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Last updated on Nov 24, 2022

Show, Don't Tell: Tips and Examples of The Golden Rule

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About Martin Cavannagh

Head of Content at Reedsy, Martin has spent over eight years helping writers turn their ambitions into reality. As a voice in the indie publishing space, he has written for a number of outlets and spoken at conferences, including the 2024 Writers Summit at the London Book Fair.

Show, don’t tell is a writing technique in which story and characters are related through sensory details and actions rather than exposition. It fosters a more immersive writing style for the reader, allowing them to “be in the room” with the characters.

In his oft-repeated quoted, Anton Chekhov said , “Don’t tell me the moon is shining. Show me the glint of light on broken glass."

In short: showing illustrates, while telling merely states. Here’s a quick example:

Showing: As his mother switched off the light and left the room, Michael tensed. He huddled under the covers, gripped the sheets, and held his breath as the wind brushed past the curtain.

Telling: Michael was terribly afraid of the dark.

In the “showing” example, rather than merely saying that Michael is afraid of the dark, we’ve put him in a situation where his experience of that fear takes center stage. The reader can deduce the same information they’d get from the “telling” example but in a much more compelling way.

In this post, we'll show you why Show Don't Tell is the most popular "rule" in creative writing and show you how you can add some "showing" skills to your toolkit.

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Drawing the readers in with action

Showing also helps develop characters in a way that isn't just listing their traits . For instance, rather than telling your readers that “Gina was selfish and immature,” you could show this side of her by writing a scene where she whines about how everyone forgot her half-birthday. Or if you have a character who’s extremely determined, show her actually persisting through something — don’t just say “she was persistent.”

When done right, showing draws readers into the narrative with truly immersive description. It contributes to story development but also leaves certain things up to the reader’s interpretation, which is much more interesting than making everything explicit. (Though of course, you can still use language to alter their perception ).

The bottom line: telling might be quicker, and it’s certainly necessary to have some telling in every story (more on that later), but showing should almost always be your prime strategy.

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All right, that’s enough theory for now! Let’s talk about how you can show, not tell, in your own work. Here are five key tips on how to show rather than tell in a story

4 Practical 'Show, Don’t Tell' Tips

Let's start with one of the most important aspects of storytelling...

Tip #1. Create a sense of setting

One of the best ways to show rather than tell is to create a sense of setting. You can do this by writing about how characters perceive and interact with their surroundings, weaving plenty of sensory details and occasional action into the scene. This is a particularly good way to lend immediacy to your story, as the reader should be able to imagine themselves in that very setting. 

Telling: I walked through the forest. It was already Fall and I was getting cold.

Showing: The dry orange leaves crunched under my feet as I pulled the collar up on my coat. 

Tip #2. Use dialogue to show character

In addition to setting, you can also use dialogue to demonstrate story elements beyond the surface conversation. A character’s speech will tell the reader a lot about them , especially when they’re first being introduced.

Do they use long sentences and polysyllabic words or do they prefer short, punchy replies? Are there likely to use slang and call an authority figure “dude” or “fam” or will they address them respectfully as “Mr. So-and-So”?

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Tip #3. If in doubt, always describe action

“Telling” almost always grinds your narrative momentum to a halt . Imagine having to describe the setting every time your characters enter a new space — any pace you had built in your chapter would be destroyed. However, it’s still important to evoke the setting and put your scene in context. And that’s where showing action comes in handy.

Let’s say you start your scene with your character walking through St Mark’s Square in Venice. Instead of describing the pigeons, the tourists and the layout of the space, you can evoke it through action:

He was late. St Mark’s clocktower had struck one and Enzo found himself pushing against the tide of tourists milling towards the cafes lining the Piazza San Marco. A clump of pigeons scattered in front of him.

Through action, you’re able to describe the setting of the scene while also maintaining your story’s forward motion.

Tip #4. Use strong details, but don’t overdo it

Strong, vivid details are crucial to the process of showing. However, that doesn’t mean you should include too many details, especially those that are overly embellished. This kind of excessively ornate language can be just as bad as “telling” language that’s too basic, as it may cause the reader to lose interest in your super-dense prose.

Too much detail: The statue felt rough, its aged facade caked with dust and grime as I weighed it in my hand, observing its jagged curves and Fanta-colored hue.

Just right: It was heavier than it looked. Some of the orange facade crumbled in my hand as I picked it up.

Strike the right balance by alternating between simple and complex sentences and ideas, and different types of sensory detail, so the reader doesn’t get overloaded on one type.

'Show, Don’t Tell' Examples

To break down this technique even further, here are a few additional "show, don't tell" examples of authors showing rather than telling in their writing. If you want to analyze even more examples of this tactic, just crack open the nearest novel! Pretty much every work of fiction involves showing, and observing the tactics of successful authors is one of the best ways to learn for yourself.

Example #1. The Handmaid’s Tale by Margaret Atwood

I once had a garden. I can remember the smell of the turned earth, the plump shapes of bulbs held in the hands, fullness, the dry rustle of seeds through the fingers. Time could pass more swiftly that way. Sometimes the Commander’s Wife has a chair brought out, and just sits in it, in her garden. From a distance it looks like peace.

This passage uses various senses (smell, touch, and sound) to recreate the atmosphere of Offred’s old garden, romanticizing the act of gardening to show that she misses those days. It also connects that peaceful past time to the present day, implying that many people no longer feel at peace, including the Commander’s Wife.

Example #2. It by Stephen King

In this early scene, young Georgie runs after his toy boat as he is unwittingly being lured by a malevolent force.

Now here he was, chasing his boat down the left of Witcham Street. He was running fast but the water was running faster and his boat was pulling ahead. He heard a deepening roar and saw that fifty yards farther down the hill the water in the gutter was cascading into a storm drain that was still open. It was a long dark semi-circle cut into the curbing, and as Georgie watched, a stripped branch, its bark as dark and glistening as sealskin, shot into the storm drain’s maw.

King renders the fast-running rivulets of a rainy day by having Georgie run alongside them, unable to keep up. Then he sees the storm drain, which King aptly calls a “maw” (a spot-on metaphor), and its threat is heightened by the sound of its “deepening roar” and the fact that it swallows an entire branch. Needless to say, poor Georgie’s boat doesn’t stand a chance.

Example #3. Gone Girl by Gillian Flynn

In this scene, a suburban husband awakens to the sound of his wife’s cooking.

My morning breath warmed the pillow, and I changed the subject in my mind. Today was not a day for second-guessing or regret, it was a day for doing. Downstairs, I could hear the return of a long-lost sound: Amy making breakfast. Banging wooden cupboards (rump-thump!), rattling containers of tin and glass (ding-ring!), shuffling and sorting a collection of metal pots and iron pans (ruzz-shuzz!). A culinary orchestra tuning up, clattering vigorously toward the finale.

This passage starts off fairly simple, building up to the grand metaphor of the kitchen noises as a “culinary orchestra.” It’s also noteworthy for its use of onomatopoeia, which is a great tactic for “showing” sound.

However, this passage isn’t just what Nick hears: it’s also what he feels (“my morning breath warmed the pillow”) and thinks (“I changed the subject in my mind”). The intimate description pulls the reader in, and the passage's rhythm (quite literally!) keeps them engaged.

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Example #4. Station Eleven by Emily St. John Mandel

In this passage, Kristen contemplates her loneliness.

She had never entirely let go of the notion that if she reached far enough with her thoughts she might find someone waiting, that if two people were to cast their thoughts outward at the same moment they might somehow meet in the middle.

The theme of loneliness is evoked by with specific details: the character is shown desperately thinking about human connection. Her use of language — “reached far enough,” “cast their thoughts outward” — illustrates how extreme the character’s isolation is. This also ties into the post-apocalyptic novel’s theme of societal breakdown, which naturally results in isolation. Overall, this description gives us a much better idea of the character of Kirsten and the world of the Station Eleven than if Mandel wrote, “She wished that she weren’t so lonely.”

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Example #5. Charlotte’s Web by E.B. White

In this early scene, Fern, the very young daughter of a farmer, learns of a new litter of piglets.

"Where's Papa going with that ax?" said Fern to her mother. "Out to the hoghouse," replied Mrs. Arable. "Some pigs were born last night." "I don't see why he needs an ax," continued Fern, who was only eight. "Well," said her mother, "one of the pigs is a runt. It's very small and weak, and it will never amount to anything. So your father has decided to do away with it." "Do away with it?" shrieked Fern. "You mean kill it? Just because it's smaller than the others?"

From this brief conversation, E.B. White clearly characterizes Fern and sets the plot in motion . After realizing that her father is about to kill a runt pig, Fern steps up to save Wilbur (as she’ll soon christen him), who will become the story's main character. This passage also introduces the themes of empathy toward animals and the prospect of death, which pervades the rest of the book. White could have simply written, “Fern cared a lot about animals,” but from the dialogue, we see it for ourselves — plus we get a sense of how the plot might unfold from here.

Example #6. Oliver Twist by Charles Dickens

In this extract from Dickens's classic, orphan Oliver arrives in London for the first time.

A dirtier or more wretched place he had never seen. The street was very narrow and muddy, and the air was impregnated with filthy odours. There were a good many small shops; but the only stock in trade appeared to be heaps of children, who, even at that time of night, were crawling in and out at the doors, or screaming from the inside. The sole places that seemed to prosper amid the general blight of the place, were the public-houses… Oliver was just considering whether he hadn't better run away, when they reached the bottom of the hill.

Oliver’s initial impression of London hits us like a train: you can almost taste the filthy air and hear the children screaming for yourself. And if the description of London’s extreme depravity wasn’t already evident enough, you can tell from Oliver’s reaction that it must be pretty bad — for context, he’s just walked 30+ miles to reach London, and this is the first thing that’s really fazed him.

Of course, Dickens might have just written, “Oliver reached London. It was dirty and crowded.” But while this more or less summarizes the above passage, it completely loses the visceral sense of setting and Oliver’s feelings toward that setting. Without these details, the description would be totally generic.

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Example #7. Fahrenheit 451 by Ray Bradbury

In this scene, Montag, a “fireman” tasked with destroying books, hears his boss’s voice in his head, describing the burning of pages.

He could hear Beatty's voice. “Sit down, Montag. Watch. Delicately, like the petals of a flower. Light the first page, light the second page. Each becomes a black butterfly. Beautiful, eh? Light the third page from the second and so on, chainsmoking, chapter by chapter, all the silly things the words mean, all the false promises, all the second-hand notions and time-worn philosophies.”

This excellent use of metaphor (taken from our list of 97 examples from literature and pop culture ) compares the pages of burnt books to “black butterflies”: an eerie image that, fittingly enough, burns itself into our brains. Though no book-burning actually occurs at this moment (Montag is merely imagining it), the reader can still vividly see what it would look like. We shudder at the contrast between the innocent, petal-like pages and the monstrous, destructive fire. Indeed, this is the pinnacle of showing — it really drives home how powerful figurative language can be.

Example #8. White Teeth by Zadie Smith

Archie scrabbling up the stairs, as usual cursing and blinding, wilting under the weight of boxes that Clara could carry two, three at a time without effort; Clara taking a break, squinting in the warm May sunshine, trying to get her bearings. She peeled down to a little purple vest and leaned against her front gate. What kind of a place was this? That was the thing, you see, you couldn’t be sure.

The stream-of-consciousness style here evokes the rushed chaos of moving house. Also, the juxtaposed descriptions of Archie and Clara (him “ scrabbling, cursing, blinding, and wilting ” while she calmly assesses the situation) show how different they are — a disparity that will only grow over the course of the book.

"Telling" is sometimes a better option

Of course, sometimes you have no choice but to do some “telling” in a story. Yes, it’s a narrative shortcut, but sometimes shortcuts are necessary — especially when explaining something quickly, with no fanfare or immersive evocation for readers. Writers often “tell” at the beginning of a story to convey essential information or after a “big reveal” where certain details must be clearly stated. The important thing is balance; as long as you don’t have too much telling or showing, you should be fine.

Finally, remember that there are no hard-and-fast rules for writing. If you’re worried that you’re telling too much and not showing enough, but your writing still flows well and engages readers, don’t feel obligated to change it! And as Jim Thomas says in the video above: “In the arts, rules are more like friendly suggestions. This is especially useful to remember when you’re creating your first or second draft — you’re going to ‘tell’ and that’s okay. You’re still figuring out what your story is about.”

So whether you’re more inclined to show or to tell, just know that with practice, you’ll find the exact style that works for you. And when that happens, you’ll show everyone (sorry, we couldn’t resist!) what you’re made of as a writer.

9 responses

Diane Young says:

05/06/2018 – 21:27

Jim's talk was excellent. I tried to absorb every word he said, but in spots I had to back up the video to listen again for the concept of what he was putting across. The two takeaways that I really GOT were that you can "tell" in the early drafts, scribbled notes or an outline just to get it all down, but then come back later to rewrite and "show" what you told before. The second point that lit up for me is that the reader should start to have their own version of the story. It's all getting clearer in my mind!

Serena Graham says:

29/03/2020 – 22:09

How would you say this show not tell? The garden is beautiful. It was an exciting day. The cake was delicious.

↪️ Martin Cavannagh replied:

31/03/2020 – 14:43

The flowers were in full bloom, their blue and yellow petals bringing the garden to life. The boys could barely contain their excitement, clambering over each other for a peek out the window. Frosting dripped from Kate's lips as each layer of chocolate sponege seemed to melt on her tongue.

↪️ Jasbina Sekhon-Misir replied:

18/06/2020 – 22:45

what do you think makes a garden beautiful?If I asked you what about it was beautiful, what would you say?The peony's blossoms greeted us as we walked towards the wooden garden gate. The herbaceous scent washed over me and the petals looked like painted raw silk. I ran my finger tips over the different shades of pink and white. I never thought cottage gardens could be so lush. Lilacs beaconed me deeper in and I saw an ancient rose bush against the grey stone wall. Carefully tended it was an explosion of roses. There was no escape. I am not the best, but just clearly describe what you are seeing that makes it beautiful as a sense experience.

Britney Whatt says:

27/05/2020 – 12:42

I struggle to show a lot. For example, how could you show a enchanting castle that belongs to a Goddess? How do you also show that there's been a shift in the aura of the place? A place where the air was warm and friendly suddenly changed to be sinister and chilling. I just need a few phrases to show an enchanting world

18/06/2020 – 22:49

What do you think the castle is made of? The castle was an icicle of white marble, glass and clear quartz. Ghostly bleached wood veined its way through the architecture, pushing the slender building higher like finger pointing towards the heavens.I was scared by something so delicate being so large, so high. Everything about it seemed like an afront to what was natural... or even possible.

↪️ ella replied:

31/07/2020 – 03:56

The place, which Johna could sense used to be glorious, was now dimmed, it seemed, casting an aura of forgottenness and something more sinister...

01/08/2020 – 15:48

Modern writing tends to be so very bad that I simply can't read it any more. It is all the same ubiquitous dull style, yet the authors have often studied 'creative writing'. It's a huge problem for me. The overly simplistic shorter sentences and the banal conversations have replaced the controlled impeccable sentences and well placed and relatively rare conversation. Even ten years ago the writing was so much better. Today's themes are all the same as each other and books marketed on the basis that they resemble another author, with covers that make you think the same. Authors get published when they have nothing much to say and then do that very badly. It's very tedious. I used to hear that the novel was dead when I was at university and I disagreed. Now I couldn't agree more. Shut the lid on the coffin and bang in those nails some one. Save us from all those people who think they have a novel wanting to get out. Really? You probably don't.I wish people would not stop others from writing in ways that that are more natural to them, it kills off creativity. Look at the other comments here - they all want to write in the 'correct' way. Please people if you must write, then be innovative and be free to express yourselves the way you want. With regard to show and tell, the oft trotted out phrase that limits people rather than helps them; sometimes show and sometimes tell. No one person gets to tell writers what they should do, not even Chekhov. You do you. It certainly doesn't seem to have improved writing when everyone is obsessed with doing it.

↪️ Harrumphrey replied:

18/08/2020 – 19:44

Agreed 100%. How many of these self-professed writing gurus who know all the "correct rules" have ever written a single piece of fiction worth reading? Very few, I'd guess. I can only imagine what most of great literature would look if these over-zealous editors got their hands on it. "Show, don't tell" -- really? So narrative paraphrase and summary aren't viable techniques? Hmm, that red-inks just about everything written since the epic of Gilgamesh. Idiotic bad advice producing more bad writers who in turn produce more worthless books.

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“Show, don’t tell” is one of the simplest guidelines in creative writing, and one of the most helpful. In short, it encourages writers to transmit experiences to the reader, rather than just information .

“Show, don’t tell” encourages writers to transmit experiences to the reader, rather than just information.

“Show, don’t tell” is not just a suggestion for creative writers; it’s at the heart of what defines creative writing itself. In this article, we’ll explore what “show, don’t tell” means and how understanding it can help us as writers, and we’ll give you lots of exercises you can experiment with to properly balance “show” and “tell” in your own work. Let’s dive into this essential topic in the craft of writing.

What is “Show, Don’t Tell” Writing?

Rather than asserting something for the reader to  accept , “Show, don’t tell” writing transmits something for the reader to  experience .

What does “Show, don’t tell” mean? At its root, it means that rather than asserting something for the reader to  accept , your writing transmits something for the reader to  experience . The writer accomplishes this through a mix of vivid imagery, descriptive verbs, and immersive details.

To see what this means in practice, let’s look at a couple of “show, don’t tell” examples:

Do you see the difference? The first text doesn’t invoke a very specific experience, and it doesn’t feel like all that much. It’s just information. “Huh, I guess it was terrifying. All right.”

Conversely, the second example invokes a specific experience: it actually lets you visualize some sort of shambling spike demon drawing closer to you. It doesn’t just talk about scariness in the abstract—it is scary, at least a little bit. As the reader, you can imagine how the main character might have felt, using your own ability to imagine and feel.

Here’s another example, this time of a single “Tell, don’t show” sentence and lots of “Show, don’t tell” examples:

Show, don’t tell:

• He shivered and pulled up his flannel scarf.
• He ducked his head against the bitter December air.
• The wind wicked heat from his exposed skin.
• “Beauty is pain,” he said, wincing as the cryogenic gunk touched his warts.
• The cashier’s glare froze his innards.

Each example expresses very different emotions, settings , and conflicts —all within one sentence! By using “Show, don’t tell,” these sentences impart what kind of cold the man felt: was it a chill of temperature, of emotions, or of surgery? Is it a necessary chill, or a frightfully apathetic frigidness? Can we relate this cold to our own personal experiences?

“Show, don’t tell” writing is all about creating “doorways” for the reader: “ways in” that let the reader live in and directly experience the world of the writing.

So “Show, don’t tell” writing is all about creating “doorways” for the reader: “ways in” that let the reader live in and directly experience the world of the writing.

Why “Show, Don’t Tell” Writing Empowers the Reader

When it’s done properly, creative writing creates experiences in the reader. It brings up images in the mind, emotions in the body, sense perceptions, memories—you name it.

Readers bring the writing to life, by experiencing in their own way what the writer is working to transmit. The writer gives readers a world made of language—sets of happenings, images, meanings, associations—and the readers’ own experience of the writing depends on how their minds and bodies light up in response.

“Show, don’t tell” writing gives the reader a job that goes far beyond simply “understand” or “agree.”

In other words, “Show, don’t tell” writing gives the reader an experiential and interpretive job that goes far beyond simply “understand” or “agree.” Readers are always meeting writers halfway.

That freedom of interpretation—passing the human experience back and forth, and feeling it together, but each in our own individual ways—is the beating heart of creative writing.

Why “Show, Don’t Tell” Separates Creative Writing from Other Types of Writing

Most writing in English does  not follow the “Show, don’t tell” guideline (including this article).

Most writing in English does  not follow the “Show, don’t tell” guideline. For example, this article exists mainly to tell you something as clearly as possible, for you to consider and perhaps incorporate moving forward. Most professions require this type of direct, declarative writing: statements that describe, educate, explain, and argue.

Creative writers have a far different goal. They more transcribe human experiences than describe them—always working to provide readers with doorways to enter the world of the writing directly. Where most writing is declarative, creative writing is exploratory, world building, and inventive.

Where most writing is declarative, creative writing is exploratory, world building, and inventive.

If lawyers were creative writers, they wouldn’t say, “My client is innocent. She has an alibi.” They’d say, “My client spent her evening like usual: chopping peppers and garlic over sizzling oil, popping one-too-many candied mints as she watched the 7 o’clock news, and thinking about the legitimacy of nation-states as she read Foucault in the bathtub.”

Of course, lawyers don’t talk like this. Why are we getting this deep into the human experience? We have a job to do. Besides, creative writing requires practice and deep thought. In fact, it took me 12 minutes just to come up with a backstory for this nameless, alibi-ed character.

Far more than most types of writing, creative writing invites the reader into an immersive world of experience.

“Show, don’t tell” can have a home in many writing styles that aren’t always thought of as creative writing, such as in journalism. But for the most part, creative writing works differently from other types of writing, and has remarkably different aims, because it is so strongly oriented toward inviting the reader into an immersive world and experience.

Should I Use “Show, Don’t Tell” Writing All the Time?

Nobody uses “Show, don’t tell writing” all the time, because some pieces of information are better off summarized.

Absolutely not. Nobody uses “Show, don’t tell writing” all the time in creative writing, because some pieces of information are better off summarized. Plus, lots of writing includes dialogue , and some people only talk using tell, don’t show language. Finally, readers need a break—they can’t be visualizing tons of images all the time, otherwise they’ll be exhausted quickly. A healthy balance of both is key.

To make this point, let’s look at an example of too much “Show, don’t tell,” and a more balanced example:

In the first example, we’re slowing readers down by describing things that probably aren’t worth their deep engagement. Those pieces are best left to “Tell, don’t show” writing, which is quick, summaristic, and simple, and which is the quickest way from cause to effect. So understand what’s less important and  tell the reader about that, so you get get to showing them what is richest and most alive.

Understand what’s less important and  tell the reader about that, so you get get to showing them what is richest and most alive.

In this vein, times when summaristic, “tell, don’t show” writing may be preferable include:

• Describing certain minor characters.
• Glossing over periods of time that are uneventful or unimportant.
• Transitioning between scenes.
• Writing memos, notes, dialogue, or other declarative media.
• Intentionally building a contrast with more evocative writing.

To summarize: “showing” language helps spotlight the most important details. You will find this type of writing much more frequently in scenes versus summaries .

How to Balance “Show” and “Tell” in Your Writing

Getting this balance right requires three things: curiosity, craft, and confidence.

Getting the balance of “show” and “tell” right requires three things:

In the sections below, we’ll go through these three elements one-by-one, giving you lots of tools and exercises to practice incorporating “Show, don’t tell” into your writing.

For CNF writers who want to learn more on this balance, check out our workshop Show and Tell: How to Create Captivating Nonfiction .

1. The Role of Curiosity in “Show, Don’t Tell” Writing

Many of us are unpracticed in the kind of exploratory, empathetic thinking that “Show, don’t tell” thrives on. (This is in part because most Western education systems do not   foster a strong sense of creativity in students.) The good news is, we can practice! And it will make our writing much richer and more compelling.

As an example, let’s say I’m writing a story about a romantic couple performing an art heist. (Random, I know. I just finished reading The Goldfinch by Donna Tartt, so if you’ve read it, you’ll understand where my head is at.)

The curious writer sees endless doorways for exploration, and lets that curiosity guide which details to focus on.

The curious writer sees endless doorways for exploration here, and will let that curiosity guide which details to focus on. The writer might be drawn to describing for the reader:

• Details of the museum’s layout and security systems, and the intricacies of the heist in overcoming these challenges.
• The fine brushstrokes of the targeted painting; the patina of history built up along its weathered frame.
• The protagonist’s shaky laugh when the sensors won’t turn off as planned.
• The moment of pure, unrestrained joy the robbers share as they unwrap the stolen painting in the moonlight.
• The small social cues that clue in on the robbers’ crumbling relationship.
• The detective and his task force’s process for investigating the heist.

With “Show, don’t tell” writing, we can let our curiosity guide us through each of these doorways into the story. But if we just want to get to some payoff (“the couple executed a brilliant art heist, but the one thing they couldn’t unlock was loyalty”), then we might miss all the details that make the story worth savoring—because of a lack of curiosity about those details.

These next exercises are sure to spark your curiosity.

6 Curiosity Exercises for Show, Don’t Tell Writing

These exercises are about noticing experiences beyond their surface, summary details.

1. Try freewriting for five minutes: just write continually in a stream of consciousness, continually, without pausing, editing, or revising. This is good for moving from “pre-processed” summary and interpretation and toward accessing more immediate parts of your experience.

2. Describe one of your characters using only the five senses. Don’t name the senses themselves, and try to use specific details, or even using similes and metaphors . Instead of saying “he has green eyes,” say “his eyes are like primeval forests.”

3. Remember a unique experience that will never be replicated. Something like your first love, a serious accident, a moment of intense feeling. What makes that experience unique? How can you convey that uniqueness through the five senses? What immediate experiences—thoughts, sense perceptions, feelings—stood out? Share these things in a few sentences or paragraphs.

4. Imagine yourself somewhere entirely new: in a medieval farming village, in a darkened robotics plant after midnight, you name it. What does this experience feel like in detail ? Write what you perceive with your senses, emotions, and mind. Feel free to incorporate research if you’d like to get a better sense of this new environment.

5. Pick a random stanza or paragraph from something you’ve written. Now, try rewriting those lines as if they were told from another person’s point of view. What if the narrator was:

• of a different sex.
• colorblind.
• twice the original narrator’s age.
• a used car salesman.
• hyped up on caffeine.
• your best friend.
• omniscient.
• your favorite animal.
• your nemesis .

Pick at least 3 of the points of view above, and rewrite from them. In each case, how does the differentness of the point of view organically change the writing, without you needing to say so directly?

6. Read like a writer . Research for and read a book with characters and a setting you’re unfamiliar with. As you’re reading, pay attention to what makes this book’s subject interesting: how does the writer pull you into a different perspective and experience of the world, and show you things you wouldn’t have expected? Pay attention, then look for ways to emulate that curiosity in your own work.

2. The Role of Craft in “Show, Don’t Tell” Writing

“Show, don’t tell” is built on the craft fundamentals of good creative writing. These fundamentals help us write clearly and vividly in any genre.

Beyond these fundamentals, in creative writing in particular, engaging with literary devices is a crucial element of craft. It is these literary devices that let you show things like moods , patterns, associations, and multiple meanings.

Literary devices let you show the reader things like moods, patterns, associations, and multiple meanings.

We know Edgar Allan Poe’s writing was gloomy and claustrophobic, and often spoke to the parts of our experience that are tinged with madness and decay. Did he ever tell us this directly? No: it’s in the literary devices he used to establish mood and various kinds of associations and meanings in us as readers. He was able to show us something of his inner world—without ever needing to tell us about it—thanks to his own abilities in writing craft.

The below exercises will enrich your abilities as a craftsperson.

7 Craft Exercises for Show, Don’t Tell Writing

These exercises are about honing your ability to create doorways for the reader, using expressive writing and literary devices .

1. Figurative language shows the reader a web of associations: how seemingly different things sometimes resonate with one another in experience. “The emergency blanket crinkled like a bag of chips” uses simile to convey a sensory experience, for example; or “joy is a lemon-yellow dress” conveys a felt sense of exuberance shared by bright clothes and happy emotions. In a few sentences or a short poem, use metaphor or simile to share the likeness of two things.

2. Write a poem or short story without using adjectives or adverbs. (So, not “he was tall,” since tall is an adjective, but “he towered over us.”) Describe things using only nouns, verbs, and literary devices.

3. Write a short story or poem that conveys a feeling—like anticipation, contentment, or guilt—without ever mentioning the feeling directly. How can you share that feeling as an atmosphere for the reader, in language that is about something else on the surface?

4. Find a literary device you’ve never heard of at https://literarydevices.net/ . Then, write 10 different, original “show, don’t tell” examples that use this device. (Try to do this even for devices that aren’t relevant to your genre. For example, a fiction writer doesn’t need to worry about end-stopped lines, but try them out!)

5. Transcribe a short passage from a podcast or talk show. Use that as the dialogue in a short story; fill in your own descriptions of the speakers’ body language and the scene around them to advance the story and establish a mood.

6. Write your next story in the style of a certain author. Hemingway, for example, was known for writing that was brisk and straightforward, with no excess. The Brontë Sisters, by contrast, are known for their sprawling sentences, lengthy passages, and slow, emotional writing. Pick a style to emulate, then write your next piece in that style. Take note of what craft elements and figurative devices you replicate.

7. Use a certain form. Poetic forms , like the sonnet or the villanelle , force you to use the writing craft. For prose writers, “form” refers to length—flash fiction versus vignette versus novella—and it refers to genres—romance, thriller, mystery , prose poetry , fantasy lyric essay , etc. Challenge yourself to fit different constraints; you’ll need the tools of the writing craft to succeed.

For more exercises on show, don’t tell writing, as well as imagery in general, take a look at our article Imagery Definition: 5+ Types of Imagery in Literature .

3. The Role of Confidence in “Show, Don’t Tell” Writing

Writing requires trust. If we as writers want to be heard and understood, we need to be willing to trust our future readers, and ourselves.

Confidence in Your Readers

When we put our writing into the world, we lose all control of how it’s going to be read. For many writers, this is terrifying.

When we put our writing into the world, we lose all control of how it’s going to be read. The ink has dried, the words are printed, and readers are left to decide for themselves if the story or poem is worth reading. This, for many writers, is terrifying.

And why wouldn’t we be terrified? When we write, we bury small pieces of our hearts in the words like squirrels storing seeds for the winter. Publishing that writing is like giving a stranger the map to those seeds, those heart-fragments, and then finding the next week that they’ve already been re-arranged.

Trust comes in in allowing your readers to interpret your work, and having confidence that their experience will be rich and meaningful.

Trust comes in in allowing your readers to interpret your work, and having confidence that their experience will be rich and meaningful—even if it’s not exactly as you would have dictated.

Why Telling Readers What to Experience Isn’t the Answer

If we approach our writing hesitantly because we can’t control how the reader will experience the work, we might respond by erasing any semblance of ambiguity in our work. In doing so, we end up telling the reader what to experience, instead of showing them our worlds and letting them experience those worlds for themselves.

“Show, don’t tell” always results in ambiguity. If we forego that ambiguity, we also forego the craft of storytelling.

“Show, don’t tell” always results in ambiguity, because readers have to experience the story for themselves, in their own ways. If we forego that ambiguity, we also forego the craft of storytelling .

“But I Want Everyone to Understand that…”

Many of us write because we want to inform, persuade, excite, entertain, or challenge our readers. Shouldn’t I focus on transmitting what I already know—the inalienable truths I’ve uncovered in my life, the things I wish more people understood?

Certainly, those discoveries should enter the mix of ideas in your work. However, if you’re not trying to grow from the writing process, then you’re not really embracing the humanistic nature of creative writing in particular.

It comes down to what kind of writing you want to do: didactic writing, or creative writing.

It comes down to what kind of writing you want to do: didactic writing (like this article), or creative writing. Creative writing is about shared human experiences. Our job, as creative writers, is to create the doorways that help our readers connect with the stories we tell. If that doesn’t interest you, that’s okay! You can spread your ideas some other way, from works of philosophy to training materials to blog articles like this one.

Leo Tolstoy is an example of an author who mixed expressive and didactic writing—and of the challenges in doing so. War and Peace contains long didactic passages about how human history works. These tracts of philosophy are almost completely forgotten; War and Peace has even sometimes been reprinted without them. And yet War and Peace ‘s story lives on as a classic for what it shows us about the human condition, far above what Tolstoy was able to tell us about how to understand everything.

All kinds of writing are valuable. Just be clear your intention, before you tell a story that is accidentally a philosophy lecture, or vice versa.

Of course, some authors were great philosophers but unsuccessful playwrights. Just be clear your intention, before you tell a story that is accidentally a philosophy lecture, or vice versa.

Confidence in Yourself

The worlds you have to show your readers are worth experiencing.

This boils down to believing that the worlds you have to show your readers are worth experiencing. And they are. However complete or incomplete you feel as a writer at present, you can share your stories, and the world will be richer for your doing so.

Feeling this sense of permission is so crucial to “Show, don’t tell” writing, because creation is such an intimate act. It can be easier to bail on the whole thing and start telling us what you think about things—much safer-seeming. But it doesn’t let us experience the world you want to create.

Accepting the Goodwill of the Reader

Readers want to read! Being a writer is not an imposition.

One thing that may help find confidence in yourself as a writer: remember that readers want to read! They want new experiences, ideas, and writing styles to excite them. This goodwill extends to the suspension of disbelief , and in a search for the merits of your work.

So being a writer is not an imposition. You’re offering into a win-win situation: both the writer and the reader benefit by the creation of literature.

Now, not everyone will “get” your work. That’s because the human experience is so vast. There is no writer in the world who appeals to every person. And you’ll never stop growing, as long as you keep writing.

So what are you waiting for? Show us your world!

Closing Thoughts on “Show, Don’t Tell”

We’ve covered a lot in this article, because “Show, don’t tell” is a deceptively big topic. We hope the “show don’t tell” examples, discussion, and exercises here form a truly helpful resource as you embark on your writing journey.

If you’ve been wondering how to move forward as a writer, you’ve found the right place to learn. Between this article and our many amazing writing courses, you can absolutely take the next step in your writing. See for yourself: take a look at our upcoming courses today!

Sean Glatch

13 comments.

This is excellent.

I experienced this entire article. Thank you for sharing such helpful tips!

I’m happy to hear this resonated with you! Best of luck on your writing journey x

you have just given an excellent blueprint on how to tackle the beast called writing

I’m so happy this helped you. Best of luck tackling the beast!

[…] “Why ‘Show, Don’t Tell’ is a Golden Rule of Creative Writing” (writers.com… […]

Wow! This was so helpful. I am in writing workshop right now for Poetry.. Finding this article, give me so much grist for the mill . Now I have to revise my poem. Thank you.

Thank you so much for this really helpful writing guide.

Our pleasure—we’re glad you found it helpful!

Thank you for this. Very helpful information.

Excellent. I have been applying such writing skills in classes and find it so useful for our students.

Very helpful. Hard to achieve the right balance!

it’s excellent

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Writer’s Toolbox

Tips from the masters.

You will find pearls of writing wisdom in these pithy lists by masters of their craft.

Kurt Vonnegut: 8 Basics of Creative Writing

Kurt Vonnegut created some of the most outrageously memorable novels of our time, such as Cat's Cradle , Breakfast Of Champions , and Slaughterhouse Five . His work is a mesh of contradictions: both science fiction and literary, dark and funny, classic and counter-culture, warm-blooded and very cool. And it's all completely unique.

With his customary wisdom and wit, Vonnegut put forth 8 basics of what he calls Creative Writing 101:

• Use the time of a total stranger in such a way that he or she will not feel the time was wasted.
• Give the reader at least one character he or she can root for.
• Every character should want something, even if it is only a glass of water.
• Every sentence must do one of two things—reveal character or advance the action.
• Start as close to the end as possible.
• Be a sadist. No matter how sweet and innocent your leading characters, make awful things happen to them—in order that the reader may see what they are made of.
• Write to please just one person. If you open a window and make love to the world, so to speak, your story will get pneumonia.
• Give your readers as much information as possible as soon as possible. To heck with suspense. Readers should have such complete understanding of what is going on, where and why, that they could finish the story themselves, should cockroaches eat the last few pages.

The greatest American short story writer of my generation was Flannery O'Connor (1925-1964). She broke practically every one of my rules but the first. Great writers tend to do that.

From the preface to Vonnegut's short story collection Bagombo Snuff Box.

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Elements of Creative Writing

(3 reviews)

J.D. Schraffenberger, University of Northern Iowa

Rachel Morgan, University of Northern Iowa

Grant Tracey, University of Northern Iowa

Copyright Year: 2023

ISBN 13: 9780915996179

Publisher: University of Northern Iowa

Language: English

Formats Available

Conditions of use.

Learn more about reviews.

Reviewed by Colin Rafferty, Professor, University of Mary Washington on 8/2/24

Fantastically thorough. By using three different authors, one for each genre of creative writing, the textbook allows for a wider diversity of thought and theory on writing as a whole, while still providing a solid grounding in the basics of each... read more

Comprehensiveness rating: 5 see less

Fantastically thorough. By using three different authors, one for each genre of creative writing, the textbook allows for a wider diversity of thought and theory on writing as a whole, while still providing a solid grounding in the basics of each genre. The included links to referred texts also builds in an automatic, OER-based anthology for students. Terms are not only defined clearly, but also their utility is explained--here's what assonance can actually do in a poem, rather than simply "it's repeated vowel sounds,"

Content Accuracy rating: 5

Calling the content "accurate" requires a suspension of the notion that art and writing aren't subjective; instead, it might be more useful to judge the content on the potential usefulness to students, in which case it' s quite accurate. Reading this, I often found myself nodding in agreement with the authors' suggestions for considering published work and discussing workshop material, and their prompts for generating creative writing feel full of potential. It's as error-free, if not more so, than most OER textbooks (which is to say: a few typos here and there) and a surprising number of trade publications. It's not unbiased, per se--after all, these are literary magazine editors writing the textbook and often explaining what it is about a given piece of writing that they find (or do not find) engaging and admirable--but unbiased isn't necessarily a quantity one looks for in creative writing textbooks.

Relevance/Longevity rating: 4

The thing about creative writing is that they keep making more of it, so eventually the anthology elements of this textbook will be less "look what's getting published these days" and more "look what was getting published back then," but the structure of the textbook should allow for substitution and replacement (that said, if UNI pulls funding for NAR, as too many universities are doing these days, then the bigger concern is about the archive vanishing). The more rhetorical elements of the textbook are solid, and should be useful to students and faculty for a long time.

Clarity rating: 5

Very clear, straightforward prose, and perhaps more importantly, there's a sense of each author that emerges in each section, demonstrating to students that writing, especially creative writing, comes from a person. As noted above, any technical jargon is not only explained, but also discussed, meaning that how and why one might use any particular literary technique are emphasized over simply rote memorization of terms.

Consistency rating: 4

It's consistent within each section, but the voice and approach change with each genre. This is a strength, not a weakness, and allows the textbook to avoid the one-size-fits-all approach of single-author creative writing textbooks. There are different "try this" exercises for each genre that strike me as calibrated to impress the facets of that particular genre on the student.

Modularity rating: 5

The three-part structure of the book allows teachers to start wherever they like, genre-wise. While the internal structure of each section does build upon and refer back to earlier chapters, that seems more like an advantage than a disadvantage. Honestly, there's probably enough flexibility built into the textbook that even the callbacks could be glossed over quickly enough in the classroom.

Organization/Structure/Flow rating: 5

Chapters within each genre section build upon each other, starting with basics and developing the complexity and different elements of that genre. The textbook's overall organization allows some flexibility in terms of starting with fiction, poetry, or nonfiction.

Interface rating: 4

Easy to navigate. I particularly like the way that links for the anthology work in the nonfiction section (clearly appearing at the side of the text in addition to within it) and would like to see that consistently applied throughout.

Grammatical Errors rating: 5

A few typos here and there, but you know what else generally has a few typos here and there? Expensive physical textbooks.

Cultural Relevance rating: 5

The anthology covers a diverse array of authors and cultural identities, and the textbook authors are not only conscious of their importance but also discuss how those identities affect decisions that the authors might have made, even on a formal level. If you find an underrepresented group missing, it should be easy enough to supplement this textbook with a poem/essay/story.

Very excited to use this in my Intro to CW classes--unlike other OERs that I've used for the field, this one feels like it could compete with the physical textbooks head-to-head. Other textbooks have felt more like a trade-off between content and cost.

Reviewed by Jeanne Cosmos, Adjunct Faculty, Massachusetts Bay Community College on 7/7/24

Direct language and concrete examples & Case Studies. read more

Direct language and concrete examples & Case Studies.

References to literature and writers- on track.

Relevance/Longevity rating: 5

On point for support to assist writers and creative process.

Direct language and easy to read.

First person to third person. Too informal in many areas of the text.

Units are readily accessible.

Process of creative writing and prompts- scaffold areas of learning for students.

Interface rating: 5

No issues found.

The book is accurate in this regard.

Cultural Relevance rating: 4

Always could be revised and better.

Yes. Textbook font is not academic and spacing - also not academic. A bit too primary. Suggest- Times New Roman 12- point font & a space plus - Some of the language and examples too informal and the tone of lst person would be more effective if - direct and not so 'chummy' as author references his personal recollections. Not effective.

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

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

Comprehensiveness rating: 4 see less

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

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

The book is relevant and up-to-date.

The text is clear and easy to understand.

Consistency rating: 5

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

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

Topics are presented in logical, clear fashion.

Navigation is good.

No grammatical issues that I could see.

Cultural Relevance rating: 3

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

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

Table of Contents

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

Creative Nonfiction

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

Back Matter

• Contributors
• North American Review Staff

Ancillary Material

• University of Northern Iowa

About the Book

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

About the Contributors

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

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

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

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10 Rules of Creative Writing (in-Depth)

(1) Create a complete narrative: positive culture and negative culture; positive nature and negative nature; positive individual and negative individual. ([of] J.R.R. Tolkien .)

Even The Hobbit will do for this; in fact, I believe The Hobbit to be one of the greatest novels ever written. One of the strong points is the completeness of the narrative. Tolkien refuses to falsely portray nature as purely positive (though it was in his Romanic nature). He knew well to paint a balanced, complete picture of nature: positive and negative. Likewise, he always crafts positives and negatives of culture/society, and of the individual characters, more so the heroes. The Lord of the Rings does the best job of this (though the book is shockingly long). It is a Taoist notion, of course, and relates to the Yin and Yang idea of the balance between Light and Darkness, Good and Evil, Order and Chaos. Notice how there is a small white (Order/Good/Light) dot in the black (Chaos/Evil/Darkness), and vice versa. The pattern is also snake-like, always moving, always requiring attention and balance, and engagement. The world is always made up of both Order and Chaos, Light and Darkness, Good and Evil, in all things. A deeper meaning to this philosophy is that you can always create Order out of the Chaos, or throw Chaos into the Order (or foster Light in the Darkness).

In psychological terms, it relates to the Known vs. the Unknown. At the individual level, Yin speaks to the Jungian Shadow (the Dark Side of one's Self/total personality/subconscious): the negative emotions of hate, anger, resentment, etc., and the darker motivations or sub-personalities; all the parts of you that you wish not know and all the parts you have failed to properly integrate into your personality. A case study of this process is Bilbo Baggins.

J.K. Rowling writes in Harry Potter and the Prisoner of Azkaban : 'Happiness can be found, even in the darkest of times, if one only remembers to turn on the light.'

You must always tell the whole story, always both Yin and Yang, of culture, nature, and individual. Harry Potter is actually a good example of this (Harry himself, yes, but also the entire story). A novel that only tells half the narrative is like a broken, parasitic ideology, leeching on with partial truths. It is persuasive and manipulates your emotions and motivations and desires, but it is false; a lie. For this reason, it won't be nearly as engaging or meaningful, and it won't be nearly as deep. Typically, you will find that the more complete narratives are the most popular and successful for this very reason.

(2) Create a solid meta-narrative for the reader: the deep meanings and themes of, and navigation through, the aforementioned narrative. (General.)

Meta-narrative, in this context, relates to Rule 1; Rule 3; and Rule 4. It speaks to the meaning of the narrative for the reader him or herself: the implications for the reader's psyche and patterns of behaviours, emotions, desires, motivations, and perceptions. It asks, 'How ought I, as the reader, understand this story?' and, 'How does this fictional story relate to my own life?' and, 'What deep truths may I find within the story?' As such, it is strongly linked to theme, tone, characterisation, point of view, and plot.

The meta-narrative is the author's intentional and unintentional desires, philosophies, and messages, with respect to the reader. You may have heard, 'a novel says more about the author than the characters'. This is true. Yet, truer still, is that a novel says more about the reader than even the author. This is due to what Hemingway once described as the 'baggage of the reader' -- what the reader brings to the reading, external to the work... from within him or herself. We are talking about, of course, interpretation of text and the sub-text elements. That is, we do not all read Hemingway the same. It seems that this was largely his aim to begin with: to be open to interpretation.

In theory, then, there would be two types of 'meta-narrative'. The first would be that which the author clearly and directly intended, whereas, the second would be that which you derive from the text, regardless of the author's intentions. This would, therefore, speak to your own intentions. This would be highly dependent upon the individual work and author, and also the reader. That is why I added the adjective solid. This implies that the meta-narrative is actually valid and not merely whimsical and subjective. In Jungian terms, this speaks to the 'collective unconscious' (the parts of our psychology and unconscious minds that we all share in common, as individuals; thus, they are more than merely subjective experiences and realities, given that they are shared by (almost) all humans) and the 'archetype' (universal image, figure, or event). This is our shared mental concepts of the world, not of material objects, but more so of meanings (though humans share many material objects and/or experiences in common, such as trees, death, birth, water, and sunlight). I am sure you know well that these are, therefore, universal concepts and archetypes, such as with sunlight being symbolic of the day (meaning 'the day's journey') and of enlightenment/consciousness, and also that the 'tree of life', which is a universal archetype in all the world's mythologies, religions, and traditions. Tolkien actually uses such archetypes very well. The evil snake/serpent also appears to be a universal archetype since humans co-evolved with snakes for millions of years, and our eyes are actually adapted for seeing snakes (humans are very visual creatures for this reason: snake detection). Half of our brains are dedicated to visual processes. Snakes have been our arch-enemy, as it were, for endless years, with some snakes even evolving massive jaws for biting human skulls. (Some psychologists and other scientists have indicated that the reason the evil serpent is a human universal (archetype) is because of our strong relationship with the snake as we co-evolved together over the ages, with much testing and studies inferring as much. For example, most humans have an innate fear of snakes -- more so, their scent since snakes have a unique smell, which humans don't like.)

This plays a vital role in both the narrative and the meta-narrative. For example, you never read a novel about a happy snake with his human friends, and their adventures of building igloos. That's because it doesn't make any sense. It's not real, it's not truthful, it's not meaningful -- it doesn't tell you how to act, or what the world is like, or how humans fit into it, or what the human condition is like, and why. Novels don't exist merely for the entertainment or enjoyment or creativity, otherwise, you could read a 1,000-page novel about aliens building the Great Pyramids over the course of six years, with no humans in sight. That's just not going to happen. Why would it? What is the narrative even about? Where is the meta-narrative? How could you possibly justify 1,000 pages of meaningless alien-builders? Where is the human connection and relation?

The Lord of the Rings . That's 1,000 pages. Now, that is worth reading, many times; in fact, Peter Jackson noted (in the making-of segment on the DVDs) that Philippa Boyens (co-writer of The Lord of the Rings films) reads The Lord of the Rings once a year, every year. There's meta-narrative for you.

(3) Always steel man the villain(s) -- never straw man. ([of] Dostoevsky.)

Dostoevsky was a genius at steel manning. His villains were always the smart ones, always the eloquent ones. His heroes, on the other hand, were always the small ones, the stupid ones, the inarticulate ones. Instead, his heroes had faith, inner-strength, and solid moral foundations (and better actions/modes of behaviour), though the villain always won the argument, the hero always won the narrative (meta-narrative). The idea here, is not to have the hero easily defeat the straw manned villain through strength and power and greatness, but to let the villain destroy himself by his own hand through his own corrupt ideology and immoral actions; thus, defeating his own argument. This is often archived by having the villain become that which he hates, or clearly disproving his own position through action (that is, acting out said position/philosophy to its logical conclusion). Animal Farm by Orwell is also a good example of this. Orwell made the hero characters weak and without reading abilities -- totally useless. The villains, on the other hand, were intelligent and strong. Instead, you watch the villain (the pig, Napoleon) destroy himself by his own hand. Animal Farm also has a solid meta-narrative, a fairly complete narrative, and is very implicit at times. The key to that is how it steel mans instead of straw mans. A straw man novel portrays the villain as weak and wrong, and the hero as strong and righteous, and has the hero easily defeat the weak villain and his weak arguments, without ever actually contending with the villain or his arguments, without actually presenting them properly, and without actually providing a solid understanding of just how to defeat such a villain. The straw man never proves why the villain is wrong and how to contend with the arguments -- how to defeat his arguments. All the straw man does is show the hero win, typically by force or false argumentation (committing fallacies in order to easily defeat the villain's arguments). That is not good at all. Not truthful and not useful; in fact, all that teaches you is to lie and cheat and enforce in order to win. That is the exact opposite of a steel man and a true narrative/meta-narrative. Ironically, the straw man only ever defeats one person: the hero. Another great example of the steel man is Paradise Lost by Milton, regarding Satan/the Devil.

(4) Make the story implicit, not explicit; the deep meanings ought to shine, not from the surface, but from the depths. (Hemingway's theory of omission/iceberg theory.)

This is another complex one, yet it's of great importance. Of course, it's difficult to explain because it requires that you make the implicit explicit. It's like staring down into a lake and describing what is beneath the water. It's difficult to do because it's difficult to see. This is what helps the story be, as Tolkien calls it, 'applicable' (as opposed to topical). Tolkien once wrote that he hated all things topical and allegorical, though The Hobbit and The Lord of the Rings are both extremely allegorical, it's implicit and unconscious, and never explicitly topical and never forced and ideological. That is the key.

If the words are the explicit, then the meanings of those words are the implicit.

For example, Hemingway believed a writer could describe an action, such as Nick Adams fishing in Big Two-Hearted River , while conveying a different message about the action itself -- Nick Adams concentrating on fishing to the extent that he does not have to think about the unpleasantness of his war experience.

This means the meanings of words, the actions taken by characters, and so forth ought to be implied, as opposed to directly stated and/or shown. Tone, theme, symbolism, and otherwise are ways in which we write implicitly.

Hemingway writes, in Death in the Afternoon : 'If a writer of prose knows enough of what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing.'

(5) [R]ead a lot and write a lot. (Stephen King.)

Stephen King writes (in his book, On Writing ): 'If you want to be a writer, you must do two things above all others: read a lot and write a lot.'

I recall King saying that he read 1-2 books a day, typically the sort of books that he, himself, would write (though they tended to be of lesser quality). Likewise, King makes it a ritual to write 3 hours every single day. This is the only way to improve your writing skills and prose. As for why 1-2 books a day, it's to ensure maximum learning/input. Lest we forget, Nietzsche's assumption was that the reader of Beyond Good and Evil would have a deep knowledge and understanding of the entire history of philosophy, coupled with a fair reading of the world's religions and Darwinism. You have to read deeply, and deep books, in order to read -- and write -- deep works; in fact, my theory would be that it's akin to the iceberg: you only ever show 11% of your knowledge base (or, in the case of fictional writing, you only ever show 11% of the total mythos/crafted world, etc.). Both Nietzsche and Tolkien are yet again great examples of this. That's why you have to read a lot and write a lot. It doesn't have to be all day, and it doesn't matter much if you fall short of the ideal. What matters is that you always improve yourself each day.

(6) [T]he plot, then, is the first principle, and, as it were, the soul of a tragedy; Character holds the second place. (Aristotle.)

Aristotle was the first to truly dissect storytelling, as far as we know. This, in Poetics circa 335 BC. Within the book, he speaks of the six elements of tragedy (in the context of the Greek play): plot; character; thought; diction; melody; and spectacle. I believe this to be a general truth of drama, discovered all those years ago. Though he strongly indicates that plot and character are interlocked to the point of unification, he does mention that, in theory, a work can exist without character, yet not without plot; thus, plot is the first principle.

Note: This is a rule at all since over the last few decades, there has been a radical shift in storytelling, where character, or even setting is falsely placed as the first principle.

(7) The reader is of primary importance, ahead of (a) the writer; (b) the process itself; (c) the content itself; and (d) the writer's (un)intentional messages and/or desires. (Larry McEnerney.)

I saw a lecture on writing by Larry McEnerney, though this was in the context of technical, academic writing, it may apply to creative writing. He was lecturing a group of professors and grad students, if I can recall, and his overall message was that they cared too much for their own words and contents, without proper consideration of the reader and/or outsider, who does not necessarily care about their ideas at all; thus, the writing must be engaging for and geared towards the reader as much as possible.

(8) Show, don't tell. (Chekhov.)

This is often attributed to the great Russian playwrite Anton Chekhov. He wrote, in a letter to his brother: 'In descriptions of Nature one must seize on small details, grouping them so that when the reader closes his eyes he gets a picture. For instance, you’ll have a moonlit night if you write that on the mill dam a piece of glass from a broken bottle glittered like a bright little star, and that the black shadow of a dog or a wolf rolled past like a ball.'

Ernest Hemingway himself was a strong follower of this rule within his iceberg theory of writing. Stephen King also enjoys this rule, as does Chuck Palahniuk (author of the novel, Fight Club ).

However, it applies most of all to scenes and important, dramatic events and moments, as opposed to the entire work. This rule is more so for the people who refuse to show, even dramatic scenes. Orson Scott Card suggests that what happens between scenes can be told so that the story can progress. As such, he believes that 'showing' is so terribly time-consuming that it is to be used only for dramatic scenes. The objective is to find the right balance of 'telling' vs. 'showing', 'summarisation' vs. 'action'. Factors like rhythm, pace, and tone come into play.

(9) [.].. Achieve a concentration and intensity of focus -- a spotlight rather than a stage. (Jeffrey Meyers, regarding Hemingway's style.)

Hemingway, like many greats, started out as a young journalist; in fact, a war journalist for some time (Greco-Turkish War). He was forced to focus his newspaper reports on immediate events, with very little context or interpretation. When he became a writer of short stories, he retained this minimalistic style, focusing on surface elements without explicitly discussing underlying themes. He believes the deeper meaning of a story should not be evidence on the surface, but should shine through implicitly.

He believed fiction could be based on reality, but that if an experience were to be distilled, as he explained, then, 'what he made up was truer than what he remembered'. This speaks to the deeper matter of fiction, which is of the distillation of truth. The more you distill reality, the deeper and truer, and more universal (or 'applicable' as Tolkien called it, or 'archetypal' in Jungian terms) it would become.

Think, a deep novel is itself a distillation of reality, yet told with and understood through a mere page or two. Even 500 pages is short if the work is sufficiently deep, or, even 98 pages can be profoundly deep. On the other hand, I know dozens of extremely long novels (600-1,000 pages) and they are not all that deep. Imagine further, a general truth, a great reality, told over the ages, told over and over again, being distilled and refined each time. How profound and how terse would it be by the time it reached you and me? The answer is, 'unspeakably'. The story of Cain and Abel from Genesis 4:1-18 is a great example. That story is ancient, and one of the deepest stories we have -- indeed, the first known story between two human beings (as opposed to gods and demi-gods, etc.). It's a great Russian epic told in just 43 lines of text. Do you have any idea how many lines of text are found in one of those great Russian novels? -- 15,000.

Therefore, this rule is more a direction to distill reality, truth, or experience (of course, it's also in keeping, primarily, with Rule 8 and Rule 10).

(10) [O]mit needless words. (William Strunk Jr.)

This direction comes from The Elements of Style , maybe the greatest and most popular book on writing (with over 5,000 citations, which is unheard of in the realm of academic citation). It teaches you everything you need to know about writing, though it is within a certain American style of the 1910s and 1920s, it is a great foundation for all English-learners. I use it, myself.

Strunk Jr. writes, in 13. Omit needless words : 'Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts. This requires not that the writer make all his sentences short, or that he avoid all detail and treat his subjects only in outline, but that every word tell.

As positive statement is more concise than negative, and the active voice more concise than the passive, many of the examples given under Rules 11 and 12 illustrate this rule as well.

A common violation of conciseness is the presentation of a single complex idea, step by step, in a series of sentences which might to advantage be combined into one.'

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Neil Gaiman’s 8 Rules of Writing

by Ruthanne Reid | 35 comments

Some of you  may have noticed that the esteemed Mr. Gaiman is my favorite living author. Even if he's not everyone's cup of tea, it's hard not to notice him: books , graphic novels , award after award —the man is prolific and very good at what he does. So when I realized he had eight rules of writing, you better believe I beelined to read them. And guess what? They're fantastic … with a few explanations. Read on for more.

Neil Gaiman's 8 Rules of Writing

Without further ado, here are Mr. Gaiman's eight rules:

Seems like a given, doesn't it? Well, it isn't; many of us  want to write or  think about writing or  plan to write, but don't actually write.

Rule number one to be a writer is to write. Even if you feel you're not ready.

Especially if you feel you're not.

Put one word after another. Find the right word, put it down.

This can be challenging. Sometimes, you can't find the right word until later. However, if we stop to try to find that right word, we often freeze.

Okay,  I freeze. I sit there looking through dictionaries and wikis and thesauruses, trying to find  just the right word . And when I do that, I'm not writing.

Stick with the first half of this rule. Put one word after another—and don't stop.

(Quick tip: need to figure out that word for later? Put it in brackets, like this: “In the middle of this sentence, I could not come up with the [] word that I needed.” Then later on, you can search for the brackets [] and find it.)

Finish what you’re writing. Whatever you have to do to finish it, finish it.

I KNOW how hard this is. When it just isn't  right  yet, we can go a little crazy. Hear me out: it doesn't matter what you have to do to reach that final page.

It's okay if you have to rip it out and fix it later. If there's an ending, it can be fixed.

Put it aside. Read it pretending you’ve never read it before. Show it to friends whose opinion you respect and who like the kind of thing that this is.

This one's actually a bunch of rules, but they're important.

1. Put it aside. If you don't put the thing down for at least two weeks, you won't be able to read what's actually there. Author-brain is an unfortunate malady that forces us to see what we  wish was there, not what  is there.

2. Read it pretending you've never read it before. Essential. Your readers won't have read it before. If something isn't clear to them, you need to fix it.

3. Show it to friends whose opinion you respect and who like the kind of thing that this is. YES! Show it to people who will understand what you're trying to do. This may not be family; this may not be your local group of friends. This WILL be a good writing group, when you find one—folks who know what an unfinished, unpolished story looks like, and because they can see what you're trying to do, can help you get there. (I belong to this writing group , and I love them to death for that reason.)

Remember: when people tell you something’s wrong or doesn’t work for them, they are almost always right. When they tell you exactly what they think is wrong and how to fix it, they are almost always wrong.

This is a hard one to wrap your head around, but very often, it's true.

Your average reader can tell when something is off. They know they didn't connect with that character, or didn't understand that plot point, or had no idea where you were going with that tangent.

Listen to that. If your reader's lost, then something needs elucidation—but you're the writer, and that means you know your piece better than they do. Trust your gut when it comes to fixing the problem; just pay attention when your reader says there's a problem to begin with.

Fix it. Remember that, sooner or later, before it ever reaches perfection, you will have to let it go and move on and start to write the next thing. Perfection is like chasing the horizon. Keep moving.

This goes back to rule one: write . It also goes back to rule three:  finish it . See the theme?

Laugh at your own jokes.

Ever heard, “No tears in the writer, no tears in the reader”? It also applies to laughter.

If you don't think what you're writing is funny, why would anyone else? But it goes deeper than that: writing things that make you laugh isn't just for your reader. It's also for you.

If you're able to laugh at your own jokes, then you haven't fallen out of love with your story. Stay in love. Laugh. It's good for the soul (and whatever you're writing).

The main rule of writing is that if you do it with enough assurance and confidence, you’re allowed to do whatever you like. (That may be a rule for life as well as for writing. But it’s definitely true for writing.) So write your story as it needs to be written. Write it ­honestly, and tell it as best you can. I’m not sure that there are any other rules. Not ones that matter.

That's a mouthful, isn't it? It breaks down nicely, though:

1. Write with confidence.

Sometimes you have to fake that confidence, and that's okay, too. Don't write letting your fears drive.

2. Write it honestly and tell it as best you can.

That means the best you can at that moment in time . You owe no apologies for whatever you create. Sure, you'll write better later; that doesn't make what you did before embarrassing in any way. It was what you had to give at the time.

Just as you (hopefully) wouldn't shame a small child who's still learning their ABCs, you shouldn't shame yourself as you're learning to write.

The Bottom Line

If I were so bold as to sum up Gaiman's eight rules of writing in as many words, it would be this:

Do your best.

It is worth it.

Does your favorite author have “rules of writing?”  Share in the comments .

Pick one of these rules. Set a timer for fifteen minutes , and write, applying that rule with all your might.  When you're done, share your practice in the comments . Don't forget to comment on three other writers' practice, as well!

Ruthanne Reid

Best-Selling author Ruthanne Reid has led a convention panel on world-building, taught courses on plot and character development, and was keynote speaker for The Write Practice 2021 Spring Retreat.

Author of two series with five books and fifty short stories, Ruthanne has lived in her head since childhood, when she wrote her first story about a pony princess and a genocidal snake-kingdom, using up her mom’s red typewriter ribbon.

When she isn’t reading, writing, or reading about writing, Ruthanne enjoys old cartoons with her husband and two cats, and dreams of living on an island beach far, far away.

P.S. Red is still her favorite color.

35 Comments

Hey, ‘Frothy,’ thanks for this — frothy reminds me of my favourite advice from the author Brenda Ueland: “Be careless, reckless! Be a lion, be a pirate, when you write.”

…me hearties!

Haha! Thank you. 🙂 And I like her, too!

Thanks for the introduction to Brenda Ueland, PJ!

Brenda Ueland’s little book, “If You Want to Write,” has lived by my bedside for years. It’s a treasure.

Great to know. A book I will definitely pick up!

A group of warriors gather around a campfire, talking about their latest victory. And how it will be their one more step closer to their goal of unifying this war torn country. Tho their leader make some of them nervous. Like their was a time she recruited a vile man known for underhanded schemes, and backstabbing. But when ever they look at each other, he gave her a bitter glare but she just smiles at him. Some thought it was flirtatious. It wasn’t. It was a mocking grin. Thankfully they don’t have to deal with him and longer, as the last words he said before running into her sword (which just so happens to be raised) “My future is my own! “

Ooh, an exciting tidbit! Which rule did you apply?

The first one. I just write.

This extremely good advice. Excellent! They are burned into my cerebellum.

I agree! I really love these “rules.”

My most discouraging question has been: “Why do you want to write?” It has taken me years to finally be able to tell people, “I’m a writer!” My book is on the way! One last long chapter of my life!

Excellent, Mary! I’m so glad you’re figuring out that answer!

I don’t think I was ever asked that question, but I have found the need to answer it in a world of reader-driven writing. This is especially evidenced by fanfiction communities, or just writing that’s posted on the internet, where I have seen people begging for more, more, MOAR, regardless of whether the author planned or even wants to continue something. For that reason, primarily, I have deemed/discovered/decided that I write because I want to, for myself, not for the readers. Do I love and appreciate any readers I have, and do they encourage me to keep writing? Heck yes, but they’re not my primary reason for writing. If I write because I long for someone to read what I wrote, I might be disappointed. If instead I write because I want to and I like writing and the accomplishment that comes with finishing a piece, I will have satisfaction as a writer regardless of whether people read it. Or even regardless of whether people /like/ it. Because I didn’t give them control over my enjoyment of my writing.

These are easy rules to follow and great advice. I would add read a lot like Stephen King suggests. I agree with PJ down below about Brenda Ueland. She has been my favorite writer from the beginning of my journey to become a writer. She is encouraging and practical. Thank you, Ruthanne for this post. I had not heard of Mr. Gaiman. 🙂

Fantastic references! I love Stephen King’s ON WRITING, too!

Just Excellent !!! (with a capital ‘E’)

I will read ’em over and over again until they are burned into my peon brain!

I’m so glad this helps! I know it helps me.

Having followed rule number 3, I finished the revamped first chapter of a WIP that originally stalled in July. Below is the opening segment.

Alex Tomassini could not focus. He sat in the front row of the large classroom and half paid attention to the lecture on variables. He jotted down the occasional note to avoid drawing suspicion, but as he stole glances out the window to Posey’s Pitch in the distance, his mind turned to numbers of a different sort. The number of minutes left in the class (Seven, though it felt like seventy). The number of feet between him and the pitch. The number of goals he would score this season. The number of times he would imagine himself hoisting that championship trophy. These were the numbers that mattered, not the equations on a textbook page.

Fantastic piece…Thanks a lot Ruthanne…!!! For me…It came at the right time…!!!

It is inspiring. Actually I always plan to write, but not put my thoughts on paper with lots of excuses . Thanks for sharing this great article. happy writing

Thank you. I have what I need to keep going. Works of progress. ⭐⭐

This is a doozy. It might be the best short list of writing tips I’ve ever come across (and I’ve been keeping a file for years)– and your commentaries add just the right amount of clarity to make each approachable without stepping on the master. Thanks!

All very good advice. I try to write honestly, the way I feel about memories. This is the beginning of my first chapter: I look at my map for a route to Beechwood Avenue as I plan to walk to the end, to Beechwood Cemetery to see where my sister is buried. It’s a Friday afternoon late in September with a bright blue sky and white puffs of clouds drifting by – a sharp, clear, perfect Ottawa day. Walking through Rockcliffe Park the Peace Tower carillon noon concert is playing. The spicy sweet smell of the maples leaves rustling under foot fills the air. Leaving the park, I walk along Lisgar Road to Rideau Terrace, streets so familiar, but their names forgotten. I check my directions, noticing this part of the city is called Lindenlea. Walking down Springfield, I recall this is the corner where the riding stable used to be. It is a very long walk. I’ve never been this far before. As I walk, I think of my sister and my earliest memories. The old newspaper clippings I found in my mother’s personal collection read:

Thank you for sharing this sensible but rich advice. It’s reassuring to remember that all writers and creators struggle with the same issues. I find pleasure in the struggle. I love words and puzzles and trying to arrange them in a logical sequence. It’s cheap therapy. When I ask myself why do I write I answer: to recover, uncover and discover.

Thank you. It helps a lot ! Take confidence and enjoying the process is very very important for me. I like the way you deal with the b-readers !

Many a times i have written -without writing trying to find the right word , other times i just wrote what i thought -big difference to me

Myrah slowed when she reached the grove. The portal was open. “Cayne!” she said, but heard nothing save the humming melody coming from the portal. After ensuring it would remain open, she dashed in.

She entered into a meadow filled with exotic plants of unusual design, native only to this place. She’d been here once, years before she’d taken up the position of magical adviser. How ironic that this place, once her refuge, now served as a prison. She cast a barrier about the entrance, ensuring none but she could leave

She saw him by the fountain at the meadow’s edge. She rushed toward him, the boy turning at her approach.

“Cayne,” she said when she caught up to him, “what are you doing here?”

“I came to find Father.” he said, his eyes still full of wonder. She’d felt the same when she first discovered this place.

“Your father is back at the castle, worried for your safety. As am I.” she said, puzzled by his words.

He shook his head. “Father is here.” He said. Before she could reply, a rustling of leaves drew her attention. A figure walked towards them. Myrah started as he drew near. She placed herself between Cayne and the interloper.

He stopped when he saw her hands crackling with lightning. “Myrah. You should visit more often.”

“Stay back, Caedis!” she said, the lightning intensifying. His piercing blue eyes flickered, but he appeared more amused than threatened. “You truly think I would harm my own son?”

She started at this, but kept her concentration. “Your son?”

“Come now,” Caedis said, “you don’t believe that oaf you call husband is his father, do you?”

“He is not yours!” she retorted hotly.

“He has my blood.” Caedis said, his calm voice further irritating her. “How else could he have reached me here?”

At this, she unleashed the power building within her, a powerful burst of lightning arcing towards Caedis. He simply extended a hand, summoning a swirling vortex that absorbed the attack.

“You still think of me as a monster, after all these years.” Caedis said, shaking his head.

“You don’t consider murdering thousands to increase your power monstrous?“ Myrah asked.

Caedis looked at young Cayne, clutching his mother’s leg, his confusion manifest. “Cayne, your mother and I need to talk. Why dn’t you go play with Belepha?”

As if in reply, a sprite emerged from a nearby hedge. Myrah tensed, but Caedis merely smiled. “A timid creature, but she means no harm. I’m surprised you never noticed her.”

Myrah was surprised as well. She’d never seen the creature during her time here. The sprite’s face bore the innocence, curiosity, and timidity of any child.

Cayne looked at his mother, who nodded her consent. The boy ran off with his new friend.

“Now we can talk civilly.” Caedis said, sitting nonchalantly near the fountain. Myrah remained standing.

“Just when I thought after all these years you had gained a shred of dignity. I will not let you entrance him with your lies.”

“He has the gift, but requires training for it to mature.” Caedis said, ignoring her outburst.

“How did you know about him?” she asked.

“I saw through his eyes as he came into this world.” Caedis replied. “I saw you through his eyes.” Caedis’ eyes took on a faraway look. “I don’t hate you for your actions, however misguided they were.”

These are also my rules. Thank you.

Here’s me just riffing without thinking for 15 minutes…..No editing, no over-thinking, just writing…

The thing was, he knew she was right. He knew that the best way to end was to begin. Whatever was back there, in those boxes, was lost to everyone who had originally sent them or waited for them to arrive. They had moved on, some through death or an address change. Some simply changed their mind and didn’t want whatever was in there. And it was sad in a way. Maybe in there was the thing that would have changed someone’s life or moved it in a certain direction or KEPT it from moving in a certain direction. Maybe in those boxes was a letter that said, “ I love you come back” or “ I hate you, don’t EVER come back.” Maybe there was a box of baby photos that someone had sent their mom or their dad or their kid’s dad:” See? He looks like you….He has your eyes and your smile.” Maybe there was the acceptance letter to a university that was never delivered or a letter saying, “ Yes, we’ll publish that book.” Back there were possibilities and history and a thousand collected years of something. And he and Cait were going to plunder all that and stick it on eBay. And he felt bad that he didn’t feel bad about it. There were things he could have said to rationalize what they were doing, but he found he didn’t have to. Waiting for qualms, rhe realized that he didn’t feel any. This was just making money where there was money to be made. Maybe there was actually something in there life-changing for him. It took him a second to realise that he hadn’t thought him and her but there it was. No qualms, no guilt. She was fun. She was pretty and god knows he enjoyed them sleeping together. But he knew that one day, there’d be something, some comment and then he and she would no longer be heandshe, the way she thought they were. He would go one way and she’d go another. For a second, he had regrets but he realized that all he would miss were the visceral things, the physical touch of her on him, the way her hair smelled after they showered together, the way her wet skin stuck on his during their tumbles in bed, the way she complained that she’d have to make up all new sheets now. Maybe there were things about her that he’d miss. Maybe there was a moment where his life could go in a direction that was unexpected to him. Maybe she was the package. Jon shook his head at that. He wasn’t one for metaphor and symbolism or believing in fate or whatever crap people seemed to think ruled the universe. There was no over-arching pattern to anything: things happened because things happened. Sometimes it made your life better and sometimes it didn’t. Nothing happened for a reason, he thought. Hell, more than that, he knew. Yet, here he was was, thinking about the spot on the side of her neck, where those faint red hairs tickled his mouth when he kissed her there.

Great stuff. I want to read more of it.

Hello Mike. I enjoyed reading your story and took tips from how you ‘show’ and don’t ‘tell’. Really good. Thanks for sharing. Best of luck with your writing.

I like Rule Seven.

I recently had this mad idea for a comic fantasy novel and wrote the whole thing in a fit of giggles (yes, truly!) as I found what I was doing so very, very funny. My humour, I should say.

Well, it is now finished and some of the willing readers (family, friends, that sort of type) have read it and not turned around and given it the kiss of death for a comedy by telling me, “It is NOT funny.”

While the humour isn’t all belly laughs by all means, I think it meets its objective–poking fun at the fantasy genre and other things besides (including self, I should add as the “author” has a cameo role in his own story (kinda complicated to explain, really; but it works).

So in terms of rules, I like these eight 🙂

Makes me want to keep these pinned up next to my work area. Thanks for sharing!

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

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

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

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

What Is Creative Writing (Long Description)?

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

Table of Contents

Let’s expand on that definition a bit.

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

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

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

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

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

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

Types of Creative Writing

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

Some of the most common types:

• Short stories
• Screenplays
• Flash fiction
• Creative Nonfiction

Short Stories (The Brief Escape)

Short stories are like narrative treasures.

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

Short stories are known for their brevity.

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

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

Novels (The Long Journey)

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

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

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

Readers get an immersive experience.

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

Poetry (The Soul’s Language)

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

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

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

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

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

Plays (The Dramatic Dialogue)

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

This format uniquely explores human relationships and societal issues.

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

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

Screenplays (Cinema’s Blueprint)

Screenplays outline narratives for films and TV shows.

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

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

Memoirs (The Personal Journey)

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

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

Memoirs invite readers into the author’s world.

They share lessons learned and hardships overcome.

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

Flash Fiction (The Quick Twist)

Flash fiction tells stories in under 1,000 words.

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

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

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

Creative Nonfiction (The Factual Tale)

Creative nonfiction combines factual accuracy with creative storytelling.

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

Creative nonfiction includes biographies, essays, and travelogues.

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

Fantasy (The World Beyond)

Fantasy transports readers to magical and mythical worlds.

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

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

Science Fiction (The Future Imagined)

Science fiction delves into futuristic and scientific themes.

It questions the impact of advancements on society and individuals.

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

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

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

What Are the 5 Cs of Creative Writing?

The 5 Cs of creative writing are fundamental pillars.

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

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

Clarity makes your writing understandable and accessible.

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

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

Coherence ensures your writing flows logically.

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

Conciseness

Conciseness is about expressing ideas succinctly.

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

Creativity is the heart of creative writing.

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

Consistency

Consistency maintains a uniform tone, style, and voice.

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

Is Creative Writing Easy?

Creative writing is both rewarding and challenging.

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

Exploring complex characters and themes is also key.

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

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

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

What Does a Creative Writer Do?

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

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

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

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

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

They may navigate the publishing world with agents and editors.

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

How to Get Started With Creative Writing?

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

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

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

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

Final Thoughts: What Is Creative Writing?

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

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

Read This Next:

• What Is a Prompt in Writing? (Ultimate Guide + 200 Examples)
• What Is A Personal Account In Writing? (47 Examples)
• How To Write A Fantasy Short Story (Ultimate Guide + Examples)
• How To Write A Fantasy Romance Novel [21 Tips + Examples)

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Principles of Creative Writing: An Ultimate Guide

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

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Table of Contents  

1)  Understanding Creative Writing Principles 

2)  Principles of Creative Writing 

    a)  Imagination knows no bounds   

    b)  Crafting compelling characters   

    c)  Plot twists and turns 

    d) Setting the stage 

    e)  Point of View (POV) and voice    

    f)  Dialogue - The voice of your characters 

    g)  Conflict and tension 

    h)  Show, don't tell 

    i)  Editing and revising with precision   

    j)  The power of theme and symbolism 

    k)  Pacing and rhythm 

    l)   Emotionally resonant writing 

    m)  Atmosphere and mood 

3)  Conclusion  

Understanding Creative Writing Principles  

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

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

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

Principles of Creative Writing  

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

Principle 1: Imagination k nows n o b ounds   

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

a)  Allow yourself to think without limitations. 

b)  Let thoughts collide and see where they lead. 

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

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

Principle 2: Crafting c ompelling c haracters   

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

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

Principle 3: Plot t wists and t urns   

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

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

Principle 4: Setting the s tage  

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

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

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

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

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

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

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

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Principle 7: Conflict and t ension     

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

Principle 8: Show, d on't t ell   

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

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

Principle 9: Editing and r evising with p recision   

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

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

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

Principle 11: Pacing and r hythm   

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

Principle 12: Emotionally r esonant w riting  

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

Principle 13: Atmosphere and m ood   

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

Conclusion   

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

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

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Professors share 5 myths students believe about college, anxiety among students: what do teachers think about it, how to write a character analysis essay, dorm overbooking and transitional housing: problems colleges are trying to solve, 10 rules of creative writing.

1. You can write anything in any style.

2. Continually experiment with your style and the forms you use.

3. Read a lot of creative writing, and use the styles and forms you enjoy from what you read.

4. Don’t get too intellectual—feel more than think when writing and when editing your writing.

5. Get constructive criticism from other writers, or else you will see your writing from only your viewpoint.

6. Find the right creative atmosphere for you. Get into this atmosphere as much as possible. It could be in a library meeting room, in your basement with Mozart playing in the background, etc.

7. When you have written a considerable amount of work, send it out for being published. This will make you more concerned about the quality of your work and give you motivation.

8. Even though you can write about anything in creative writing, you must also check if a reader can understand it well enough. A total understanding by the reader is not necessary, but at least some cognitive connection should be able to be established between your writing and the reader.

9. It is a normal practice to take ideas from other writers and expand on them. You are not plagiarizing—only putting your own creative energy into an idea already shown in others’ writing and making it your own idea in the process.

10. When you have written for many years, you can make your own writing rules.

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• May 2, 2021

Fiction Style Guide: Numbers

The more you get right in your manuscript before submitting to editors, the less work they'll have to do on mechanical issues ---- and the more time they can spend on making your writing shine. Plus, learning the conventions of fiction style* can save you money .

*This is Articulate Editing house style, which is based on generally accepted fiction conventions (in the US) and a pinch of personal opinion. Most of what is written here will apply across the board. If a guideline has wiggle room, I'll let you know. And if you're working with a publisher, make sure you follow their specifications, as their house style may differ slightly. (This style guide also applies to creative nonfiction.)

Quick navigation

The general rule, physical quantities, number ranges.

This is the general rule for non--technical writing, which includes fiction, of course. Remember that consistency is more important than slavish adherence to these guidelines—and readability is even more important than consistency—so be flexible and use editorial judgement. (For more discussion on numbers in fiction, Carol Saller wrote a great article at CMOS Shop Talk called " Numbers in Creative Writing . ")

Spell out numbers zero through one hundred.

Whether you're nine or ninety-nine, you'll enjoy this game.

Hyphenate compound numbers from twenty-one to ninety-nine. All others are open. (Note that numbers over one hundred are usually spelled out in dialogue.)

"Three hundred forty-five people attended my seminar."

"well, three hundred and fifty people attended mine."*, *while "and" is discouraged in formal writing (preferring "three hundred fifty"), in fiction do what sounds natural, including writing "a hundred" instead of "one hundred.".

Use numerals for numbers above one hundred, except round numbers that are followed by hundred, thousand, hundred thousand, million, or billion.

He just won two million smackeroos.

If only i made three hundred thousand dollars a year., special cases and exceptions.

With fractional quantities over a million, use a mixture of numerals and spelled out numbers.

2.3 billion people

Ordinals follow the general rule (s pell them out to one hundred). The letters in non-spelled-out ordinals shouldn't appear as superscripts.

This is the thirty-second time I brought the donuts this year!

123rd street.

Don't start a sentence with a numeral. When a number starts a sentence, spell it out.

Or better yet, recast. Especially if it's a complicated number to spell out. With dates, adding "the year" before the date is an easy fix.

1969 was a tumultuous year. X

The year 2000 was a turning point for his business. ✓.

But ... there are times in fiction dialogue when this rule can be ignored.

"3D movies cost so much more than regular movies."

"7-eleven's my go-to convenience store.".

Maintain consistency in categories of numbers. (Except for numbers at the beginning of a sentence.) It's okay to have both numerals and spelled-out numbers in the same sentence/paragraph as long as categories are consistent. (And it's okay to treat numbers differently in dialogue and narrative.)

Forty-three members tweeted a total of 5,324 times.

One town had a population of 3,500, and the other two towns had a combined population of only 800..

Avoid dense clusters of spelled-out numbers. Exceptions to the general rule can be made for the sake of readability.

With side-by-side numbers where both would normally be spelled out, spell out one and write the other as a numeral.

T hey needed four 8-foot pieces of trim.

"pick up 3 two-by-fours, will you".

You can depart from the general rule for numbers that are commonly expressed as numerals. This requires judgement. If something feels more natural expressed in numerals, it's likely the best approach. (This is less true for dialogue .)

A 60-watt lightbulb is too bright for this room.

She tried on the size 8 dress, but it was too small., his new car gets 40 miles per gallon., i was assigned to room 29, channel 5 news, i live at 236 east sixtieth street.

Spell out numbers in dialogue unless it would be awkward to do so, even with numbers that would normally be expressed as numerals in the narrative. Spell out abbreviations and symbols as well. For more on numbers in dialogue, including the exceptions to this rule, see my Fiction Style Guide: Dialogue .

Physical dimensions such as distance or length are usually treated according to the general rule.

I printed an eight-by-twelve photo.

It was 383 centimeters, to be exact., cautious, she stuck to fifty-five miles an hour..

Heights are spelled out a number of different ways.

five foot two

Five feet two inches, she was five two.

In general, use words rather than symbols or abbreviations in narrative and dialogue.

Spell out degree, percent, and number instead of using the symbols. Use the word "dollar" instead of the dollar sign ($), unless using very specific amounts ($105.73).

Spell out simple fractions and hyphenate them in noun, adjective, and adverb form.

a two-thirds vote

Over by three-eighths of an inch.

In non-fiction books, percentages are expressed in numerals with the word "percent" rather than the percent symbol (%).

The jeans were 25 percent off.

However, in fiction, the numerals are more often spelled out.

I only got a raise of four percent!

And hyphens are never used with percentages, not even in adjective form.

I got a four-percent raise. X

Use an en dash, not a hyphen, for number ranges.

Here are the records for 1995–2005.

Don't use the en dash for a range that follows "from" or "between." Instead, use "to," "through," or "until" with "from" and "and" with "between."

I worked there from 1995 to 2005.

I worked there between 1995 and 2005..

Times of day in even, half, and quarter hours are usually spelled out.

I left for work at quarter to six, but I didn't arrive until seven thirty.

Use numerals when emphasizing a specific time .

He informed us that he expected our arrival at 11:05 on the dot.

At precisely 8:37 that evening, her world fell apart..

When you want to include a.m. or p.m., use numerals for a specific time, as above, but whether to spell out simple times is a style choice. Use lowercase letters with periods or small caps without periods for a.m. and p.m. Don't add a period if a.m. or p.m. falls at the end of a sentence, but following a.m. and p.m. with other punctuation is fine.

The event occurred at 5:26 p.m.; the time stamp proves it.

I can't believe i need to wake up at 5 a.m. ✓, wake at five a.m. are you kidding me ✓.

When you use "o'clock," you must spell out the time.

At nine o'clock all hell broke loose.

Don't use hyphens to connect hours and minutes.

We need to leave by three-fifteen. X

At eleven forty-five, the fun begins. ✓.

Spell out (and lowercase) centuries.

the eighteenth century

Decades can either be spelled out (and lowercased) or expressed in numerals.

Make sure the apostrophe before the decade is facing left when using "smart" quotes (Word will automatically make it face right, thinking it's an opening single quotation mark, so you can cut and paste one from elsewhere).

the sixties

The '60s.

If the year is included, dates should be written in numerals.

September 23, 1989

But dates without years can be written a number of ways.

the twenty-third of September

The twenty-third, september 23.

Don't use ordinals, either spelled out or in numerals, with months and years. The reader may think "September twenty-third" when they see "September 23," but it must still be written as "September 23."

September 23rd, 1989 X

September twenty-third x.

An exception is made for dialogue.

"Is the party on September twenty-third?" ✓

Money tends to follow the general rule, but as with all numbers in fiction, do whatever is the most readable and makes the most sense for your book.

sixty-five cents

If the amount is straightforward, spell it out.

That guy owes me two dollars and fifty cents.

If the amount is specific and complicated, use numerals and the dollar sign.

It cost $2,367.43 to be exact.

Don't hyphenate dollar amounts except for compound numbers from twenty-one to ninety-nine.

one thousand twenty dollars

One thousand twenty-two dollars, t wo-thousand-dollar tickets.

Write the names of guns the way the manufacturer would. Capitalize the names and use numerals.

9mm Winchester Magnum

In dialogue, spell out millimeter. Spelling out numbers is okay for casual references .

"Grab that twenty-two, would you?"

"i use a nine millimeter.".

The zero before a decimal point is omitted when referring to guns.

.22-caliber air rifle

Related Posts

Fiction Style Guide: Dialogue

Fiction Style Guide: Plurals and Possessives

Fiction Style Guide: Spelling and Abbreviations

Creative Writing 101

You love to write and have been told you have a way with words. So you’ve decided to give writing a try—creative writing.

Problem is, you’re finding it tougher than it looks.

You may even have a great story idea , but you’re not sure how to turn it into something people will read.

Don’t be discouraged—writing a compelling story can be grueling, even for veterans. Conflicting advice online may confuse you and make you want to quit before you start.

But you know more than you think. Stories saturate our lives.

We tell and hear stories every day in music, on television, in video games, in books, in movies, even in relationships.

Most stories, regardless the genre, feature a main character who wants something.

There’s a need, a goal, some sort of effort to get that something.

The character begins an adventure, a journey, or a quest, faces obstacles, and is ultimately transformed.

The work of developing such a story will come. But first, let’s look at the basics.

• What is Creative Writing?

It’s prose (fiction or nonfiction) that tells a story.

Journalistic, academic, technical writing relays facts.

Creative writing can also educate, but it’s best when it also entertains and emotionally moves the reader.

It triggers the imagination and appeals to the heart.

• Elements of Creative Writing

Writing a story is much like building a house.

You may have all the right tools and design ideas, but if your foundation isn’t solid, even the most beautiful structure won’t stand.

Most storytelling experts agree, these 7 key elements must exist in a story.

Plot (more on that below) is what happens in a story. Theme is why it happens.

Before you begin writing, determine why you want to tell your story.

• What message do you wish to convey? 
• What will it teach the reader? 

Resist the urge to explicitly state your theme. Just tell the story, and let it make its own point.

Give your readers credit. Subtly weave your theme into the story and trust them to get it.

They may remember a great plot, but you want them thinking about your theme long after they’ve finished reading.

2. Characters

Every story needs believable characters who feel knowable.

In fiction, your main character is the protagonist, also known as the lead or hero/heroine.

The protagonist must have:

• redeemable flaws
• potentially heroic qualities that emerge in the climax
• a character arc (he must be different, better, stronger by the end)

Resist the temptation to create a perfect lead. Perfect is boring. (Even Indiana Jones suffered a snake phobia.)

You also need an antagonist, the villain , who should be every bit as formidable and compelling as your hero.

Don’t make your bad guy bad just because he’s the bad guy. Make him a worthy foe by giving him motives for his actions.

Villains don’t see themselves as bad. They think they’re right! A fully rounded bad guy is much more realistic and memorable.

Depending on the length of your story , you may also need important orbital cast members.

For each character, ask:

• What do they want?
• What or who is keeping them from getting it?
• What will they do about it?

The more challenges your characters face, the more relatable they are.

Much as in real life, the toughest challenges result in the most transformation.

Setting may include a location, time, or era, but it should also include how things look, smell, taste, feel, and sound.

Thoroughly research details about your setting so it informs your writing, but use those details as seasoning, not the main course. The main course is the story.

But, beware.

Agents and acquisitions editors tell me one of the biggest mistakes beginning writers make is feeling they must begin by describing the setting.

That’s important, don’t get me wrong. But a sure way to put readers to sleep is to promise a thrilling story on the cover—only to start with some variation of:

The house sat in a deep wood surrounded by…

Rather than describing your setting, subtly layer it into the story.

Show readers your setting. Don’t tell them. Description as a separate element slows your story to crawl.

By layering in what things look and feel and sound like you subtly register the setting in the theater of readers’ minds.

While they concentrating on the action, the dialogue , the tension , the drama, and conflict that keep them turning the pages, they’re also getting a look and feel for your setting.

4. Point of View

POV is more than which voice you choose to tell your story: First Person ( I, me ), Second Person ( you, your ), or Third Person ( he, she, or it ).

Determine your perspective (POV) character for each scene—the one who serves as your camera and recorder—by deciding who has the most at stake. Who’s story is this?

The cardinal rule is that you’re limited to one perspective character per scene, but I prefer only one per chapter, and ideally one per novel.

Readers experience everything in your story from this character’s perspective.

For a more in-depth explanation of Voice and POV, read A Writer’s Guide to Point of View .

This is the sequence of events that make up a story —in short, what happens. It either compels your reader to keep turning pages or set the book aside.

A successful story answers:

• What happens? (Plot)
• What does it mean? (Theme: see above)

Writing coaches call various story structures by different names, but they’re all largely similar. All such structures include some variation of:

• An Inciting Incident that changes everything
• A series of Crises that build tension
• A Resolution (or Conclusion)

How effectively you create drama, intrigue, conflict, and tension, determines whether you can grab readers from the start and keep them to the end.

6. Conflict

This is the engine of fiction and crucial to effective nonfiction as well.

Readers crave conflict and what results from it.

If everything in your plot is going well and everyone is agreeing, you’ll quickly bore your reader—the cardinal sin of writing.

If two characters are chatting amiably and the scene feels flat (which it will), inject conflict. Have one say something that makes the other storm out, revealing a deep-seated rift.

Readers will stay with you to find out what it’s all about.

7. Resolution

Whether you’re an Outliner or a Pantser like me (one who writes by the seat of your pants), you must have an idea where your story is going.

How you expect the story to end should inform every scene and chapter. It may change, evolve, and grow as you and your characters do, but never leave it to chance.

Keep your lead character center stage to the very end. Everything he learns through all the complications you plunged him into should, in the end, allow him to rise to the occasion and succeed.

If you get near the end and something’s missing, don’t rush it. Give your ending a few days, even a few weeks if necessary.

Read through everything you’ve written. Take a long walk. Think about it. Sleep on it. Jot notes. Let your subconscious work. Play what-if games. Reach for the heart, and deliver a satisfying ending that resonates .

Give your readers a payoff for their investment by making it unforgettable.

• Creative Writing Examples
• Short Story
• Narrative nonfiction
• Autobiography
• Song lyrics
• Screenwriting
• Playwriting
• Creative Writing Tips

In How to Write a Novel , I cover each step of the writing process:

• Come up with a great story idea .
• Determine whether you’re an Outliner or a Pantser.
• Create an unforgettable main character.
• Expand your idea into a plot.
• Do your research.
• Choose your Voice and Point of View.
• Start in medias res (in the midst of things).
• Intensify your main character’s problems.
• Make the predicament appear hopeless.
• Bring it all to a climax.
• Leave readers wholly satisfied.
• More to Think About

1. Carry a writing pad, electronic or otherwise. I like the famous Moleskine™ notebook . 

Ideas can come at any moment. Record ideas for:

• Anything that might expand your story

2. Start small. 

Take time to build your craft and hone your skills on smaller projects before you try to write a book .

Journal. Write a newsletter. Start a blog. Write short stories . Submit articles to magazines, newspapers, or e-zines.

Take a night school or online course in journalism or creative writing. Attend a writers conference.

3. Throw perfection to the wind. 

Separate your writing from your editing .

Anytime you’re writing a first draft, take off your perfectionist cap. You can return to editor mode to your heart’s content while revising, but for now, just write the story.

Separate these tasks and watch your daily production soar.

• Time to Get to Work

Few pleasures in life compare to getting lost in a great story.

Learn how to write creatively, and the characters you birth have the potential to live in hearts for years.

• 1. Carry a writing pad, electronic or otherwise. I like the famous Moleskine™ notebook. 

Faith-Based Words and Phrases

What You and I Can Learn From Patricia Raybon

A Guest Blog from Stephen King—Yes, that Stephen King

Before you go, be sure to grab my FREE guide:

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How to write a novel: a 12-step guide.

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

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

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

What is Creative Writing?

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

Creative writing can take on various forms such as:

• short stories
• screenplays

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

5 Key Characteristics of Creative Writing

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

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

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

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

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

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

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

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

Styles of Creative Writing

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

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

Short Stories

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

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

Screenplays

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

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

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

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

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

Importance of Creative Writing

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

Developing Creativity and Imagination

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

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

Enhancing Communication Skills

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

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

Exploring Emotions and Ideas

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

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

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

4 Steps to Start Creative Writing

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

1. Finding Inspiration

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

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

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

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

2. Planning Your Piece

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

• the main points

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

3. Writing Your First Draft

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

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

4. Editing and Revising Your Work

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

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

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

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

Tips to Improve Creative Writing Skills

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

Read Widely

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

Practice Regularly

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

Attend Writing Workshops and Courses

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

Joining Writing Groups and Communities

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

Seeking Feedback on Your Work

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

Start Creative Writing Today!

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

Happy writing!

Brooks Manley

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

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

Here’s my favorite journal for 2024: 

Gratitude Journal Prompts Mindfulness Journal Prompts Journal Prompts for Anxiety Reflective Journal Prompts Healing Journal Prompts Cognitive Behavioral Therapy Journal Prompts Mental Health Journal Prompts ASMR Journal Prompts Manifestation Journal Prompts Self-Care Journal Prompts Morning Journal Prompts Evening Journal Prompts Self-Improvement Journal Prompts Creative Writing Journal Prompts Dream Journal Prompts Relationship Journal Prompts "What If" Journal Prompts New Year Journal Prompts Shadow Work Journal Prompts Journal Prompts for Overcoming Fear Journal Prompts for Dealing with Loss Journal Prompts for Discerning and Decision Making Travel Journal Prompts Fun Journal Prompts

Inspiring Ink: Expert Tips on How to Teach Creative Writing

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• Productivity
• Favorite Journals

Work with me:

1. coaching, accountability, 10 rules for creative writing.

Perhaps this is because craft can be taught (via Top 10 lists, no less), whereas trust in and mastery of one’s process takes a lifetime of engagement and adjustment. And trust is one of the key elements that separates amateur from professional writers. As David Bayles and Ted Orland noted in Art & Fear , “Uncertainty is the essential, inevitable companion to your desire to make art. And tolerance for uncertainty is the prerequisite to succeeding.”

Given that what you create cannot be separated from the act of creating, I’d like to offer these 10 Rules for Creative Writing to guide your efforts.

• Neuroscience has concluded that everyone possesses the capacity for creativity and innovation. All are entitled to make art.
• Creativity is intuitive, craft skills are acquired. Good writing requires both.
• Misconceptions about writing challenge writers as often as the task itself. (Common examples: People are either creative by nature, or they aren’t. / Writing is easy, for people meant to write. / I must make a living from my writing to be considered a writer.)
• Believing glass ceilings are “fixed” fixes them. People rarely attempt what they do not believe possible. Believing yourself limitless enables you to work harder and achieve more than if you have a preconceived notion of what your limits might be.
• Failure is essential in the making of art. Fear of making mistakes leads to paralysis. Instead of looking for the “right” way of doing things, look for one way, and then another way, a way, your way.
• Art is art. Life is life. Art is a PART of life.
• Writing is a balancing act between art and craft, creation and criticism, knowledge and mystery. Writers who learn to embrace dualities thrive.
• Sophistication arises from the media you consume. The best way to serve your writing is by taking in as diverse and discerning a mix as possible.
• The fastest way to elevate material is to think of theme as a question rather than a statement. What larger question about humanity does your story explore?
• We can only write what we are grooved to write. And that’s OK. What you most want to write is what you should be writing. So stop worrying about that.

Ready to achieve your writing goals? Explore our one-on-one coaching services that provide accountability, expert feedback and thoughtful encouragement through each stage of the writing process.

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Carol, I was reading “Return To Oakpine” when I stopped to bounce around in Google hunting for information on its author, Ron Carlson, specifically to see if he had a website. In the process it was my good fortune to come across your website and because my expectations for websites devoted to the craft of writing are on kept on the low-side I was surprised when I found myself caught up in “The Writing Cycle.”

There is much to investigate on its pages and it feels like the real-deal.

[…] Read more here: https://writingcycle.com/the-writing-process/10-rules-for-creative-writing/ […]

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The 7 Golden Rules Of Creative Writing

Looking for guidance with artistic and literary writing? Here’s a quick guide that will get your creative juices flowing. Heads…

Looking for guidance with artistic and literary writing? Here’s a quick guide that will get your creative juices flowing. Heads up: these rules will backfire in email exchanges with your boss. Proceed with caution. 

1. The way out of the bottomless rut that is writer’s block is to dive right in: write. It doesn’t matter if the words make sense, as long as they form. String some together and see what happens.

2. Read as much as you can, and pay attention to the authors that stand out [to you]. Do you gravitate towards styles that are simple and bare (Rohinton Mistry), frenzied and chaotic (Jack Kerouac), or elegant and grand (Arundhati Roy)?

3. Add depth, tone, texture, and lilt to your writing. Play with rhythm. Give longer sentences a break with shorter pauses — good writing ebbs and flows. And experiment with intonation: why not throw in a question, like this one?

4. If you’re writing for film or audio, pay heed to the sound of words. Read out loud everything you write, and eliminate anything that would sound awkward in conversation. “A sudden rainstorm washes down in sweet hyphens” sounds nice to read, but who really talks like that? 

5. Structure is said to be the Holy Grail of strong writing. But working bottom-up and upside-down can be as life-changing. Fact: Chuck Palahniuk’s iconic novel Fight Club was born from a short story—now a chapter.

6. There are no rules. Make them. Break them. A thing called poetic license allows you to flout convention, and legendary writers use it to their advantage. Lewis Caroll invented the words ‘chortle’ and ‘galumph’ that once nonsensical, are now part of the English dictionary.

7. Formulas and free-thinking don’t go hand in hand. The more you try to fit your work into a rigid mold, the trickier it gets to build something original and compelling. Become okay with toeing the squiggly line. 

For all other kinds of writing—the clear, concise, and structured kind that won’t get you into trouble—you may want to check Harappa's  Writing Proficiently course. 

Check out the  Speaking Effectively  course from Harappa Education and upgrade your speaking skills. Develop skills with these  online learning courses  today! Explore topics such as Writing Skills , Process of Writing , Report Writing & Types of Reporting from our Harappa Diaries blog section to build your skills for workplace success.

Soumya Bahuguna is Senior Associate, Brand Communications at Harappa Education. In her free time, she plays the piano.

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• What Is Creative Writing? The ULTIMATE Guide!

At Oxford Royale Academy, we offer a range of summer school programmes that have become extremely popular amongst students of all ages. The subject of creative writing continues to intrigue many academics as it can help to develop a range of skills that will benefit you throughout your career and life.

Nevertheless, that initial question is one that continues to linger and be asked time and time again: what is creative writing? More specifically, what does it mean or encompass? How does creative writing differ from other styles of writing?

During our Oxford Summer School programme , we will provide you with in-depth an immersive educational experience on campus in the colleges of the best university in the world. However, in this guide, we want to provide a detailed analysis of everything to do with creative writing, helping you understand more about what it is and why it could benefit you to become a creative writer.

The best place to start is with a definition.

What is creative writing?

The dictionary definition of creative writing is that it is original writing that expresses ideas and thoughts in an imaginative way. [1] Some academics will also define it as the art of making things up, but both of these definitions are too simplistic in the grand scheme of things.

It’s challenging to settle on a concrete definition as creative writing can relate to so many different things and formats. Naturally, as the name suggests, it is all built around the idea of being creative or imaginative. It’s to do with using your brain and your own thoughts to create writing that goes outside the realms of what’s expected. This type of writing tends to be more unique as it comes from a personal place. Each individual has their own level of creativity, combined with their own thoughts and views on different things. Therefore, you can conjure up your own text and stories that could be completely different from others.

Understanding creative writing can be challenging when viewed on its own. Consequently, the best way to truly understand this medium is by exploring the other main forms of writing. From here, we can compare and contrast them with the art of creative writing, making it easier to find a definition or separate this form of writing from others.

What are the main forms of writing?

In modern society, we can identify five main types of writing styles [1] that will be used throughout daily life and a plethora of careers:

• Narrative Writing
• Descriptive Writing
• Persuasive Writing
• Expository Writing
• Creative Writing

Narrative writing refers to storytelling in its most basic form. Traditionally, this involves telling a story about a character and walking the readers through the journey they go on. It can be a long novel or a short story that’s only a few hundred words long. There are no rules on length, and it can be completely true or a work of fiction.

A fundamental aspect of narrative writing that makes it different from other forms is that it should includes the key elements of storytelling. As per UX Planet, there are seven core elements of a good story or narrative [2] : the plot, characters, theme, dialogue, melody, decor and spectacle. Narrative writing will include all of these elements to take the ready on a journey that starts at the beginning, has a middle point, but always comes to a conclusion. This style of writing is typically used when writing stories, presenting anecdotes about your life, creating presentations or speeches and for some academic essays.

Descriptive writing, on the other hand, is more focused on the details. When this type of writing is used, it’s focused on capturing the reader’s attention and making them feel like they are part of the story. You want them to live and feel every element of a scene, so they can close their eyes and be whisked away to whatever place or setting you describe.

In many ways, descriptive writing is writing as an art form. Good writers can be given a blank canvas, using their words to paint a picture for the audience. There’s a firm focus on the five senses all humans have; sight, smell, touch, sound and taste. Descriptive writing touches on all of these senses to tell the reader everything they need to know and imagine about a particular scene.

This is also a style of writing that makes good use of both similes and metaphors. A simile is used to describe something as something else, while a metaphor is used to show that something is something else. There’s a subtle difference between the two, but they both aid descriptive writing immensely. According to many writing experts, similes and metaphors allow an author to emphasise, exaggerate, and add interest to a story to create a more vivid picture for the reader [3] .

Looking at persuasive writing and we have a form of writing that’s all about making yourself heard. You have an opinion that you want to get across to the reader, convincing them of it. The key is to persuade others to think differently, often helping them broaden their mind or see things from another point of view. This is often confused with something called opinionative writing, which is all about providing your opinions. While the two seem similar, the key difference is that persuasive writing is built around the idea of submitting evidence and backing your thoughts up. It’s not as simple as stating your opinion for other to read; no, you want to persuade them that your thoughts are worth listening to and perhaps worth acting on.

This style of writing is commonly used journalistically in news articles and other pieces designed to shine a light on certain issues or opinions. It is also typically backed up with statistical evidence to give more weight to your opinions and can be a very technical form of writing that’s not overly emotional.

Expository writing is more focused on teaching readers new things. If we look at its name, we can take the word exposure from it. According to Merriam-Webster [4] , one of the many definitions of exposure is to reveal something to others or present them with something they otherwise didn’t know. In terms of writing, it can refer to the act of revealing new information to others or exposing them to new ideas.

Effectively, expository writing focuses on the goal of leaving the reader with new knowledge of a certain topic or subject. Again, it is predominately seen in journalistic formats, such as explainer articles or ‘how-to’ blogs. Furthermore, you also come across it in academic textbooks or business writing.

This brings us back to the centre of attention for this guide: what is creative writing?

Interestingly, creative writing is often seen as the style of writing that combines many of these forms together in one go. Narrative writing can be seen as creative writing as you are coming up with a story to keep readers engaged, telling a tale for them to enjoy or learn from. Descriptive writing is very much a key part of creative writing as you are using your imagination and creative skills to come up with detailed descriptions that transport the reader out of their home and into a different place.

Creative writing can even use persuasive writing styles in some formats. Many writers will combine persuasive writing with a narrative structure to come up with a creative way of telling a story to educate readers and provide new opinions for them to view or be convinced of. Expository writing can also be involved here, using creativity and your imagination to answer questions or provide advice to the reader.

Essentially, creative writing can combine other writing types to create a unique and new way of telling a story or producing content. At the same time, it can include absolutely none of the other forms at all. The whole purpose of creative writing is to think outside the box and stray from traditional structures and norms. Fundamentally, we can say there are no real rules when it comes to creative writing, which is what makes it different from the other writing styles discussed above.

What is the purpose of creative writing?

Another way to understand and explore the idea of creative writing is to look at its purpose. What is the aim of most creative works of writing? What do they hope to provide the reader with?

We can look at the words of Bryanna Licciardi, an experienced creative writing tutor, to understand the purpose of creative writing. She writes that the primary purpose is to entertain and share human experiences, like love or loss. Writers attempt to reveal the truth with regard to humanity through poetics and storytelling. [5] She also goes on to add that the first step of creative writing is to use one’s imagination.

When students sign up to our creative writing courses, we will teach them how to write with this purpose. Your goal is to create stories or writing for readers that entertain them while also providing information that can have an impact on their lives. It’s about influencing readers through creative storytelling that calls upon your imagination and uses the thoughts inside your head. The deeper you dive into the art of creative writing, the more complex it can be. This is largely because it can be expressed in so many different formats. When you think of creative writing, your instinct takes you to stories and novels. Indeed, these are both key forms of creative writing that we see all the time. However, there are many other forms of creative writing that are expressed throughout the world.

What are the different forms of creative writing?

Looking back at the original and simple definition of creative writing, it relates to original writing in a creative and imaginative way. Consequently, this can span across so many genres and types of writing that differ greatly from one another. This section will explore and analyse the different types of creative writing, displaying just how diverse this writing style can be – while also showcasing just what you’re capable of when you learn how to be a creative writer.

The majority of students will first come across creative writing in the form of essays . The point of an essay is to present a coherent argument in response to a stimulus or question. [6] In essence, you are persuading the reader that your answer to the question is correct. Thus, creative writing is required to get your point across as coherently as possible, while also using great descriptive writing skills to paint the right message for the reader.

Moreover, essays can include personal essays – such as writing a cover letter for work or a university application. Here, great creativity is needed to almost write a story about yourself that captivates the reader and takes them on a journey with you. Excellent imagination and persuasive writing skills can help you tell your story and persuade those reading that you are the right person for the job or university place.

Arguably, this is the most common way in which creative writing is expressed. Fictional work includes novels, novellas, short stories – and anything else that is made up. The very definition of fiction by the Cambridge Dictionary states that it is the type of book or story that is written about imaginary characters and events not based on real people and facts. [7] As such, it means that your imagination is called upon to create something out of nothing. It is a quintessential test of your creative writing skills, meaning you need to come up with characters, settings, plots, descriptions and so much more.

Fictional creative writing in itself takes on many different forms and can be completely different depending on the writer. That is the real beauty of creative writing; you can have entirely different stories and characters from two different writers. Just look at the vast collection of fictional work around you today; it’s the perfect way to see just how versatile creative writing can be depending on the writer.

Similarly, scripts can be a type of creative writing that appeals to many. Technically, a script can be considered a work of fiction. Nevertheless, it depends on the script in question. Scripts for fictional television shows, plays or movies are obviously works of fiction. You, the writer, has come up with the characters and story of the show/play/movie, bringing it all to life through the script. But, scripts can also be non-fictional. Creating a play or movie that adapts real-life events will mean you need to write a script based on something that genuinely happened.

Here, it’s a perfect test of creative writing skills as you take a real event and use your creative talents to make it more interesting. The plot and narrative may already be there for you, so it’s a case of using your descriptive writing skills to really sell it to others and keep readers – or viewers – on the edge of their seats.

A speech is definitely a work of creative writing. The aim of a speech can vary depending on what type of speech it is. A politician delivering a speech in the House of Commons will want to get a point across to persuade others in the room. They’ll need to use creative writing to captivate their audience and have them hanging on their every word. A recent example of a great speech was the one by Sir David Attenborough at the recent COP26 global climate summit. [8] Listening to the speech is a brilliant way of understanding how creative writing can help get points across. His speech went viral around the world because of how electrifying and enthralling it is. The use of many descriptive and persuasive words had people hanging onto everything he said. He really created a picture and an image for people to see, convincing them that the time is now to work on stopping and reversing climate change.

From this speech to a completely different one, you can see creative writing at play for speeches at weddings and other jovial events. Here, the purpose is more to entertain guests and make them laugh. At the same time, someone giving a wedding speech will hope to create a lovely story for the guests to enjoy, displaying the true love that the married couple share for one another. Regardless of what type of speech an individual is giving, creative writing skills are required for it to be good and captivating.

Poetry & Songs

The final example of creative writing is twofold; poetry and songs. Both of these formats are similar to one another, relying on creativity to deliver a combination of things. Poetry can take so many forms and styles, but it aims to inspire readers and get them thinking. Poems often have hidden meanings behind them, and it takes a great deal of imagination and creativity to come up with these meanings while also creating a powerful poem. Some argue that poetry is the most creative of all creative writing forms.

Songwriting is similar in that you use creativity to come up with lyrics that can have powerful meanings while also conjuring up a story for people. The best songwriters will use lyrics that stay in people’s minds and get them thinking about the meaning behind the song. If you lack imagination and creativity, you will never be a good songwriter.

In truth, there are so many other types and examples of creative writing that you can explore. The ones listed above are the most common and powerful, and they all do a great job of demonstrating how diverse creative writing can be. If you can hone your skills in creative writing, it opens up many opportunities for you in life. Primarily, creative writing focuses on fictional pieces of work, but as you can see, non-fiction also requires a good deal of creativity.

What’s needed to make a piece of creative writing?

Our in-depth analysis of creative writing has led to a point where you’re aware of this style of writing and its purpose, along with some examples of it in the real world. The next question to delve into is what do you need to do to make a piece of creative writing. To phrase this another way; how do you write something that comes under the creative heading rather than another form of writing?

There is an element of difficulty in answering this question as creative writing has so many different types and genres. Consequently, there isn’t a set recipe for the perfect piece of creative writing, and that’s what makes this format so enjoyable and unique. Nevertheless, we can discover some crucial elements or principles that will help make a piece of writing as creative and imaginative as possible:

A target audience

All creative works will begin by defining a target audience. There are many ways to define a target audience, with some writers suggesting that you think about who is most likely to read your work. However, this can still be challenging as you’re unsure of the correct demographic to target. Writer’s Digest makes a good point of defining your target audience by considering your main motivation for writing in the first place. [9] It’s a case of considering what made you want to start writing – whether it’s a blog post, novel, song, poem, speech, etc. Figuring out your motivation behind it will help you zero in on your target audience.

Defining your audience is vital for creative writing as it helps you know exactly what to write and how to write it. All of your work should appeal to this audience and be written in a way that they can engage with. As a simple example, authors that write children’s stories will adapt their writing to appeal to the younger audience. Their stories include lots of descriptions and words that children understand, rather than being full of long words and overly academic writing.

Establishing the audience lets the writer know which direction to take things in. As a result, this can aid with things like character choices, plot, storylines, settings, and much more.

A story of sorts

Furthermore, great works of creative writing will always include a story of sorts. This is obvious for works such as novels, short stories, scripts, etc. However, even for things like poems, songs or speeches, a story helps make it creative. It gives the audience something to follow, helping them make sense of the work. Even if you’re giving a speech, setting a story can help you create a scene in people’s minds that makes them connect to what you’re saying. It’s a very effective way of persuading others and presenting different views for people to consider.

Moreover, consider the definition of a story/narrative arc. One definition describes it as a term that describes a story’s full progression. It visually evokes the idea that every story has a relatively calm beginning, a middle where tension, character conflict and narrative momentum builds to a peak and an end where the conflict is resolved. [10]

Simplifying this, we can say that all works of creative writing need a general beginning, middle and end. It’s a way of bringing some sort of structure to your writing so you know where you are going, rather than filling it with fluff or waffle.

A good imagination

Imagination is a buzzword that we’ve used plenty of times throughout this deep dive into creative writing. Every creative writing course you go on will spend a lot of time focusing on the idea of using your imagination. The human brain is a marvellously powerful thing that holds the key to creative freedom and expressing yourself in new and unique ways. If you want to make something creative, you need to tap into your imagination.

People use their imagination in different ways; some will be able to conjure up ideas for stories or worlds that exist beyond our own. Others will use theirs to think of ways of describing things in a more creative and imaginative way. Ultimately, a good imagination is what sets your work apart from others within your genre. This doesn’t mean you need to come up with the most fantastical novel of all time to have something classified as creative writing. No, using your imagination and creativity can extend to something as simple as your writing style.

Ultimately, it’s more about using your imagination to find your own personal flair and creative style. You will then be able to write unique pieces that stand out from the others and keep audiences engaged.

How can creative writing skills benefit you?

When most individuals or students consider creative writing, they imagine a world where they are writing stories for a living. There’s a common misconception that creative writing skills are only beneficial for people pursuing careers in scriptwriting, storytelling, etc. Realistically, enhancing ones creative writing skills can open up many windows of opportunity throughout your education and career.

• Improve essay writing – Naturally, creative writing forms a core part of essays and other written assignments in school and university. Improving your skills in this department can help a student get better at writing powerful essays and achieving top marks. In turn, this can impact your career by helping you get better grades to access better jobs in the future.
• Become a journalist – Journalists depend on creative writing to make stories that capture audiences and have people hanging on their every word. You need high levels of creativity to turn a news story into something people are keen to read or watch.
• Start a blog – In modern times, blogging is a useful tool that can help people find profitable and successful careers. The whole purpose of a blog is to provide your opinions to the masses while also entertaining, informing and educating. Again, having a firm grasp of creative writing skills will aid you in building your blog audience.
• Write marketing content – From advert scripts to content on websites, marketing is fuelled by creative writing. The best marketers will have creative writing skills to draw an audience in and convince them to buy products. If you can learn to get people hanging on your every word, you can make it in this industry.

These points all demonstrate the different ways in which creative writing can impact your life and alter your career. In terms of general career skills, this is one that you simply cannot go without.

How to improve your creative writing

One final part of this analysis of creative writing is to look at how students can improve. It begins by reading as much as you can and taking in lots of different content. Read books, poems, scripts, articles, blogs – anything you can find. Listen to music and pay attention to the words people use and the structure of their writing. It can help you pick up on things like metaphors, similes, and how to use your imagination. Of course, writing is the key to improving; the more you write, the more creative you can get as you will start unlocking the powers of your brain.

Conclusion: What is creative writing

In conclusion, creative writing uses a mixture of different types of writing to create stories that stray from traditional structures and norms. It revolves around the idea of using your imagination to find a writing style that suits you and gets your points across to an audience, keeping them engaged in everything you say. From novels to speeches, there are many forms of creative writing that can help you in numerous career paths throughout your life.

[1] SkillShare: The 5 Types of Writing Styles with Examples

[2] Elements of Good Story Telling – UX Planet

[3] Simile vs Metaphor: What’s the Difference? – ProWritingAid

[4] Definition of Exposure by Merriam-Webster

[5] The Higher Purpose of Creative Writing | by Terveen Gill

[6] Essay purpose – Western Sydney University

[7] FICTION | meaning in the Cambridge English Dictionary

[8] ‘Not fear, but hope’ – Attenborough speech in full – BBC News

[9] Writer’s Digest: Who Is Your Target Reader?

[10] What is a Narrative Arc? • A Guide to Storytelling Structure