Mood In Literature? One of the best ways to determine the mood of a piece is to ask yourself how it makes you feel as you read it. For example, do you want those reading your story to feel: Joyful                                  LonelyMelancholic                             OptimisticPanickedPeaceful                     PensivePessimistic                 Reflective                   Restless What Is Used To Identify Mood In Writing? Generally, tone, setting, theme and language, used together can help set the mood in fiction. A combination of these, used effectively, will help generate a strong sense of mood on the page. Feelings Matter All in all, how you write your story determines the feelings the person reading it will experience. You can evoke several moods all at once, or twist up each scene to take your readers through a rollercoaster of emotions. The mood created by your choice of words, sentence length, tone, syntax, juxtaposition, voice, and setting will make your work more memorable and enjoyable.

“This suspense is terrible. I hope it will last.” Oscar Wilde’s words demonstrate exactly what is so captivating about suspense in literature: the agonisingly delicious experience of being on the edge of your seat while reading a thriller, hardly breathing as you tear through the pages to find out what happens next. And what will happen next? Well, when you read on you’ll find out how to create suspense in such a way that your readers won’t be able to put your story down until the very end. In this article, we will explore various types of suspense that you’ll find in literature, and discuss the different ways you can create it, along with studying lots of great examples of suspense. What Is Suspense In Literature? Suspense is all about who knows what. As the author, you can withhold information from the reader, releasing it bit by bit to build towards a climactic moment of revelation. Or, writers can give the reader information that your character doesn’t have, ensuring that the reader is nail-bitingly aware of the potential dangers and pitfalls the character can’t see. All this creates suspense. As we shall see, suspense in literature can be found in a wide variety of fiction genres, from horror to romance. Let\'s take a look at how to build tension in other forms. Narrative/Long Term Suspense Narrative suspense, also known as long term suspense, is drawn out over an entire story. Think of Agatha Christie murder mystery novels, or courtroom dramas where the outcome of the trial is only revealed at the end. Long term suspense stories often have a subplot with suspense at its heart as well, which runs alongside and complements the main plot. In Alex Reeve’s Victorian London-set The House on Half Moon Street, protagonist Leo Stanhope investigates the murder of his love, Maria. Various leads are established and lead on to other clues and complications, drawing the investigation into darker and more dangerous territory. Alongside that plot thread, suspense is also created with the subplot of Leo’s hidden background as Charlotte, the daughter of a respectable reverend. As he closes in on the truth about what happened to Maria, the life he has created for himself as Leo is also imperilled. Having these two longterm threads running throughout the narrative ensures that suspense is created and interest sustained across the course of an entire novel. The moments between investigative set-pieces, showing us Leo’s life as a trans man in the 1880s, keep the suspense going as the readers develop their understanding of the personal cost the investigation has for him. In your own suspense novel (or even movie), consider how you might use a subplot to supplement the main story. This approach adds depth to your story, and ensures your readers are gripped throughout as they don\'t know what is going to happen. Short Term Suspense Short term suspense is suspense that\'s created for brief moments or episodes in a story that otherwise does not rely on suspense throughout. Although all stories have suspense in some sense, short term suspense is for stories without the propelling tension that characterises long term suspense stories. Short term suspense is often created through conflict between characters. A conversation or confrontation explodes over the course of a scene, though of course it may have been instigated earlier – and have ramifications for the characters and plot long after. In Kiley Reid’s Such a Fun Age, where Black babysitter Emira is accused of kidnapping the white child she’s employed to look after during a trip to the supermarket, the confrontation (escalated when a passer-by films it on his phone) is over by the end of the first chapter, but its after-effects are felt throughout the rest of the novel. To create a suspenseful moment in your own writing, you can make use of short, dramatic events. Think about how these brief moments can be used to propel your plot forward or to develop your characters. And remember – even a quick event can have a long shadow. Mysterious Suspense Mysterious suspense can be found in murder mysteries and thriller novels, where a key detail is kept until close to the end. This type of suspense often has a plot twist, where a surprising ending is, on reflection, inevitable once you look back at the trail the writer has cunningly laid. In River Solomon’s sci-fi novel An Unkindness of Ghosts, the main character, Aster, works to uncover the mystery of her dead mother’s journals, which initially seem to be nonsensical ravings. As Aster learns more about the HSS Matilda, a space vessel on which she and generations before her have been enslaved, the mystery of her mother’s journals leads her to make an earth-shattering discovery about the ship itself. Words and notations in the journal which originally seem to mean little, come to have vast significance later on. When writing your own mysteries, there\'s a delicate balancing act to ensure you have planted clues throughout that lead towards the final revelation, without making those elements so obvious that your readers can work out the mystery before you want them to. Horrific Suspense Imagine a character creeping through a darkened hallway. Behind them, a shadow moves. Is it a person? Then a noise from ahead. A footstep? That’s horrific suspense. Closely related to short term suspense, horrific suspense is when your reader or audience is waiting for something terrible to happen. As the name suggests, it’s most often found in horror stories, though thrillers may have it as well. The key is setting up an expectation that something awful will happen. Some of the best examples of horrific suspense play with this expectation. The first episode of the TV series The Walking Dead does this to great effect. Rick has just woken up from a coma in a deserted hospital. Trying to find a way out, Rick finds a stairwell – but it’s completely black. Of course, we immediately assume that the dark contains the ‘walking dead’ (zombies). The next couple of minutes show Rick inching downstairs, helped only by a tiny pool of light from some matches. At every moment, the audience expects Rick to be attacked – especially when the matches keep going out and the periods of complete darkness get longer, accompanied only by Rick’s panicked breathing. But ultimately, the climax of the scene isn’t a vicious attack: Rick finds a door and bursts into the sunlight (and the audience breathes for the first time in a while). When writing horrific suspense, remember that you are setting up and either fulfilling or subverting an expectation. As in the ‘Walking Dead’ example, nothing has to actually happen for it to be horrific – but the reader should expect it to, leaving them following the character’s actions with dread. Romantic/Comedic Suspense Romantic and comedic suspense are similar because they\'re both lighter in tone than the examples we’ve discussed so far. With romantic suspense, the reader or audience is primarily invested in the will-they-won’t-they drama – think of Ross and Rachel from the series Friends, for example. In this type, suspense is often created by misunderstandings, miscommunications, and obstacles that work to make the characters’ relationship seem impossible.  Akwaeke Emezi’s romance novel You Made a Fool of Death With Your Beauty, throws some significant obstacles in the way of the main character Feyi, a young widow and artist who has begun to open herself up to love again. However, the person she is most drawn to is not the person she’s begun a relationship with, Nasir, but his father, Alim, who understands her grief in a way that Nasir cannot. With comedic suspense, the key is inevitability. The reader or audience should have a clear expectation of what hilarious consequence is going to ensue, and seeing it develop only heightens the humour. This can be achieved either with dramatic irony, when the audience knows something the character doesn’t, or with an expectation that arises logically out of the situation. In the courtroom scene of Shakespeare’s The Merchant of Venice, the tension of the trial is broken with the comedic suspense of Bassanio and Gratiano’s pronouncements that they would both rather their wives were dead than their friend Antonio. Unlike the audience, they are unaware that their wives are right there in the courtroom, in disguise as lawyers, and are clearly unimpressed with their statements. Now that we know the different types of suspense, let’s have a look at ways we can create them. How To Write Suspenseful Stories To create suspenseful stories, you can employ a variety of techniques, such as foreshadowing, flashbacks, red herrings, obstacles, and pace. Foreshadowing Foreshadowing is when you drop hints in your suspense story about something before it arises. In Carlos Ruiz Zafón’s The Shadow of the Wind, Daniel is allowed to choose one book from the Cemetery of Forgotten Books to keep: ‘Page after page I let the spell of the story and its world take me over’. Here, Zafón foreshadows later events where the book, and the mystery behind it, do indeed take over Daniel’s life. Flashbacks Flashbacks are used to show a reader something that occurs before the main action of a story. In Celeste Ng’s Little Fires Everywhere, flashbacks are used to reveal the backstory of Mia Wright, including the shocking secret she’s been hiding from her daughter. Suspense is added with the additional understanding that an insight into the past benefits the reader. Red Herring Red herrings are false or misleading clues that you can lay for your reader to conceal the truth from them. You want a red herring to be a logical assumption that nevertheless turns out to be false, while it is obvious in hindsight that the real truth was hinted at all along. Obstacles Obstacles are key to ensuring your story has effective suspense. In Shelley Parker-Chan’s She Who Became the Sun, we follow Zhu Chongba, the assumed male identity of a peasant girl who rises in power and influence to claim her destiny. In addition to the trials of someone moving up a rigid class structure, there are the extra challenges of Zhu concealing her identity from the people around her. Pacing Pace is the speed at which a narrative appears to be moving. You can create an agonisingly slow pace that draws out the tension to the breaking point, or a fast pace that puts the reader on the edge of their seat with breakneck action. Paragraph and sentence length are one of the most effective ways to achieve this: longer sentences for a slow pace; shorter, sharper sentences for a fast pace. Creating Suspense: Top Tips To use suspense well, take a look at the following ideas. Time Limit This can be short term, like a countdown on an explosive; or longer term: for instance, if the character knows they are sick, and wants to complete a task before their impending death, like the villainous Von Rumpel in Anthony Doerr’s All the Light We Cannot See. Point Of View One way to tell your story is from the point of view of an omniscient narrator, who knows everything and can impart information to the reader that the characters do not know. You can also use third person limited – your narrator is external to the story, but the reader mostly only knows what the character does. Or first person, where the reader inhabits the mind of your character(s) entirely. These points of view allow you to make different choices about when to retain or reveal information. Cliffhangers It’s not for nothing that the Latin root of ‘suspense’ is from the word ‘suspensus’: suspended, hovering, doubtful. Ending a chapter at a dramatic moment without revealing the outcome guarantees that your reader will be desperate to turn the page and read on. Characters You can build all the suspense you like, but if the reader doesn’t care about your character then it’s all for nothing. That doesn’t mean your character has to be blandly perfect; but we must be invested in them, care about their journey, and be waiting to see what happens to them. Giving your character a vulnerability is one way to ensure your readers care about them; another is giving your character something to care about themselves. (That is why John Wick has a puppy.) Raise The Stakes The aforementioned She Who Became the Sun does this wonderfully. At first, peasant Zhu Chongba has little to lose if her concealed identity is uncovered. By the time that she has risen to commanding armies, with hundreds of people who rely on and respect her, the stakes have been raised to unbelievable levels – which means the suspense has been, as well. Frequently Asked Questions What Is An Example Of Suspense? An example of suspense is Cormac McCarthy’s The Road, where we follow a father desperately trying to keep his child alive in a dangerous and dying world. Their challenges – finding food, staying warm, evading capture – become increasingly terrifying and insurmountable, and readers are constantly on edge as they wonder how it is possible to for the two to stay alive (and retain their humanity) in such a world. How Would You Describe Suspense? Suspense is that nail-biting, edge of your seat, holding your breath feeling that comes when you are waiting for something to happen, or waiting to find out what will happen. It is achieved through the controlled release of information by the writer. What Literary Techniques Create Suspense? Suspense can be created with these literary devices: Dramatic irony (the reader knows something the character doesn’t) Pace (fast or slow action) Foreshadowing (hints about what is to come) Flashbacks (moments from the past interspersed in the present-day narrative) Point of view (how the story is told, such as first person – from a character’s viewpoint – or third person – from a narrative voice external to the story) Build Suspense And Meet Reader Expectations Whether you want to include a plot twist, raise tension, hide answers, or keep your reader up past their bedtime, suspense is a highly effective tool in your writer’s kitbag. Remember the key is control of information: as the writer, you have all the answers – but you can choose when to reveal those to your characters, and to your readers.

If, like me, you’re of a certain vintage, the first thing that comes to mind when you think of ‘irony’ are lyrics from Alanis Morrisette’s song ‘Ironic’. Irony is when there’s rain on your wedding day, right? Well, no. The situations described in Morrisette’s song are actually all simply unfortunate. Which is, in itself, somewhat ironic for a song called ‘Ironic’ (don’t you think?). In this article, we’ll have a look at the five main types of irony in literature, along with examples for each. What Is Irony In Literature? So why isn’t rain on your wedding day ironic? It might not be what you’d hoped for, but it lacks the sense of reversal often at the heart of irony; as comedian Ed Byrne commented, it would only be ironic if you were getting married to a weatherman. Irony is also commonly confused with sarcasm, and, although there is some crossover between the two, there are two key differences. The first is that sarcasm can only be used to describe speech; whilst events and situations can be ironic, they cannot be sarcastic. The word ‘sarcasm’ is derived from the Greek for ‘cutting flesh’, and this brings us to our second difference: sarcasm is cutting and is intended to wound. So, whilst you can say something ironically by saying the opposite of what you mean, you are only being sarcastic if you are trying to hurt, insult or belittle someone by doing so. In our writing, we can make use of irony as a literary device for a number of reasons: To build tensionCreate humourElicit sympathy for our charactersGive our story a satisfying twistTie various elements to a central theme or moralCharacter development (either the hero or other characters) What Are The Different Types Of Irony? Let\'s look at the five different types of irony, each of which can be used as a literary device... Verbal Irony Definition When a character says the opposite of what they are really thinking, they are using verbal irony. When I step outside into pouring rain and state, ‘What a lovely day!’ I am being ironic, because that’s not what I actually mean. (What I actually mean is that I live in Glasgow.) The contrast between what is said and our understanding of the underlying sentiment is often used for humour. For example, in The Simpsons, when Bart tells Homer, ‘I respect you as much as I ever have or ever will,’ we of course understand that Bart means that he has a very low level of regard for his father. In your own writing, then, consider how a character’s dialogue, or even inner monologue, can be used to humorous effect. Maybe we want a lighthearted scene. We might want to build a sense of a character’s joviality, black humour, or dourness. Whatever the reason, verbal irony can be a powerful tool in developing characterisation and mood in your writing. Dramatic Irony Example And Definition Dramatic irony is when the audience or readers know something that the characters do not. We find this type of irony throughout the plays of William Shakespeare. Think of the prologue from Romeo and Juliet, for example: From forth the fatal loins of these two foesA pair of star-cross’d lovers take their life;Whose misadventured piteous overthrowsDo with their death bury their parents’ strife.Romeo and Juliet by William Shakespeare We know from the beginning that the lovers will die at their own hands. Dramatic irony is employed to keep the audience or reader on the edge of their seats, aware of the danger hurtling towards the blithely unaware characters. Inevitability is a key element of dramatic irony: at some point, the characters will learn what the audience already knows. In ancient Greek drama, this moment was known as ‘anagnorisis’, and it is intimately tied up with the conventions of tragedy: that the hero’s downfall is caused by their fatal flaw. The audience knows ahead of time what the character’s fatal flaw or crucial mistake is, while the character themselves only realises it too late. And this is the great power of dramatic irony – rather than acting as a ‘spoiler’ and ruining a big reveal, it engages readers further as they wait in agony for the moment a character’s world comes crashing down around them. The inevitability of dramatic irony lends tension to even the quieter moments of a story and helps it build towards a thrilling climax. Situational Irony Definition Situational irony occurs when the opposite of what you’d expect to happen happens. Remember how rain on your wedding day is ironic – if you’re getting married to a weatherman? That’s situational irony. Another example might be if an ambulance, racing to help an injured person, instead struck and further injured that person. Samuel Taylor Coleridge’s, The Rime of the Ancient Mariner, features a sailor who is stuck on a ship that is going nowhere, and is slowly dying of thirst; the irony is that there is ‘Water, water everywhere/Nor any drop to drink.’ Tragic irony indeed. In this example, situational irony adds to our understanding of the character’s desperation and gives us a sense of the bitterness of his situation. If you want your readers to gasp at the unfairness of your character’s situation, or see the bittersweetness or humour in a moment when the outcome they expected was reversed or subverted, then situational irony is an effective way to achieve this. Cosmic Irony Definition Cosmic irony is closely related to situational irony. Going further than simply subverting an expectation, cosmic irony is when it seems as though the universe itself is against your characters. We often see cosmic irony in stories where the gods seem to have control of a character’s fate, and have fun at their expense. In Antigone, a play by Sophocles, we see cosmic irony in the antagonist, Creon’s, fate. Creon angers the gods when he decrees that the body of Antigone’s disgraced brother is not to be buried. Creon’s pride leads to the cosmic irony of the punishment the gods give him: because he did not respect the rituals of death, he ultimately suffers the death of all who are close to him. Here, cosmic irony is used by Sophocles for a number of reasons: to explore the human condition, and to emphasise the theme of fate versus free will. If you want to create a character whose inescapable fate is so monumental and devastating that it will leave your readers in awe and despair, cosmic irony is the way to go. Socratic Irony Definition Socratic irony derives from the teaching method of Greek philosopher Socrates, who used questioning to prompt a student to work logically through their ideas. This brings us to Socratic irony, where a character feigns ignorance in order to uncover hidden truths. The most famous example of this literary technique is perhaps the TV detective Columbo, whose entire persona is an example of Socratic irony. Presenting a humble appearance, the detective would trick ne’er do wells by leading them to reveal a seemingly insignificant, yet crucial detail. His catchphrase ‘One more thing’, is a masterclass in Socratic irony, as he pretends to remember to enquire about a small matter when his targets are most unguarded. This type of irony works especially well in the crime genre, and intersects with dramatic irony: the reader will realise when a character has stepped into a trap laid by the questioner, though the character themselves will only realise too late. It’s also a powerful tool to drive up the tension in courtroom dramas – think of the well known ‘You can’t handle the truth’ scene in the film A Few Good Men. The great thing about Socratic irony is that it can be used to create completely opposite effects. On the one hand, if you want to build up to a stunning climax, you can use Socratic irony to show a gradually more tense interaction that becomes an explosive confrontation when one side realises what they’ve let slip. However, if you want to show your readers a character who quietly and deftly draws their oblivious opponent into a net of their own making, you can use Socratic irony for this as well. How To Use Irony In Your Writing Although irony is a highly effective tool, one thing to keep in mind when using it is that it relies entirely on the reader’s ability to recognise that it’s there in the first place. You need to read between the lines to see irony, because it hinges on the reader noticing the difference between how things appear and what the real truth is, or what is expected as opposed to what actually happens. Points Of View And Irony If you want to use any of the various types of irony discussed, some possibilities include using an omniscient point of view, flashbacks, or foreshadowing. These approaches all allow the readers to have access to information that characters themselves may not have, or set up expectations that you can then play with. As with all writing techniques, irony works best if employed for a clear purpose. What do you want to achieve with your use of irony? Does it align with your overall theme or message?Does it develop your readers’ understanding of the character?Does it add an additional element to your climax or your ending? The purposes of irony are as varied as the examples you’ll find, perhaps in some of your favourite books or films. In fact, looking for examples in your favourite stories can be an excellent way to develop your own understanding of how to write irony, or they can serve as inspiration! Frequently Asked Questions What Are The Five Main Types Of Irony? The five main types of irony are verbal, dramatic, situational, cosmic and Socratic. Verbal irony is when you say the opposite of what you mean.Dramatic irony is when the audience or reader knows something that the characters don’t.Situational irony is when the opposite of what is expected happens, often to humorous effect.Cosmic irony is when the outcome of a character’s actions seem to be controlled by fate, the universe, or the gods.Socratic irony is when a character’s feigned ignorance enables the truth to come out. What Are Three Dramatic Irony Examples? The manipulative and scheming Iago is repeatedly described in Shakespeare’s Othello as ‘honest’.In Shrek, when Shrek thinks Fiona can’t possibly love him because he’s an ogre, unaware that Fiona is cursed to become an ogre each night.In the movie Parasite, when the Parks return home from their trip, unaware that the Kims are hiding in the house. There is further dramatic irony when the Kims later discover that there is another person secretly hidden in the house. What Is Situational Irony In Literature? In literature, situational irony is when the outcome you’d expect does not happen, and your expectation is subverted or reversed in some manner. For example, in Roald Dahl’s, Lamb to the Slaughter, Mary kills her husband by hitting him with a frozen leg of lamb. She then cooks the lamb and feeds it to the police officers who arrive to ask her some questions. The police unwittingly destroying evidence is situational irony, as is the fact that Mary is not, as she first seems, the ‘lamb’ of the title – her husband is. Writing Irony Irony creates additional depth and meaning to your work, and connects you to a rich literary tradition which goes back literally thousands of years. If you want your readers to be painfully aware of the predicament your character is in, or to gasp at the intricacy of your plotting, or laugh out loud at absurdity, irony is all its forms will help.

Have you ever wondered how great fiction writing always manages to keep you hooked on every page and leave you wanting more? Or how the best films will leave you gripped, often keenly waiting for the next piece of action to develop? How a story unfolds isn’t something that magically happens. This comes about from great pacing and it\'s a skill that needs to be carefully developed in order to entice your readers and ensure they want to keep reading. Truly successful authors are experts at using different paces and have total control over their story pacing and the direction the plot will take you in. In this guide, we will explore what pacing is and why it\'s so important to good writing. We will also help you to master the pacing in your story to strengthen your work and ensure that your readers are left satisfied. So to begin, let’s explore what pacing is. What Is Pacing? Pacing refers to the rhythm of the entire story and how the chain of events fall into place. It\'s not necessarily the speed at which the story is told or the chapter length, but more how fast or slow the story is moving for the reader. Rather like a wonderfully composed piece of music, pacing differs. A great story should have moments of climax and slower, steadier points. How a story unfolds is something readers are conscious of, without always knowing why. Authors can use different tools to slow or speed up their pacing depending on what effect they are looking to achieve. For example, in a high-impact thriller, a writer might be looking to ensure that the story is fast moving, to push the story forward. That action is paramount for the main storyline, so descriptive passages and lengthy paragraphs are limited. However, in a slow-burning romance, for instance, the author might want to slow down the action and increase intrigue, changing the sentence structure to something more flowery and adding lengthy sentences. Now let’s consider why pacing is so important. Why Is Pacing Important? A story\'s pacing is a vital part of its appeal. It ensures the story moves at the correct speed and keeps your reader engaged and invested. Without effective pacing a book can suffer from sluggish, slow-moving sections – or, alternatively, can be blistering fast and not give your reader time to connect with characters or have the opportunity to envisage the world you are building. Rather like a great piece of music, or a satisfying film – a story must hit those highs and lows at the right time and leave you feeling completely satisfied once you have completed the journey. Keeping your reader invested is vital; you want them to keep turning pages. Pacing helps build tension and atmosphere and should take your reader in the direction you wish them to go in, moving with the ebb and flow of your story. Correct pacing ensures action can be driven forward at key scenes and slowed down again, for more retrospective moments or sections which focus on character development. If the readers get bored or can\'t keep up, they will be thrown out of the action and you don\'t want that. Well-constructed pace will help to ensure you keep them on that journey with you. Readers also want to feel satisfied by pacing, much like they feel when they consume other creative works. Most would struggle and feel quite exhausted by an onslaught of successive, quick action. Readers appreciate quiet, softer moments too – a chance to catch their breath and gather their thoughts. You may want to go slow when there\'s a lot of information you need your readers to absorb, plus the areas of intensity will have more impact. Now that we have understood why pacing is so important, let’s focus on how you achieve a well-paced story. How To Master Pacing In Your Writing Pacing can be used in many ways to strengthen your story. For example, paragraph length, word choice, and how you structure sentences will all affect pace. If you want to break up a long passage of exposition, a short piece of dialogue can be an effective way of changing the pace. Alternatively, you may have a very dialogue-heavy scene that is fast-moving, and the addition of exposition (even a line or two) will slow the action down and temporarily take the reader away from it. You may want to consider adding action scenes to a point of the text that has become quite slow-moving and static. Or, on the flip side, you may wish to consider writing some introspective pieces in an area where there has been lots of pace and movement in order to change the direction. Examples Of Pacing In Writing Let\'s take a look at how sentence structure and length can affect pace, and examine the other literary techniques you can use to create drama in your novel or short story. Short Sentences Author Ruth Ware is an expert at using pace in her novels. Here is an example of action being added to change pace. This section is from The Lying Game, very early on in chapter one. We have already been introduced briefly to the main character, who has received an intriguing text message. The initial writing is introspective and written at a calmer pace, lulling us into a false sense of security. Then suddenly, as the character reads the message, the pace picks up: I need you.I don’t need to ask what that means – because I just know, just as I know who sent it, even though it’s from a number I don’t recognise.KateKate Atagon.Just the sound of her name brings her back to me in a vivid rush – the smell of her soap, the freckles across the bridge of her nose, cinnamon against olive.Kate.FatimaTheaAnd me.The Lying Game by Ruth Ware The use of short, sharp sentences here really helps to drive the pace and tension and we can also effectively feel the characters heightened emotions through the use of the descriptive words and staccato structure. It’s clear that things are moving at speed and the reader will immediately want to know more. Longer Sentences In the beautifully crafted My Dear, I Wanted to Tell You by Louisa Young, we can see lots of examples of introspective writing being used effectively to slow pace. This is done to great effect throughout the book and allows us to learn about the character and setting. Here\'s an example: It was all he wanted now. All he ever wanted. Alone with Nadine. The very words gave him a frisson. Why should it be impossible? Surely in this big new twentieth century he could find a way to make it possible. After all, his mother would have thought it impossible for him even to have known a girl like Nadine… Things change. You can make things change. And the Waveneys weren’t like normal upper-class people. They were half-French and well travelled and open minded. They had noisy parties and played charades and hugged each other, and Mrs Waveney had told him that champagne glasses were modelled on the Empress Jospehine’s breast…My Dear, I Wanted to Tell You by Louisa Young Through the use of this type of descriptive writing, the author is slowing the pace down a little whilst also giving the reader a chance to find out more about the character and the world they live in before the tension and pace build up later in the narrative. Longer sentences are usually used here, and the scenes are more descriptive and detailed, delivered at a more leisurely pace. Cliff Hangers Another very effective way to increase pace is to introduce a cliffhanger to your text, giving it an intriguing or abrupt end. This will immediately pick up the pace of the novel, as it builds mystery and tension. An example of a great cliffhanger is in The Night She Disappeared by Lisa Jewell. Towards the end of chapter two, we are given a wonderful piece of intrigue when Sophie, who has just moved into a school cottage beside the woods, discovers a sign nailed to a fence. She turns to put the latch on the gate as she leaves the back garden and as she does so her eye is caught by something nailed to the wooden fence.A piece of cardboard, a flap torn from a box by the looks of it.Scrawled on it in marker and with an arrow pointing down to the earth, are the words, \'Dig Here.’The Night She Disappeared by Lisa Jewell This cliffhanger immediately increases the pace as the reader wants to know what happens next, but Jewell expertly uses a shift in pace by changing the direction of the narrative in the next chapter.  This is an extremely effective way of building intrigue and moving the story along at speed. Tips For Crafting A Well-Paced Story As mentioned before it\'s important to have both slower-paced scenes and fast-paced ones, to match your plot points and enhance the reader experience. Here are various tips to help you on your journey towards mastering pacing. Vary Sentence Length This is one of the quickest and easiest things you can do to increase the pace. Sharp, shorter sentences immediately move the action on quicker. Shorter paragraphs make us read faster and add to the suspense. Using the \'show, don\'t tell\' approach (which suggests using a limited amount of exposition) is really helpful when writing using a fast pace. Longer paragraphs with detailed descriptions do the reverse; they keep readers relaxed and give them time to catch their breath before the next bit of action. (Be careful not to go too far in this direction, or you\'ll end up writing purple prose.) Change Direction To Shape Pace As outlined in the Lisa Jewell example, a great way to manipulate pace is to change the direction of your narrative. For example, if you have written a fast-moving action scene that has ended on a cliff-hanger, you might want your next scene to focus on some quieter action, or more introspective work in order to build intrigue. Your readers will keep reading, eager to know what happens next. Add A Breather Many writers imagine that a well-paced novel must remain fast-paced throughout, but that is not the case. Slower scenes are very important as they develop character and setting. Breathers (long paragraphs with descriptive words) are great to slip into your writing after a period of fast action. They allow your characters and readers a chance to gather their thoughts and take in what has just occurred. It also means the fast-paced scenes will have more impact. Read Out Loud This is a great tip you can try when you\'re writing anyway. By reading your work out loud, you can actually hear how it sounds. Is it moving at the right pace? Does it feel slow and sluggish? Can you feel the right momentum as you read? If you are out of breath reading it then your readers will be too, which is perfect if it\'s an adventure novel and your characters are also out of breath! But if that\'s not what you\'re aiming for, you may need to adjust your sentences a little. Use Introspection To Develop Character You should always be considering your character development alongside plot and pace, so remember to show what your characters are thinking. Introspection is a great tool to use to slow down pace, and it also helps showcase character motivation and character drive and creates empathy for your characters. All of these things will help your readers connect to the writing. Reveal Information Selectively If you reveal all the exciting and enticing twists and turns too soon, the pace will soon drop and feel frustrating to the reader. Consider the use of cliff-hangers to build intrigue, or perhaps change direction or slow the pace after a moment of revelation to leave the reader keen to find out more. Use Backstory Or Sub Plots This can help you take your story in a different direction entirely and in doing so changes the pace. However, you should only consider using this device if it will help the development of the story overall, not just as a tool to control the pace. Plan Your Novel - The Rise And Fall To have great pacing you often need great planning, even if it’s a simple rough outline of where the rise and the fall of the novel will be. With such an outline, you can help shape your writing into a more workable draft. Read Some Great Examples Read! The best way to experience pacing is to seek other examples and see how authors do it. Pick up one of your favourite thrillers and notice the pacing. How does the author keep you gripped? Where are the high points and how do they introduce their slower moments? How can this help you to shape your own writing? Frequently Asked Questions How Is Pacing Used In A Story? Pacing is used as a mechanism to control the rhythm and speed at which a story is being told. It is also a way of ensuring you have control over how details and events are revealed. Pacing can be used to show fast-moving action and points of tension, but can also deliver slower, more introspective moments which helps with character interaction and scene setting. What Is Good Pacing? Good pacing allows the writing to move in ebbs and flows. Pacing in your writing should not be too fast throughout, leaving the reader without a chance to pause for breath. Yet nor should it be too slow or sluggish, boring your readers and not moving the plot forward. Well-considered and well-constructed pacing will leave the reader feeling satisfied and engaged. Poorly constructed pacing will leave the story disjointed and unbalanced. What Is An Example Of Pacing In Literature? The Therapist by B A Paris is an example of an exciting story that moves at pace to keep the reader engaged. There are lots of fast-moving action scenes, various dialogue-heavy chapters and a short snappy narrative. The end result is a fast-paced novel, encouraging readers to turn to the next page. Perfect Pacing As you have now learned, pacing is extremely important when writing any kind of fiction. It\'s a key component that will keep your reader stay engaged and invested in your writing. Rather like tides, your words should ebb and flow – taking the reader on a journey and leaving them feeling at times breathless, and at other times calm and immersed in your story. Pacing is a skill that comes with time, but like most things, gets better with practice. Now you know all there is to know about pacing, you have no excuse to slow down. Open up that document and start writing!

Sitting down to read or write a fantasy book feels a little like finding yourself in ‘The Wood Between Worlds’ in C.S. Lewis’s The Magician’s Nephew. Endless doors and avenues surround you, each one filled with its own rich cast of heroes, villains, creatures, and monsters. At least, that has always been my experience of the genre. Like Polly and Diggory in the first instalment of The Chronicles of Narnia, fantasy literature has constantly offered me a gateway to a whole new world of imaginative possibility. It can be exciting, absolutely, but it goes without saying that that endlessness can also make the process of writing your own fantasy novel quite daunting.   One of the best things to bear in mind when you do feel a little lost in your fantasy world is that a fantasy novel has, at its heart, a set of conventions. Although it is the job of the writer to ensure that their fantasy story does not become too predictable or formulaic, being able to break down and understand the tropes that make up your favourite stories can help make the process of writing your own fantasy books a lot more manageable.  In this article, I’ll be examining one of the most important fantasy literature conventions: the fantasy character. Within this, I will be exploring the ten most popular types of fantasy characters, their importance to the story, as well as some notable examples, in order to show you exactly how having a good grasp of character can strengthen your fantasy writing.  Fantasy Archetypes  Although the word ‘fantasy’ frequently conjures up ideas of complex worldbuilding and intricate magic systems, it is the stories’ characters which are, ultimately, the lifeblood of every good fantasy novel. Dealing as it does with faraway lands and high-risk stakes, fantasy characters have, in many ways, a more integral role within the story than most other literary genres; we cannot necessarily relate to the fantasy setting, so we must be able to relate to the characters that exist within them.   After all, we can only come to believe in the story if we recognise something of ourselves or those around us within its characters. Without that, the power of the central conflict is lost on us. If we don’t engage with, or even understand, the story’s characters, then we cease to care about what happens to them. As anyone who has ever stayed up crying about the fictional fate of their favourite fantasy character will tell you, a story’s power and resonance are only as strong as the reader\'s emotional attachment to its characters.   And how do we achieve that emotional connection? By ensuring that our characters are fully fleshed out, three-dimensional characters, with their own motivations, flaws and emotions. In that way, even if we cannot relate to their abilities or their otherworldliness, chances are that we can share in the motivations and emotions which drive them. By understanding the role that your characters play within the wider story, this process of developing compelling characters will become less difficult. Just as every story is different, so is every character. But characters tend to fall within certain groups/categories (each with their own tropes) that are important to consider in your own fantasy writing. Types Of Fantasy Characters Fantasy stories are rife with memorable characters of all kinds. Here is a list of ten of the most common types of fantasy characters.  1. The Hero  Understandably, the most important character in every fantasy story is its main hero. This is our main character, the one whose perspective we chiefly follow, and the figure whose primary role is to resolve the conflict that is driving the action of the story. Although fantasy heroes can look, sound, and act very differently from one another, it is helpful to think of them as the kind of engine driver of the story.   For theorists like Joseph Campbell, who outlined the narrative archetype of The Hero’s Journey, the fantasy story structure can be boiled down to these basic elements: the hero goes on an adventure, learns a lesson with newfound knowledge, and then returns home transformed. Whilst not all fantasy stories stick exclusively to this idea, this archetype is useful in illustrating how integral the hero is to the story’s structure: if we don’t root for them and their mission, then the story falls flat on its face.  Although the hero is committed to resolving the story’s conflict, it doesn’t necessarily have to be the case that they choose the role that they have been given: some might relish their role as a hero in the traditional warrior sense, whilst others might find themselves an altogether more reluctant protagonist.   However, it doesn’t have to be the case that the hero acts as the story’s moral epicentre. Whilst crafting a hero who is understandable and, by extension, sympathetic, is crucial, a fantasy hero is by no means bound to a strict ethical code of conduct. In many ways, the tension and intrigue within the story come from how the hero is forced to confront a darker, more questionable side to their character.  Examples: Celaena Sardothien/Aelin Galathynius (the Throne of Glass series), Paige Mahoney (the Bone Season series), Kvothe (The Kingkiller Chronicles), Vin (the Mistborn series), and Alina Starkov (the Grisha trilogy).  2. The Villain  Wherever there is a fantasy hero, there is, of course, a fantasy villain. This is the person who, often, is causing the main story’s conflict; they are the story’s primary antagonistic force and it is their desires and ambitions that the fantasy hero needs to confront. It doesn’t always have to be on the same scale but, frequently, the fulfilment of the villain’s goals spells danger not only to the hero’s life but, potentially, to the fantasy world at large.   Although the villain’s ambitions are undoubtedly immoral, one thing to keep in mind when it comes to crafting a compelling villain is that pure evil is not, in itself, enough of an excuse. In many ways, suggesting that the villain acts the way that they do, or even desires world domination ‘just because they are evil’ risks the story’s credibility.   As mentioned above, if we are to believe in the story and its stakes, we have to understand what is motivating every character involved. Rather than suggest that your fantasy villains are programmed to be inherently bad, show that their goal is tied to a deeper, emotional want. By giving them some kind of origin story, which explains their current conduct, you add a depth and complexity which heightens our emotional investment in the story.  Examples: Davy Jones (Pirates of the Caribbean), Cersei Lannister (A Song of Ice and Fire series), Eli Cardale (Vicious), The Darkling (the Grisha trilogy), The Jackal (the Red Rising trilogy).  3. The Mentor  Named in honour of the figure of the self-same name who guides the young Telemachus in Homer’s The Odyssey, the mentor is the figure who, as the title suggests, helps support our hero through the story’s trials and tribulations. More often or not, they are the figure with the most knowledge of what is going on in the wider context of the story and, as such, have the practical, hard-won wisdom needed to help the hero progress. Often this relationship of dependency and trust means that the hero and the mentor share a uniquely special relationship, one that resembles an almost parental bond.   Unfortunately, by virtue of how much the mentor knows, it is almost always necessary for the mentor and the hero to part ways. After all, where would the fun be if the conflict was resolved too quickly or easily? Unless the mentor has a desire to be difficult for the sake of it, this will often mean that the mentor has to be taken out of the main story somehow, leaving the hero free to apply the lessons they have learnt from their time with them. Although this can sometimes mean being incapacitated elsewhere, commonly this will culminate in the mentor being killed off. Ultimately, their role is to provide the hero with the tools necessary to solve the conflict, but it is not always the case that they will be there to see the resolution come about.  Examples: Brom (Eragon), Magnus Bane (the Mortal Instruments series), Obi Wan Kenobi (Star Wars), Chiron (the Percy Jackson series), and Gandalf (The Lord of the Rings).  4. The Sidekick  Although not necessarily the driving force of the story in the same way fantasy heroes or fantasy villains are, fantasy sidekicks are an essential element in creating a believable story. Much like the mentor, they offer a crucial source of support to the hero; since they are not necessarily figures with the same kind of knowledge or skills, this support is more often emotional than practical. Their relationship with the hero is integral—they are true friends, with a bond forged out of years of trust and commitment, and it is, consequently, this connection which enables the sidekick to see the good in our fantasy hero, and to offer them the self-belief they need to move forwards.   Whilst the sidekick can sometimes resent their role as the lesser shining star to our hero’s supernova, it is their relatability and, frankly, their relative ordinariness which gives them their narrative power. They are the ones we recognise as being most like ourselves: on a meta level, it is the reader who, like the sidekick, is mentally rooting for the hero and, thus, it is the sidekick who acts as our mouthpiece when they give our hero a necessary pep talk.   Examples: Grover Underwood (the Percy Jackson series), Samwell Tarly (A Song of Ice and Fire series), Samwise Gamgee (The Lord of the Rings), Rose Tyler (Doctor Who), Wayne (the Mistborn series).  5. The Love Interest  Much like fantasy villains, the love interest can be a challenging character to get right. Given the fact that their relationship with the main character is chiefly romantic, it is easy for their character to be reduced entirely to this relationship. As such, the risk with writing the love interest is that we do not see them beyond their romantic role, or give them enough of an individual character arc or set of external motivations and desires to make them well fleshed out.   If you get the love interest right, however, their presence is an integral way of humanising the story’s conflict, by reminding us of the many relationships that are being put in jeopardy by the antagonistic forces that be. As already mentioned, if we don’t believe in the emotional stakes of the story, we don’t feel the full force of the story’s resolution.  Examples: Cardan Greenbriar (the Folk of the Air trilogy), Annabeth Chase (the Percy Jackson series), Rowan Whitethorn (the Throne of Glass series), Queen Sabran (The Priory of the Orange Tree), and Rhysand (A Court of Thorns & Roses series).  6. The Alternative Hero  Just one glimpse at the size of the latest Brandon Sanderson or George R.R. Martin book will tell you one very basic thing about fantasy books; they are weighty tomes overrun with a vast tapestry of characters. Given how the main fantasy archetypes only run to a handful of those characters, it makes sense for there to be some additional backup forces to help out our key players. With the stakes being as high as they are—and let’s be honest there is nothing more intense as a potential apocalypse—it would make sense for our hero to have some extra helping hands. Cue, the alternative hero.  To help understand their role, and more particularly, how they are distinguished from the sidekick or the mentor, it is best to think of the alternative hero in the mould of Tolkien’s character Aragorn: like Gandalf and Sam, he supports and believes in Frodo and his ability to save the day, but unlike the other two he assists chiefly by concentrating on what he can do, from his end, to tackle the conflict. Essentially, he empowers the main hero by providing as clear a path forward as he can towards that longed-for resolution.   Examples: Simon Lewis (the Mortal Instruments series), Tane (The Priory of the Orange Tree), Helene (An Ember in the Ashes series), Roran (The Inheritance Cycle), and Prince Caspian (The Chronicles of Narnia).  7. The Secondary Villain  Much like our backup heroes who give ‘team good’ their additional power, our villains would be nowhere near as intimidating or threatening were it not for those secondary villains propping them up. This secondary villain fundamentally operates as our main villain’s henchman; they are not so much the brains behind the operation, as the brawn, the one who carries out the dirty work in pursuit of the villain’s ultimate goal.   What makes the secondary villain so interesting is the very fact that their involvement with the main villain is less out of a genuine, emotional commitment and more a result of circumstance or compulsion. They are not necessarily bad because they want to be, or because they believe in the merits of the villain’s plan, but rather they feel they must follow along. Sometimes, they might even register the consequences of their actions, or experience inner turmoil for the damage they have caused. As with any character, it is this tension and nuance which adds emotional complexity and interest.  Examples: Luke Castellan (the Percy Jackson series), Grace Blackthorn (The Last Hours trilogy), Niclays (The Priory of the Orange Tree), Tamlin (A Court of Thorns and Roses series), Theon Greyjoy (A Song of Ice and Fire series).  8. The Magical Aide  What is the beauty of fantasy books, after all, if not for all the many wonderful supernatural entities that you can find within them? Whether they be fauns or griffins, vampires or fae, our magical characters are what give fantasy books a special kind of excitement and interest. They function as a sign of how extraordinary- literally- our fantasy worlds are and it is their existence which differentiates fantasy novels from the standard fictional book. In other words, they make our fiction fantastical.  Given how often magic and the supernatural can be misused in fantasy, the involvement of friendly magical creatures can help demonstrate the way that the fantastical or the magical are, inherently, neutral. As it is not so much magic or the supernatural that is wrong as the people who use those forces for evil.  Examples: Mr Tumnus (The Chronicles of Narnia), Toothless (How to Train Your Dragon), Kilgarrah, the Great Dragon (Merlin), Buckbeak (the Harry Potter series), Saphira (The Inheritance Cycle).  9. The Monster  As with the balance of villain and hero, the good magical creatures must have their opposite in a fantasy story. Enter the monster. Now, unlike the villain, this antagonistic force doesn’t have to have anything recognisably human about them: in all honesty, it is the essential inhumanity of our favourite fantasy monsters which makes them so terrifying and effective. In contrast to near enough every other figure in a fantasy novel, monsters need very little motivation and drive other than a primal urge to commit mayhem and pain. They are not the driving force behind the conflict, but they are the ones who see this conflict as a beneficial opportunity. As such, they cannot be reasoned with or deterred—in the vast majority of fantasy writing, it is unlikely that they can even be redeemed.  Examples: The demons (The Shadowhunter Chronicles), Shelob (The Lord of the Rings), The Chitauri (The Avengers), the Army of the Night King (Game of Thrones), and the walking dead (The Walking Dead).  10. The Rival/Foil  The rival is a character that is easy to confuse with figures like the secondary villain, or even the alternative hero. These are the characters that act as a foil to our main character and it is their proximity, or even their similarity to our main character, which gives them their enigmatic power.   Think of the term ‘rival’ less as an indication of how antagonistic they are in the wider context of the story, and more about the ways in which they operate as a balancing force to your central hero. More often than not, these characters have personalities which clash, or which cause them to resent each other, but, as it becomes apparent as the story goes on, there is more that unites these characters than divides them. Whether it is the fact that they share a similar backstory, a similar set of skills or even the same love interest, the rival reads like a character that, in a different story, might well have been our central character. And it is their presence in the story which forces the main character to prove their heroism and individuality: if there is a potentially more plausible hero out there, then our main hero has to justify why it is their story, and not the foil’s.  Examples: Neville Longbottom (the Harry Potter series), Sir Lancelot (Merlin), Han Solo (Star Wars), Robb Stark (Game of Thrones), Lysandra (Throne of Glass).  Frequently Asked Questions  What Types Of Characters Are In Fantasy?  Although this list is by no means exhaustive, there are chiefly ten main character types that can be found within fantasy stories: the hero, the villain, the mentor, the sidekick, the love interest, the alternative hero, the secondary villain, the magical aide, the monster, and the rival/foil. Whilst there is scope to play around with the role that each plays within the story, each of these figures are important characters who have some kind of involvement with the wider conflict and it is partially their relationship to this central action which shapes their conduct and perspective.  What Are Three Characteristics Of Fantasy?  By definition, fantasy is a genre that typically features three things: magical or supernatural forces and entities, a plot or world-building system which concerns a central quest or a set of adventures, and a cast of complex, well-developed fantasy characters.  How Do I Make A Fantasy Character?  To create a fantasy character, focus in on the characteristics that will make them comprehensible to your reader. The easiest way to do this is to remember that characters drive the plot and that what primarily drives everyone’s actions is a goal; zero in on what every character wants at the end of the story and why. That gives your character their motivations and, depending on the nature of those goals or the methods they go about trying to achieve them, their flaws.   Creating Fantasy Characters Although the beauty of fantasy is often in how it offers us the chance to explore an exciting, new world and magic system, it is worth remembering how important character is to grounding your story. Whether it be a paranormal, urban fantasy partially set in the real world, a fantastical fairy tale, or an epic fantasy set in a completely unfamiliar one, compelling characters provide a vital bridge in your story between us, the reader, and your fantasy setting.   Given how tied up we can often be with plotting and worldbuilding, it is understandable to feel slightly stumped when it comes to generating ideas for your fantasy characters. (Here are some fantasy prompts which may help you get started.) By providing a basic overview of the main iconic character types, a list of well-known examples and their importance to the wider story, this guide aims to show you how you can use these fantasy roles as building blocks for creating your own cast of memorable characters.  

Discovering how to write a mystery novel needn\'t be a mystery. As a murder mystery and thriller writer myself, I have been hooked on mystery books ever since childhood when I read my first mystery novel, book one of The Secret Seven. Tucked under the blankets in bed, I would turn the pages at a rate of knots to discover who the dastardly crook was that stole a precious violin, or worse still, their precious dog, Scamper. It wasn’t long until I had read all fifteen books; each story pulling me in and keeping me hooked until the young amateur sleuths reached their conclusions. Over the years I graduated from Enid Blyton to other more grown-up mystery novels, realising that the basic rules for writing engaging mystery stories remained the same. Whether it’s Enid Blyton, Agatha Christie, or Val McDermid, the secret has always been to keep mystery readers hooked until the final page. In this article, I will be sharing tips and tricks on how to create your own mystery story, as we explore the genre and the best-selling crime fiction that\'s captured the hearts and imaginations of mystery readers worldwide. What Is A Mystery Novel? In short, a mystery novel is a story that asks the question ‘who dunnit?’ and then spends the rest of the book answering that question, while introducing you to all kinds of characters and potential suspects. If you love having the opportunity to solve a riddle, what could be better than to be taken on a literary adventure with the promise that by the end you will be in on the secret, as you try to work it out along the way. Mystery Subgenres There are several subgenres that come under Mystery, here are just some of them... Cosy Mysteries These stories are a gentler form of crime book. Often a body is found with no gory descriptions or details and when the murder is witnessed it is quick and sanitised. They usually feature an amateur detective (or detectives), a confined setting (often somewhere rural), and characters who know one another. Examples: books by T L Huchu, Andrew Wilson, and Richard Osman. Hard Boiled Crime/Police Procedurals Unlike cosy crime, with this mystery genre, you\'re more likely to read all the gory details of the darkest crimes, from grisly murders to autopsies in the morgue. There may be no holding back when it comes to the crime either, whether quick or prolonged, you will relive it in much greater detail. With a police procedural, the story focuses on the investigation from the perspective of the diligent sleuths; often a flawed character who works outside of the confines of their job. Examples: the works of Lynda La Plante, MW Craven, and Karin Slaughter. Noir As a noir writer, you are focusing on shadows and hazy lights, mood and atmosphere. This isn\'t detective fiction. The focus is on the criminal in a concise story that follows the main character\'s descent into self-destruction. Examples: Tina Baker and Megan Abbott\'s books. Thrillers As fast-paced page turners, thrillers make you gasp and shake your head in awe at the unexpected twists and turns. Thriller writers love to take readers in the wrong direction, offering high stakes; all leading to a stunning conclusion. Thrillers are often psychological and dark, and sometimes even supernatural. Examples: books by James Patterson, Nadine Matheson, and Oyinkan Braithwaite. True Crime Fiction True crime books are extremely well researched and explore true crimes in factual detail. They can be an exploration into the mind of a killer or place more of an emphasis on the victims and their lives. In true crime mystery novels, a murder is usually involved, but it could be a crime of another sort, such as financial fraud or a disappearance. It’s anything that requires information to work out what has happened between the innocent person and the perpetrator. Examples: The Jigsaw Murders by Jeremy Craddock, and The Five – The Untold Lives of The Women Killed by Jack the Ripper by Hallie Rubenhold. How To Write A Good Mystery Before you start writing mysteries, there are five things you need to consider and get right. Decide On Your Sub-Genre In order to pitch to an agent, edit, distributor, or to simply get a mystery reader hooked, you need to know where your book fits in the mystery novel spectrum. There\'s no point calling your mystery story \'noire\' then having a 90 year old woman go on a quest with her bingo friends to help solve the mystery of all the missing cats in their quaint village. There\'s nothing dark about that! Research Your Setting If your mystery novel\'s setting is a small town where everyone knows each other, then speak to people who live there. Or, better yet, visit the place yourself and get an idea of the lay of the land. What are the buildings like? Is there a pub? A post office? Print out photographs and draw maps; know it all inside out. The more you know about the setting, the easier (and more fun), it is to write. Plus your readers will be able to picture the setting in their own minds better. Create Engaging Characters Convincing characters drive the plot. If you want readers to invest in your story, then writing fascinating characters that won\'t be forgotten in a hurry is essential. Character development is key; we need to see the hero of the story\'s own arc - not just solving the mystery but learning something about themselves. Your readers don’t have to like the characters, but they have to believe in them and care about what happens to them. Research By Reading A huge part of researching before you write any kind of novel is to read within your genre. Search out the best-selling mystery books and read them. They may not all be to your taste, but they will all help you understand exactly what’s needed to write a successful thriller, procedural, cosy, or hardboiled crime story. Edit Once you\'ve finished your first draft ask yourself ‘Is it ready to send to an agent?’ The answer will almost certainly be, ‘no!’ Ask someone impartial, who you trust, to read it. Or you can pay for a professional edit; if you do this, seek recommendations from other writers you trust or check out our editors at Jericho Writers. Never send out your manuscript until you have made it the best it can possibly be! Great Mystery Novels You Should Read Reading is part of your work as a writer. Some fear another author\'s style will somehow seep into their own work, or worse, the book will be so good it will make you feel like your own work isn\'t good enough. However, only by reading widely will you learn what makes a successful book, and I believe that can only impact your work positively. You will also need comparable titles when it comes to pitching your book to agents and publishers, so knowing the market beforehand is essential. Here are some great mysteries for you to try out (and I would urge you to read even those that aren’t in your sub-genre, as the basics are still relevant, and you might even find a new favourite!) And Then There Were None By Agatha Christie There’s no denying that the endurance of Agatha Christie’s books is a testament to the quality of her writing and stories. Voted as the favourite of her books in an online poll,  And Then There Were None sees ten guests, all with something hide, invited to an island off the Devon coast. One by one they die, each victim’s demise echoing the line of a child’s nursery rhyme that is played to them at night. Gone Girl By Gillian Flynn On the morning of their fifth wedding anniversary, Nick Dunne’s wife, Amy, mysteriously disappears. Nick quickly becomes the prime suspect and must follow a string of clues in order to find out what has happened to his wife and to try and prove his innocence. But is he the wrong suspect? A deliciously tangled web of deceit and unreliable characters makes for a twisty and jaw-dropping story. The Silence of the Lambs By Thomas Harris When a senator\'s daughter goes missing, it is feared that she has become the latest victim of Buffalo Bill, a notorious serial killer. Clarice Starling, a young FBI recruit, is bought in to help find her using the help of the imprisoned violent killer Hannibal Lecture. Part thriller, part horror, and part police procedural, The Silence of the Lambs is a thrilling tale that will keep you on the edge of your seat. Plotting Vs Pantsing Do you plot your mystery novel? Or do you fly by the seat of your pants and make it up as you go along? Mystery books can be incredibly complex to plot, as you have to consider red herrings, false clues, specific details, and dead ends. Not to mention including a vast cast of convincing characters. Plotting is a vital part of the process of keeping track of events and making sure all loose ends are tied up. Strict plotters have a very clear idea of what is going to happen scene by scene, chapter by chapter. Pantsers, on the other hand, may have a vague idea of where the story is going, but on the whole, they just sit down in front of the laptop and let the characters do the talking, the story unfolding before them. They find tight plotting too constrictive. As a mystery author, you need to find the technique that works best for you. Here are some examples of successful mystery authors who have used either method, along with some tips to help you plan your own mystery novel. The Plotter Mystery Writer Mystery writer, Victoria Dowd, is renowned for her plotting. So much so that her novel, A Book of Murder, featured her plotting method on the front cover. Victoria’s son has also created a Lego village for her, so she can keep track of her character’s movements throughout the story! Agatha Christie is probably the most famous mystery writer of them all, and she tightly plotted her stories by beginning with the murder, the killer and the motive. Then moving on to suspects and their possible motives. Next, she would plot possible clues and red herrings to keep readers guessing. With so many characters and possible outcomes, it’s no surprise she chose this method. How many of us have read or watched her stories, feeling sure we know who ‘done it’ only to see them finished off before the climax of the story? The Pantser Mystery Writer Author of The Call of Cassandra Rose, Sophia Spiers says: I begin with a ‘What if?’ question, then I start to play around with the idea in my head. Maybe write a few notes down, but not much. I’m mostly working it out in my head. I write a very bad first ‘vomit’ draft, then print and read through, looking for plot holes and tightening as much as I can. Deleting and rewriting where needed. I recently tried to plot but got bored, it was disastrous! Sophia Spiers The same goes for author of Her, Meera Shah: I start with a character scenario then I write as if I’m her/him, chapter by chapter in chronological order. Just me and the computer. Meera Shah Jonathan Whitelaw, author of The Bingo Hall Detectives, starts with a rough outline and then heads straight to his computer, finding the excitement of not quite knowing where things might end up. Tina Baker, author of Call Me Mummy and Nasty Little Cuts, also keeps her ideas in her head, but for a few scribbles here and there, she just writes down the bare bones and builds with each draft. As you can see, there is no right or wrong way to write a mystery; just the way that works best for you. You may even find a mix of both methods works for you. Help With Planning Your Mystery Novel With so many intricate plot lines and dead ends to line up, whether you plot tightly or leave it to chance, it helps to have a rough idea of where you are heading. Here are a few handy hints and tools that can help you on your writing journey. Post-It Notes You’ve seen those walls on social media? A mass of yellow and pink squares to put the fear of God into any minimalist interior designer. Each scene broken down on a small sticky square and arranged in order of events. For the more visual writers, this is a great way to keep the series of events and characters at the forefront while writing. Apps And Writing Software Similarly, there are software packages that can also do this, keeping your walls free for family portraits and bookshelves (hopefully filled with lots of mystery books for you to read and research.) Scrivener is one such package commonly used by writers. White Boards Wipeable boards are a great tool for an ever-evolving plot and keeping track of the story. Character Photos/Profiles Character development is one of the most important parts of your story. If you don’t know exactly who your main character is, how is a reader supposed to care about them? Using people you know or TV/film stars, create a cast of characters that will help you move the story along. A section of mystery writer Victoria Dowd\'s plotting board Mystery Writing Advice Stuck For ideas? Read true crime in books and newspaper articles. Sometimes the truth is stranger than fiction! Of course, true crime is a mystery sub-genre in itself; today it is written in a much more exciting and narrative fashion creating the same effect as a novel. Pacing This is incredibly important in a mystery; you want to keep the reader turning the page and engaged. Keep the story concise and make every chapter count. Omit anything that doesn’t move the story forward towards the readers\' goal (finding out the who and why). Characters It cannot be stated enough that all classic mystery books are remembered for not just the twisty plot but the unforgettable characters too! So, know your characters inside out, what makes them tick, what scares them and what drives them. Once you do this work the entire book will be easier to write because they will tell you where the story is going. Don’t shoehorn characters into a plot, make sure they act in a way that’s consistent with their character. Know Your Suspects! Understand their connections to the crime, motivations and why it might just have been them (or not!). Keep the reader guessing throughout. Foreshadowing And Red Herrings Dripfeed clues throughout the book. Don’t put too many clues or foreshadowing too soon. Trust your reader to do some of the work and they will thank you for it. Sometimes it helps to write the entire novel, then work backwards adding in clues and dead ends! Frequently Asked Questions Is The Female Victim An Overdone Trope? It is true that historically women have borne the brunt of crime; fictional and in real life. As a result, many have grown weary of seeing themselves as the victims. I believe this is merely art reflecting life. Two women each week are killed in the UK, so to ignore this would be to ignore the reality. Until femicide becomes a problem of the past, these terrible crimes will always be of interest, and the why? a pertinent question. Should We Ignore The Perpetrator\'s Life And Focus On The Victim? I would say this is more relevant to true crime, where a welcome trend is now to discover the life of the victim and their history, rather than that of the perpetrator. In fiction, we are naturally interested in character, and whether we like them or not, that’s the goodies versus the baddies. Would The Silence of the Lambs be as interesting if we didn’t get to know the evil but enigmatic character Hannibal Lecture? I think not. Who is Ayoola in My Sister, the Serial Killer?and why does she do what she does? The mystery of an enigmatic character will move a story along, whether they are the victim or the perpetrator. I Don’t Like Gore And Murder, Can I Still Write Mystery? Of course! But you would be best suited to mystery, cosy style, or stories with less brutal crimes. Cosy crime doesn’t show the death in any detail, the story quickly moves to the amateur sleuth(s) and concentrates on the solving of the crime. Mystery Novel Writing Is No Mystery Mystery isn’t an easy genre, but for me, it’s one of the most satisfying to read and to write. Taking a complete puzzle and mixing it up in a way that creates an exciting and satisfying read is a thrill in itself. Now you know some of the subgenres and authors, dive into the genre in all its glory and forms. Learning how others write mystery novels will give you ideas and enthusiasm for your own story. Good luck and enjoy!

No matter how many books you have written, or how many Sunday Times Best-selling novels you produce, you will never stop learning how to write. Never. The writing process is also an ongoing learning process. During my entire writing journey so far, the one piece of advice that has always stuck is; ‘Never ever stop learning your craft. Never think you know it all, be ready and willing to be surprised.’ But how do you continue to learn without going on constant courses or going back to education? What do you have to do to improve your writing skills and become a better writer? In this article, I\'m going to highlight just ONE of the skills I embrace regularly to help me learn and grow as a writer; I start every writing day with a creative writing exercise. I will also explain why and how creative writing exercises can benefit your writing and even give a few examples of the fun writing activities that have helped me over the years. So let\'s get started. What Are Creative Writing Exercises? Essentially, creative writing exercises are short bursts of creative writing, generally improvisational, that get the creative juices flowing. They can range from consciousness writing, to penning short stories or prose in poetry forms to practice writing. The medium, length, and content are not important, all that matters is unlocking your creativity, inspiring story ideas, and increasing confidence. Why Are Writing Prompts And Exercises Helpful? How often have you sat in front of a blank piece of paper, knowing you need to get the words down...but can\'t? You can hear all the voices, you know all the plot, and you have even worked out the story beats, but the words won\'t come. Well, you’re not alone. This happens to every writer at some point or other. Luckily, there\'s no need to panic, because to get back into the flow again all you have to do is rummage around in your writer toolbox and find the right key to unlock the right door. And that key is to have a go at some writing exercises and story prompts! The creative writing exercises I\'m about to suggest don’t ever need to be seen by a single soul, they never have to find their way into your final draft (but if they do, that’s a happy bonus), and they don’t even need to make sense or follow the same voice or genre of what you are writing. The entire point of creative writing exercises is to spark ideas in your mind, leading to a flood of words on the page. What Makes A Good Creative Writing Exercise? Writing prompts and exercises shouldn’t take long. In fact, the beauty of them is that they quickly become part of your working day. They can be something you do first thing in the morning - like brushing your teeth or having a shower. Or how you spend your evenings once the daily chores are done. Think of them as the warm-up before a run. A good warm-up will get your muscles moving and ready for the race, but you don’t spend three hours warming up before you run a one-hour race, do you? The very best writing exercises should be: FunShortEasy to complete If you find yourself spending hours on a writing exercise, ask yourself whether you are perhaps using it as an excuse to not work on the project that you need to get back to. And if you are, ask yourself whether perhaps you should be starting a new project that you actually enjoy doing. So let\'s get started. Let\'s take a look at my top ten writing exercises and prompts that never fail to get me out of my writing rut! Creative Writing Exercises To Try Today It’s important to remember that you don’t only have to use creative writing exercises when you are ‘blocked’. If you’re in-between projects and just want to keep those muscles active, then why not play around with brand new characters and entirely new ideas? You never know, some of these creative writing exercises may even inspire your next novel. The best thing about writing exercises is that there are no rules, they are simply a chance to let your brain free fall and see what comes out the other side. I spoke to many fellow authors about their own favourite tips and writing prompts before writing this article. I was inundated with responses, with many of them sharing tips on what they do when they feel stuck, how they get to know their main characters, and general good practise techniques to become a better writer. I\'ve sifted through the hundreds of examples I was given, and put together my own personal top ten writing exercises for you to try… 1: Interview Your Main Character Helps with: Finding the hidden secrets of your protagonist Have one of your smaller ‘bit-part’ characters interview your main character. Answer all questions from the point of view of your main character but.. and this is important… answer honestly! Don’t answer how you as the author want your character to respond, instead, put yourself in your main character\'s position and answer how they would in that very moment. If your cheating husband character is being interviewed by his mother-in-law, how would he speak to her? Would be he honest? Would he be evasive? What does this tell you about his character? What does it tell you about their relationship? For those who write character sheets, take a look at the questions you asked yourself back in the planning stages and ask questions based on an answer you already know about their past. How would your character reply in the moment and what does that tell you about them? Or, go one step further, and try the same thing but in a different genre or tense. Write it in the third person, as if you are a spectator telling a person\'s story; again in the first person as if you are the interviewer meeting your main character for the first time; and then again from the protagonist\'s point of view! 2: Show Don’t Tell Helps with: Honing your craft A great exercise that a fellow author highlighted was a classic ‘show don’t tell’ exercise used by many writing courses around the globe. Write a scene about a very drunk person, without once mentioning that the character is drunk. Using all the senses, see how effectively you can work those \'show don’t tell\' muscles. Think about setting, descriptive language, and what opening lines work best. Or perhaps write about your dream house or dream holiday, but without mentioning where they are. See if the reader can guess by your description. These can be written as flash fiction, a short story or even just a short paragraph. 3: Brain Dump/Free Writing Helps with: Banishing the mental load/using mental load to find inspiration Set a timer for three minutes and simply write in a stream of consciousness - no rules, no story beats, no planning, and no post-it notes. Maybe you\'ll start by writing that shopping list that\'s been bothering you and find it meanders its way into a diary entry by a frustrated maid. Or you may start writing your own diary entry and find it merges into the mindset of your main character. The purpose of free writing is to allow your brain to find the path that it is ready and willing to travel down. Sometimes, writing down whatever random words come to you and banishing all other noise helps you find the ideas that are ready to reveal themselves. 4: Pin The Tail On The Donkey Helps with: Finding Inspiration Ok, not literally, this isn\'t a game for a children\'s party. I am not telling you to draw and cut out a donkey’s tail and blindly roam around the room with a pin in hand! Instead, close your eyes and pick a random book from your bookshelf. Don’t cheat and pick an easy one… truly let fate guide you here. Close your eyes again and flick the pages, pick a random page and a random sentence and start from there. That\'s your writing prompt for the day - now begin writing. What does that sentence spark in you? What ideas does it give you? Can you write a story based on that sentence as an opening line? (If you\'re looking for more prompts to use as a jumping off point, try our writing prompts for thrillers, fantasy, romance, horror, poetry, and Christmas stories.) 5: Postcard Lottery (Part 1) Helps with: Pushing Boundaries and stepping out of your comfort zone While on a recent writing retreat, one of the exercises we did really sparked amazing new ideas for future stories. The exercise is split into two parts. The first part of this was the Postcard Lottery. Our host had a tall stack of postcards collected from all over; art galleries, museums, local cinemas; some of the most random images you can imagine. We all took a postcard without looking, set a time for 10 minutes, and used the image as inspiration. (If you don’t have a stack of postcards, you can use online random image generators such as https://randomwordgenerator.com/picture.php.) 6: Postcard Lottery (Part 2) Helps with: Pushing Boundaries and stepping out of your comfort zone Following on from the task above, now it was time to take another postcard. But in addition to that new postcard, we were asked to rummage in the bowl filled with slips of paper on which different genres had been written. This is great for getting any creative writer totally out of their comfort zone! Suddenly, rom-com writers holding an image of a pretty wildflower were having to imagine that picture as the basis for a murderous thriller story. And horror writers, holding an image of a skull, were having to use it as inspiration for a middle-grade comedy. If you embrace the randomness and push away all expectations of what you should be writing, it can be quite enlightening and a lot of fun! 7: Have A Break, Have A KitKat Helps with: Developing those ‘senses’ on the page One of the best creative exercises you can do is to sit down quietly and eat something. Seriously! Grab yourself a snack from the kitchen, sit down at your desk, and eat your food mindfully. As you do, write about the snack you\'re eating, making sure to use all your senses. The texture and the memories that it may evoke. The smells around you. Can you make your readers\' mouths water? Or even better, make a reader cry and turn them off a food item for life?  8: Play Therapist Helps with: Using personal blockers to push through writer\'s block This one is great for creative writers who are struggling with writer\'s block due to personal issues. Use your pain, your confusion, or your anger in real life to help you flex those writing muscles for good. Take the last argument you had with your partner or a falling out with a family member as a basis, then re-write the story. Either talk to a therapist on the page about the fight and write responses from both sides (always illuminating, because they are not always going to take your side, forcing you to see events from another point of view) or have the argument with that person over again in a way you would have preferred to resolve it. 9: Flip The Narrative Helps with: Pushing past writer\'s block and developing deeper characterisation This exercise is great if you are in the middle of a new draft, but don’t feel like you have a grip on your characters yet. Take a scene you have already written and flip the narrative. Have the entire scene written from another person’s point of view. It often helps to stand in another person\'s shoes to gather a new perspective. How would they see the same scene played out through their eyes? What does that tell you about the scene that you didn’t know before? What does it highlight that you weren’t previously aware of? This exercise is incredibly helpful if you\'re struggling to get past a plot hole, or grappling with character motivation.   10: It’s All About The Words Helps with: Understanding the importance of dialogue There are two very different ways you can tackle this exercise, depending on the type of writer you are. You can either: Write a scene entirely in dialogue, but only showing one side of the conversation. So, either have the other character on the other side of a phone call that the reader can’t ‘hear’, or have the other side of the conversation redacted, but in a way that the reader can still 100% understand the entire scene having only read one side of the story.Write an entire scene between two characters communicating entirely wordlessly, through nothing but gestures. Again, you can write this is in the third person or from the point of view of one of the characters. See how long they can ‘speak’ without speaking. Have the characters understood each other by the end of the scene? Or has a terrible miscommunication occurred? Dialogue can be a sticky area for many writers. Either you really love dialogue and struggle to write description, or it\'s the opposite and you love your characters talking to one another but struggle with descriptive writing or moving the plot along. Either way, pushing past the norm and learning how to use that weakness as a strength can bring about lots of new ideas and plot twists. Other Forms Of Writing Although the above exercises are great for getting your creative juices flowing, they are not the only way you can get your writer brain cells working. Sometimes, you need to take a break from what you are used to writing and try something different. Try stepping away from creative writing and trying your hand at different forms of writing, such as non-fiction. Write A Blog Post If you have a blog, write a blog post about something entirely unrelated to your current project. Or, better yet, approach a magazine or someone with a blog and offer to write an article for them. You can choose any subject you like, you can even write about bettering your writing skills, as I am doing right now. Write A Book Review There\'s nothing writers love more than reading a good book. And there\'s nothing authors appreciate more than receiving a great review about their book. So why not get on Goodreads, Netgalley, Amazon, or even your own social media channels, and write a book review. Having to think about story structure, plot, characterisation and the language other writers have used may even help you with the writing of your own novel! Write A Poem Reacquaint yourself with your inner teenager and write an emotional poem about heartbreak, anger, or how unfair the world is. Reflect on your childhood, or process something you\'re currently experiencing. Make it as cheesy, vulnerable, or as dark as you want; after all, no one ever needs to read it. The fun is knowing you can write it! Write Non-Fiction Write something based on facts. Something you know about. Perhaps a ‘step by step’ guide, or a document all about something you know inside out. Embrace your inner ‘Mastermind’ and be an expert about something for a while on paper. Or grab a random object, whatever is closest to your left hand side right now, and write about it in great detail. It doesn’t matter what it is, it only matters that writing all those words will get your happy writing gears turning. Plus you never know what inspiration it may spark. Frequently Asked Questions What Is The Purpose Of Creative Writing Exercises? Creative writing exercises have many purposes, it simply depends on where you are on your writing journey. Creative writing exercises can be used to help you explore your craft and try a new way of writing.They can help you overcome writer\'s block.Ten minutes of writing prompts can help inspire writers with new ideas, or even new genres.Fun writing exercises can help you find the love and passion for your writing project again.Creative writing prompts can help you with character development, enabling you to push deeper with your characters and really explore motivation, themes, and plot. Writing exercises - whether contemplating the first word of your novel or attempting to write a short scene - can be whatever you need them to be. No matter whether this is the first time you have ever tried to write a story, or if you are already the author of a bestselling book. Can Writing Exercises And Writing Prompts Make Me A Better Writer? Fiction writing exercises can and do help hone your craft and teach you new skills to add to your author toolbox. Daily writing exercises help to keep your brain cells supple and creative and can get you over the fear of the blank page. After all, if you have done free writing for twenty minutes, there will already be words on the page – then all you have to do is slip back into the world you are creating and take it from there. So, the question should really be, what do you need from your writing exercise to make your own work stand out? How Can I Improve My Writing Skills? There is no simple answer to this. The only answer I have ever found helpful is… keep writing! How many times have you heard the quote “it takes 10,000 hours to become a expert in something” – that means you need to write. A lot. For many, many hours. But choosing or working with writing exercises that push you out of your comfort zone will help shape your writing and give it more depth. Use free and easy writing exercises to start your daily dose of writing and you will find your creativity blossom much quicker. What Are The Main Examples Of Creative Writing? Creative writing isn\'t just about writing a fiction novel; there are many ways in which you can express yourself creatively. Even if all you do is keep a daily journal, you are still practising the art of descriptive writing. And, therefore, writing exercises don’t just benefit fiction writers either. No matter what genre you write, or style of writing you prefer, there will always be a writing exercise to suit your needs, you just need to find those that work for you. Be brave and try as many ways of writing as possible. If you are a fiction writer, try writing some poetry.If you generally write long fiction, challenge yourself with a short story.Do you write film or TV scripts? Maybe you could try your hand at songwriting. There are so many different examples of creative writing, but each have one thing in common… they are creative… so be creative with how you learn your craft, and you will find so much inspiration lurking around the corner. Time To Get Writing I hope this article has inspired you to polish your creative writing skills and think outside the box a little. When it comes to storytelling, and getting those words down on paper, the best thing you can do is keep writing. The doesn\'t mean churning out a chapter or two of your novel every day, it doesn\'t even mean working on your book every day; it simply means taking ten minutes a day to speed write, or try some writing prompts, fill in your daily journal, or work on a particular scene. And the beauty of writing like this is that even if what you have written is never read by anyone else, and it never appears in your work, you have taken another step towards becoming a better writer than you were yesterday. And that is what being a great writer is all about!

The word \'dénouement\' is a borrowed word that came to the English language via the French word denoue. Its literal Latin meaning is to ‘untie the knot’. This is why we now use it as a literary term to refer to the conclusion of a novel. In this article, I will explain the definition and purpose of literature dénouement, demonstrate how to confidently use dénouement to improve your storytelling and story structure, as well as illustrate examples of dénouement in well-known stories. What Is A Dénouement In Literature? The dénouement of a story (whether it\'s a book, play or movie) is a literary device that involves the tying up of all the loose ends, the ironing out of the plot, and the final resolution that should leave your audience feeling satisfied. As writers, the narrative of our work should have a story arc and take readers through the five stages of development; exposition, rising action, climax, falling action, and dénouement. Dénouement occurs at the very end and it needs to help readers understand the bigger picture and how all of the subplots and events have led to its creation. This is true for all genres and forms of storytelling. But why can\'t we simply leave our readers guessing, instead of finishing on a high note? Let\'s find out... What Is The Purpose Of Dénouement In Literature? Simply put, stories demand conflict. Conflict, in turn, leads to a climax which then demands dénouement in the final scene to give the audience a sense of closure. You can\'t get to the exciting point then leave readers guessing! It is also the part where we discover the moral of a story, or we learn the lesson. Human beings love to see good beat evil. This is why dénouement is particularly important when it comes to children’s books (where everyone \'lived happily ever after\'). Of course, this doesn’t mean every single novel has to have a fully-formed dénouement in its final pages. If the book is part of a series, the final chapter may wrap up the book\'s side storyline, but there may be a cliffhanger for the bigger story thread in order to entice readers to the next book. Although some standalone books break the writing rules and shun dénouement completely. The critically acclaimed Tangerine by Christine Mangan is testament to that. Whilst in the film world, Jordan Belfort remains an unsavoury idol in the award-winning The Wolf of Wall Street. Not all stories can have the typical Happily Ever After (we will see more examples of that later on), but authors should strive to offer, if not a conclusive finale, at least a glimmer of hope! Is An Epilogue The Same As Dénouement? It’s tempting to think that epilogue is just another word for dénouement. It\'s not. An epilogue is an optional section that a writer may choose to add to their story - or not - to show how characters are faring after the main storyline has finished (think of the Harry Potter series when we see the kids as adults at the very end). Therefore, the criteria of an epilogue doesn’t extend itself to restoring immediate order and giving readers a sense of finality - it\'s simply an add-on, an optional glimpse into the future. Examples Of Dénouement In Literature Let’s take a look at some dénouement examples in action (beware, spoilers abound!): Romeo And Juliet (William Shakespeare) William Shakespeare’s Romeo and Juliet highlights the importance and impact of employing dénouement as a technique for closure. Instead of offering a happy ending, the double suicide of the main characters means this particular dénouement teachers the audience a lesson - that it was their death, not their love, that healed the family feud. William Shakespeare was a master of dénouement, ensuring that every last scene in his plays culminated in a dramatic (and conclusive) finale! Like Water For Chocolate (Laura Esquivel) Like Water For Chocolate’s finale offers readers a hugely rewarding dénouement. Firstly, Tita’s efforts are a literal breakthrough for the next generation in her family. The battle for her niece pays off and Esperanza can now marry whoever she chooses without being duty-bound to care for her mother - just as Tita had to for so many precious years of her life. However, Rosaura’s death also creates a new beginning for Tita herself. Now that Pedro is a widower, finally they no longer need to hide their love for one another and they can be together. The Queen’s Gambit (Walter Tevis) The popular Netflix series (and book adaptation) could not have left us with a greater celebration of accomplishment on behalf of its genius chess-playing protagonist. Beth’s life challenges up until the point of dénouement have been enormous. But despite everything her life has thrown at her, she overcomes every one of her hurdles to finally defeat her greatest chess rival, bringing her story to a highly satisfying conclusion.       Other Literary Work With Satisfactory Dénouement Moby Dick (Herman Melville) The sea rolled in and everyone died... except our narrator, Ishmael. Killing everyone off is one way to finish a story, worked for Shakespeare too! The Great Gatsby (Scott Fitzgerald) After the climax of Myrtle\'s accidental death, leading to Gatsby\'s murder, the narrator (Nick Carraway) decides to leave Long Island high society and return to the Midwest. The Catcher In The Rye (J. D. Salinger) In the final scene, Holden Caulfield calmly watches Phoebe riding a carousel, a sweet childhood moment of innocence, and Holden resolves to worry less about adulthood and the future. How To Use Dénouement In Your Story We all have unique storytelling voices and naturally this extends to the manner in which we deliver our dénouement. There\'s the light dénouement (yay, everyone survives and is happy) and the dark dénouement (oh, they all die). The best way to learn about what endings work best is to read books and watch movies as much as possible, in all genres, and look out for each example of a dénouement. Ask yourself why certain endings fill you with the feel-good factor and leave you satisfied... and why others don\'t. Some stories don\'t suit a happy ending, and that\'s fine; it\'s important your dénouement makes sense in the context of the whole story. Here Are Five Basic Rules To Follow: Dénouement should tie up every single loose end in such a way that a quick tug won’t make everything unravel again! Readers should not be left with a single niggle. Dénouement should allow key characters the chance to reflect realistically on their story, whilst taking into account whether their reactions feel warranted. Dénouement should be plausible and believable (even if you write fantasy, the book should be wrapped up in a way that makes sense). Dénouement should complete the aforementioned story arc and work in harmony with the previous components of it: exposition, rising action, climax, and falling action. Dénouement should link effortlessly with the main themes of your novel. Frequently Asked Questions What Is The Difference Between Resolution And Dénouement? These two literary terms may seem interchangeable at first but they are significantly different. A resolution can happen at any time in the story, and will typically play out in the form of a character solving a major problem. A dénouement, on the other hand, is what takes place at the end of a story and answers all remaining questions the reader may have. What Is Included In The Dénouement? The dénouement of a story is at the author’s discretion, but it is definitely the point at which the bad guys should be revealed (and hopefully brought to justice), the hero rewarded, secrets unearthed, and loose ends tied up. Writers take readers on a journey of escapism, so that journey needs to have a satisfyingly plausible ending. How Long Is A Dénouement? As the last structural element of a novel, the dénouement should wrap everything up as quickly and neatly as possible in one or two scenes. That said, it will depend on how many characters and subplots require disentanglement. One way to work around this is to try not to leave too many loose ends until those last few pages. How Do You Write A Dénouement? When it comes to writing a book, plotting the dénouement is always a smart move (even if you prefer to make it up as you go along). Leave your readers happy or shocked, but a vague fade to black will not cut it! Refer back to the key points made in this article and make sure you have added each element to your manuscript. Some writers like to work backwards, starting with the ending then ensuring they add all the foreshadowing and hints that will make the last scene (and possibly big twist) plausible and satisfying. The End I hope this article has given you a conclusive summary of what to do in the final part of your story. It may be tempting to cut corners when you\'re on the verge of typing THE END, but it\'s vital to be just as diligent with your dénouement as you are with your opening chapter. Because your final words, and that final scene, will stay with your readers forever.

Writing a graphic novel looks fun, right? Right. And it\'s a lot easier than writing traditional novels, right? Wrong. Graphic novels hold a special place in the hearts of many writers, and it stands to reason that many are inspired to write their own as adults. They hold a kind of magic. Think back to when you were a child, cracking open your first graphic novel from your school’s book fair or from the library. Perhaps you learned to read from it. At the time, it never really occurred to you that the graphic novel you held in your small hands had a creative team behind it, usually a writer, artist, colourist, letterer and editor. As far as you knew, your favourite graphic book sprung up fully formed from the ether. Now, we know better. Creating a graphic novel is a collaborative process. They have teams behind them, and among the most important of that team is the writer. Perhaps you have a visual sense and a strong imagination, but little artistic ability, yet you’d still like to try your hand at writing a graphic novel yourself. Then you’re in the “write” place! (Dad joke.) In this article, you will learn what a graphic novel is, what the key elements or building blocks of one are, how to create a graphic novel, discover some of my favourite graphic novels (ie the best examples in the entire comics industry), and read some final tips and tricks to help you improve your graphic novel projects and comic strips.  Firstly, let\'s look at what a graphic novel is. What Is A Graphic Novel? Before we get into the nuts and bolts, let me define what exactly I think a graphic novel is. Don’t worry, I’m not going to quote Webster’s. There are some that differentiate a graphic novel as an original, squarebound or hardbound story in comic book form, from a trade paperback or collected edition, which is a reprinted edition of several comic books packaged together. To me, though, if a comic or illustrated story is in book form rather than floppy form, and contains mainly sequential art, it’s a graphic novel. A graphic novel as a longer-format comic book is not a genre, or type of story, but rather a medium, or a vessel for telling stories in sequential art form. Within that form, there are numerous types of stories that can be told inside a graphic novel.  When many people think of graphic novels they instantly imagine that a) they\'re all for children, and that b) they are all superhero stories. That isn\'t the case at all. Like all types of books, graphic novels permit a writer to tell any type of story - the difference being that the complex characters and compelling storyline are expressed not just in words, but in pictures too. So what types of graphic novels are out there? Types Of Graphic Novels  Most of the industry divides graphic novels into three age groups: Middle grade (ages 8 to 12) Young adult (ages 12 to 18) Adult (18+). Within those age groups, you can further subdivide by genre: Nonfiction: Biography Autobiography History True crime How-to Fiction: Slice of everyday life Romance YA (ie teen stories) Superhero Science fiction and fantasy Horror Mystery and suspense Erotica Adventure In short, whatever stories you can find in a book you can find in a graphic novel - the only difference is, like a comic book, a graphic novel story will be accompanied by illustrations. So what other types of illustrated stories can you find? The other two forms of illustrated stories are manga and comic books. Let\'s look at them in more detail. What Is Manga? Manga, the Japanese word for comics, are graphic novels that originate in Japan and can fall under any of these genres just like Western graphic novels. Similarly, graphic novels that originate from South Korea are called manhwa, and so on. How Do Comic Books Differ To Graphic Novels? Although the graphic novel format is somewhat similar to that of manga comics, and they both involve comic book artists and a similar writing process, the main difference is that graphic novels are book length stories. And, although manga, comics and graphic novels all use pictures to narrate a story, comics are usually serialised narratives that are published regularly (sometimes as part of a collection of other stories). The key characteristic of a graphic novel, on the other hand, is that it contains an entire story and reads like a full-length book. They are usually bound like a book too, and not floppy like a magazine. What Are The Key Elements Of A Graphic Novel? We’ve established what a graphic novel is (and how it differs from comic books, manga and other types of magazines and picture books). So what elements are contained within the vast majority of graphic novels? Art and illustrations are drawn sequentially in order to tell a narrative story. Word balloons, which are round dialogue bubbles with tails that denote who is speaking and contain lettering. These balloons may look like a cloud to represent a thought or be jagged to represent shouting. Captions, or square boxes with lettering that describe a scene or provide internal monologue. Sound effects, or large stylised lettering that represents a written sound, or onomatopoeia. But writing a graphic novel involves more than simply creating a graphic storyboard and filling in the blanks. Creative writing plays a vital role in telling a good story, with writers developing characters and plots before the illustrations are drawn. Although the illustrators bring the stories to life, it\'s the writers who brief the artists on character descriptions, and character development, they imagine the detailed backstories and build the world that the artist will eventually interpret. They also need to think about narrative that moves the story forward without using too many words (the less space you use up on the page with words, the better). That\'s a lot of collaboration and a lot of people working on one story idea. So, where do you start? Here’s how writing a graphic novel as part of a creative team allows you to assemble all those pieces into a cohesive whole. How To Create A Graphic Novel All graphic novels, like everything in life, begin with an idea. Your graphic story is about telling your readers something, usually in a standard storytelling three act structure (beginning, middle and end). Your characters and your world are introduced The characters want something Roadblocks are placed in their way They succeed or don’t succeed by the end They are changed by their personal journeys A great story arc, inner conflict, good narrative, detailed world...all these things are important, as they would be in text based novels, the difference is you have to make that story fit into a comic book script format. A Comic Book Script Graphic novels are written in a method similar to, but distinct, from a screenplay. This is called a comic book script. Writers plot their stories via narration boxes. There are numerous approaches to creating a comic book script. The comic book writer Fred Van Lente has the gold standard on his website available as a downloadable template; many of the best writers in the industry have followed or adapted this template for their own use. A script goes page by page and describes for the artist, colourist and letterer exactly what is happening in order. Scripts can be written in full-script form, which is broken down by panel with all captions and dialogue and is as specific as possible without doing the artist’s job for them. Scripts can also be done plot-first, or “Marvel style,” which was common in the 1960s through the 1980s and is much less common today, though still in use. In this approach, a few paragraphs of plot are written out, with or without dialogue. The artist interprets this plot into a full-length story, and then the writer goes back and adds the dialogue. Whichever approach is taken, after the art comes back, often a writer will rewrite the dialogue depending on how much space the artist has provided in the panels. Also, during the drawing process, the artist will sometimes add or delete panels from the script for better narrative flow, and rewriting dialogue to fit this new layout is key. Sometimes, a writer will provide panel layouts for the artist, which refers to the order and size of panels within a page. The Thumb Book is a great method for sketching out specific layouts for an artist to follow. The Creative Team Other than writing a script, you’ll need to find additional members of your creative team in order to complete the graphic novel. Don\'t cut corners! Each member of the team is important and should be professional and treated so. As a writer, you are likely the originator of the graphic novel’s concept and may handle business affairs associated with it; however, it is best practice to be legal co-creators of the work with the artist, as the visual interpretation is just as important as the writing. Publishing When seeking a publisher for a graphic novel, it\'s not necessary that the entire graphic novel be completed upfront. Instead, the creators will put together a submission package, which can include a summary of the work, a chapter-by-chapter outline, a list of characters, a sample script, biographies of the creative team, and several pages of completed sample art. Graphic novel creators can use this package and either seek a literary agent, who will submit to publishers on their behalf in exchange for a percentage of income, or submit to publishers directly. Graphic novel creators can also self-publish, which involves paying to print, market and distribute the graphic novel themselves. Self-publishers may choose to only release the graphic novel digitally, or include a print edition also. Funds for self-publishing can be raised through crowdfunding platforms like Kickstarter or funded with personal money. Graphic Novel Examples To really understand this type of storytelling it\'s important to read graphic novels - and lots of them! There are many graphic novels created by masters of the form that must be studied intensely by aspiring graphic novelists. Learn well from these examples, go forth and do likewise. Here are just a few examples; there are many more not listed: A Contract with God, by Will EisnerConsidered the first graphic novel, this masterwork from the creator of The Spirit involves poor Jewish residents of a New York City tenement. The Dark Knight Returns, by Frank Miller and Klaus JansonThe story that birthed the grim-and-gritty era in superhero comics and offered a morally ambiguous, older Batman. Daredevil: Born Again, by Miller and David MazzucchelliThe other legendary work written by Miller and the best portrayal of Daredevil before or since. Maus, by Art SpiegelmanA non-fiction, Pulitzer-prize biography of both the author and his father, a Holocaust survivor. In a twist, the characters are anthropomorphised animals. A Map to the Sun, by Sloane LeongA stellar recent graphic novel about the five players of a struggling girls’ basketball team, this work is known for its dazzling pastels. The Sandman, by Neil Gaiman and various artistsA long-form work by the legendary fantasy writer working with some of the best artists in the business and about the Endless, a family of mythological beings. Heartstopper, by Alice OsemanThis began as a webcomic, then a million-selling graphic novel series, then a TV show, about young gay love in a British high-school setting. Ghost World, by Daniel ClowesPossibly the most 90s story on this list, this story of two best friends and their dysfunctional, co-dependent relationship was turned into a movie. All-Star Superman, by Grant Morrison and Frank QuitelyGrant Morrison understands Superman more than almost anyone, and that’s never more apparent than in this standalone work featuring an idealised, optimistic version of the character. Watchmen, by Alan Moore and Dave GibbonsThis famously deconstructionist series takes superheroes apart and puts them back together with a satirical, critical lens. March, by John Lewis, Andrew Aydin and Nate PowellPossibly the best autobiographical comic ever written, about the late congressman John Lewis and his struggles for civil rights. Check, Please!, by Ngozi UkazuAn extremely endearing and funny story about a Canadian college hockey team and one of its stars, who is in love with another player and is really good at baking. Chainsaw Man, by Tatsuki FujimotoOne of many masterful manga, this is a deeply funny, violent and satirical story about a down-on-his luck loser who becomes a great demon fighter after fusing with his dog, complete with built-in chainsaw head. Tips For Writing A Graphic Novel When creating your first graphic novel, here are some things to keep in mind. Study The Experts Read some of the graphic novels above. Seek out their comic scripts online and study those, too. Try to see the structure behind the comics, including panels per page, the amount and flow of dialogue, and rising and falling action. Think Visually Nobody wants to read page after page of talking heads. When characters are talking, put something in their hands, have them pace around the room, show them making coffee at the same time. Start Small And Go Big You may have an epic, 12-volume series in your head set in a giant world, but focus on a few characters and a simple narrative told well within that world. One good example in the film world: Mad Max Fury Road has extremely detailed world building behind it, but the movie revolves around a single chase scene and the characters being chased and doing the chasing. Boil your story down to its essence. Keep It Real You may have a childhood dream to write for Marvel or DC, but create graphic novels for their own sake. Write for yourself. Tell stories that are meaningful to you, not as a stepping stone to writing superheroes. Marvel or DC may come calling eventually, or they may not, but that should never be the end goal. How To Find Inspiration If you’re struggling to come up with the basic idea for your first graphic novel, carry around a pad of paper and a pen, or make use of the voice memo feature of your mobile. Experience the world around you and ideas will come to you. Watching a movie in a theatre can trigger a new way to tell a similar story in your head without copying. Even watching a bad movie or reading a terrible novel can be inspiring, as it can spur you to want to make something better and put it out into the world as penance for something so bad daring to exist. They say that every written work is really about the author, and that’s never more true than graphic novels. Even when writing a biography of someone else, that graphic novel will still end up being highly personal. Don’t be afraid to put aspects of your own personality into the characters, even if there is no one character that’s exactly you. Frequently Asked Questions What Is The Format Of A Graphic Novel? A graphic novel isn\'t a genre but a format. They differ from text novels in that they use sequential artwork to help tell a complete story. Unlike comics and manga, they are normally a single story bound in a book format. How Long Does It Take To Write A Graphic Novel? Like any type of book, the writing process and creativity involved in writing a graphic novel can vary from creator to creator. Because it\'s a collaborative process, the time to produce a graphic novel - from idea to printed copy - can take anything between one to three years. How Many Pages Is A Graphic Novel? Graphic novels tend to be longer than manga and comic books, with stories ranging from anywhere between forty-eight pages all the way to five hundred! Now It’s Time To Create Your Own Graphic Novel I hope you’ve been empowered by this article to go out and make a graphic novel of your own. You now know what a graphic novel is, what makes one work and how to go about writing a graphic novel. Plus you now have a reading list of some of the best examples in the business. So download yourself a script template and turn your ideas into reality. Go and create that graphic novel that you\'d always wished existed!

Where do you start when it comes to writing a science fiction novel? Perhaps you\'ve written other genres, but just had a lightning bolt of a story idea that is definitely more of a sci fi novel. Or you\'re thinking about dipping your toes into the genre but you’re not sure where to start. You may even be an existing science fiction writer who\'s hit a wall and needs some tips. In this guide to writing a compelling sci fi story, I\'ll be helping you with everything you need to know about science fiction writing. We’ll take a look at definitions, investigate subgenres, give you an overview on how to consider approaching science fiction, some tips to make things easier, and even offer a few reading recommendations. Let’s blast off! What Is Science Fiction? You could debate the line between science fiction and fantasy for ages. I actually did just that in college, when I took Philosophy of Science Fiction. Every time the class thought they’d settled on an answer, the professor would ask a question that would topple our logic like Jenga blocks. It was great. When I lecture on science fiction now, I tend to use the useful shorthand by John Clute (author of the Encyclopaedia of Science Fiction), who calls it an “argued departure from reality,” while fantasy is more of an “unargued departure from reality.” In science fiction, you tend to explain what that departure from our reality is in terms of technology, whereas magic in fantasy tends to be more unknowable. But there are multiple examples that could throw that definition out (Dune and Star Wars have plenty of unargued elements to them, for example). Many others have offered up definitions, from the very academic (Darko Suvin: “a literary genre whose necessary and sufficient conditions are the presence and interaction of estrangement and cognition, and whose main formal device is an imaginative framework alternative to the author\'s empirical environment”), or through the lens of industry (Hugo Gernsback: “a charming romance intermingled with scientific fact and prophetic vision.”). One of the most straightforward ones is by Norman Spinrad: “Science fiction is anything published as science fiction.” Sci Fi Genre And What It Means Science fiction, like any genre, is also not a monolith. There are many subgenres, and it’s useful for you to know where your story might fit in the marketplace. The biggest delineation is between hard science fiction and soft science fiction: Hard science fiction: This type of science fiction relies heavily on science fact, making sure to explain many of the intricacies to the reader and making it a key part of the plot. The science is usually already established as fact or based on current firm theories of how the universe works (for example, working from our current knowledge of black holes or space travel). Examples: The Martian by Andy Weir, Jurassic Park by Michael Crichton, The Expanse by James S.A. Corey, Beggars in Spain by Nancy Kress. Soft science fiction: This type of science fiction has less focus on the technical aspects and focuses more on the societal, historical, or psychological effects of technology. The technology might not be as deeply explained or less theoretically possible (time travel, faster than the speed of light travel, etc). Examples: Brave New World by Aldous Huxley, The Left Hand of Darkness by Ursula K. Le Guin, Becky Chambers’ Wayfarers series. But like the definitions between science fiction and fantasy, this is a false binary. There are plenty of science fiction books that blend the two, and many are more “soft boiled” science fiction. Even the same authors can move around on the spectrum. This brings us to subgenres. Science Fiction Subgenres Going into detail about these would make this article too long, so this is a list. Feel free to research any of these in more depth if you think this is an area you already write or would like to try writing: Dystopian Utopian Artificial intelligence First contact Military science fiction Parallel universes/the multiverse Space opera Space western Space horror Steampunk Solarpunk Silkpunk Biopunk Cyberpunk Portal fantasy Afrofuturism Alternate history Alien invasion Ecofiction Feminist science fiction Mundane science fiction Recursive science fiction Slipstream Science fantasy...and many more. The good news is that, when in doubt, you can always use “speculative fiction” as a catchall, but narrowing down your subgenre will likely make it easier to pitch to agents, editors, or sell to an audience. For example, Analog science fiction magazine prefers harder science fiction, so a very soft science fiction story is less likely to be picked up by them. How To Write Science Fiction Now that I’ve set up the definitions and given you a peek at science fiction’s many subgenres, how should you actually go about writing it? You can do these steps in any order that works for you: this is simply how I approach writing SF. To make it more concrete, I’ll use a couple of examples from my own science fiction novel Goldilocks (a near future space thriller), because I know my own writing process best and why I made certain decisions. Step 1: Think About Your Concept And The What If Question All science fiction writers know that SF especially lends itself well to high concepts and catchy hooks. This through-line will help keep many elements cohesive, and also make it easier to pitch. You can try framing it as a what if question? Examples: What if aliens came not to destroy us, but to save us from ourselves? What if an artificial intelligence gained sentience and disagreed with its programmer’s directions? What if climate catastrophe meant everyone had to live underwater for the next 100 years? For Goldilocks, it was “What if five women stole a spaceship to travel from a dying, increasingly patriarchal Earth to the exosolar planet that is humanity’s last hope?” Step 2: Decide On Your Subgenre Often, that \'what if\' question will point to one of the earlier mentioned subgenres. If not, you might need to skip this step for now and come back to it after you have a firmer handle on the plot and world. For Goldilocks, I knew it needed to be set in space. As a pitch, it was The Martian meets The Handmaid’s Tale, which meant a blend of hard and soft science fiction. I knew there would be no aliens, but I wanted the space travel science to be as accurate as possible. So the area of the market became obvious early on: feminist science fiction, set in space, with elements of thriller for the plot engine. Step 3: Create A Character I find that this method works best: I usually start with a character and then build the world around them by asking myself lots of questions. What job is your main character going to have? Why are they the person at the centre of this story? How do they instigate change in this world? How would they speak? What’s their background and story? How will they change as the story progresses? These are general questions I ask of any character in any genre. I decided to make my main character a botanist, in charge of growing the food on the spaceship. I felt more confident in researching this area of science compared to engineering or medicine since I don’t have a science background myself. I also realised early on that growth and nature vs. nurture are major themes in the book, so this tied in nicely as well. Step 4: Create A World Or Universe And Begin Necessary Research If you’re doing a far future space opera that spans multiple planets, then you’ll be creating many worlds. If you’re going a few years into the future of Earth, then you’ll be asking yourself what changed and what factors fed into it. Worldbuilding is an exercise in cause and effect. If this, then that. If I tug this thread of a web, what vibrations will move into other areas? I knew that my future Earth was going to be very sexist, especially in America. I started thinking through basically my nightmare scenario. I wanted it to be a bit less obvious than some other feminist dystopian novels—something that happens so gradually, that you don’t even realise you\'re a frog in a pot until you’re already cooked. Step 5: Start Building The Plot And Deciding On Structure Throughout your pre-writing work, you’ll likely have already seen some necessary plot points starting to fall into place. You can then begin to weave these together and figure out how you’ll lay it all out on the page. We have plenty of useful information on plot and structure to help you in this area. Or, if you’re not a pre-planner, then you can skip this step and simply start writing with your concept, character, and world in mind and see what happens. Writing Science Fiction: Additional Tips Here are some other things you can keep in mind as you create your science fiction novels: 1. Make Your World Believable, No Matter What Amazing SF Trappings You Include Readers want to be transported to another world and have it feel like actual people live there, that there was a long history before the book began, and that the world will continue turning once we’ve finished the last page. Becky Chambers does a great job of this by considering the different languages and customs of her various alien races, even if some of them look very fantastical: lizard people, sentient llama-like people, giant froggy-type aliens that move around in carts, etc. Taboos and social behaviours are also clearly detailed. When a world feels real, then the reader will suspend disbelief in some of those more out-there elements you include. 2. Consider What Your Characters Know And How To Balance Exposition If your character is an astronomer, then they’ll be able to explain and understand the meteoroid heading towards Earth. If they are an elementary school art teacher, they might need someone to explain it to them or to do some research themselves. One of the main challenges of science fiction and fantasy is weaving in that exposition so seamlessly that the reader doesn’t quite realise how carefully the world is being constructed around them on the page. Linden A. Lewis does this well in The First Sister, which is centred around a priestess of a sisterhood who travels with soldiers of Earth and Mars and has no bodily autonomy. 3. Do Your Research Even if you’re writing something relatively soft or toeing the line of science fantasy, you’ll likely still need to do some research around the tech or futuristic idea you’re investigating. Do initial research yourself, to narrow down your focus. There is SO MUCH information at your fingertips. YouTube, podcasts (I recommend NASA’s Houston We Have a Podcast if you’re writing space stuff), pop science fiction articles, academic articles not behind a paywall if you’re not able to access certain databases, social media threads or videos (check out Swapna Krishna’s TikTok for more cool space/tech stuff). Wikipedia can be a great starting point and then you can follow the linked sources at the bottom. Sometimes, though, even all the research can make it hard to answer a specific problem. In my experience, if you politely ask an expert a short, pointed question, they’re often happy to answer a science fiction writer. They’re excited that their expertise can be shared in a different medium and potentially reach different audiences. For Goldilocks, I was able to interview the former head of life sciences at the Johnston Space Center, a doctor studying the effects of microgravity on the human body, experts in infectious diseases, a professor of space law, astrophysicists, and many more. Some I found through friends in my existing network, but others I emailed cold. I made sure to try and use as little of their time as possible by doing the initial legwork myself, making the question as narrow as possible. Make sure to thank them in the acknowledgements if your story is published!   4. You Don’t Have To Put In ALL The Research You Did Yes, we know it’s a very cool fact that the enormous dust cloud at the centre of the Milky Way would taste like raspberries and smell like rum if you were able to smell or taste in space without instantly dying, but does that fact actually add anything to your narrative, or are you just wanting to show off the research you did? Everything you include should in some way advance the characterisation, plot, or world of your story as you go along. Too many random tangents and asides that don’t actually serve the story may frustrate the reader. 5. Don’t Hit The Reader Over The Head Too Obviously With The Message One of the big benefits of science fiction is that you are often giving some sort of prophetic vision: beware, if we don’t change our ways, we might end up like this. Or: how would humanity react to a certain event? Yet no matter how futuristic your story is, you’re still writing to a contemporary audience and usually commenting on something that’s important to us today: climate change, rising bigotry and xenophobia, the threats to democracy, the costs of war or unregulated capitalism. Ultimately, a lot of science fiction asks us: what does it mean to be human? Yet if you’re too didactic or preachy in the message, then it can come off as sanctimonious. It often needs to be subtle or filtered through a couple of characters who all have different opinions on whatever theme you’re investigating. Let the reader come to their own conclusions, and it will be more satisfying. Frequently Asked Questions What Makes Good Sci Fi? A good sci fi novel or movie asks a \'what if\' question (usually centred around science and technology) and answers it in a realistic yet captivating way. For a science fiction book to be engaging it has to feel like those events could, or may, happen in the future. Who Wrote The First Science Fiction Novel? Mary Shelley\'s Frankenstein (1818) helped define the science fiction novel and genre as a whole, making it one of the oldest famed literary works of its kind. What Is The Difference Between Science Fiction And Fantasy? In science fiction, the author explains the departure from our reality in terms of science and technology, whereas magic in fantasy tends to be more unknowable. Although both genres are often set in worlds that do not exist, sci fi is based on the human ability to invent and grow technologically whereas fantasy can have magic systems that exist inexplicably. You\'re Now Ready To Write A Science Fiction Book It’s beneficial for authors to explore the foundations of science fiction to help them write it. There are occasionally authors who write science fiction but don’t read it, and sometimes it is obvious. There’s an existing conversation that has been going on all the way back to Frankenstein or The Blazing World. Read the classics, read some contemporary authors. Read science fiction from various countries or in translation. Check out the winners and those shortlisted for the Hugo or Nebula awards. Read the short stories in magazines like Apex or Beneath Ceaseless Skies. And then go forth and make up your own worlds and universes. The stars are limitless!

I\'ve been staring at a blank page for ten minutes now, which is ironic as I\'m a writer who gets paid to write and at this moment I\'m meant to be writing about how to get motivated. But that\'s OK, because losing writing motivation is something that happens to everyone. Why? Because creativity can\'t be switched on and off like a tap. So how do you find the motivation to write? In this article, I will be discussing the many ways to motivate yourself to write a book; from setting goals and having a writing routine, to tricking yourself and rewarding yourself. I will also discuss how to avoid distractions, find ideas, and what techniques have helped top writers reach success. Motivation To Write (And Why We Need It) Many people think the hardest part about writing a book is coming up with the idea. It\'s not. The hardest part about writing a book is having to sit down and write, then, upon seeing what you\'ve written, resist the urge to throw your laptop into the nearest body of water, reach for a giant bar of chocolate, and give up. So how do you find your motivation to keep going? Muses, Inspiration, And Ideas Let\'s start with the magic, that mysterious spark that gets us jumping out of bed at 3am eager to tell our story. Sometimes, we can\'t get motivated because we are bored. Bored with our story, our idea, or the monotony of sitting in front of a laptop all day trying to reach our word count. If that\'s the case, then it\'s time to find some inspiration. Getting motivated to write can often simply be a matter of finding something more interesting to write about. So here\'s my list of ways to get your creative juices flowing. Writing Prompts When I teach writing to teens I like to play a game where they have to pick three prompts from a lucky dip jar - a genre, a scenario, and a random object. Write as many of these as you want (or even better, ask a friend so it\'s a surprise) and pick one from each category. It\'s impossible not to feel inspired to write a fun short story when you pick a combo such as: Rom ComYou are stuck in a lift with someone acting peculiarRubber duck What would your story be about? Or, try our writing prompts for fantasy, horror, thrillers, romance, poetry, and Christmas stories. Find A Muse (Or A Squad) Writing motivation is often as elusive as finding inspiration, but having the right people around you can kick-start you into action. Whereas a muse (perhaps the object of your affection) may inspire you to write beautiful poetry or the deep lyrics to a new song - a muse who gets you motivated is just as helpful. In my case, I surround myself with lots of author friends. No one understands a writer like another writer, and they know why it\'s important to stay motivated. I have writer friends on Facebook groups, WhatsApp groups, or friends I call. Not only are they a shoulder to cry on or a sounding board for moaning, but they are also the ones who will cheer me on and keep me going. Being part of a writer gang means they can also brainstorm your next work in progress with you, or help with plot holes (after all, it\'s always easier to come up with plot ideas for someone else\'s story). Join our free Jericho Writers Community to find like-minded writers! How To Persevere When You Feel Like Giving Up Some call it writer\'s block, others call it imposter\'s syndrome or simply running out of steam. Whatever has ground you to a halt, the first thing to do when you feel like giving up is ask yourself why you feel this way. Have you really run out of ideas? (If so, see the inspiration section above.) Are you really a crap writer (I doubt that), or have you simply lost faith in yourself? Losing confidence is part of every writer\'s writing journey, Stop Making Excuses If you go to a writer\'s house and every room is spotless, then you know they\'re avoiding writing their book. Us writers are exceptionally good at making excuses as to why we don\'t have the time to finish the next chapter. So next time you find yourself procrastinating... Get Out Of Your Own Way Yep. You may be lacking in motivation because you are standing in your own way. Ignore those miserable voices in your head and don\'t read any negative reviews of past work. Stay surrounded by positive people and remember why you write in the first place. Prove Them Wrong And if that doesn\'t work...there\'s always good old-fashioned spite! We all have that one person in our lives who told us we would never make a success of our writing. Perhaps it was a teacher, a parent, a friend, or a work colleague. So if you are still struggling to find the impetus to keep going with your writing then I strongly suggest you think about this person and imagine their face when you\'re sitting in Barnes & Noble, or Waterstones, ready to sign your book. Is there anything sweeter than looking someone in the eye and saying \'see? I told you I could do it?\' Be petty and reach your goals! The Importance Of Habit And Routine If you\'re serious about writing, you need to take it seriously. That means carving out time in your day to write, the same as you would any other job or commitment. Find A Writing Space Firstly, you need a comfortable place in which to write. You won\'t feel motivated if you\'re balancing your laptop on your lap while your flatmates talk over your head or your dog runs circles around you. It doesn\'t matter whether your writing space is a big fancy office or a corner of the kitchen table. Allocate a nice spot, somewhere where you can preferably be left alone that isn\'t surrounded by things that will distract you, and make it your own. Reduce Distractions You need to focus. That may mean seeking silence, getting out of the house, or putting on headphones and playing your favourite music. My biggest downfall is Twitter. So when I need to do nothing but write I turn off all WiFi, put my phone on airplane mode, and tell myself I can\'t get up until the work is done. One top tip that author Angie Thomas once shared (on Twitter, of course) is to unplug your laptop and write until it needs charging. Then as your computer charges, you get to as well! Set Aside Time To Write Your Book Professional writers, and authors who have found success, treat writing like a full time job -because for many it is! That means they get up every morning and they write every single day. If you\'re just starting out it\'s fine to write simply when you feel like writing, but if you have a deadline to meet it\'s important to set goals and stick to them. Set Goals Your goal doesn\'t have to be anything too unrealistic. Perhaps it\'s to write 300 words a day, or complete a chapter per week, or set a date to get an outline in place. The only way to reach the end of your book is to get that word count up - so bit by bit will still get you there. And the best part? Reward Yourself! Some writers like to buy themselves a fancy box of chocolates and they only get to choose one when they reach the end of each chapter. Or perhaps plan a fun day out to spend with those you love the week after your book deadline. Be Kind To Yourself But, on the flip-side, it\'s also important to take a break now and then... If you get up in the morning and can\'t face the day, I guarantee you will not produce good writing. So if you don\'t feel like writing - don\'t. Watch a movie, flick through Pinterest, or go for a walk. It may feel like a break but it may inspire you too. Do What the Professionals Do I took to Twitter to ask professional authors of every genre what motivates them to keep writing. They shared how they find the motivation to write: Emma Cooper, Up Lit Women\'s Fiction Author Of The Songs of Us I set work hours and treat it like an office job and open the document, even when I want to watch Netflix instead. I break the day up into manageable sections. Isabelle May, Foodie Rom Com Author Of The Cocktail Bar Cake in all its glorious forms! Nothing like a reward at the end of each chapter. It may sound basic, but going for a walk often clears your head. Emma Claire Wilson, Author Of Emotional Thrillers And Editor Of The Glass House If I am lacking motivation I ask myself \'does my brain need a break for a day?\' Forcing it can result in awful words which leads to frustration and even less motivation. For motivation I have a few writing exercises I go to, pick one out of my jar at random, and write something totally new to find my love of the spontaneous words again. Emma Jackson, Rom Com Author Of Summer in the City Having writing buddies to do sprints with, or make accountability goals with, really helps. Also I have a really geeky habit of breaking down my word counts into a spreadsheet and then doing 20-30 min sessions, updating it and seeing how it chips away at the big goal. Sophie Flynn, Thriller Author Of All My Lies I set a 20 min timer on my phone then switch everything else off during that time and write/edit - telling myself I can stop after 20 mins. By then I\'m usually in the right headspace and keep going. But it takes the pressure off! Non Pratt, YA Author Of Giant Days Honestly, for me, writing is only worth doing if I want to - but that’s because it’s no longer my actual job. When it was my job I reminded myself you can’t tell the bits I wrote under duress from those I wrote with joy and got on with it. You edit them anyway. M. K. Lobb, YA Fantasy Author Of Seven Faceless Saints I make a list of all the scenes I’m excited for and write toward them. If the book starts to drag, I know I need to re-plot to get the excitement back. Meera Shah, Thriller Author Of Her Short sharp bursts - it\'s all I have time for anyway. If it isn\'t working, take a break. And if it really isn\'t working, return to it another day! Erin Fulmer, Fantasy Author Of Cambion\'s Blood Routine helps. I write from 7-9 most nights. I use word sprints and sometimes a focus app to block browser access. I also have an elaborate spreadsheet that tracks progress relative to my self-imposed deadlines. Basically, anything to convince my mind that writing is an urgent task. Bethany Clift, Women\'s Fiction Author Of Last One At The Party I don\'t wait for inspiration, I just write. This is my job so I write every day - sometimes 400 words, sometimes 4,000, but I always do something. Also, I believe writing is a muscle - to keep it in shape you have to use it, develop it, feed it. So I do. Elizabeth J Hobbes, Fantasy Romance Author Of Daughter of the Sea I simply remind myself that if I don\'t get on with writing this book I will have to go back to working full time! Lia Louis, Rom Com Author Of The Key to My Heart Knowing exactly what bit I have to write helps me on the days I don’t want to! Throwing my phone in the bin* helps too. (*a nice safe drawer) A J West, Eerie Historical Author Of The Spirit Engineer What motivates me is a desire to escape this world to somewhere more wonderful in my own imagination. Kelly Andrew, YA Fantasy Author Of The Whispering Dark I let myself play around with the scenes I’m most excited to write and then that makes me eager to build to those moments organically in order to really tighten the beats. Leni Morgan, Self-Published Author Of How a Good Geek Survived The Zombie Apocalypse I find having several books on the go good motivation. When I get stuck/fed up with one, I move on to another. Plus rereading it to familiarise myself with the characters helps me unstick myself too. Lauren North, Thriller Author Of Safe at Home I set myself small targets like \'just write 250 words & then you can do what you like\'. By which point I\'m into the writing and ploughing ahead. I try to think about the buzz I felt at the idea. Frequently Asked Questions What Motivates A Writer To Write? For some it\'s to simply share their stories, for others it may be to hold their book one day or to prove to themselves they could do it. Find what motivates you, and use that energy to keep following your dreams. What Do You Do When You Lose Your Motivation To Write? Every writer loses writing motivation at some point. The best thing to do is not panic: Take a breakGet inspired by news stories, images, past life events, or talking to peopleDo some writing promptsGather other writers around you and brainstorm ideasStart a new project How Do You Get Over Writing Anxiety? Imposter syndrome is a part of the writing process every author encounters. Like most artists, writers are rarely happy with their work, but that doesn\'t mean it\'s not good. The easiest thing to do is: Avoid negative reviews (and people)Keep learning and bettering your craftAsk beta readers to guide youRemember the only part of the writing process you can control is writing the first draft of your novel. So focus on that and bettering it with each revision.Write your book anyway...you can always edit after! Let\'s Goooooo! I hope this article has got you out of your writing slump and raring to go. there\'s no right or wrong when it comes to writing goals and penning a novel; the only way you can fail is by giving up altogether!

Have you ever wondered how you could write faster? Perhaps you’ve spent ages rewriting the same sentence over and over again? Or maybe you are someone who struggles to begin a book or a project in the first place. You have an idea in your mind, rattling away inside of you, but you are reluctant to get it out on paper. Perhaps you don’t even know where to start? Or, like me, you’ve seen other writers churn out numerous articles, books and blog posts and wondered how they’ve managed to write them so quickly.  Don’t worry – we’ve all been there!  If that sounds like you, some fast writing exercises might help you put aside some of your worries and actually focus on getting the words on the page. I know I, and many other authors, benefit from writing fast first drafts that we can later refine, and it might well be that this process can work for you too.  Many famous books have been written at speed. On the Road by Jack Kerouac was allegedly written in an impressive three weeks and John Boyne has claimed that it took him roughly two and a half days to write the first draft of The Boy in the Striped Pyjamas.  Of course, in these cases, we are talking about drafts – but if you can get a fast draft down, the rest of your writing can develop quickly too.  In this article, we will discuss why writing quickly is useful and go through some tips to help you start writing faster today.  Are you ready to see how fast writing might just give you the kickstart you were looking for?  If so, sit back read on, and get ready to pick up that pen. The race is on so let’s not delay!   Why Writing Quickly Matters  There is certainly a great deal of value in writing faster, even if it’s just your first draft. Many authors and writers will attempt to get their initial drafts down quickly while the ideas are still fresh in their minds and while they are fully excited by the project. A lot of excitement in a new project is usually stacked at the beginning, so you need to tap into those feelings for as long as you can, and fast writing will really help you to achieve that aim.   Writing quickly really is about just getting those words down on the page – they don’t have to be structurally or grammatically perfect yet! The editing and refinement can come much later. Quick writing means you can simply have fun allowing your ideas to spill from your mind onto the page - and it is a great way to allow your creative juices to flow freely without too much interruption.   Also, by getting your words down on the page fast, you will help your brain remain engaged with your writing for as long as possible, and you will be able to stay in a flow state for longer. You will find you are less likely to lose focus or allow your mind to wander onto the next enticing project - or begin to worry if the project you are writing is even working. The faster and more productive you are at getting your words on the page – the more likely you will be able to have a finished project at the end of it that you can refine.  Regardless of the form you’re writing in, when you are writing faster you will hopefully reduce the occurrence of writers\' block, as you will be fully focused on getting words on the page. It’s fair to say that the faster you are writing, the less likely you are to be distracted or to have the time to pause and worry about what to add next. The fun of this exercise comes in the freewriting itself and letting the words flow. Yes, you may lose some content later and may have to make changes – but that comes at the next stage. For now, you need to simply enjoy the act of writing in its purest form.  I think it’s fair to say that we can appreciate that writing fast can be beneficial and a great way of writing in a free, expressive and limitless way, but how can we do it? Is it really that easy to remove the shackles and anxieties that you might be holding on to and simply allow yourself to write quickly and freely? In the next section, we will explore some tips and methods that will help you to write a book faster.  How To Write A Book Faster  Writing a book faster is not as daunting as it might sound – but it does require some commitment, determination and self-belief. You need to tell yourself that you can do this and make writing a priority even if it’s just for a short time each day. Writing in fast, sharp bursts is often a good method for writers who might fall victim to procrastination or dithering. This way of fast writing worked well for me when I was writing my debut YA novel Seven Days. At the time, I was working full time and raising two young children. An idea for a teenage story developed in my head and wouldn’t leave me. I was determined and energised to get the story on paper as quickly as I could. I set myself short periods of time where I made myself write and this forced me to write fast. The result was a first draft that was written in three months (quick for me!). Since then, I have always tried to write quickly and efficiently, often with self-imposed short deadlines to keep me motivated. This method doesn’t work for everyone, but it certainly did for me, and I would recommend that you give it a try. What is there to lose?  So, how can you become a fast writer? It might not be a skill that comes naturally to you, in which case some of these tips and methods may help you become a much quicker and more efficient writer and allow you to get that draft written at speed.  Write Daily  Try to set yourself a target to write something every day, either by hand or on a computer (whichever you feel most comfortable with). This could be a word count target, or it could be just a set amount of time – but by making yourself write a little bit each day, you will find that your project will develop much more quickly.  Set A Timer  This can be another useful tip, especially for those of us that work well under pressure or to tight deadlines. Set yourself a time limit. It doesn’t have to be long – perhaps 15 or 30 minutes - and then make yourself write nonstop within that period. Don’t stop to check back or edit your work. Simply keep writing and let the words flow as the time counts down. This can be an effective way of speed writing. Again, this method can be used for both writing by hand and typing.   Many people specifically like to use the Pomodoro technique, wherein you set a timer for 25 minutes, take a 5 minute break, and repeat this process. After four 25 minute writing sessions, you then take a longer break of 15 minutes or so and repeat the process again.  Write At A Time When You Are Most Focused  This is quite a useful tip, as it\'s true that most writers have a time when they are most productive. I know writers that wake up very early in the morning and are most productive then. Others may find that they can write faster and better in the evenings. It might be that, due to other demands, you have a limited choice of when you can write – but if you can, try to pick a time when you are not too tired or overwhelmed by other projects. Your words are likely to flow better, and have greater clarity, if your mind is clear and your body is relaxed.   Eliminate Environmental Distractions  Again, this can be a tricky one, depending on your circumstances – but if you can, try to remove those external distractions. Ensure the dog is walked before starting, so they can’t badger you while you’re writing, tell family members that you are working and cannot be disturbed, and try to reduce the noise and distractions around you. I know that many writers value the use of noise cancellation headphones for such work as this helps to block out background noise.  However, once again, all writers are different, and some people (like me) actually write better in noisier environments. So, it is also about finding out what suits you best.  Create An Outline To Work From  Some writers work much better if they have a plan or an outline to follow, and know roughly what each scene will entail. So if you\'re someone who likes structure, having that initial outline will help you write the first draft much more quickly. If you are a writer who tends to like planning out your ideas (rather than a panster who will just slam down whatever comes into their head) – it might be an idea to shape out your idea first. Consider drafting out a plan first to give you something to work from and allow your words to flow much faster.  Stay Away From The Internet!  This is an important tip. If you want to write fast and efficiently, you need to remove the lull of the phone and the internet during the time you are writing. Keep your phone away from your desk while you’re getting those words down and resist the temptation to hop onto the internet for a break. Searching houses or checking Facebook is not going to get those words down any faster!  Set Rewards  This is one that I personally do myself. If I’ve met my word count for the day, I will give myself a little reward. It might be as small as a biscuit, or half an hour watching my favourite (naff) TV show, but it helps my writing brain to know that there’s a reward at the end and I do end up writing faster because of it. Set A Word Count  This could be another daily target that you set yourself to get those words down on the page quickly. A common target is 1,000 words a day. Many authors will either work towards a daily word count, or will set themselves a certain amount of time to write in. Again, it will depend on the individual, as people have different preferences.  Make Sure You’re Comfortable  Ensure that your desktop is set up correctly and that you have the appropriate chair and desk. You won’t get many words down if your back is crying in pain - and you will thank me for this tip later!  Be Excited/Motivated  Try not to see your writing time as a chore or as work. Enjoy it! If you’re having fun and are relaxed it will show in your writing. It makes a big difference if you’re writing about a topic, or in a genre, which you care about and enjoy.  Don’t Stop To Edit/Read Back  This is an important tip when it comes to writing fast. You shouldn’t stop to edit or read back through your work. Writing at speed is all about getting those words down on the page; you can worry about refinement and detail later.  Research Later  The same can be said for research. This can be quite a time-consuming part of writing and although it is necessary – it is not essential at the speed writing point. You can go back and add the relevant research points later, but first, focus on getting your bare-boned structure down.   If it helps, you can always add notes- colour coded, in brackets, underlined etc- in your draft reminding you to go back and check certain details or add in some specific information.  Remember – It’s Not Meant To Be Perfect!  This can be a hard tip for perfectionists, or for those writers that are used to editing as they go, but if you want to try writing more quickly, it’s important to note that your first draft will probably end up quite rough and imperfect. This is fine, though, as you can then have fun refining it at the editing stage.  Use Other Devices (Tablet, Notebook, Whatever Works)  You might consider using other devices to speed write. Some people write faster by hand. Others prefer to use a tablet, whilst others will prefer to write straight onto a computer/laptop. Find what works for you and stick with it.   You could also use speech-to-text dictation and speak your writing aloud into your laptop. This works particularly well if you express yourself more coherently verbally than you do when writing, or if you’re a faster speaker than you are a typist.  Have Snacks!  This is a tip I’m happy to endorse. Quick snacks or drinks will help you avoid the temptation of trips to the kitchen!  How To Write Quickly As writers we must always appreciate our own strengths and weaknesses and for some individuals, the fast-writing method may not appeal, or even work. It takes some people longer to write a book than others, and there\'s nothing wrong with that. However, for many – this could be a very productive and motivating way to get words onto a page and to progress your writing onto the next level.  Remember that the key thing here is not to produce a polished and perfect draft – instead, you are looking to produce a working draft that can be edited and refined later.   Writing quickly can be a useful tool to learn, and can be especially handy if you are trying to squeeze your writing into an already packed schedule. But it\'s not purely about learning how to speed write. The key is to be disciplined and self-motivated and write under the conditions which most inspire you. The results will speak for themselves. Perhaps you will be the next John Boyne and produce a draft within a few days, or perhaps, more realistically, you will have a workable document in a much faster time than you thought was otherwise possible. Either way, you have nothing to lose by giving it a go – so get rid of those distractions and set that timer! Let’s see where your speedy words take you! 

Chapter structure may not sound like the sexiest topic, but it has a significant effect on whether readers enjoy your story. As you strive to become a better writer, examining different aspects of your writing, perhaps you’ve wondered: How long should my chapters be? How do I structure my chapters and make them flow?  In this guide, we’ll talk about why chapters exist, and we’ll look at how you can enhance your reader’s experience by carefully considering the context, pacing, content, openings, and titles of your book’s chapters.  To start off, let’s look at a question whose answer might seem obvious: what is a chapter?  What Is A Chapter? The most simple answer is that a chapter is simply a marked division of a book.  The origin of chapters is unknown, but they appear to have developed around or before 400 AD, alongside the concept of a table of contents. In many early examples, the front of the book would contain a numbered summary of each chapter. The reader could then find the corresponding number in the body of the book.  In reference books, chapters are still used in much the same way. They form part of an overall indexing and organising system that makes the book more useful as a store of information.  However, in novels and narrative non-fiction, book chapters serve a different purpose.  The rest of this guide focuses on chapters in novels and narrative non-fiction. To begin with, let’s clarify the difference between chapters and scenes.  How Chapters Work In this section, we\'ll look at how chapters work, how they differ from scenes, what they\'re for, and how chapter lengths are assigned. Chapters Vs. Scenes Chapters and scenes are related, as they are both parts of a book, but they are not the same thing:  A scene is a part of your narrative, where characters experience certain events in a particular time and place. A chapter is a division of your book, marked by a number or title.  In some novels, chapters contain one scene each.  More often, each chapter of a book will contain several related scenes. In this case, the scenes are usually divided from one another by whitespace, by a typographic ornament, or using a transition phrase in the text itself—but not by a number or title.  What Are Chapters For? Unlike a reference book, you typically read a novel from front to back, often across multiple sittings. Chapters in novels support this experience in two ways:  Chapters mark appropriate “pause points”. These are moments where the reader can safely put down the book and forget those short-term details we normally hold in our heads as we read, like which characters are present, who just spoke, and so on. (A scene break can also function as a pause point within a chapter.) Chapter divisions make the story more clear by creating a space when there’s a change in focus, such as a change in viewpoint or location, a jump in time, or a new type of action.  These two purposes often overlap.  Chapter Length There are no hard rules about length when writing chapters. In addition to being functional, chapters in a novel are part of an author’s storytelling style and can be used in a variety of ways. But here are some guidelines to consider:  There’s no specific maximum length for a chapter. If a chapter is too long, you’ll probably notice that the pacing is slow, or that the chapter contains too many unrelated scenes. However, a long chapter can be appropriate for a climactic scene, or a passage that’s meant to feel arduous. There’s also no specific minimum length for a chapter. Too many chapter breaks can annoy the reader, or come across as precious or grandiose. If a short chapter has the same focus as the chapter before or after, consider merging them and using a scene break instead. However, a short chapter can be appropriate when the action is quick (especially when switching between multiple viewpoints), or when emphasising a specific moment that you don’t want to clutter with details. (For more detailed advice about chapter lengths, see our guide How Long Should a Chapter Be?)Remember that chapters are not scenes, so not every scene break requires a new chapter. When you keep chapter lengths consistent throughout most of your book, you establish a rhythm. You can then break this rhythm at a key moment to create an effect.  Now that we know how chapters work in general, let’s talk about how to structure them.   How To Structure A Chapter The structure is an important part of how chapters are used, and it can be helpful to plan out your chapters and determine which type of structure works for you.  When To Plan Your Chapters If you like to plan ahead, or if you like to write from prompts with word counts, you’ll do best by planning your chapters in advance. However, if you find that type of planning too constricting, it’s fine to ignore chapter divisions while you write your first draft. When that draft is complete, you can use your revisions to consider where to insert chapter divisions.  (Now, this isn’t to say you shouldn’t plan at all. See our guide How to Plan a Novel for advice on planning the broad strokes before you write that first draft.) Structuring A Chapter: A Method For Everyone Here’s a method anyone can use to structure a chapter. If you like to plan ahead, use these steps while plotting your book. If you prefer to write organically, then organise and revise, use these steps as part of your revisions.  Either way, this method will help you think about how to write a chapter by grouping and linking scenes, and cue you to whether there might be scenes missing that you should add, or superfluous ones you should (re)move.  Keeping in mind that every chapter is both a self-contained experience and also part of the complete story, consider these questions:  What is the reader’s mindset coming into this chapter? How intense was the previous chapter? Do we want to increase, decrease, or maintain that intensity? What changed or what did the reader learn in the previous chapter? Do you want to elaborate on that immediately (consequences, added details, reactions), or do you want to switch focus (give the reader time to ponder or let their curiosity simmer)? What was the emotional tone of the previous chapter? Do you want to maintain or contrast that?  What should the reader’s mindset be as they enter the next chapter? How will you set that up? Do you want the reader’s mind clear or preoccupied when the next chapter begins? What emotional state do you want them in? Will the next chapter have its best impact if the reader enters it excited, demoralised, apprehensive, …? What does the next chapter focus on? Can you prime the reader’s interest by planting questions that the next chapter will address? Can you make the next chapter feel fresh by avoiding unnecessary references to what it will focus on (“topic fatigue”)? What job does the current chapter need to do? What does the reader need to learn, and how are you delivering that information? Which events need to happen on-stage, which ones off-stage, and which are flexible? If you have a multiple-viewpoint novel, which viewpoints are available to relay this chapter’s events? What length is appropriate for this chapter?  As you answer these questions, you’ll get a good idea of which scenes should be included in a chapter and how they should be presented in terms of viewpoint, tone, and focus.  (Note—if you’re not clear on the overall plot of your novel, you’ll need to get that straight first before you worry about making chapters flow smoothly. See our guide How to Plot a Novel for advice and tools for plotting.) Two Kinds Of Bad Chapters Pay special attention to fixing two types of bad chapters: chapters where nothing happens, and chapters where things happen but nobody cares. If you have a chapter that’s not working, try these questions:  What is the most important thing that happens? Is the chapter built to support that event, or does it contain distractions and superfluous material? Does this chapter exist solely to let you include a scene that you love? Can the story exist without this chapter? If so, try deleting it. Does this chapter exist solely to move characters to new locations or otherwise “get them ready” for future chapters? If so, always delete it. You don’t need to announce location changes to the reader, you can have them happen off-stage and refer back to them with a single sentence. (“Mary touched down at LAX just as furious as when she took off. She’d decided to fly out the moment she learned of Frank’s act of embezzlement.”) Is this chapter an infodump? If so, try to delete the entire chapter by diffusing your exposition into earlier chapters. At worst, you’ll tighten it up considerably.Does this chapter handle its events in a memorable way? If you have a chapter that is focused and does what it needs to plot-wise, but it just isn’t that interesting, that can be a cue to think up a set-piece or a more original way of handling the action of this chapter.  Sometimes, deeply probing a bad chapter will help you to uncover deeper problems in your story structure. (In other words, maybe the chapter is bad because there’s no good way to tell it.) If a chapter feels bad during your early revisions, be a bloodhound and follow the trail until you’re satisfied.   How To Start A Chapter Starting a chapter can be daunting in much the same way as starting a book. Luckily, some of the same advice applies.  Below is a process you can use for any genre. As before, use it as a planning tool or a reviewing tool, depending on your writing style. Starting A Chapter- Reader’s Attention Method Think of a well-planned tourist attraction: its entrance is carefully planned to focus and guide people to ensure their experience is enjoyable. The start of your chapter can accomplish the same thing using these steps: (1) tell the reader where they are, (2) get their attention, (3) put their focus where you need it, (4) lead them on from there.  To tell the reader where they are, use a chapter title, dateline, or opening sentence to provide them with a mental starting point. You might tell them whose viewpoint they’re in, or where the scene is set, or something that’s just happened. This is the equivalent of the tourist attraction’s “Welcome to …” sign.  To get their attention, don’t think “volume turned to 11” so much as “shiny object”. One technique is to force the reader to activate their mind’s eye by giving them a partial image. Another is to engage their analytical mind by creating an open question. Either way, you’re demanding that their mental resources be focused on the story—if half their brain is still on their grocery list, this will help them forget about it.  Now put their focus where you need it. Do you want the reader to watch a particular character’s movements? Speculating about someone’s intentions? Thinking about a particular problem or mystery? Use the image or open question from the previous step to bring their attention where you need it. For example, if you want their attention on a particular character, your opening image might be of something that character is touching, or of an article of that character’s clothing.  Now you’re ready to lead the reader onward. Let the natural action of your chapter begin to unfold.  Starting A Chapter—Example Let’s create an example for a crime thriller novel. We’ll say our protagonist has been captured, and we want to set up a tense conversation between him and his captor, followed by an exciting escape sequence. We might try this:  Mojave desert, Monday, 2pm The pocket-watch was ornate; Civil War most likely. Jesse watched it swing from the brown suit jacket as the barrel chest paced back and forth in front of him, the voice droning on. Gold. Some sort of flowers or vines engraved on it. Diamond stud. Roman numbers on the face. Jesse looked up. His neck was burning. He hadn’t been able to loosen his wrists at all. McCallum was looking somewhere out on the horizon. Talking about loyalty and betrayal. Jesse was too dehydrated to focus on the details. Then McCallum stopped talking, and Jesse realised he could hear the pocket-watch keeping time—a dutiful witness to his final minutes.   Here’s how we developed our chapter opening:  We tell the reader where they are using a dateline, a common device in thrillers. The phrase “Monday, 2pm” tells us how much time has passed since the previous chapter. The fact that it’s daytime gives us the start of a mental image of the desert.  Now we get the reader’s attention with an initially vague description of the pocket-watch and its owner. Ornate, but how? And why is the owner above Jesse’s eye level?  Now we give the reader answers paired with more questions, focusing them on Jesse’s predicament. They realise that Jesse is tied up, kneeling, dehydrated, and apparently in mortal danger. The reader can see that the immediate concern of this chapter will be Jesse’s desire to escape this situation and that McCallum wants a final confrontation.  Now we’re ready to lead the reader onward to the action of the chapter: words will be exchanged, Jesse will attempt to escape, and the reader will anticipate the outcome.  This is just one way we could have started this chapter. Using the same method, we might instead have started with Jesse waking up in a dark, cramped space; hearing snatches of muffled dialogue; then realising he’s in a car trunk when it’s opened and blinding light streams in. The method is a checklist—your creativity fills in the blanks.  Now that you have a method for writing a chapter opening, let’s look at one final detail: chapter titles.  How To Write Chapter Titles The first thing to keep in mind about chapter titles is that, unlike a great book title, they’re optional! Plenty of books do without them, so don’t feel obligated to include any if you don’t think it enhances your story. If you do want to include chapter titles, think about what job they’ll be doing; this will point you toward which format to use.  Chapter Title Ideas If you want to tease or foreshadow the events of the chapter, you can use your title to describe coming events in an abstract or concrete way. For example:  Chapter 7: In Which Bertie McLannister is Shot, But Survives  Chapter 13: The Showdown at the Mill  Chapter 21: An End to Suffering  If you just want a distinct title so your reader can tell chapters apart, you can pull the title from a memorable piece of dialogue or description. For example:  Chapter 34: I couldn’t forget you if I tried  Chapter 6: The temple, its battered walls defiant  If your novel jumps among multiple viewpoints, you can incorporate the viewpoint character’s name into the title. (Alternately, you can put the viewpoint character’s name in a dateline. This can be a better option if you plan to change viewpoints within the chapter as well.) For example:  Chapter 16: Lucy  Chapter 16: Lucy’s Story  Chapter 12: Jack Carter: The Showdown at the Mill  If time, timing, or location are particularly important, your title can incorporate a date or time. (Again, this information can also be given in a dateline.) For example:  Chapter 3: Mojave Desert, Monday, 2pm  Chapter 3: A dutiful witness—Monday, 2pm  These chapter title examples show some of the most common formats. Other possibilities exist—you can use any format that complements the experience you’re trying to create.  However, be sure to stay consistent. You shouldn’t vary the format of your chapter titles unless you have a good reason, such as two viewpoint characters with different ways of thinking—perhaps one is always acutely aware of the time, the other attuned to their mood.  Crafting Chapters Using chapters with purpose will make your book (and your writing process) more satisfying.  In this guide, I’ve given you some tools for thinking about the context, purpose, structure, opening, and titles of your chapters. When you’re ready for the next step, one of the best sounding boards for your ideas is speaking with other authors. 

Finding similarities between stories is a rather satisfying activity. Intertextuality just adds that extra layer of meaning and a dose of excitement when we can see similar patterns in two different stories.   But what exactly is intertextuality? You know how we are influenced by certain books we read or films and series we watch or songs we listen to? You know how that influence seeps into our writing, advertently or inadvertently? That’s intertextuality. This seemingly cunning literary trick requires understanding in a little more depth so that you can use it as a deliberate tool to your creative advantage.  Ever watched The Lion King and thought ‘Hmmm…Simba’s story is somewhat like Hamlet’s’? Both Hamlet’s and Simba’s fathers are killed by their brothers, Claudius and Scar, respectively. And both Hamlet and Simba seek revenge on their uncles and take back their kingdoms, after being visited by the ‘ghosts’ of their fathers reminding them of their duties.   If you missed that, I’ll take it you didn’t read or watch Hamlet, and you wouldn’t be the only one. You see, we can draw parallels and observe similarities only by comparison. If we’re not aware of the older story being recalled, we might not see the intertextuality at play. This applies to writing too. Even when it’s our own story, there’s a very good chance our writing has intertextual links to some other work we might have read or watched, even if we’re unaware of it.  In this article, we’ll define intertextuality, go through the different types and forms of intertextuality, look at some examples of intertextuality, and explore how intertextuality can be used in your writing.  What Is Intertextuality? Culturally, works of art, literature, and music all derive from one another, and this makes for a thriving web of creativity. These works we weave all share a few, if not many, common threads. When two or more bodies of work parallel one another or reflect themes and/or plotlines from one another, it’s called intertextuality. Often it can be inadvertent, but it can just as easily be a deliberate device. When done well, intertextuality becomes a great literary tool in the writer’s kit.  Types Of intertextuality  Latent intertextuality is when intertextuality is used inadvertently. When it is used consciously, it is referred to as deliberate intertextuality.   Latent Intertextuality  Most writings invariably have some element of intertextuality in them, as being influenced by some of the things we consume is inevitable. When I showed the prologue of my love story to my professor when I was on a creative writing course, he observed that it had a ‘Rudyard Kipling feel about it’. It was one of the best compliments I’d ever received.  In my story, I animated the sun as an onlooker and referred to it as ‘him’ to show the reader the sun’s glimpse into the life of my main character. This is a pretty common way to refer to the sun in all Indian languages; in fact, we gender a lot of inanimate objects in our native tongues and it seeps into our English too.   Rudyard Kipling’s works were heavily influenced by the times he lived in – British India – and his own works were a product of that era. So, he’d have been naturally influenced by the native land and language. So, what was common between my story and Kipling’s works was the native language influence that brought with it a “come, come see this land” kind of vibe, as well as the use of description. I wasn’t aware of this similarity until my professor saw it and mentioned it. Besides, like I mentioned before, latent intertextuality can be easily missed if you’re not aware of the text your own work parallels.  Deliberate Intertextuality  Choosing to use intertextuality as a deliberate literary device is a skill every writer would benefit from. One of my favourite novels of all time is The Book Thief by Markus Zusak. This work has perhaps some of the most exemplary usage of deliberate intertextuality. Throughout the book, there are various references to real events of the time this story is set in.   An obvious example of deliberate intertextuality is when Max, the Jewish man hiding in the Hubermanns’ basement paints over a copy of Hitler’s Mein Kampf, to write his own story for the protagonist Liesel. This is not only the character’s attempt at rewriting the reality from his perspective, but also the author’s own attempt at having his voice heard by the reader, albeit through a character. This is a clever way for the writer to let his presence be felt by his reader, when the story allows it.   Different Forms Of Intertextuality  Many writers choose to explicitly base their contemporary works on a classic work and this is an obvious way to incorporate intertextuality. Writers can do this through translation, form, parody, allegory, retelling, fan fiction and prequels.   Translation And Form  No two languages are the same and they often come with cultural tints of their own. So, when we translate a work from one language to another, even with most of the story being the same, the two simply read different. Another way this can happen is through changing the form or genre of the original work. For instance, the 20th century Irish author James Joyce’s novel Ulysses makes use of both these kinds of intertextuality. It’s an English rendition of the ancient poet Homer’s Greek poem Odysseus.   Retellings  Retelling is a skill by which a good storyteller can spin a popular (but possibly outdated) story into a compelling tale of the current times. This tool is one of the ways in which Disney tries to stay relevant with the audience of today. Take, for instance, the movie Brave, whose protagonist is unlike any of the other Disney princesses – wild and messy; or Frozen, whose princess Elsa is the first to be coronated and to rule as queen, without having to marry a prince; or Maleficent, wherein princess Aurora’s curse is broken by ‘true love’s kiss’ from her adoptive mother rather than a prince. These fairytales take root from their tried-and-tested predecessors but spring forth with characters and plot-twists that are more suited to the modern times we live in.  Parodies When you take a plot, writer’s style or even an entire genre and exaggerate it for comical effect, it’s called a parody. The Shrek movies do exactly this with the entire genre of fairytales. They’ve turned the ‘happily ever after’ theme on its head. They are literally all about ‘ugly ever after’, with Fiona choosing to remain an ogress with Shrek, despite being given a second chance to be a ‘beautiful’ princess. Littered with several adult puns (“Although she (Snow White) lives with seven other men, she’s not easy”), exaggerations (Sleeping Beauty falling with a thud every other minute, even in an action sequence), and very literal use of deep songs (Live and let die at the Frog King’s funeral), these movies tickle the funny bones of adults and children alike.   Fan Fiction  Fan fiction is a genre more prevalent on the Internet than anywhere else. Works of fan fiction are directly related to rather popular texts, but they are written by a reader and not the original author of the popular text.   As ardent lovers of stories, I’d say we’re all familiar with the pain of a story coming to an end, especially if it’s a series of novels. Readers of Twilight by Stephanie Meyer felt this pain when the four-book series came to an end.   One of them took to writing a sequel to the series on the web – a raunchy piece depicting what the protagonists Bella Swan and Edward Cullen might be up to in their bedroom. The writer, under the penname ‘Snowqueens Icedragon’, then decided to change the protagonists’ names, rewrite the plot, and went on to self-publish it. What happened next was unprecedented – it went on to become a phenomenally bestselling trilogy of erotic fiction in its own right! We know this trilogy as the 50 Shades franchise, and its author as EL James.   Prequels  When a backstory to the main story is provided as a standalone, it’s called a prequel, just as a progressive instalment to the main story would be called a sequel. Similar to fan fiction, prequels have quite the flair to weave intertextuality seamlessly into a story.   One such elegantly handled prequel is the Disney movie Cruella, which serves as a precursor to the 1996 film 101 Dalmatians. In many ways, it attempts to humanise an evil villain who’s better known for her love of skinning puppies to make ‘fashionable’ coats.   Uses Of Intertextuality And Intertextuality Examples  Deliberate intertextuality serves a great many purposes for writers. Here are a few of them:  To Change The Form Of A Text  When in fifth grade, I had to study an abridged version of Ulysses by the 20th century Irish author James Joyce. What I didn’t know then was that my copy was a watered-down-meant-for-kids version of an epic novel, which was in itself a translation of the epic poem Odyssey by ancient Greek poet Homer.   Ulysses is a great example of deliberate intertextuality in literature, where translation and change in form create a whole new piece of work, despite being directly derived from another known text. Joyce has structured his novel similarly to the original poem. However, the duration of his storyline only runs for the course of a day following the hero Leopold Bloom’s realistic life in early 20th century Ireland, whereas the ancient poem narrates the hero Odysseus’ decade-long mythical journey back home from Troy to Ithaca.   To Redo Or Renew A Character  The very allegorical name and character – Cruella – renders itself beautifully to intertextuality. It calls into question how much notoriety classifies as ‘cruel’ because this puppy-skinning villain from 101 Dalmatians is surprisingly fond of dogs in the prequel and only plays the part of a supposed dalmatian-murderer, whilst still using her friends to get what she wants, all the while being mean to them. The backstory of Cruella really makes us wonder what pushed her to be the heartless being she is in 101 Dalmatians, and even gets us to sympathise with her throughout the movie.   To Keep A Story Alive   The similarities between Bella Swan of Twilight and Anastasia Steele of 50 Shades of Grey are uncanny. They’re both young, awkward, lip-biting brunettes, who’re sexually and romantically inexperienced. They both fall for handsome, young, rich men with dark secrets – Edward Cullen of Twilight is a vampire, and Christian Grey of 50 Shades is a sexual sadist. The women are ‘prey’, the experienced men their ‘predators’.   Yet, despite such heavily similar characters and themes, EL James\' 50 Shades manages to stand out as a whole new category from Twilight. While Twilight can be read as young adult and teenage fiction, 50 Shades has a solid place in the erotica hall of fame. Still, 50 Shades keeps the love story of Twilight alive in spirit.  To Rethink Endings  The movie Shrek, and the whole franchise, parodies the very concept of a fairytale. This example of deliberate intertextuality shows how an entire collection of stories, even canon, can be turned upside down to set a new precedent for what can be considered a ‘happy ending’. Shrek is an ogre, not a charming prince. He’s sent on an expedition to save Princess Fiona by Lord Farquaad, rather than Farquaad venturing on the quest himself. And even though marrying Shrek means she’d remain a ‘hideous’ ogress for the rest of her life, Fiona chooses this fate for love.  To Rewrite A Narrative   Retelling popular narratives is a great way to connect with newer audiences. You have no idea how happy watching the Disney movie Brave made me. The story is a subversion of several Disney fairytales. Merida, the protagonist, is nothing like other Disney princesses whom modern girls or women don’t have much in common with. She’s wild, outdoorsy, hates dressing up, and has no interest in princes.   This intertextuality example is one where the very narrative of a well-known genre – fairytale – changes dramatically. In fairytales, external situations lead the princesses to their dangerous fates. In Brave, Merida sets in motion a series of problems, all by herself, and (unlike other princesses waiting for their charming princes to rescue them) manages to fix them all by herself too. It’s a very empowering – and modern – notion that girls and women, and people in general, are the leaders of their own lives and that they can choose to rescue themselves.   How To Use Intertextuality In Your Writing  If your readers can recognise and understand intertextuality, then their reading experience becomes that much richer. It adds multiple layers of meaning, context, and depth, making it a culturally complex and enriching experience.  Here are some ways in which you can use intertextuality in your own writing:  If you’ve been struggling to get a new idea, why not try rewriting a really long novel, perhaps an epic, as flash fiction? Imagine a 100-word long Lord Of The Rings. How about converting a satirical essay into a limerick? Think Jonathan Swift’s A Modest Proposal in an anapestic trimeter.  If you have a particularly upright and moral character in your story, why not explore your character\'s darker side in a whole other book? This could work particularly well in the crime and thriller genre. But it could work just as well in a love story too if your protagonist has a prospective partner but that person has a flaw which wasn’t revealed initially.   Here’s how you could try your hand at fan fiction. We know how Death from The Book Thief collected not only souls but also stories. What if Death had also collected Heinrich Schliemann’s soul? He was the archeologist that introduced the swastika (then a Hindu symbol of hope and prosperity), to Germany. What if Death collected his story? How would he narrate it, connecting it to the events that occur in the timeline of The Book Thief? You could trace the de-evolution of the symbol from something interesting and hopeful into dark and terrorising.  Let’s say you’re writing a romance. We all know how most romantic fiction follow the fall-in-love-fight-make-up-get-married routine. How would you change this? What does a happy ending look like for your lovers? How about a parody of errors? What if their march to the wedding is full of what’s normally considered nightmares? This could come in right after the climax, to serve as an anticlimax before the ending. It could actually punctuate the understanding your lovers have come to after the climax, right before you let them have their ‘happy’ ending. You could use this to show how ‘happy’ doesn’t necessarily mean that there\'s no pain or problems.  Dark, brooding and stern men abound, in literature, whose hearts can only be opened up by bubbly girls or cheerful women. What if the man in your story is the bubbly, cheerful and emotive one, and the girl is the one who needs opening up? How would that go in your story? It’s certainly worth a try flipping this rather cliché of a character sketch of men.   Intertextuality: Top Tip   The key factors that decide what kind of deliberate intertextuality would suit your writing are how you’d like to connect with your reader and whether or not the reference to another work you make is relatable for your target reader. If your reader can’t understand, or even notice, your references, then intertextuality is a moot point, even if your own story is credible and complete in and of itself. This is especially the case in parodies.  The thing with intertextuality is that whether or not you’re aware of it, in all probability your writing already includes it. But if you can make it a deliberate tool in your craft, it can bring a whole new level of creativity to your writing and a complete other experience to your reader’s understanding. 

How do we convey the innermost thoughts, feelings and motives of our fictional characters to bring a story to life? One of the most effective ways to do this is through the use of internal (or inner) monologue.  An internal monologue is a key and useful feature in many styles of writing. It’s a method employed to give readers a greater insight into the main characters in novels, non-fiction, script writing and poetry. This specific narrative technique shows us how a character is feeling - often in relation to other characters and events within a story - and gives us a deeper understanding of their personality and motivations.  As writers we are constantly seeking to polish this aspect of our skillset to communicate more effectively with our audience, and for our writing to make more of an impact.   In this article you will learn how to write internal monologues, learn the definition of inner monologue, and read some interior monologue examples. By the end of this guide you will have all the tools you need to polish your narration - whatever its format and genre.  What Is An Internal Monologue? In literal terms, internal monologue is the result of specific cerebral function which causes us to ‘hear’ ourselves speak in our head, without physically talking or making sounds. This phenomenon is often also referred to as internal dialogue or our inner voice. It’s basically a stream of verbal consciousness that no one but the person thinking it can experience.  In fiction, inner dialogue is often written in italics so that it’s obvious the words aren’t being spoken aloud; rather that they are the thoughts and feelings of the character.   The exception to this rule is indirect internal dialogue (internal narrative written in the past tense). A stream of consciousness can often be a longer piece of internal monologue and so it may not always be written in italics, but its function will be obvious from the lack of quotation marks, and, perhaps, the use of thought tags.   This way, as readers, we have the true experience of ‘listening in’ on a verbal flurry taking place in somebody else’s head, although this literary encounter will often require acute concentration since such an outpouring of words doesn’t always make immediate sense, or follow a linear pattern.   A stream of consciousness is most effective in character-driven literary or genre fiction with a single point of view. It wouldn’t be impossible in other types of fiction, but it would be a challenge not to have a lot of head-hopping!  A classic internal monologue example (in real life) may be the way we deliberate a purchase in a shop:   I really shouldn’t buy that hardback book with the gold foil sprayed edges since I already have the ebook on my Kindle… On the other hand, it would look incredible on my coffee table and wow all my guests.   This excerpt of interior monologue reveals my own tendency to dither, and that I am easily lured into spontaneous credit card action when I find myself in a Waterstones store!   Similarly, when we want to share the innermost thoughts and feelings of our protagonist (for example) to evoke empathy from our readers, we might decide to breadcrumb facets of their past in and amongst dialogue and action.   You may have a character who, so far in your book, is very professional and cut-throat at work. But then, if you show their inner dialogue when passing a cute puppy in the street, the reader may suddenly warm to them and understand their plight of having to be a certain way at work.  This targeted piece of interior monologue can have a striking effect, helping your audience to gloss over something they might not normally agree with in terms of said character’s present behaviour or characteristics – because they can see the inner workings of their mind.   Powerful indeed…  How To Use Internal Monologues In Your Writing  When it comes to putting pen to paper, or fingers to keyboard, interior monologue is used in two main ways - either as a soliloquy or a stream of consciousness.   The former would come into play, quite literally, when penning a play, so that a character can share their innermost thoughts and emotions aloud with the audience. If you tried that in a novel it may come across as a major info dump and pull your reader away from the action.  Alternatively, the latter concerns itself mainly with books - predominantly of the fiction genre. Once again, typically when we are writing novel-based fiction, we will either present internal narrative in italics (for the most part) or as a chain of thought, which may or may not be structured.  Let us explore some of the best ways to integrate internal monologue into our fiction. Here are 6 reasons why you may wish to add inner monologue in your writing:  1. To Shine A Light On Your Character’s Thoughts  The sharp contrast between dialogue and the powerful inner thoughts of a character can be shown extremely effectively when peppered sporadically and thoughtfully throughout a story, hooking us into the drama and mindset, making characters more 3D and relatable.  In the recent BookTok sensation, The Spanish Love Deception, author Elena Armas takes us inside the head of her female protagonist, Catalina, a lot of the time. Catalina is full of self-doubt throughout the rom-com on her slow burn journey to love with her quarry, Aaron Blackford:   Somehow, somewhere between slipping into my velvety fawn heels and the graceful, airy burgundy gown I was wearing, my head had started spinning questions. Important ones. Will I be able to find Aaron in the crowd? And also: Will he be okay? Will he get to the venue and find his seat? And the star of the show: Maybe I won’t see him until after the ceremony. What if I can’t find him? The Spanish Love Deception by Elena Armas We can see this works well in romance, but what about other genres?  In a crime novel, you might choose to accentuate your main character’s thoughts by employing a similar internal monologue, where the protagonist analyses the array of suspects without giving away her thought processes to said suspects.  In fantasy, you may have a wicked queen plotting her revenge on the princess. By employing dramatic irony via inner monologue, you can add a new layer of suspense because the reader knows what the queen is planning but the victim doesn’t.   2. To Reveal A Character’s Unique Point Of View  This is particularly constructive when we want to show the way a main character relates to both the characters who are in their midst in a specific scene, and those who are referred to by others.   Through internal monologue we get a true sense of relationship and dynamics, and emotions are laid bare. There’s a rawness and depth to this type of inner dialogue and often it can trigger our own emotions, evoking empathy with the protagonist, allowing us to truly feel as if we are walking in their shoes. Additionally, it’s a good way to breadcrumb a character’s traits and beliefs - as long as there’s not too much ‘telling’.  Roy Straitley, the curious Latin teacher in Joanne Harris’s psychological thriller, Gentlemen and Players, displays an inner narrative interspersed with random Latin phrases to dazzling effect. Harris translates these interior dialogue tidbits into English beneath the italics, and they give weight to our perception of her loveable but pernickety MC:  I have no intention of going gently into retirement. And as for your written warning, pone ubi sol non lucet. I’ll score my Century, or die in the attempt. One for the Honours Board. Gentlemen and Players by Joanne Harris Perhaps we have a character whose thought process straddles two or more languages? Inserting snippets of internal narrative in another language - ensuring we have had that piece of inner monologue checked by a native speaker, of course! - can really bring the point of view of a character to life.   But less is definitely more.  3. To Display Internal Conflict  When applied with precision and sensitivity, an inner monologue can be used to tug at the reader’s heartstrings, pulling them into the page so that they will root for a character who, until now, they may not have been feeling a whole lot of empathy towards.   Kenna Rowan, the female protagonist in Colleen Hoover’s contemporary romance, Reminders of Him, has recently finished serving time for manslaughter. Five years after her incarceration, she’s on a mission to be reunited with her young daughter who’s being raised by the parents of the man whose death she caused by drink driving:  “Do you think they’ll ever give me a chance?” Ledger doesn’t answer. He doesn’t shake his head or nod. He just completely ignores the question and gets in his truck and backs out of the parking lot.  Leaving me without an answer is still an answer.  I think about this the entire way home. When do I cut my losses? When do I accept that maybe my life won’t intersect with Diem’s? Reminders of Him by Colleen Hoover When we work poignant inner monologue statements into our character’s mind, we can convey so much internal turmoil with very few words. It’s a simple but clever technique.  4. To Heighten A Reader’s Senses  All five of the senses can be triggered through the use of internal dialogue.  James Joyce is infamous for his use of stream of consciousness. In his novel Sirens he uses a flurry of words to great effect. As a reader we can practically hear the unique sounds of each observation. The cadence is mesmerising.  Bloom looped, unlooped, noded, disnoded. Bloom. Flood of warm jimjam lickitup secretness flowed to flow in music out, in desire, dark to lick flow, invading. Tipping her tepping her tapping her topping her. Tup. Pores to dilate dilating. Tup. The joy the feel the warm the. Tup. To pour o’er sluices pouring grushes. Flood, gush, flow, joygush, tupthrop. Now! Language of love. Sirens by James Joyce This is a very unique way of writing, and perhaps not something you will see a lot of in commercial fiction, but the clever way Joyce evokes the feeling and sound of water in this description.   If we are writing a work of fiction from one singular point of view, we can certainly employ the above technique, however, it is perhaps easier to use - and more commonly to be found - in poetry or scriptwriting.  5. To Divulge Self-Perception And Mentality Internal monologues can be used to help us gain a better understanding of a character’s state of mind. Thanks to the insertion of an inner monologue we, as readers, can finally see why they act the way they do.   In Hazel Prior’s novel, Away with the Penguins, we are given many glimpses of both set-in-her-ways, grumpy Veronica and laidback-to-the-point-of-being-horizontal Patrick’s self-perception and frame of mind. As grandma and grandson, this is an interesting and essential juxtaposition used with full effect to highlight their very different characters and backgrounds, helping readers find empathy for them both.   If the author had only run with one character’s smattering of inner dialogue, throughout the book, our impressions as readers would be very different. In this instance (as can occasionally be the case) the inner thoughts of both characters aren’t always italicised. This approach, however, is more common when using indirect internal dialogue and referencing the past.  Veronica:  I don’t deign to answer. Instead I examine myself in the gilt-edged mirror over the mantelpiece. The Veronica McCreedy who looks back at me is as unsightly as ever, despite the generously applied lipstick and eyebrow pencil. Away with the Penguins by Hazel Prior Patrick: Grief’s a weird animal… It’s like this bungee-jump of emotions. You get jolted all over the place. It gives you this sick feeling in your stomach, makes you jittery and wobbly, plays havoc with your sleep patterns. I’m beginning to wish I had a spliff at hand. Away with the Penguins by Hazel Prior If you are writing a novel with two (or multiple) contrasting points of view, getting inside the minds of your main characters and sharing their inner monologues is an essential move if you want our readers to warm to your colourful cast.  6. To Reveal Connections And Comparisons With Others  Another example of the effective use of stream of consciousness in inner narrative is when it is presented in the form of lists. This is a modernist approach to fiction and has been pulled off admirably by Markus Zusak in the literary masterpiece, The Book Thief.  Death is an actual character and a narrator in Zusak’s novel, intermittently categorising the elements of a scene. Death’s inner monologue is made clear to the reader with the use of different fonts. This seemingly random catalogue of concepts gives us a sneak peek of what is to come in the pages that follow:  PART TWO   the shoulder shrug  featuring:  a girl made of darkness – the joy of cigarettes –  a town walker – some dead letters – hitler’s birthday – 100 percent pure german sweat – the gates of thievery – and a book of fire The Book Thief by Markus Zusak As writers, we might like to experiment with this technique in a screenplay or script, where it can be used as an effective tool to set the scene as an internal monologue in the narrator’s (or indeed a character’s) head.  Putting Inner Monologue Into Practice  Compelling writing is full of internal monologues. The trick is to use it sparingly (or not, depending on your genre) and appropriately for maximum effect. If your book is written in the first person, this is a lot easier as the entire book is coming directly from the main character’s mouth (and head). But beware of too much inner chit chat if your story has many points of view, or you may run the risk of sending your reader on a wild head-hopping ride.  The more you play with inner dialogue and the more you practice using it, the more natural it will feel to include it in your narration and prose, and create a clear sense of your character\'s voice. It’s a chicken and an egg skillset: the wider you read and the more genres and authors you devour, the more you will spot its use and sense how it can be applied to your own unique work, and the more you will use it yourself.  So write your story with internal dialogue, try without it, and play about with tenses and points of view until your characters come to life. Are the readers inside their head yet? If so, then you’ve done your job! 

Being a writer is the most magical job you can have without actually being a witch.   As writers, we create worlds that have never existed. Skies that have only ever been pink in your imagination are now magically pink in the mind of someone you’ve never even met.   That, dear reader, is why setting is so important.   Without setting your characters can’t live and breathe on the page. Without setting your readers can’t engage in the world you’ve created for them. And that is why setting is one of the most important elements of storytelling.   In this article, I will teach you how to write the most enticing and appealing setting you have ever created. Because if you’ve created characters that will live in the hearts of your readers, then they deserve a world just as memorable in which to live themselves.   We will answer the question \'what is setting in literature?\', look at examples of authors who have perfected the art of grounding their readers into a story, and discover why setting is important in a story. Then, of course, we will look at how you can use all that knowledge to ensure you create the very best setting for your book.  Let us start by exploring what setting is.  What Is The Setting Of A Story? The setting of a story is where and when the story takes place. But in a lot of ways, it’s more complex than that.   Setting does not just include the immediate description of the room in which a chapter takes place. It encompasses so much more and can be broken down into three subcategories.   Three Main Settings In A Book The three main types of setting are temporal, environmental, and individual.  Temporal Setting: This describes the era in which the story takes place.   If you’re writing a historical fiction novel, for instance, it’s important the reader knows the setting is Victorian London – not contemporary London – from the very beginning.   Environmental Setting: This is where you explore the larger geographical area and surrounding locations.  Is your book set in India or France? Where the book is set geographically makes a big difference to everything – from who the characters are, the decisions they make, and the action that takes place.   Likewise, if they are in France, is it rural or a city? A story set in Paris is going to be very different to one to a story set in a rural mountain community in the Pyrenees.   Individual Setting: This is where you get down to the nitty-gritty, the specific location of the story and the details found there.   If the scene is set in someone’s house, what does it look like? What’s the décor like? The street? Can we tell who lives there by the contents?   In both fiction and non-fiction writing, creating a compelling setting is vital. It provides not only atmosphere and a backdrop for the story you are exploring, but it can also create a framework for you to explore themes in a much more visceral and engaging manner.   A book’s setting can also provide context about your characters’ social environment or pinpoint a time in history that provides extra context.  To explain this further, I’m going to use a few examples from different books and look at how the authors have used these three specific areas of setting to engage the reader.   Book Settings: Examples It’s impossible to explain the importance of a book’s setting without looking at writing examples and seeing how authors have brought a scene to life.   Temporal Setting: Examples As mentioned before, the temporal setting focuses the readers’ attention on the time in which the story is set.   It’s an important part of fiction, especially if you’re focusing on genres such as historical or saga. But even if you’re writing contemporary fiction, it’s always important to know when the book is set (for instance the world looked very different in April 2020 than, say, April 2019).   You need to place your reader where you need them to be, so they’re in the correct mindset required to empathise with the characters and the plot.   Below are two very different examples of the perfect use of temporal setting.  Sepulchre By Kate Mosse  Leonie returned her gaze to the Avenue de i’Opera. It stretched diagonally all the way down to the Palais du Louvre, a remnant of fragile monarchy when a nervous French king sought a safe and direct route to his evening’s entertainment. The lanterns twinkled in the dusk, and squares of warm light spilled out through the lighted windows of the cafes and bars. The gas jets spat and spluttered. Sepulchre by Kate Mosse The setting described here places us in a specific time and place. The author has used references to the surroundings that can only mean the characters inhabit a specific time in history. In this case, Paris in 1891.   As authors, it can be increasingly easy to use the ‘cheat’s’ way out, and simply add a date to the top of the page.   But by remembering the old ‘show don’t tell’ adage, and adding specific details to your passage, you can really place the reader at the heart of the story during a time you really need them to experience.   In contrast, take a look at how the next author tackles a sense of time and place in a more current day example.  Summerwater By Sarah Moss  The holiday park is asleep, curtains drawn, cars beaded with rain. The log cabins, she thinks again, are a stupid idea, borrowed from America or maybe Scandinavia but anyway somewhere it rains less than Scotland, when did you see wooden buildings anywhere in Britain? Turf, more like, up here, stone if you’ve got it, won’t rot. And they don’t look Nordic – not that she’s been but she’s seen the pictures – they look dated, an unappealing muddle of softening wooden walls and cheap plastic windows, the sort of garden shed you’ll have to take down sooner rather than later. Summerwater by Sarah Moss  This, in stark contrast to that of Mosse’s text, takes the reader to a rainy modern-day Britain. The description of materials, and use of language (even the stilted inner monologue) is much more contemporary.   We’ve looked at time and place, now let us discover environmental location.  Environmental Setting: Examples Environmental setting is one of the most commonly understood and easily achievable of the three most frequently used setting sub-categories.  By setting a book in a familiar location, the author can evoke a strong sense of place and can be relatively certain that the reader will feel a similar sense and understanding of the environment the character is experiencing.   A certain setting allows the author to develop characters further, because certain environmental factors will influence who they are and what they do. This helps readers recognise familiar surroundings and empathise with the characters.   Take, for example, the many romance books set in places like Cornwall.   When a reader picks up a book with Cornwall scenes on the cover, they instantly know to expect beach locations, cliffs, and seagulls soaring over the sea. They will be able to picture the location automatically, allowing the author to focus on the drama unfolding, rather than worrying about building an unfamiliar world from scratch.   But you don’t need to set a book in a real-life location to have the reader fully understand or appreciate the story.   You do, however, need to anchor them with something that feels familiar or understandable. Using physical factors such as a glittering sea, snowy mountain peaks, or a thick dark forest is enough to place the reader in that location without giving it a Google maps pin.   Amazing examples of how environmental setting can be used to reinforce themes and emotions can be found throughout literature, but J.R.R Tolkien’s Lord of the Rings is one of the finest.   And the contrast between Bilbo- the main character’s- home (The Shire) and the place he must reach (Mordor) is what drives this story of good and evil forward.  The Hobbit/The Lord of the Rings by J.R.R Tolkien  Tolkien described the Shire as a “small but beautiful, idyllic and fruitful land, beloved by its hobbit inhabitants.” With landscape including downland and woods like the English countryside, and far from the Sea (Hobbits are fearful of the Sea), it’s easy for the reader to imagine a land not dissimilar to their own, despite the characters being far from anything they recognise as human.   The Hobbit’s first paragraph is simply a description of where Bilbo is: In a hole in the ground there lived a hobbit.   Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbithole, and that means comfort. It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. The door opened on to a tubeshaped hall like a tunnel: a very comfortable tunnel without smoke, with panelled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats - the hobbit was fond of visitors. The Hobbit by J.R.R Tolkien  This type of setting gives an author the perfect tools to express mood, theme and tone to a reader. The Shire (and the little houses in it) is created to show a sense of comfort, familiarity, home, stability. The setting mirrors its inhabitants.   Contrast this with the descriptions of Mordor: Mists curled and smoked from dark and noisome pools. The reek of them hung stifling in the still air. Far away, now almost due south, the mountain-walls of Mordor loomed, like a black bar of rugged clouds floating above a dangerous fog-bound sea. The Hobbit by J.R.R Tolkien  As soon as the author says “one does not simply walk into Mordor” the reader knows instantly, thanks to this visceral setting description, that the main character’s journey will be perilous. Leaving the comfort and greenery of home to face the darkness and fear of Mordor, will not be easy.   Ask yourself, if Tolkien had not described Mordor as such, would the reader have been as invested in Bilbo’s quest?   Individual Setting: Examples Individual settings are the specific places an author will chose to set their scenes. It’s the main location in which the reader will be immersed and where most of the action takes place.   These settings could range from a school common room, a house, or even a specific bench by a riverside.   Individual setting is where an author can have the most fun with detailed and sensory descriptions. Choosing a geographic location will build a framework, but the intricacies of each individual setting will paint each picture in all its glorious detail.   The splinters on the wood of the bench that pinch at her skin as she tries not to cry.  The sound of the creaking floorboards as he creeps through the draughty abandoned house.  The scent of the flowers as she runs hand in hand through the garden with her first love.  The way the streetlights dance over the pavement as he stalks the streets looking for his next victim.  It’s these small details that add depth to your characters emotions as well as levity to the themes you are hoping to portray.   Take for example, the following quote:  The Mercies By Kirian Millwood Hargrave Beside the fire there’s a stack of white heather drying, cut and brought by her brother Erik from the low mountain on the mainland. Tomorrow, after, Mamma will give her three palmful for her pillow. She will wrench it apart, stuff it earth and all into the casing, the honey scent almost sickening after months of only the stale smell of sleep and unwashed hair. The Mercies by Kirian Millwood Hargrave This excerpt uses individual setting and description to evoke deeper understanding of the character and the life she lives. We know straight away this isn’t a businesswoman in modern day Manchester.   It doesn’t tell us where the house is geographically, but it describes enough about the immediate setting at hand for the reader to fully understand and appreciate the character’s struggles.   How To Write A Setting You now have all the components you need to be able to create a strong and effective sense of setting in your novel, but how do you take all those components and knit them together to create a natural backdrop for your story?   Just like everything in this creative world, this takes time and practise.   It also takes planning and plotting – and lots of creativity.   The best way to ensure you have effectively used setting in your novel is to sit down and ask yourself some fundamental questions.   How does the setting initially look?  What other senses does it evoke?  What does your character think of it?  How does it affect the character’s life?  How does it mirror their personality or predicament?  What aspects of the setting are important to mention, and which will take your reader away from the action?  All these concerns can be tackled by remembering two things:   Use all five senses  No info dumps  Let’s explore these further…  Use All Five Senses We all live in the real world, and that means we experience it via the senses we have.  There are five senses, and most people use theirs to truly experience the world around them. As a writer you need to do the same.   Take a look at each of the different setting techniques and break them down by sense. Every single sense can help heighten an area of each setting structures.   Smell  Use sense of smell to boost your temporal setting, such as the smell of coal and smoke in the air in London during ‘The Great Smog’, putting your reader at the very heart of a specific time in history.   Hearing Use the sense of hearing to describe the sound of the owls in the trees and the rustling of the leaves and creaking branches as your character walks through the deep dark wood in the middle of the night, expanding the environmental setting.   Touch  Use your sense of touch to describe the smoothness of the rock in your protagonist’s hand as she rubs away at the precious gem her mum once gave her as a child, using individual setting to deepen the sense of emotion within your character.   Sight  Describe what the character can see as they step into the funfair. The bright lights, the merry go round, the gaudy colours, the crowds of people. This helps expand the environmental setting.  Taste  It’s always useful to use taste when describing a scene involving food, but what about enhancing the individual setting and describing something most people don’t normally put in their mouths?   Imagine the tang of the sea air on his lips as he arrives at his grandfather’s Cornish hut. The breeze tastes of salt, mossy rocks, and blood. A sentence like that is sure to heighten your reader’s curiosity!  Avoid Info Dumps And lastly, the biggest mistake any writer makes when it comes to getting their story’s setting right, is getting carried away and spending five pages describing the way the flowers grow around the entrance to a character’s cottage.  I know it’s fun, but please don’t do that (unless you have gone back in time two hundred years and your readers have magically grown a longer attention span).  Modern readers like action and momentum. We are used to television, to social media, to short, quick fixes. So, try not to dump all your description in one place as that will take your reader out of the story and action.   As you set your scene, remember we don’t need long winded paragraphs describing each and every aspect of the surroundings before we even hear the voice of our protagonist. Instead, we should be experiencing the surroundings naturally along with your characters.   If you want to make sure that everyone knows there are roses around the door, describe the smell as she looks for her keys. Maybe she picks one, or better yet the second character you introduce plucks a flower and hands it to her.   This technique ensures you are still painting a scene while also keeping the story moving forward.  Feel Your Way Through  As the famous saying goes, ‘my best piece of advice would be to never listen to advice’.   Why would I say that at the very end of an article full of advice? Simple, take everything you read with a pinch of salt and use your intuition as a writer. Listen to your gut.   You don’t have to use all five senses in every single paragraph. You don’t need to beat your reader over the head with a million descriptions to put them right in the middle of the action. Every page doesn’t need an entire paragraph full of setting descriptions.  Less is more.   Setting should feel so effortless that you have to specifically look for it.   It should emphasise the intricacies of your characters and themes without taking control of the book. It’s the highlight you add to a rich and considered plot. It’s the colour that makes your story pop. It should never be obvious.   Essentially, setting is your crowning glory. Make sure you treat it with respect. It should always be the silent shining star that guides your reader through the story - so subtle that you can’t quite place what it was that made that image in your mind so clear, but strong enough that it makes its mark.   Setting Matters If plot is what makes readers keep reading, and characters are what makes a book memorable, then setting is the cushion on which they both sit upon. Without the right setting your characters will fall and your action will wilt away.   Make sure your setting takes a simple story and coats it in the glaze that will make it shine, because it’s that polish which will make your book stand out from the rest of the books on the shelf.   Wherever that may be.  

Do you prefer writing and finishing something quickly or taking a bit longer? Some writers prefer the scope of a novel and dislike the constraints of the short story, while others feel the opposite way. In between the two forms are the novelette and novella. It can be difficult to define an acceptable length for a short story, novella or novelette, so you may not know which category your story belongs in. Is it too long or too short? Why does it matter?  In this article, we’ll go through the lengths of short stories, novellas, and novelettes; compare the three forms; and note examples of short stories, novellas, and novelettes.  Word Counts For Short Stories, Novellas And Novelettes Short story: over 1,000 words, usually less than 10,000.  Novelette: 7,500 to 19,000 words.  Novella: 10,000 to 40,000 words.  As you can see there’s an overlap between a short story and a novelette. Also, between a novelette and a novella. We’ll examine these later in the article. Shorter stories can hold just as much power as longer pieces, and they too have meaning and resonance. The content is the most important thing. Success does not depend on the number of words, though word count may be important in certain circumstances.   Why Is Word Count Important?  Word count is a huge part of how short stories, novellas, and novelettes are separated and defined. So why is it so important? 1. Cost One consideration in terms of word count is the cost to the publisher. The longer the story the more time required to read and edit it. If printed, the length of the story also affects the outlay required. For an anthology consisting of works by different writers, it makes sense for the publisher to choose shorter pieces for inclusion. In that way not only do they appeal to more readers, but they also have space to include more writers, and thus more people are invested in the anthology’s success. An example is an anthology published by Christopher Fielden called 81 Words. The challenge was to write a story in exactly 81 words. It consists of 1000 stories by 1000 authors, with profits going to the Arkbound Foundation. All for a good cause. 2. Marketing  Publishers may also have difficulty marketing shorter fiction. Although it seems short story collections and novellas are gaining in popularity, the novel always seems to take precedence in terms of easier marketing and categories.   Just as novels are labelled in different genres and sub-genres, not all short stories are the same. The nature of the writing could have a bearing on the length.  Literary stories tend to be longer and more introspective. Other genres, such as horror or crime, may, or may not, be shorter and more action-packed.  3. Reader Fatigue It’s said that these days, with technology and our collective struggle with delayed gratification, concentration has diminished. In this regard, shorter stories are very accessible. Some stories can be read in minutes, making them the perfect read for those on the move. If stories are too long, the reader may become bored. Stories need to be engaging right from the start. With a novel, there is more space for preamble, but the short story, novella or novelette needs to get to the point. Faster.  4. Adaptability Shorter stories, with their limited scale and number of characters, are easier to adapt for the screen and may appeal more to film directors, according to Screencraft. It makes sense. Fewer scenes and settings, fewer actors required. Think Alan Bennett\'s Talking Heads. So, length and purpose are interrelated and we need to look closer at the definitions and word counts for short stories, novellas and novelettes.  How Long Is A Short Story?  A short story can be described as a story that can be read in one sitting, unlike a novel that may take days.   A short story will have a limited number of characters. With a short story, there’s no room for a complex plot. The narrative needs to be concise. Setting the scene in vast detail is a luxury kept for the novel. Economy is everything.  Some stories take one incident and examine it in detail. Others have a discernible beginning, middle and end. Often in a short story, the ending will reflect the beginning in some way. The character may have changed, gained some insight into their situation, or become involved in the action. Or, the story may have a nebulous ending, leaving much to the reader\'s imagination.  Some short stories are under 1,000 words. Often these are described as flash fiction.   The most famous short story is attributed to Ernest Hemingway, a master at crafting tales. You’ll probably have heard of it. For Sale: baby shoes, never worn. Ernest Hemingway Why is that acceptable as a short story when it’s only six words long? There’s no character development, no description of the setting, no plot and yet there’s a story there – the story behind the words which the reader can imagine. Beauvais talks about the ‘readerly gap’ in reference to picture books. I’d argue that leaving the ‘readerly gap’ is essential in any writing. Short story writing at its best excels in this. What is omitted is left to the imagination of the reader.   Most short stories seem to be between 1,500 words and 7,500 words long so about 3- 30 pages long (a typical printed page is somewhere between 250 and 450 words) depending on font and print formatting. Also, pages of dialogue may have fewer words, which affects length too.  In some cases, the reader judges the length of a story by the number of pages to estimate how long it will take to read. Often websites will give a reading time linked to their stories. A five-minute read is about average.   In terms of pages, looking at collections of short stories, these also vary in length from three to thirty pages. If you look at some of the great classic storytellers, they had a varied word count in their short stories.  Examples Of Short Story Lengths And Word Counts: Virginia Woolf’s A Haunted House is just over 700 words. About two or three pages.  One of These Days by Gabriel Garcia Marquez is shy of 1,000 words. About three pages.  Why Don’t you Dance by Raymond Carver is just over 1,600 words and an estimated five pages.  Hearts and Minds by Jack Petrubi is less than 2,000 words. Six pages.  The Tell-Tale Heart by Edgar Allen Poe is a similar length at just over 2,000 words.  A Child’s Christmas in Wales by Dylan Thomas is over 3000 words. This is often produced with illustrations as a child’s book, but printed pages would be about nine or ten pages long.  A Sound of Thunder by Ray Bradbury is about 4,300 words long and around fifteen pages.  Award winning story The Edge of the Shoal by Cynan Jones is about 6,000 words and around twenty-five pages.  Ernest Hemingway’s The Snows of Kilimanjaro is 11,000 words long and about thirty pages.  To All Their Dues by Wendy Erskine is almost 11,000 words long. This could fit into the category of a novelette and is included in her story collection.  This would seem to indicate that length is not that important, but is that true? There will be times when the length of your story will have importance. If you are entering a competition where a word count is stipulated, for example.  How Long Is A Novella?  A novella is sometimes described as a short novel. The word derives from the Italian, meaning new. It usually has one character and one plotline. It will typically not be divided into chapters although there may be sub-divisions. For example, the aforementioned To All Their Dues by Wendy Erskine is sub-divided into three parts with three protagonists. This makes it more akin to a novelette.  Novellas tend to follow a linear structure with the main action centred on the protagonist’s development. This could be an inner conflict that is resolved or simply explored, rather than a series of events. Due to brevity, there isn\'t the scope for several sub-plots or settings although some elements of the novel may have some complexity.   The word count ranges from 10,000 to 40,000 words. It may contain between 100-200 pages. The usual length is over 17,500 words which enables more depth of character and plot development. Novellas are often published as part of a short story collection as a novella is difficult to publish except perhaps in terms of an e-book due to financial considerations explained previously.  Examples Of Novella Lengths And Word Counts:  Many of these are quite famous and have been made into films.  Of Mice and Men by John Steinbeck is 29,550 words and 107 pages  Animal Farm by George Orwell is 36,000 words and 144 pages  The Sense of an Ending by Julian Barnes is 40,750 words and 163 pages  Seize the Day by Saul Bellow is 36,000 words and 144 pages  The Old Man and the Sea by Ernest Hemingway is 28,000 words and 112 pages  The Death of Ivan Ilyich by Leo Tolstoy is 32,000 words and 128 pages  Train Dreams by Denis Johnson is 29,000 words and 116 pages  The House on Mango Street by Sandra Cisneros is 40,000 words and 160 pages  Coraline by Neil Gaiman is 44,000 words and 176 pages  As with the short story examples, these vary in length. The Julian Barnes novella tips the scales at over 40,000. Also regarded as a novella is Solzhenitsyn’s One Day in the Life of Ivan Denisovich, which is a hefty 52,000 words and 208 pages long.  How Long Is A Novelette?  If the novella is the younger sibling of the novel, then the novelette falls somewhere in between a short story and a novella.   With a word count of around 7,500-19,000 words, the novelette borders both the top end of a short story and the length usually acceptable for a novella. As with the short story and the novella, writers may be constricted in terms of the number of characters they can use and the amount of plot development they can include.   The plot will probably be linear and uncomplicated with few, or no, sub-plots. One or two characters will feature – not a cast of hundreds. It will have a defined focus and will be complete as a story. The novelette enables writers to give more flesh to the bones of their short story, though the writing still needs to be concise.  Examples Of Novelette Lengths And Word Counts:  The Metamorphosis by Franz Kafka is 11,500 words and 46 pages  Death in Venice by Thomas Mann is 14,000 words and 56 pages  The Strange Case of Dr Jekyll and Mr Hyde by Robert Louis Stevenson is 13,500 words and 54 pages  The Spectacles by Edgar Allan Poe is 9,200 words and 35 pages  The Little Prince by Antoine de Saint-Exupery is 16,500 words and 65 pages   As you can see there are examples here that are widely regarded as novellas. Distinguishing between these forms can be difficult and confusing. This may mean you end up editing your story, to make it longer or shorter, depending on the market you’re trying to appeal to, and where you want to publish it.  Writing Shorter Stories It’s important as a writer to understand the different lengths and styles of these different types of writing.   It can be very difficult to distinguish between short stories, novellas and novelettes. As you can see from the examples, length is not everything. The essence of the narrative is what defines the form in many of these examples. The Lady in the Van by Alan Bennett clearly defines what the story is about. At 96 pages long it falls somewhere between a novelette and a novella and yet a film was made based on the story. In a similar fashion, Daphne Du Maurier’s short story Don’t Look Now was also translated into film.   There are times when word count and length are of importance. The length may depend on the purpose of your work. If you’re writing for your own entertainment or building a short story collection you may have flexibility in the number of words. If your aim is publication, there could be restrictions or guidelines. For competitions, it is always best to adhere to the rules.   With any story, you need three ingredients: people, place, and purpose/plot. These parts make up the whole and examining them will help you to decide if your story is the right length, and whether it is a short story, or if it needs more scope by becoming a novella or novelette.  It all goes back to the basic question of ‘what sort of writer are you’? Some writers can’t conceive of writing anything under 2,000 words. Others write a perfect story in less than 200. Margaret Atwood and Roald Dahl excel in both forms. The latter is famous for his children’s books, but he was a master of the short story and wrote some very dark material.   The best way to decide is to read anthologies or collections of short stories which often contain novellas and novelettes. Contemporary writers such as Alice Munro, Neil Gamain, Helen Oyeyemi, Etgar Keret and Colin Barrett give a flavour of what is popular now. Some of the classics such as Guy du Maupassant and Ray Bradbury should also be included in your reading list.   So, how long is a short story, novella or novelette?   As long as it needs to be.  

By the pricking of my thumbs / Something wicked this way comes…   Macbeth by William Shakespeare Foreshadowing is a tricky craft technique to master (I put it right up there with subtext in terms of difficulty level, personally), but it’s an incredibly useful thing to have in your toolbox. In this article, we’ll define foreshadowing, go through some tips and techniques to help you figure out how to best weave foreshadowing into your story, and look at some foreshadowing examples.  What Is Foreshadowing?  A short definition: Foreshadowing is hinting at revelations to come in the text, typically subtly enough that it enhances the entire reading experience to create a more cohesive whole. Often, foreshadowing is set up at the beginning, or at least somewhere within the first act, to provide the most satisfaction when said event comes to pass later in the story. There are two types of foreshadowing which act as different ways to consider implementing this literary technique; direct and indirect foreshadowing. Direct Foreshadowing This approach is more explicit or overt. The story itself points to something to come. If a person is found murdered at the start of the book, we’re going to expect that the murder might be solved by the end, for example, which is more of a genre promise if it’s a crime novel. Yet there can be ways to foreshadow the way that the person died or tease out a connection to the protagonist. Another example is if the narrator or a character says something to the effect of “if only I knew then what I know now, I would never have become tangled in what was to come.” We know something happened, but not the details. Those details are drip fed through the story.   Indirect Foreshadowing This approach is more subtle or covert. The clues are woven in through subtext, without expressly warning the reader in the same way. Yet they will still have a cumulative effect so that when said event comes to pass, it feels inevitable. This can be built up with symbolism, imagery, less obvious dialogue choices, setting, colour palettes, and more.  Let’s look in more detail at how foreshadowing works and explore some of its other uses.    Why Is Foreshadowing Important?   Readers don’t like to feel cheated. If a revelation comes out of nowhere, it risks turning off the reader or jerking them out of the story. Especially if you’re planning to have a midpoint twist or one near the climax, you want to set things up with clues. The overall aim of foreshadowing is to build suspense, tension, and intrigue so the reader keeps turning those pages. It can also help build empathy for characters, or tug at certain emotions. It’s one of those techniques that can function on multiple levels, which makes it very handy.   How To Use Foreshadowing In Your Writing   Foreshadowing is a great technique, but implementing it can be tricky. Direct and indirect foreshadowing often require different approaches, so lets go through them. How To Use Direct Foreshadowing  Prologues Yes, there’s often the debate of the merits of prologue vs. no prologue, but if it’s serving a purpose, such as foreshadowing, it can work really well. Often this prologue might be told from a different timeline, or a different character’s point of view. It creates a juxtaposition because the reader subconsciously starts looking for links or thematic echoes. A well-known one is Patrick Rothfuss’s The Name of the Wind. We find out Kvothe, the titular Kingkiller, is working in a remote inn, and eventually he is convinced to start telling his story of how he came to be there. The opening line is even a foreshadow to the foreshadow: “A Silence of Three Parts.” We read on to find out what each part of the silence is. The prologue to N.K. Jemsin’s The Fifth Season ends with the narrator telling the reader that this time it truly is the end of the world. With this book, you read on to find out whether or not that’s true. The goal of the prologue is to create a sense of atmosphere, sneak in some worldbuilding, and set up future events.   A Good Old-Fashioned Prophecy, Nursery Rhyme, Or Soothsayer   In fantasy, prophecy does a tidy job of foreshadowing, for, by their very nature, prophecies must be indirect enough that no one, not even the characters, know exactly how things will play out. Robin Hobb uses an old children’s rhyme in Assassin’s Quest (the third book of the Farseer trilogy), which I’m re-reading just now. It has 7 stanzas about the Six, Five, Four, Three, and Two Wisemen that came to Jhaampe-town (the capital of the Mountain Kingdom in this secondary world). The last two stanzas end like this:   One Wiseman came to Jhaampe-town.  He set aside both Queen and Crown  Did his task and fell asleep  Gave his bones to the stones to keep.  No wise men go to Jhaampe-town,  To climb the hill and never come down.  ‘Tis wiser far and much more brave  To stay at home and face the grave.  Assassin’s Quest by Robin Hobb This ends up making perfect sense once you read the rest of the novel. On a re-read, it’s satisfying as you see everything being hinted at quite clearly in retrospect.   While obviously this approach is common in fantasy, sometimes it will be woven into other genres. A character might visit a tarot reader in a contemporary or historical novel, for example, or they might meet a strange person on the street who says something cryptic and then wanders off. Dream sequences often help hint at foreshadowing too (though they can be difficult to pull off and have consequently become somewhat of a cliché).   Take Advantage Of Characters Who Know More  These characters can then tease out information, or tell another character something more openly, but they must have a reason for not telling them everything all at once. Having a trickster character works quite well. For example, in the Marvel films Loki appears in, he often teases the other characters with whatever his dastardly plan is that time.   How To Use Indirect Foreshadowing   Thematic And Imagery Cohesion  Choose themes or images that fit the emotional/plot elements you’re wanting to foreshadow. House of Hollow by Krystal Sutherland uses a lot of imagery of decay and rot to foreshadow a particular revelation about certain characters, which I will leave vague to avoid spoilers. The two twin sisters also have identical half-moon scars at the base of their throats, which you know from the beginning, but you don’t find out how they got them until the end. Scars make you think of old wounds, of trying to heal but not being able to erase what happened because it’s still written as a reminder on your skin.   Pathetic Fallacy Pathetic fallacy is giving inanimate things or animals an attribution or echo of human feelings and responses. This can work very well for setting and atmosphere. A storm under a sullen sky. A scene where two characters have fallen in love, but they are surrounded by dejected weeping willows, hinting at the heartbreak to come. Use a light touch, however—too much and it might risk the prose becoming overly maudlin or purple.   Colour And Pattern  You can use things like colours and patterns to gradually ramp up your clues. Think of them as little breadcrumbs, you as the author are Hansel and Gretel, and the readers are the birds. Humans are primed to recognise patterns, even subconsciously. The film Reservoir Dogs has objects that are the colour orange, in particular a balloon. This ends up conveying something important about another character later on. Colour palettes can be a great way to hint at things. Say you often have a character wearing red, and they are later the murder victim or the murderer. Again, it needs to be done subtly, but it can be effective. Don’t underestimate the power of the pattern.   Tips For Using Foreshadowing   Now you know how to use foreshadowing in your writing. But how do you execute it well? Don’t Worry About Foreshadowing Too Much In The First Draft   It can be incredibly hard to set up foreshadowing perfectly when you yourself are still figuring out the overall shape of the story. Sometimes I will make notes to myself like ‘[add foreshadowing here in the next draft]’ to remind myself when I return to that section. I do lots of drafts and tend to layer in more each time, like adding detail to a painting. I’m currently writing an epic fantasy with prophecies, and I left the actual prophecies as placeholders until the second draft, when I knew what I was actually setting up. Trying to write them before I knew the plot ended up resulting in vague poetry, but nothing more.   When Plotting Or Re-plotting, Don’t Neglect The Reader Journey  Consider when in your story the reader should learn a certain piece of information, and how you might point to that without giving away the game. Should the reader be empathetic here? Or are they working more like a detective? Or both? You might want to plot that out as much as you do your story. Again, this might be easier at the second or third draft stage. Get Some Fresh Eyes Once you’ve written a cohesive draft, send it to a trusted friend to read. You can ask them to keep an eye out for foreshadowing in particular or ask them to comment in the margins what they think might happen in the plot so you can see if they are picking up on your clues. If your foreshadowing ends up working more like a red herring (more on that later) then you might need to do more work in your next round of editing.  Networks   Are you tapping into any existing cultural ideas or networks? If you’re writing a dark fairy tale retelling, for example, are you alluding to some well-known images from the stories we would recognise? A spinning wheel. Straw turning to gold. A rose that doesn’t wilt. Briars around a castle. A glass coffin. A red apple. All of those will point to potential things to come. Or, thinking about usual societal assumptions, having a crow or raven cawing at the crossroads will likely point at a sense of doom or foreboding. It’s a useful shorthand to save you from being too direct.   Things That Seem Like Foreshadowing But Aren’t (Maybe)  Lastly, remember there are things that seem like foreshadowing but aren’t, technically. A flashforward, for example, is a non-linear technique, where you show something about the end upfront at the beginning. Little Fires Everywhere by Celeste Ng and Malibu Rising by Taylor Jenkins Reid both set up, right at the beginning, that at the end of the story, a fire will take place. You read on to find out the details of how this fire was set, what led up to it, and what the impact of the fire was. Yet the fire thematically also represents a lot: the simmering tensions of a family or neighbourhood that is all dry tinder just begging to burn. The flashforward is a useful technique which still generates suspense, but you could argue it’s not exactly foreshadowing because it’s revealing things quite explicitly.   A flashback will often reveal useful exposition or clarify something else you might have foreshadowed previously. Its purpose is to illuminate, or to provide a point of contrast to the main storyline or be in conversation with it. This is not the same as foreshadowing as, again, flashbacks are very explicit.  A red herring, likewise, is not foreshadowing. It’s you trying to misdirect the reader, rather than hint at what is to come. You’re planting false clues to try and bring them to a different assumption and then surprise them with the truth.   Some people argue that Chekov’s Gun is not foreshadowing, but I would say it’s a type of direct foreshadowing. If you haven’t heard the term before, Anton Chekhov once said, “If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off.” It’s the idea that everything set up in your story must have a pay off. At this point, the notion of it is so well known to readers, that they pick up on the foreshadowing. The gun on the wall in act one is implicitly announcing its importance. The way the showdown happens might not be as we expect, though, so in that way it might point more to a misdirection, or simply be setting up the plot rather than pointing to an event much further in the narrative. So, I’d say you could use Chekhov\'s Gun as foreshadowing, but it depends on the execution and your purpose.  In Short . . .   Foreshadowing is a great craft technique to consider for your story. It can add emotional resonance, generate suspense, deepen themes, symbols, and imagery, and help tie everything together in a satisfying way. It’s a more advanced technique, and it can be difficult to get the balance right. If you’re too heavy on the foreshadowing, it risks killing that suspense, being cheesy, or annoying the reader. But in the right amounts, it will help the reader flip through the pages and race to the end to see if their suspicions are correct or set up that tricky twist that will shock the reader until they realise, in retrospect, it was alluded to all along. And then the reader closes the book, knowing exactly how something wicked that way came.

Want to start your novel off with a bang? Use in medias res to create a dynamic opening that grabs your reader and sets the table for exciting scenes in later chapters.  In this guide, we’ll define in medias res, look at some example openings that employ it, and discuss how you can use in medias res in your own writing.  Let’s get right into it!  What Is In Medias Res? In medias res is a Latin phrase meaning “in the middle of things”. In the context of writing and literature, it refers to a story that begins partway through its plot, with the missing events filled in later through dialogue, flashbacks, or other techniques. The opposite term is ab ovo or ab initio, which mean “from the egg” or “from the beginning”. A story that begins at the natural beginning of its plot—shortly before the inciting incident—is beginning ab initio.  In other words, in medias res is a decision you make about the order of telling your story; specifically, whether to start at the beginning or to start elsewhere.  (Like all literary terms, there’s a certain grey area here. The roots of almost every story reach back further than the opening chapter, to encompass the backstories of the characters involved. But generally, starting in medias res means that the inciting incident happens before your opening scene.)  It’s important not to confuse in medias res with the idea of excitement or action. Remember that the term refers to where you start telling the story, not how. (For example, imagine a mystery novel that opens with two rank-and-file police officers acidly criticising a murder investigation that has gone off the rails two weeks in, where the murder itself is the inciting incident of the plot. This would be in medias res.)  To expand our understanding of in medias res, let’s look at a few examples.  Examples Of In Medias Res Each of these openings uses in medias res to achieve different goals and to begin at a different point in the plot.  The Tell-Tale Heart By Edgar Allan Poe (Note: This is quite a short story. If you’re not already familiar with it, consider reading it before you continue, so you can appreciate the full impact of the in medias res opening.)  The Tell-Tale Heart opens with a dialogue between an anonymous narrator and another unnamed character. The narrator begins by insisting that they are sane, then immediately reveals that they have committed a murder for no clear reason:  It is impossible to say how first the idea entered my brain; but once conceived, it haunted me day and night. Object there was none. Passion there was none. I loved the old man. He had never wronged me. He had never given me insult. For his gold I had no desire. I think it was his eye! Yes, it was this! One of his eyes resembled that of a vulture — a pale blue eye, with a film over it. Whenever it fell upon me, my blood ran cold; and so by degrees — very gradually — I made up my mind to take the life of the old man, and thus rid myself of the eye forever.  The Tell-Tale Heart by Edgar Allan Poe The narrator goes on to tell the story of how they murdered the old man, concealed his body, and ultimately gave themselves up to the police. In other words, the entire plot has occurred before the opening of the story.  By beginning in medias res, Poe structures the story for the maximum dramatic impact.  Opening with the conversation between the narrator and the unknown listener creates the opportunity for the narrator to emphatically state that they are sane. This, followed immediately by a confession to a meaningless murder, sets us on edge.  Next, because the murder is a past event witnessed only by the narrator, we are forced to receive the story directly from them, which exposes us to their disturbed thought processes. Finally, this structure allows the story to end with the confession. This is the true dramatic climax of the story, and the moment which throws into question the extent of the narrator’s sanity.  Had the story been told in linear form, Poe could still have forced us to receive it from the narrator, and could still have concluded with the dramatic climax of the confession. But would the impact of the story be the same if it hadn’t opened with the narrator’s insistent claim to sanity? It’s that opening paragraph that creates the feelings of revulsion and anticipation that give the rest of the story its impact.  Rosewater By Tade Thompson I’m at the Integrity Bank job for forty minutes before the anxieties kick in. It’s how I usually start my day. This time it’s because of a wedding and a final exam, though not my wedding and not my exam. In my seat by the window I can see, but not hear, the city. This high above Rosewater everything seems orderly. Blocks, roads, streets, traffic curving sluggishly around the dome.  Rosewater by Tade Thompson Rosewater opens with the narrator, Kaaro, at what could initially be mistaken for a normal job. In the paragraphs that follow, we learn that Kaaro’s anxiety over somebody else’s wedding is due to his abilities as a telepath. (Kaaro is employed by the bank as a security measure against “wild” telepaths who try to steal the personal data of customers.)  As we read further, we learn that the biodome, an alien structure that emerged in the centre of the city years prior, is the source of the telepathic powers possessed by some residents. Kaaro is one of only a few people who have entered the biodome; this history is central to Kaaro’s character arc and to the book’s plot.  By beginning in medias res, long after the dome’s arrival, Thompson creates a sense of mystery around the biodome, its arrival years beforehand, and Kaaro’s relationship to it. Had the story been told in a linear fashion, the dome, which has been accepted as a fact of life by the city’s residents, would feel equally mundane to the reader. Inverting the order of events allows the eventual revelations about the dome to have a dramatic impact.  Killing Floor By Lee Child I was arrested in Eno’s diner. At twelve o’clock. I was eating eggs and drinking coffee. A late breakfast, not lunch. I was wet and tired after a long walk in heavy rain. All the way from the highway to the edge of town.  ... I saw the police cruisers pull into the gravel lot. They were moving fast and crunched to a stop. Light bars flashing and popping. Red and blue light in the raindrops on my window. Doors burst open, policemen jumped out. Two from each car, weapons ready. Two revolvers, two shotguns. This was heavy stuff. One revolver and one shotgun ran to the back. One of each rushed the door.  Killing Floor by Lee Child Killing Floor opens with protagonist Jack Reacher being arrested at gunpoint in a small-town diner. Accepting the arrest with a strange calm, while also refusing to speak, Reacher is taken to the police station and interrogated. There, the reader learns that a murder has been committed and a suspect matching Reacher’s description was seen leaving the scene. The reader also learns (assuming that Reacher is a reliable narrator) that Reacher is definitely not the murderer.  By beginning in medias res, Lee Child accomplishes several things:  The arrest scene would be terrifying for a normal civilian, so Reacher’s calm reaction immediately establishes that he is trained in some way, without any explicit backstory whatsoever.  The seriousness of the arrest immediately makes us curious about what has happened to upend this small town, and why Reacher is being treated as the prime suspect.  Starting with the arrest allows Child to introduce his protagonist first. Given that the arrest is Reacher’s first contact with the events that have occurred, starting with any other scene would have meant introducing the victim, police, or other characters prior to Reacher.  Altogether, Child’s decision to begin in medias res is a strong one that serves both character and plot. It’s interesting to note that, despite the opening scene involving police, weapons, and an arrest, it still isn’t an action scene in the strict sense—no shots are fired, nobody fights, nobody chases anyone. This makes it an excellent example of the fact that increasing impact or excitement is not the same thing as simply adding physical peril. It’s the layering of the implications attached to the arrest that makes it compelling for the reader.  How To Use In Medias Res Now that you know what in medias res is, let\'s go through the many ways in which you can use it in your writing. When To Use In Medias Res When should you use in medias res in your stories?  Remember that in medias res means telling your story out of linear order—beginning anywhere other than the beginning. Here are some reasons you might want to do that:  To create a specific mood or mindset in the reader. (The Tell-Tale Heart does this by beginning with the narrator’s monologue about their sanity.)  To begin with an exciting scene. (Many stories begin with the protagonist in peril, then reveal the events that led them there.)  To create a sense of fate or anticipation for a future event. (For example, showing the reader how the protagonist will ultimately die, or showing the reader the outcome of some future event.)  To create dramatic irony by giving the reader information from a future event, then returning to the chronological start with the protagonist or other characters unaware of what the reader knows.  To create a sense of chaos or confusion by leaving out recent events that would otherwise be known to the reader. (Often used to strong effect in war and disaster stories, where the reader’s feelings are a substitute for the chaos or confusion the protagonist might feel in that moment.)  To create a sense of mystery by withholding an explanation of an important event or situation. (Rosewater does this with Kaaro’s experience in the dome.)  To remove an uninteresting section of the story’s timeline, by starting after that stretch, conveying prior events as a flashback, and omitting the period between. (Rosewater does this as well, with certain years of Kaaro’s life between his dome experience and the first chapter of the book.)  To emphasise a particular character, theme, or question that you want foremost in the reader’s mind. (Killing Floor does this by centring Jack Reacher in its opening.)  By adjusting the order of re-telling, you can manipulate mood, information, focus, pacing, and other attributes of your story. However, in medias res isn’t a magic wand. You must use it purposefully if you want to achieve these effects.  Tips For Using In Medias Res How can you use in medias res purposefully?  First, make sure you’ve plotted your novel (or if you don’t plot, make sure you have most of a first draft written), so you have a good understanding of your story’s structure. (See how to chart your plot mountain or plot diagram, what is freytag’s pyramid, and write your novel with the snowflake method for additional help with plotting.)  Now take some time to think about whether you’re (A) solving a specific problem that would exist if you told the story in linear order, or (B) creating a specific effect by choosing to re-tell the story in a different order. If neither of those things apply, you don’t have a specific reason to use in medias res and will struggle to execute it effectively.  Finally, think about what other changes you might make to your story to support the effect you’re aiming for. What needs to be different about your other chapters to maximise the payoff from your in medias res opening? For example:  In The Tell-Tale Heart, Poe continues to build on the question of sanity that’s introduced in the opening paragraph, showing the reader additional examples of disturbed thinking by the narrator, continuing to build until the climax of the story.  In Rosewater, Tade Thompson withholds the full knowledge of Kaaro’s dome experience until much later in the book, but tantalises the reader with hints and bits of information along the way, ensuring that curiosity about the dome never leaves the reader’s mind.  In Killing Floor, Lee Child follows the arrest scene with an interrogation that amplifies the effects of the opening by further expanding our curiosity about the small town and showing us more of Jack Reacher’s calm intensity.  Resist the urge to flood the reader with exposition or backstory immediately after your opening scene, as if you’re trying to apologise or compensate for having dropped them into the middle of things. Commit to your decision to use in medias res and follow through purposefully in the chapters that follow, building on the effect you’ve created and delivering exposition and backstory gracefully. Alternate Techniques Sometimes, in medias res isn’t the right solution for the effect you want. Other related techniques you can try include:  Start with an action scene in a prologue—something which is exciting on its own, but will also have relevance to the later story. (For example, the action may set up a character to pursue revenge during the main story.)  Omit certain information by having the protagonist unable to witness events because they’re unconscious, in the wrong location, distracted, blinded, or so on. You can then reveal that information later through dialogue with others who were present, recordings, forensic evidence, and other indirect techniques.  Omit certain information by having a narrator who’s reluctant or unable to share it.  Use a framing story to put the events of your main story in another person’s mouth, allowing them to re-tell it in their own style (but still in chronological order).  Revise your existing opening to improve its pacing and excitement. If you believe you’re starting with the right scene, but it feels limp, try re-writing from a different viewpoint or with a different emphasis.  Revise other parts of your plot to strengthen longer-term effects you’re trying to achieve. Remember, when concepting the opening of your novel, it never hurts to write several openings and compare their strengths, or to revise your opening multiple times. Using In Medias Res In this guide, we’ve seen a definition and examples of in medias res and talked about when and how to use it effectively. Hopefully, this has got you thinking about interesting ways to open your story. A great way to keep up that momentum is by bouncing your ideas off other authors. 

Fantasy tropes are some of the best literary tropes out there (except, perhaps, for romance). Whether you\'re writing a fantasy novel or screenplay, you may be tempted to include fantasy tropes in your work - but, likewise, you may also be nervous about using a plot device that\'s been used so many times it\'s no longer original. So how can you include fantasy tropes in your story, without boring your readers? In this article, I\'m going to be talking about what a fantasy trope is, listing some of the best-loved common tropes (along with examples), and discussing the best way to incorporate fantasy tropes in your story. What Is A Trope? A trope is a scenario in any story (be it a book, movie or play) where characters react or interact in a way that is expected. Some may even go so far as to say that a genre book isn\'t a genre book without at least one or two well-loved tropes (at least!!). Genre plays a big part in which tropes are used in which stories. You can always mix up tropes (no one is stopping a rom-com writer from sending one character off on a quest and making another a fallen hero) but when it comes to expectations, certain genres have certain tropes. So, for instance, in horror, you may get an innocent person or object (child, doll, pet) that becomes possessed. And in romance, readers expect to see characters go from being enemies to lovers, or to have a happy ending. And in fantasy (which we will be focusing on in this article) readers expect to see characters go on a quest, discover they are the chosen one, or become the hero who uses a magic sword to fight a dark lord. So let\'s take a look at some of the most common tropes found in fantasy stories, listed in relation to popular categories found within the fantasy genre. Our Top Fantasy Tropes (And How To Make Them Unique) All common tropes in fantasy fiction share similar elements - in most cases, writers focus on worldbuilding (ie the magical world in which the story is set), characters (ie archetypes who possess certain attributes and qualities that people expect to find in their favourite fantasy fiction. ), or plot (ie some kind of great power struggle or attempt to save the world). In this list, I will highlight the most popular fantasy tropes, give an example, and then highlight how you can give these tried and tested tropes your very own stamp or twist. Let\'s start with tropes found in fantasy settings... Worldbuilding Tropes Medieval Europe It\'s incredibly common to see fantasy novels set in a time that closely resembles the King Arthur medieval period...although often mixed with fantasy elements. Imagine people living in villages with straw roofs and farmyard animals, except the local blacksmith makes magic swords! Or imagine a reluctant hero galloping off on his horse to fight the bad guys...who also happen to be trolls. Where to find it: When we imagine Medieval-style fantasy worlds we often think of George R. R. Martin\'s A Song of Ice and Fire series. But another fun example is The Witcher series on Netflix, inspired by the books written by Andrzej Sapkowski which were later adapted into a popular computer game. This is the perfect example of how one world and its story can be told in a number of ways! Magical Systems It\'s hard to find a fantasy world in fiction that doesn\'t have some kind of magic system. Whether that means that witches and wizards exist, there\'s just one character who can cast spells, or that the power can only be found in one mystical artefact, when considering worldbuilding and fantasy tropes it\'s important to think about the magic system of your made-up world. Who can do it? How does it work? And why? Where to find it: There are far too many magical systems in fantasy fiction to list here, so take a look at this article which highlights some of my favourite and original takes on magic! Fantastical Races And Creatures Surely you didn\'t think you could get this far without a Tolkien reference? Elves, Dwarves, Orcs, Trolls, and of course HOBBITS - Tolkien always went above and beyond to create entire communities of other-worldly creatures in his books. He even went so far as to invent a language for them! So if you\'re going to write a fantasy book that doesn\'t take place in this world, you can\'t avoid using this trope. In fact, why not check out our article on how to create your own fantasy creatures? Where to find it: To Kill A Kingdom by Alexandra Christo is a great twist in The Little Mermaid, full of undersea monsters like you\'ve never seen before. Character Tropes Damsel In Distress This is one of the most common fantasy tropes found in older stories, myths and legends. Although times have changed and we find fewer and fewer stories full of defenceless women needing a big strong man or rich prince to come to their rescue, having someone who needs rescuing is always a great inciting incident. Especially if the hero\'s journey takes them not just to the trapped person but also helps them discover plenty about themselves along the way! Where to find it: Every fairytale is a fantasy book, and most of the older ones (think Rapunzel and Sleeping Beauty) are full of damsels in distress. The Secret Heir This is slightly different to The Chosen One trope (where, like Harry Potter, the protagonist discovers they\'re the key to beating the evil force). A secret heir won\'t necessarily have any magical power, but they will most probably be the one who is destined to be the next ruler. And often that means the one people want to kill! This is a fun one to twist up as you can do ridiculous things, like have the pet cat be the secret heir because the prince was once turned into an animal, or have the servant be a secret heir because they were the king\'s hidden love child! Where to find it: Here\'s a great collection of books where women are battling over the throne instead of the usual secret prince. Villain All fantasy books have to have a villain - even though it\'s not always a monster or a man who is pure evil. In some cases, the villain can be the landscape, the curse, or the inner demon they are struggling to fight. Where to find it: Where won\'t you find a nasty villain in the fantasy genre? From Darth Vader and the Joker, to Lord Voldermort and Narnia\'s White Witch, we sometimes enjoy reading about the villains more than the good guys/girls/people. Dark Lord A dark lord is a villain, but not all villains are dark lords! The wonderful thing about someone who turns to the dark side is discovering their origin story, their backstory, and how they went from being a regular person to the one that everyone fears. Where to find it: The Darkling in Bardugo\'s Shadow and Bone series is my favourite dark lord. He\'s mysterious, enticing, powerful, and as bad as you know he really is...you can\'t help wanting to know more about him. As he famously says - \"Fine. Make me your villain.\" Plot Tropes Training Sequences This is where the protagonist has to do something heroic, but they aren\'t ready yet. So you know what they need to do? They need to train! Training sequences are not only fun to watch, but they are a great plot device to move time forward and to show how the hero is progressing. Sometimes it\'s used as a midpoint marker, just before the real action starts. It\'s also a lovely way to introduce another character trope - the mentor. This may be another main character that only comes into play in Act 2. Where to find it: The Hunger Games trilogy has a number of training scenes, which also prove as a great way to show Katniss\' character, as well as that of her rivals and those in power. In the same vein, Mulan also uses this trope to highlight her struggle of hiding that she\'s a woman fighting amongst big, burly men. The Quest A quest is when the characters are sent on a journey and a bad thing (or twenty) will happen. that quest can be as simple as crossing a river, or as complicated as crossing an entire kingdom in order to drop a ring into a fiery mountain. Where to find it: In the movie Love and Monsters, an asteroid has released chemicals that make small creatures into huge monsters (ie killer centipedes) and the main character has to find his ex-girlfriend at the next camp without getting killed. Highly entertaining. Good Guys Fighting Evil Heroes need to win - there are no two ways about it. Especially in a fantasy novel. In real life, there\'s a grey area when it comes to politics and what is fair because life isn\'t really that black and white - but it is in fantasy! Your readers need to root for someone, and they need to know who that someone is, so make sure that even if your hero has flaws, ultimately, we know who\'s wrong and who\'s right. Where to find it: V E Schwab does this really well in her Shades of Magic series, with the main character, Kell, fighting both external evil forces and the dark magic inside of himself. Dead Parents/Loved Ones It\'s a lot harder for a young protagonist to go on a big adventure, fight monsters and bad guys, and take unnecessary risks, if their parents or guardians are there to stop them. So what forces a child to grow up? What motivates someone to do wild things? How do you add trauma and grief to someone\'s backstory that will justify the decisions they go on to make? Kill off the ones they love. Where to find it: Neil Gaiman handled this trope really well with his novel The Graveyard Book about a young orphan who is raised in a cemetery by supernatural creatures. The Walking Dead is also really good at dealing with grief and loss in fantasy. How To Effectively Use Fantasy Tropes In Your Writing As you have seen, when it comes to common fantasy tropes and the genre in general, there\'s no right or wrong (just good and evil). The joy of writing fantasy is that you can create any world you want, and any characters you want, and as long as you stick to some of these expected fantasy tropes you can make it work. So what makes a good fantasy novel? And how can you give your readers what they expect, while not being predictable or trite? The secret lies in taking the very best from the books and movies people love - the most common tropes that people don\'t want to let go of - and considering the needs of the modern reader. Harry Potter and The Hobbit have had their time in the limelight...it\'s time to create fantastical worlds that reflect how society keeps changing and inspires new readers. With this in mind, it\'s no wonder we\'ve seen a rise in fantasy written for women by women, feminist fantasy, MG and YA fantasy, books written by diverse authors incorporating cultures that we don\'t see as often (ie not just European folklore), as well as more LGBT fantasy, and characters that embrace physical or mental challenges (ie not as a flaw but simply as something lots of people live with). So how can you take these tropes and make them work for you? Write What You Know Yes, I know you have never lived in a land where unicorns shoot fire out of their mouths or dragons are the size of sparrows, but that doesn\'t mean you can\'t bring a little authenticity from this world to your own. Even if your book is set in space or ten thousand years from now, readers still want to connect to your characters and the situations they find themselves in. So if you introduce a trope like, say, an innocent hero having to fight evil, try and remember what it felt like when you stood up to a bully as a child, or when you had to have a difficult conversation with your boss. Use Them Sparingly Just because you love certain fantasy tropes, that doesn\'t necessarily mean you should add them to your story. Writing is hard work; don\'t make your job harder by adding tropes to your story that have no place being there. Think of your plot and characters first, then see what works. Readers can tell when storylines have been forced to accommodate a scene that doesn\'t really add anything. (Here are some fantasy prompts to get you started.) Be Brave If you write fantasy the chances are you read and watch (or even play) a lot of it too. That means you may well feel like certain rules are set in stone - Orcs are bad, damsels need rescuing, and all heroes rise to the challenge and defeat evil at the end. But what if you went against the grain? What if you were brave and did something so unexpected, so uncomfortable, that everyone would remember your book forever? For instance - what if the evil dark lord rescued the sleeping beauty? What if Orcs were the good guys? And what if the hero not only lost his power but didn\'t care about winning? That, in itself, would make for an interesting premise. Writing makes you vulnerable, whatever the genre, not even magical worlds and elf-eating giants are big enough to hide behind when it comes to writing something from the heart. So be brave and take a risk, shake things up a little, because the stories that scare you the most to write are the ones worth telling! Step Into A Whole New World I hope you\'ve enjoyed this article and it has helped you on your own writing journey; your very own quest for the perfect fantasy tropes. Remember to look at both the real world around you, and deep inside yourself, and bring all of that emotion and experience to your fantasy books. Add the tropes that matter, twist them up, make them your own, and most of all have fun. Because if you aren\'t feeling what your character is feeling, if you don\'t want to save the world from more trite and predictable fantasy books, and if you\'re not bravely fighting good and evil for world domination in the fantasy genre (ok, just finishing your book is a good start) then what are you waiting for? Get going! There\'s a whole world of fantasy out there for you to conquer...

Writing from a second person point of view isn’t very common - but it can be very effective.   Tutors, editors and fellow writers might all tell you to avoid it, dismissing the technique as difficult to pull off. But if you look closer, you will find a recent shift in this attitude. Writers are embracing the technique that allows you to play with your narrative and to get deep into your character’s psyche.   So let’s unpick this tricky point of view and I’ll show you how you can best use it in your own writing. I will explain what the second person point of view is in writing, when you might use it, how to use the technique to its greatest advantage, and provide some second person point of view examples.  What Is Second Person Point Of View? As writers, when we are setting out a plan for the masterpiece we are about to write, we have a little internal discussion with ourselves that usually starts with the question: Is this story going to be better told in first or third person? Rarely do we even consider writing in the second person, and this is probably because we are told to never use it. But as a literary technique in the right hands, it can be very powerful indeed.  So, what exactly is a second person point of view in literature? There are many definitions, but broadly it is the use of the second person pronoun, you, to refer to the protagonist or another character. For example, let’s take the novel that broke down the perception that the second person narrative was a bad thing - Bright Lights, Big City by Jay McInerney:  You have friends that actually care about you and speak the language of the inner self. You have avoided them of late. Your soul is as dishevelled as your apartment, and until you can clean it up a little you don’t want to invite anyone inside.Bright Lights, Big City by Jay McInerney A second person narrative asks the reader to become the character, as in the McInerney example above, or become the character the narrator is addressing. It is instantly intimate. There is an urgency about the second person point of view. And for the reader, this can feel totally immersive.   So now we know what the second person point of view is, let’s think about when you should use it.  When To Use Second Person Point Of View Second person narratives work by talking directly to your reader. The wonderful Kathy Fish says that writing in the second person is ‘the literary equivalent of making good eye contact.’ I couldn’t agree more!  Writing in the second person acts as a deep dive into the character and forges a link between the narrator and the reader, breaking down that so-called fourth wall.   And the strength of this point of view is its versatility not just in fiction, but in non-fiction and self-help books, for example. As a form, it is well-used in short stories and flash fiction, too, where you can be much more experimental with your writing.  One excellent example of this is Girl by Jamaica Kincaid (read the full piece here). At only 650 words or so, it is a long list from (presumably) a mother to her daughter on how to be a girl. With lines such as this - “this is how you smile to someone you don’t like too much; this is how you smile to someone you don’t like at all; this is how you smile to someone you like completely” - the prescribed list of rules and how-to\'s becomes personal. She could be talking to me. She could be talking to you. As a reader, I feel affronted by her and her assumption that she can tell me what to do and how to be. And there lies, I believe, the point of the story. I don’t think I would have had the same emotional reaction to this piece if it had been written in the third or even first person. This is the eye contact that Kathy Fish is talking about.  Let’s consider the differences between the other points of view that are on offer to you as a writer:  First-person uses the I pronoun. The story is being told through the eyes of the narrator. This can be limiting, though, as we only see the world through the eyes of the character whose head we are in. Third person uses the he/she/they pronouns. The reader observes the story. This is generally much more distant for the reader, especially when using an omniscient narrator, but you can play with this form much more by considering the psychic distance with which you write. Second Person Point Of View Examples I’ll now take a look at some books written from the second person point of view, each of which uses the technique in a different way.  The Night Circus By Erin Morgenstern Erin Morgenstern scatters her use of the second person throughout The Night Circus, which is mostly told in third person. The magical novel about two rival magicians flits back and forth through time and is told from the point of view of various different characters. But occasionally Morgenstern will place the reader themselves in her magical world with little vignettes such as this:  You are amongst them, of course. Your curiosity got the better of you, as curiosity is wont to do. You stand in the fading light, the scarf around your neck pulled up against the chilly evening breeze, waiting to see for yourself exactly what kind of circus only opens once the sun sets.The Night Circus by Erin Morgenstern This is the first use of the second person narration in The Night Circus, and here she places you, the reader, at the door of this mystery circus that has suddenly appeared without warning. You want to know as much as the people that stand around you. The opening ends:  Some in the crowd smile knowingly, while others frown and look questioningly at their neighbors. A child near you tugs on her mother’s sleeve, begging to know what it says. ‘The Circus of Dreams,’ comes the reply. The girl smiles delightedly. Then the iron gates shudder and unlock, seemingly by their own volition. They swing outward, inviting the crowd inside. Now the circus is open. Now you may enter.The Night Circus by Erin Morgenstern Do you feel the same as me? Do you want to walk through those magical gates and enter this magical world? Of course, you do! You have been invited.  Try looking for these small moments where you want to place the reader directly into the heart of the action. Morgenstern uses it sparingly. You can too.  The Push By Ashley Audrain Ashley Audrain uses the second person perspective really well in The Push. The novel is written as a long letter to the main character\'s ex-husband as she (Blythe), tries to pick apart the events of their life that led them to where they are now. The novel starts:   You slid your chair over and tapped my textbook with the end of your pencil and I stared at the page, hesitant to look up. ‘Hello?’ I had answered you like a phone call. This made you laugh. And so we sat there, giggling, two strangers in a school library, studying for the same elective subject. There must have been hundreds of students in the class - I had never seen you before. The curls in your hair fell over your eyes and you twirled them with your pencil. You had such a peculiar name.The Push by Ashley Audrain How intimate is this? Confessional, almost. Audrain puts you deep into Blythe’s memory, and what better way to understand a character? But in addition to depicting the deconstruction of their relationship, Blythe is calling on her ex-husband, Fox, to see their daughter the way she sees her. As a reader, we know Blythe isn’t addressing us, but by writing in the second person, she gives us the urgency that she herself feels. She is begging him and us. This is the urgency I mentioned above. We feel everything she feels deeply because she is talking directly to us through the use of ‘you’.   As a technique for a full novel, the second person POV can feel draining, but Audrain cleverly breaks it up with chapters about Blythe’s family history. These are written in third person and are a welcome relief from the deep perspective. If you have an unreliable narrator, like Blythe, consider letting the readers see inside their head like Audrain does.  You By Caroline Kepnes You by Caroline Kepnes is at the opposite end of the scale to The Night Circus. Kepnes uses the second person narrator for the entirety of the novel which takes you deep inside the mind of a stalker and murderer. The writer could have achieved this by using the closeness of the first person, but by writing this from a second person POV, Kepnes makes you feel like you are the object of his obsession. Let’s see how she achieves it:  You walk into the bookstore and keep your hand on the door to make sure it doesn’t slam. You smile, embarrassed to be a nice girl, and your nails are bare and your V-neck sweater is beige, and it’s impossible to know if you are wearing a bra but I don’t think that you are.You by Caroline Kepnes Wow. This is a pretty immersive opening, don’t you think? Not only is the creepiness on another level, but you see straight into Joe’s mind as the narrator. He is making assumptions about the person he is watching; he is looking at parts of her body that he shouldn’t be looking at. He is looking at you. We instantly know that we are in the head of a dangerous person.   Kepnes gives you no respite from the head of Joe - she keeps you in his head all the way through. It’s a clever novel. She shows the narcissistic and psychopathic thoughts and behaviours of Joe, whilst trapping the reader in his claustrophobic world. And she shows you just how easy it might be for you to become a target. She even manages to secure sympathy for Joe, because to be so far in his head is to understand why he does what he does. And for you, the reader, that puts you in an uncomfortable place. I’m not sure this would have been achieved in any other point of view.  Committing a full novel to the second person perspective is a big deal. Here it works well because the character is so flawed. So, if you want to give your readers an uncomfortable ride, with the right character, this might be the way to go.  How To Write In Second Person Point Of View Writing in the second person definitely doesn’t work for everything, and you should think carefully before using it. But to help you figure out when and where it might work best for you, let’s look at ways you can explore it.  Key steps and tips:  Think about who your second person narration will be addressing. Is it the reader, and are you therefore are asking the reader to become your character? Or are you addressing a second character and thus you want to invite the reader into the psyche of the narrator? It’s a tricky concept to get your head around, so be very clear about this before you set out on this path.  Ask yourself what it is you want to achieve. Do you want to draw the reader into an uncomfortable place? Do you want the reader to be a part of the story? What will the second person voice achieve for your story, your characters and your readers\' experience?  Be sure that you have a character who is interesting enough that your readers want to be inside their head. Experiment - have a play around with your narrative. There may well be parts that become stronger and deeper in the second person.  Try writing some flash fiction and short stories to really perfect your second person voice. I believe this is the key to writing from this point of view. It takes practice. It takes real commitment and consistency in the same way that writing from the more conventional points of view does.   Second Person Point Of View As writers, we want to push boundaries. We want to set ourselves apart from everybody else. We want to create memorable and long-lasting characters that feel as real to us as the person you last shared a meal with. Using the second person point of view might be the way for you to achieve that. Be brave. Be bold. But always be sure that your story benefits from it.  

How do you start a story? For many authors, writing the opening to any story brings on a special kind of anxiety. Like a first date, the pressure to make a good impression can be nerve-wracking – after all, it’s the first couple of chapters that have to hook a prospective agent, editor or reader.   But it doesn’t have to be that scary —with a simple process, you can generate multiple opening ideas and be confident you’ve written one that’s solid.  In this guide, you’ll learn the process of starting a story and discover some strategies for getting into the right mindset. We’ll also review 30+ opening ideas and a list of do’s and don’ts to help guide your writing.   Let’s get started!  To Start Your Story Well, Know Your Story Well Imagine you’re at a party and you’re asked to introduce two people. Normally, you’d do that by sharing something about each of them that might spark a conversation.  But what if you barely know them? At best, you could recite their names and hope they take it from there. Awkward!  Story openings are like this. They need to spark interest and open a doorway to what comes next. To write a good opening, consider your story:  What’s it about? Do you have a good sense of who your protagonist is, the key challenge they face, the events that will unfold, and the themes woven throughout?   What will your reader’s experience be? What will your reader be feeling during the beginning, middle, and end of your story? Which aspects of your story will they welcome, and which will challenge them? How will they look back on your story, and what will stick in their mind?  It’s likely that you’ve already answered these questions for other purposes, such as writing your blurb or plotting your novel. Let’s talk about a specific process you can use to turn those answers into an outline for your opening scene.  How To Begin A Story Here’s a process you can use to generate an outline for your opening scene. (We’ll run through an example below.)  Confidently and clearly answer the questions “what is my story about?” (protagonist, conflict, plot, themes) and “what will my reader experience?” (feelings, resistances, lasting impressions).  Pick one element of your story’s content or experience that you feel is compelling.  Ask yourself how you might open a doorway onto that element for your reader. Think about two things: getting them thinking about the right things (focus) and making them eager to experience what’s to come (desire).  With focus and desire in mind, build a great scene outline. Here’s an example of the process in action:  Let’s say our story is a heist novel. Our protagonist is a reformed thief whose lover died tragically during his last heist. Realising the danger of his lifestyle to the people around him, he got out of the game, and hasn’t let himself get close to anyone since. But now an old mob debt has caught up to him, and his only chance to pay it off is to come out of retirement for one last score. He takes on a new apprentice, and as they prepare, he finds himself falling in love with her. The reader’s experience will revolve around the thrill of the big heist, the May-September romance, and the protagonist’s memorable final decision.  For this opening, let’s choose the romance as our focal element.  For our doorway (focus + desire), we want to get the reader thinking about relationships, and rooting for the protagonist to find love and happiness.  We decide that our opening will show the protagonist eating alone at a restaurant he used to frequent with his old lover. We’ll have him reminisce about their relationship and contemplate the pain of his loneliness. We’ll also convey his desire to live a decent life and never hurt anyone again. However, we’ll soon discover that our protagonist hasn’t chosen this location out of nostalgia. A mobster who demanded a meeting here shows up, intentionally late, and delivers an ultimatum: come out of retirement to pay your debts or face the consequences.  Not a bad starting point, right? Once we’d chosen romance as our focal element, the ideas came easily, because we’d taken the time to outline our story’s content and experiences.  The key is to work from the perspective of opening doors. If we’d been worrying about forcefully “grabbing” the reader, or focusing on a catchy opening sentence, there would be no process leading us to the restaurant scene.  Writing Multiple Openings Using this process, you can create outlines for multiple opening scenes in two ways.  First, you can pick the same element and create a different opening. For example, instead of sitting in a restaurant, we could have had our protagonist walking in a park, watching a young couple in love. The meeting with the mobster could have taken place on a park bench. Most of the protagonist’s thoughts could be the same, and the differences are primarily aesthetic—day versus night, outdoors versus indoors, and so on.  Or, you can pick a different element. For example, let’s say we’d picked the thrill of the heist as our key element. In that case, perhaps we might open with the protagonist sitting in his poorly-kept bachelor apartment, watching a TV documentary about a new casino being built. He notices a subtle flaw in its security design and realises this is his chance for one last big score. His mind immediately begins working and the reader is pulled into his planning.  Or, finally, you could start the story right in the thick of the action (often referred to as in median res) or even include a prologue.  When you know what your story is about, and when you think in terms of opening doors, writing multiple openings becomes easy.   I suggest you try creating concepts for two or three openings before you commit to one of them—you may be surprised how many good ideas shake themselves free from the tree.   How To Begin A Story: 30+ Story Opening Ideas Here are thirty-odd ways you can open doors to different elements of your story.  If you want to open a doorway to appreciate… You might focus your opening on… Novelty and new ideas A complication the reader wasn’t expecting; Your original setting or a unique character; A strange situation the reader wouldn’t have seen before. Immersive experiences A vivid environment with rich sensory cues (but remember to put a character in that environment); A single, strikingly-described image (choose one that has significance to your story, or that you can revisit or invert later) Action An in medias res action sequence (make sure it has stakes, but make sure it doesn’t sprawl or overshadow later action sequences); A briefing (formal or informal) that describes a potentially explosive situation. A compelling protagonist (If first-person) The protagonist’s distinctive voice—let them experience or relive something they can narrate in a way that’s distinctly “them”; A situation that showcases the protagonist’s talents, principles, or quirks; A situation that forces the protagonist to make a decision; A situation that lets your protagonist expound on something or share their insights and opinions. (Note: Your opening scene is not a “first date”. Let your protagonist’s flaws show as well or they won’t seem compelling.) Curiosity or mystery Letting the reader notice a contradiction without explaining it immediately; Leaving something crucial unsaid: pick one of the five W’s that your reader is most likely to ask, then don’t answer it, but play around the edges of answering; An event which has consequences or a conclusion that you hold back for now; Raising a question and giving the reader only part of the answer. Emotion Making the reader identify with a character who’s going through an emotional event; A situation that arouses your reader’s sympathies; Implicit questions centred on the reader, such as “what would you do?” or “can you blame her?”; An idea or concept presented with intensity or burning emotion; Narration that uses emotion and relationship vocabulary (this isn’t a substitute for making the reader feel an emotion, but can help to signal the focus of the story’s viewpoint). Big Ideas A mundane event with deeper causes or meaning that is then questioned; A character posing an intellectual or philosophical question. Romance A flirtation; A fantasy; An intriguing new interest entering the protagonist’s sphere; A complication coming up in a relationship; A previous relationship crashing and burning (leaving the protagonist available). An epic or sweeping story Anything other than focusing tightly on a single character and their immediate concerns; A setting or image that implies a much broader setting (for example, a monument commemorating a war or unification); A prologue that broadens the scope of your story; Showing how a location has changed over time. Masterful writing A place (or time, or worldview) for which you can display a deep understanding or appreciation to the reader; Making the reader laugh; A scene that showcases excellent pacing, tone, and atmosphere; Artful (but not purple) use of words and phrasing.  If in doubt, constrain yourself with these two rules:  Introduce your protagonist first;  Start your story immediately before or immediately after the inciting incident (in most cases it helps to show the characters before the inciting incident so you have a better character arc at the end and the reader can see how far they have come).  It’s often okay to break these two rules, but it’s rarely wrong to follow them!  Writing Strategies For Starting Your Story Writing a good opening is about more than just the outline—it’s also about putting yourself in a position to write well. Here are some strategies you can use:  Putting Yourself In The Right Mindset Remember to define your opening in terms of how it opens doorways to the content and experience of your story.  Don’t write your opening first or last. If you write it first, you won’t be warmed up to your characters and story; if you write it last you’ll put too much pressure on yourself. Write a rough beginning, but be prepared to go back and tighten it once you know your story and characters better.  Many authors struggle with too much scene-setting in their openings. To combat this, pretend your opening is actually your second chapter. Write an extra chapter that comes before your opening, then write your opening. When both are done, throw away the extra chapter and pass your opening to a beta-reader. Ask them if anything confuses them, and only make additions to correct any confusion. (Using this method will help you see that much of your scene-setting is “insurance”, and not really necessary.)  Here’s another trick: outline your first chapter, but don’t write it. Instead, challenge yourself to modify your second chapter to make it work as your opening. This isn’t always possible (especially if the two chapters have separate viewpoints), but by trying, you become aware of which parts of your opening chapter are truly essential.  When reviewing your opening, try reading your back-cover blurb first, just like most of your readers will do. Does your opening feel redundant in that context? Are you re-using language from the blurb in a way that saps it of impact?  Controlling Detail And Sprawl All of the writing advice that applies to your other scenes applies to your opening as well—show don’t tell, write with a distinctive voice, avoid clichés, and so on. However, pacing, focus, and controlling the level of detail are especially important in your opening.   Keep the following advice in mind:  Use exposition carefully—keep it diffused. Don’t allow yourself detours in your opening. Know what the scene is about and execute it in a compact fashion. Detours are for middle chapters!  Trust your reader to make common-sense assumptions.  Don’t overload your opening with too many responsibilities. Focus on introducing one key element of your book in an interesting way, and let your subsequent chapters build from there.  Action—things happening—doesn’t automatically hook a reader or make your opening strong. What matters is meaning; action is just a tool for creating meaning. In your opening, include action that builds meaning; cut action that doesn’t.  Voice is key. Ensure the reader gets a taste of the main character(s), the tone of the book and the genre within the first three chapters.  Revising Your Opening If you believe your opening is important, it should receive its proper share of revision. Here are some revising tips:  Like any scene, the most important first step is simply to write something. Don’t put it off! Even a terrible opening is something you can analyse, improve, and compare against alternatives.   It’s never wrong to test a new opening. Challenge yourself to write at least two different openings and ask yourself what works well about each of them.  Spend some time polishing your opening sentence. At the same time, don’t hyper-focus on your opening sentence or opening page. An intriguing first line is great, but no reader will put your book down just because the first paragraph is simple. Although do aim to make your entire first chapter one of your strongest, including its closing sentence, and link to your second chapter.  How Not To Begin A Story Here are a few common mistakes authors make when they begin a story:  Writing in a different voice, or with a different sensibility, than the rest of your novel.  Trying to please everyone. Never be afraid of turning off readers who wouldn’t enjoy the rest of your story anyway. People-pleasing leads to bland openings and shows the reader you aren’t committed to your story concept.  Giving away too much detail too soon.  Spending time setting the stage in ways that aren’t yet meaningful to your reader. (Imagine your characters and locations are friends whose careers you’re trying to help—let them shine by introducing them at the moment when they can be most compelling!)  (For some more don’ts, read our guide to 7 novel-opening mistakes that make literary agents groan.) Starting Your Story Well In this guide, we’ve discussed the concept of opening doors for your reader, a process for generating scene outlines, ideas for starting your story, writing strategies, and some don’ts to avoid.  So what are you waiting for? Now that you know how, it’s time to start that book of yours! 

If you love reading romance novels then you can\'t avoid a romantic trope. It\'s that part in the book when the two work colleagues who hate one another suddenly find themselves trapped in a lift together (forced proximity!). Or when two strangers brush fingers picking up the same fallen item (sexual tension!). Or when the heroine faints and the strong, silent type catches her (alpha hero!). In other words, the scene that makes you squeal \'yesss, I knew it!\' In this article, we\'re going to look at what a trope is, romance novel sub-genres, and managing reader expectations. Plus we\'ll also take a closer look at twenty of the most popular tropes and think about how to keep them fresh. What Is A Trope? A story trope, whether found in literature or films, is a totally expected situation between two characters that moves the action forward. Tropes can be found in almost any genre (from fantasy to historical fiction) - but it\'s the romance genre that\'s famed for providing the most sought-after scenarios. Different Romance Genres If you\'re considering writing your own love story, one of the first things you must decide is what sub-genre to choose from. In any love story, readers expect the main storyline to have two (or more) people falling in love and living happily ever after by the end. Although, the time in which the book is set, the setting, and the characters themselves also determine the book\'s sub-genre. Let\'s look closely at each sub-genre and how they\'re defined: Historical: This is when a book is set during a period previous to the current-day (yes, even the 1990\'s count as historical. Sorry, I don\'t make the rules).The Duke and I (Julia Quinn) Fantasy: When the setting is set in a different world to ours (this includes sci-fi, dystopia, and paranormal romance).The Princess Bride (S. Morgenstern) Rom-com: A romantic comedy is when the characters must face a series of amusing events before they finally get together.The Flatshare (Beth O\'Leary) Christmas: This is a relatively new category, but festive books have become so popular with readers lately that they have become a genre of their own.One Day in December (Josie Silver) Erotic: This is a love story where the plot revolves around the sex and not the other way around. It can include BDSM, kink, LGBT characters, and many of its own sub-genres.Fifty Shades of Grey (E. L. James) Young Adult: Romance books written for teenagers, often depicting first love and all the drama that can happen when two young people fall in love.The Sun Is Also A Star (Nicola Yoon) Religious/Spiritual: This category often includes Christian fiction, or \'clean\' fiction (ie very little sexual tension and no on-page sex), but can also include characters spiritually finding themselves...as well as one another.Eat, Pray, Love (Elizabeth Gilbert) LGBTQ: Any romance novels depicting love between anyone who doesn\'t define themselves as straight. This can be combined with any of the above categories too, of course.Tipping the Velvet (Sarah Waters) Romance stories don\'t need to fit neatly into just one category, many fall into various sub-genres. For instance, Outlander (Diana Gabaldon) is a steamy, fantasy and historical romance. Whereas Red, White and Royal Blue (Casey McQuiston) is an LGBTQ rom-com YA novel, with the US president\'s son falling in love with a British prince. Why Do Tropes Matter To Romance Readers? It doesn\'t matter what particular trope features in a love story, the most popular romance tropes are the ones that bring a couple together and create tension and pace in the story. With each trope, a writer is pushing their characters together then ripping them apart again. This not only builds attraction and tension between the protagonists, but it heightens the stakes and keeps readers hooked. My one aim as a romance novelist (I\'ve written both paranormal romance and fantasy romance novels) is to keep my readers on the edge of their seats, wondering whether the main characters will get together - then making sure that by the end they do. That\'s all romance readers want; the pain and suffering of impossible love, followed by the sweet joy that love won after all. A happy ending gives us all hope. It makes us believe that we too can find love. It makes the world seem like a nicer place. This is what romance readers expect. Don\'t let them down! Top 20 Most Powerful Romance Tropes As Shakespeare once wrote, \'the course of true love never did run smooth.\' Which is why every romance writer ensures that their main character has to fight as hard as possible (be it an internal struggle or a literal battle with external forces) to be with their one true love. Soul mates who are destined to be together, suffer together - and the most entertaining way of ensuring that is to throw in a few tried and tested tropes to keep the pace and tension going. Here are my favourite twenty romance tropes, including examples from both books and movies: 1. The Cute Meet-Cute A meet-cute is when two lovers first meet. This needs to be memorable, and preferably it also needs to be cute. A classic example is one of them humiliating themselves in front of the other, or something happening that instantly turns them into enemies. Or you can be original and have a one night stand be the beginning of their love story, then make the couple work hard to turn instant attraction into true love. 2. Enemies to lovers There\'s a thin line between love and hate, which is why the Enemies to Lovers is one of the most popular tropes. Demonstrating bristling tension between your protagonists, and then showing readers how those initial feelings change over the course of the book, can create conflict, tension and a lot of romantic angst. For example, everyone loves a bad boy, but it\'s a lot more fun if the heroine falls for him after a long time of thinking that she hated him. Or perhaps, such as in a workplace romance, she\'s the mean boss and he\'s the nice guy who can\'t stand her. So many scenarios are available! 3. Forced Proximity Nothing gets my heart soaring as much as a scene in a book where the enemies to lovers couple book into a hotel and...THERE\'S ONLY ONE BED! Sarah J Mass does this beautifully in A Court of Mist and Fury. Or (I love this one) two people who have been refusing to acknowledge their feelings for one another have to quickly hide and find themselves locked IN A SMALL BROOM CUPBOARD! Excuse my basic tastes here, but this is the classic example of creating a physical and emotional connection between two characters who have allowed their heads to rule their hearts (and lower regions). But once they\'re touching, once their lips are inches apart, they can\'t fight it any longer. Swoon! 4. Destiny This may seem like a lazy trope but it\'s a classic. When two characters are thrown together by fate, who are they to argue? Star crossed lovers trying to live out their destiny? Yes, please! In my own book, The Path Keeper (N J Simmonds), Zac has been in love with Ella for over 2,000 years and hundreds of lifetimes. It\'s his fate to love her, yet in this lifetime she loves him back. The only problem is that he\'s an angel (don\'t you just hate it when that happens?). 5. Childhood sweethearts This romance trope is a favourite with YA books and less-steamy romance novels. No one forgets their first crush, or the potency and drama of first love, and it\'s this friends to lovers theme that makes the \'we are best friends, but now we\'re going to ruin everything for love\' storyline so compelling. Look at Elle in The Kissing Booth, she\'s about to ruin her friendship with her male friend, Lee, because she\'s fallen in love with his alpha brother, Noah (also her friend). What could possibly go wrong? 6. Forbidden Love From Romeo and Juliet, to Twilight, as soon as you tell someone (OK, a teenage girl in a lot of these cases) that she can\'t have someone - that certain someone becomes ten times more desirable. A forbidden love interest is key to this trope, and it\'s that one obstacle that will keep them apart and keep raising the stakes (excuse the vampire pun). And what happens when they finally do get together? Well, as Juliet and Bella will tell you, it\'s not pretty. 7. Impossible Love There\'s a fine line between impossible love and forbidden love. In forbidden love, the obstacles are normally societal or human (ie he\'s a prince and she\'s an ordinary person, or she\'s a Capulet and he\'s a Montague). But with impossible love, the obstacle can be something a lot more esoteric. In the aptly-named rom-com novel, Impossible (Sarah Lots), a couple fall in love over email - then discover they are in two different parallel universes! How on Earth are they ever going to find one another? 8. Second Chance Love Can someone find happiness a second time around? Whether their first blind date went badly and she\'s giving him a second chance, or (like in Nicholas Sparks\' The Notebook) they fell in love, separated for seven years, and then couldn\'t keep away from one another, second chances are the biggest \'will they, won\'t they\' risk. Another version of this is when a recently widowed or divorced character no longer trusts love...but they\'ve just met their perfect match. We believe in their love, but do they? 9. I Have A Secret Every story needs a surprise, and every character needs a secret. Whether they\'re hiding the news of a secret baby (like in Helen Fielding\'s Bridget Jones\' Baby where we don\'t know who the father really is) or whether they\'re pretending to be someone they\'re not (like Casanova who doesn\'t reveal his true identity until the end of the film) it\'s the suspense that draws readers - whether they\'re in on the secret or not! 10. The Bet This trope is where someone (usually an alpha hero) places a bet that he can get the unobtainable/prissy/ugly duckling girl. Then he falls for her - but not before she finds out, loses trust in him, and ironically breaks his heart in return. This trope was used widely in the 90s (think movies like Clueless, 10 Things I Hate About You, and She\'s All That) but, thankfully, with the rise of feminism in storytelling, it\'s now often presented in a less misogynistic way. 11. Fake Relationship This is one of my favourite tropes, not because it\'s original but because I enjoy seeing what will happen to the couple to make them realise that they\'re not faking their love after all! Whether they\'re involved in a marriage of convenience/arranged marriage, or it\'s simply a fake relationship in high school (such as the one in To all the boys I loved before by Jenny Han), the fun part is watching them realise what we, the readers, spotted from the very beginning. 12. Love Triangle Love triangles are corny and a little tired, but if written originally they can still add a lot of tension to love stories. In Outlander, for instance, the heroine is torn between loving her husband in 1945 and her lover in 1743 (now there\'s a quandary). 13. Opposites Attract I do love a sunshine and grump couple. There\'s nothing more appealing than when two completely different people, who would normally have nothing in common, become foil characters because their opposite attributes are exactly what the other needs. This trope can be made even more entertaining if you choose a difficult setting, such as marooning them on a desert island or situating them in the middle of the jungle. I especially love the \'high flying woman and rough and ready guy\' combo in the movies Crocodile Dundee or Romancing The Stone (and the recent modern twist to these movies, The Lost City). 14. Amnesia/Mistaken Identity In the 1987 rom-com movie Overboard (and the less amusing, gender-swapped remake of 2018) a rich woman on a yacht is rude to her handyman (opposites attract) and she refuses to pay him. When she falls overboard and loses her memory, as revenge he convinces her she\'s the mother of his children and makes her pay him back in hard labour. But it all backfires when...surprise surprise...he falls madly in love with her. But what if she finds out what he did? Highly immoral, yes, but also highly entertaining. 15. Instalove This trope gets a lot of bad press, but personally, I want to see an instant something between soul mates in the book I\'m reading. I don\'t care if that initial reaction is curiosity, desire, lust, friendship - no matter what people say, when you meet someone you want to have a relationship with there is often a spark. A pull. An \'oh no, I\'m not going to be able to fight this\' longing. And that instalove, the one the couple keep trying to ignore, is what makes the belated love epiphany at the end so much sweeter! 16. Fish Out Of Water This one is a lot of fun and works well in romcoms and YA. It is also perfectly paired with Opposites Attract and Enemies to Lovers (for the single reason that if you aren\'t familiar with your surroundings, the chances are the people there will be very different to you). One example is the series Virgin River (Robyn Carr). She\'s a strong-headed medical professional from the big city, he\'s a homely bar owner from a small close-knit town. She\'s widowed (Second Chance trope) and he has a shady past. Can they make it work? Of course they can (eventually)! 17. Stuck Together This trope is the perfect mix of the Forced Proximity and Enemies to Lovers tropes - but with the added tension of the fact that they can\'t escape one another. In The Hating Game (Sally Thorne), work colleagues are forced to share an office and find themselves competing for the same job. They\'re rivals, they hate one another, neither of them will give up...but then love gets in the way. 18. Just Friends Friends to Lovers is one of the most popular tropes because, well, who hasn\'t once had a crush on a friend? In the 2011 movie, Friends With Benefits, two friends who get on really well decide that instead of bothering with a romantic relationship - and all the stress that brings - they will keep things purely physical. Surely they can be just friends...with benefits...and not fall in love, right? Wrong. 19. It Was Right In Front Of You All Along! There\'s nothing more romantic (albeit frustrating to watch) than a belated love epiphany, with the main character realising right at the last minute that the one they love was there all along. In the movie Yesterday, a struggling musician, Jack, one day discovers that everyone has forgotten who The Beatles are; which means he becomes famous by pretending to write some of the world\'s most popular songs. But while he\'s sucked into his newfound stardom he doesn\'t realise that Ellie, his best friend, is the true love of his life. 20. And The Biggest, Most Important One? Happily Ever After. If your story doesn\'t end with a happy ending, then it\'s not a romance. I\'m not saying you can\'t make us cry at the end (Me Before You, One Day, The Songs of Us), and I\'m not saying the couple has to get together, but at least leave us believing that true love really does exist. So whether you have your protagonists kissing in the rain, riding off into the sunset, or realising they love their best friend, just make sure you give your what they readers expect - lots of love! Trope Vs Trite As we\'ve seen, tropes can be predictable and formulaic. If we settle down to watch a romantic movie we want three things: A believable scenario (female heroine returning to her small town). Things bringing the couple together then ripping them apart (misunderstandings, love triangles, bad boys making bad decisions, unrequited love, a bride getting cold feet). And then it all being resolved by Act 3 and the two of them living happily ever after. It\'s OK to put all these things in your book, in fact, it\'s vital - readers love this - but it\'s how you introduce a romantic trope that matters. That\'s the part people will remember and how you set your book apart from all the other stories. So how can you achieve that? How To Make Romance Tropes Feel New How do you write a unique story, but include lots of well-loved romantic tropes? Here are three ways... Unexpected Outcome Surprise your readers. Instead of a girl not being able to choose between two boys, why not make the relationship polyamorous, feature bisexual characters, or involve a thrupple? Change The Setting Maybe you want to write the next Romeo and Juliet... but what if it\'s set in a dystopian world? With aliens? Mix Up The Genres In The Hunger Games, Suzanne Collins introduces a love triangle between Katniss, Peeta and Gale. The difference is that this book isn\'t a love story, it\'s a dystopian YA series with a David And Goliath trope. Yet it still works. And They All Lived Happily Ever After... I hope you found this article as entertaining to read as I found it to write! Adding romantic tropes to your novel can make all the difference, just make sure you keep it fresh and keep those readers guessing (and swooning).

All writers have different writing styles - whether that means what they write, how they write, or the way they approach their writing. It\'s always fascinated me how the English language is made up of simply twenty-six letters arranged into more than 171,500 words, all of which we use to express thoughts, ideas and emotions. Every piece of literature, from ad copy to Shakespeare, is made up of that! But how you choose to combine those letters to express information to an audience is what matters, and is entirely unique. That\'s why no two books are the same, and no two writers are either. If you\'re asking yourself \'How many types of writers are there? And which am I?\' then you\'re at the right place! In this article, I will shed light on the different types of writing out there, as well as the different writing personalities you might come across. Hopefully, you will find one you identify with and can use the tips in this article to embrace your own unique style. Different Kinds Of Writers As a child, I remember telling my careers advisor ‘I want to be a writer’. All I knew at the time was that I wanted to use words. I wanted to tangle them up, mix them around and find new ways to express myself. Descriptive writing, scientific writing, creative writing - it didn\'t matter to me, I just had a lot to say! There are four main categories of writing styles: expository writing (explaining something), descriptive writing (whether fiction or non-fiction), persuasive writing (as in copywriters for advertising agencies or journalists for certain press) or storytelling. If, like me, you\'ve always known you want to write but have no idea what kind of writing jobs exist, then take a look at the list below where I will be discussing authors (both fiction and non-fiction), technical writing, what it means to be a blog writer (like I\'m doing right now), and lots of other avenues writers choose to take. Let\'s start with storytelling... Fiction Writers Creative writing isn\'t a vocation that always guarantees a full-time wage (at least, not to begin with), but it is very rewarding, plus it\'s a great way to build your writing skills. Being an author often involves conjuring up the five senses, lots of narrative writing and descriptive writing - it\'s describing something that isn\'t real. In short, creative minds love nothing more than inventing new worlds. Some authors write novels and short stories, while others prefer flash fiction and poetry - and most dream of one day becoming published.  If this is the kind of writing that makes your heart flutter, take a look at our many articles on how to get published, along with lots of examples of what it takes to become a fiction author. Non-Fiction Writers When it comes to non-fiction you can choose to be a technical writer (ie content creation, such as this article and blog post) or a non-fiction creative writer - but either way, what you\'re writing about is not made up. Non-fiction writing suits those who love research as it\'s based on facts (no made-up stories).Instead of starting with a ‘what if…’ question, most start with a ‘why…’ question. The goal is to teach and inform. For authors, this includes how-to books, self-help books, historical tomes, scientific or academic books, political biographies, and even memoirs. Instead of wanting to write books, other writers may prefer to submit articles to publications or run their own blogs, which may cover writing on current events, first-hand accounts or business writing. Either way, this type of writing (like fiction writing) often means planning and writing your work before knowing whether it will get published (or make you any money). So if it\'s writing as a full-time career you are after, then that leads us on to... Professional Writers All writers work, but by \'professional\' I mean a guaranteed, regular income that comes solely from your writing. If you want a job that pays you to put pen to paper, then you may choose to become an investigative journalist, copywriter or work in marketing. Although this does mean studying the professions, because none of these are jobs you can easily fall into. Freelance writers, on the other hand, are employed on an ad-hoc basis to create content such as this article. It\'s a fun way to find your feet as you get to try out various types of writing, reporting on various subjects, and in various writing styles. It\'s less about qualifications and more about building up a decent portfolio. Full-time employed copywriters are similar to the above but employed by a business or agency, writing everything from advertising and marketing copy to specialising in business or technical writing. Writing for business may not be as much fun as spending all day in your PJs conjuring up plots about dragons and mystical lands, but it does guarantee a regular wage (which is why many authors manage to do both types of writing side by side until their books take off). Other Types Of Expressive Writing Styles Fiction, non-fiction, and technical writing are not the only styles of writing you can explore. There are so many more. Each of them tend to follow their own structure, have their own rules and certainly have their own audience. If you haven\'t found a style that suits you yet, why not explore a few of the following creative ways to express yourself? Playwright Songwriter Screenplay writer Comics/Manga/Graphic novels Radio plays Even though each of these unique crafts takes skill, practise and perseverance, unlike being a professional writer there\'s nothing stopping you from taking an online course and having a go. Investigative journalists don\'t leave university and walk straight into a top job at The New York Times, but many creative writers have accidentally fallen into their area of expertise and made it work. There are no rules about picking just one type of writing style or job and sticking to it. Try them all and see where you end up. It\'s not just what you write about that\'s important. With so many different writing styles and approaches out there, it\'s also important to understand what kind of writer you are. So let\'s take a look... Finding Your Writing Style It’s important to point out that there\'s no right or wrong way to be a successful writer. With technical writing there are usually brand guidelines to stick to and an audience to consider. But in fiction, although there may be guidelines within each genre and sub-genre, the longer you work on your craft the more you understand that those rules are there to be challenged, bent, sometimes even broken. Finding a writing style to suit you means finding what works for you. Yet how are you able to know what works if you\'ve yet to put a single word down on paper? Or perhaps you have but it\'s not going as planned. Each writer is different in terms of how much time they have, how much energy, experience and even how their mind works. Here are some ways to approach writing and find a style that works for you! Trial And Error The only way to know if you have the time or the tenacity to be the type of writer you want to be is to have a go. It\'s that simple. Take a look at all the styles in this article and set yourself a task - offer to pen an article for your favourite blog, come up with a song, enter a short story competition. What do you have to lose? Try different areas of writing and see what feels natural to you. See where your voice feels most comfortable and what you enjoy the most. You don\'t even have to tell anyone, it can be your own private passion until you\'re ready to make it your own. Read. A Lot! And Widely The very best piece of advice I was given as an aspiring author was “read often”. Explore different styles of writing and see what sparks your interest and what engages you as a reader. This doesn\'t only apply to creative writing but also to non-fiction and journalism. Devour as much as you can, make notes, read books on becoming a writer, and keep learning. Work To Your Strengths/Embrace Your Voice Most of us will know instinctively what we enjoy writing. If you know, you know. And whatever style that is, it’s ok! You don’t need to change who you are to fit into a box that doesn’t feel right for you. If you write novels, and you don’t enjoy writing short stories, that’s ok. Maybe you know you have a great story inside you, but you simply don’t want to write a whole 90,000 word novel; in which case, try writing shorter novellas.  All writing is creative. It’s art. It will always find an audience no matter how niche. Don\'t get stuck on narrative style or a specific purpose, or what the publishing industry and your favourite authors are doing, just write and see what happens. Once you have decided which style of writing suits you, and you can hear your author voice, the next step is to truly understand, embrace and enjoy the type of scribe you are. What Kind Of Writer Are You? Just as there are many types of books and ways to express yourself, there are also many types of writers. How you approach your work influences what you write, how long it takes, and how hard you will find it. For now, I\'m going to focus on fiction. Below is a list of personalities I have come across in my time. You may well find yourself here – you might not. Many writers are a combination of more than one type of personality, and like a writer\'s work and their readers, other authors find that they\'ve approached each one of their books in a different way.  So what\'s your personality type? Here\'s an example (or eleven). Writing Personalities Planner/Intense Plotter You know exactly what you\'re doing. You know exactly what you\'re writing, how long it needs to be and what needs to be included in each chapter, because you\'ve spent weeks (or even months) plotting every scene. Your office is covered in sticky notes. If you get a block, you turn to that 10,000 word outline you created before you wrote a single page of the novel or the character profiles you drew up before you worked out your beats. You might still have wobbles, but you know how to get back on track. You work on one novel at a time and until it’s polished, then you take those sticky notes down and start all over again. Pantser The opposite of a planner, you fly by the seat of your pants and love it. You use the freedom of no rules and no structure to let the characters tell their story and delight in the surprises that arrive on the page when people in your head suddenly do something you didn’t see coming. You embrace the ‘dirty first draft’ and expect to wrangle the story out of the arms of those wild voices and turn their bizarre exploits into an understandable plot. You start with a rough idea and let your imagination do the rest. Structure and beats can wait, that all comes in the edit. Turtle Slow and steady wins the race, right? As a turtle writer, you often feel intimidated by those who seem to be able to sit at their desk and churn out chapter after chapter. You, however, take your time. Every word has its moment to shine. You might not write in great quantities, but quality counts. It can, and often does, mean your edits don’t take as long, because you polish as you go, but by the time the pantser has wrangled their characters into shape, the turtle will be right there with them at the finish line. Magpie You never ignore a voice when it speaks. Your notebooks are filled to the brim with ideas and half-written chapters, sometimes even a detailed synopsis. You have Pinterest boards for your settings and a mood board per scene. You could be deep in a first draft and a new idea will pop up, which you embrace, make a note of, then set aside to percolate. It may mean your first drafts take longer to complete, but at least you know once you are finished, you have a million books to choose from to work on next. Be careful though magpie, you can very easily turn into an eternal procrastinator. Speed Demon You write fast and furiously. As soon as you sit in your chair, you know you won\'t leave until all the words in your head are on the page. But it can be exhausting. You may feel depleted at the end of the day, but that’s fine, as you will take the down days in between writing days to find inspiration and fill that creative well again ready for your next writing sprint. You may need to learn to embrace the lulls as well as the sprints to make the most of this writing personality. NaNoWriMo-er You love nothing more than a deadline, and a cheerleading squad behind you gives you the push to get through the slow days. That\'s why NaNoWriMo is perfect for you. The constant accountability means you can’t procrastinate. You know that writing an entire novel in a month will mean a very dirty first draft, but you also know you will have something to edit at the end of the month and embrace that. One Hit Wonder You\'ve written a book that means the world to you. This book is destined to be your bestseller and you\'re not prepared to accept anything less than your very best work. You work, and rework that book because you know you will see perfection on the page when it\'s finally finished. You won\'t hear the constant chatter of ‘move on’ because you know your end goal and that is all that matters. But be careful, because no book is ever truly finished, and if you can write one good book you can create another… so don’t take too long! The Eternal Procrastinator You know you should sit your bum in the chair and write all the words. Every single self-help book you\'ve ever read says you “can’t edit an empty page”. No matter how many times you shout at yourself to sit down and write the damn book,the doom scrolling on Twitter is just too tempting. Doing short bursts of writing, often with an accountability buddy, may help you get out of the eternal cycle of procrastination. The eternal procrastinator has a tendency to slip into the Magpie category too – so be careful, because all that glitters isn\'t gold. The Happy Murderer You love nothing more than ‘killing your babies’, getting a real thrill out of over-writing your first draft and then taking the axe that is the red pen and cutting out thousands of words at a time. You know you may lose a character or a whole scene, but that’s the thrill. Seeing all the words on the page and then cutting them down to only those that are necessary gives you a buzz. You\'re the writer that prefers to edit. Life is tough, and so is writing, so you spare no feelings and are ruthless with your work. After all, if you want a perfect book, you have to be discerning with what you put on the page, right? Multitasker Why work on one book when you can work on two, or three? Life is too short to focus on one story at a time and you have many to tell. You’re only happy when you\'re editing one book, polishing another and plotting a new one, all at the same time as writing a first draft. You have no issue hopping between worlds to keep things fresh. but beware, you may exhaust yourself easily or become too distracted to finish any project in a timely manner. Secret Keeper/Dark Horse No one knows you are writing the next best-seller. You work away silently in the shadows hoping to emerge with a beautifully polished novel and surprise everyone with your \'overnight\' book deal. You don’t need or want the opinions of others. You know what you want to write and you don’t want to muddy your mind with other people\'s thoughts. Also, no one knowing about your secret project means there are no expectations, no time constraints, and no deadlines. You\'re entirely self-motivated. Just remember that the story you\'re writing for yourself will only ever live if you do eventually share it… so don\'t bottle it up once the time is right. All Writers Are Unique Did I convince you? Have you recognised yourself in any of these personality types? Or are you a mix of more than one? As writers we are creatives. As creatives, we buck the trends and rebel against the world to make sense of it using words. There\'s no true way to write a book. No one personality that suits being a writer and no rules that can’t be bent or broken. Instead, use this article as a framework to understand that there are a million ways you can approach writing and none of them are wrong. Writing should, at its core, always be enjoyable. If you\'re finding it a chore, try a different style (write short bursts of poetry or short stories to flex your writing muscles). Challenge yourself! Or, take a look at the different personality types and try a different method. If you\'re a pantser but you’re struggling to just go with the flow, try some planning techniques to break away from the norm - or do some freestyle writing to free your muse. Each book, each piece of writing, and each creator is unique. Embrace that and have fun getting to know the writer inside of you waiting to show the world what you can offer!