creative writing five elements

Elements of Creative Writing

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

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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.

Content Accuracy rating: 5

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

Relevance/Longevity rating: 5

The book is relevant and up-to-date.

Clarity rating: 5

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.

Modularity rating: 5

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

Organization/Structure/Flow rating: 5

Topics are presented in logical, clear fashion.

Interface rating: 5

Navigation is good.

Grammatical Errors rating: 5

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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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

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10 Impactful Elements of Creative Writing

Wondering how can you think like J.K. Rowling and craft a creative masterpiece like Harry Potter? Is that even possible for you? Of course, it is quite doable for anyone having a flair for creative writing. But only a passion would not be enough as you need to know how things work in creative writing.

It means you must be aware of the elements of creative writing. Speaking of which, this exciting blog post sheds light on each of these elements in detail for you to form a good base for such writing. So, without further ado, let’s get to read them all.

Table of Contents

The Elements of Creative WritingYou Should Know

Characterization.

Development:  Characters with a range of features including emotions, depth, and complexity can capture readers’ attention and propel the story along. Character development is an important element of creative writing! 

Arcs and Growth:  The development of characters throughout the narrative can create an interesting journey that viewers can relate to.

Plot and Structure

Engaging Plot:  A series of occurrences that intrigue readers, containing components such as suspense, opposition, and resolution.

Structure:  A structure that is carefully constructed either to adhere to conventional formats or to attempt unconventional storytelling for a stronger effect.

Setting and Atmosphere

Vivid Settings:  Writing that creates vivid imagery and allows readers to experience the story’s environment.

Atmospheric Elements:  Creating an atmosphere with vivid descriptions of the setting to add to the emotion of the story.

Dialogue and Voice

Authentic Dialogue:  Discussions that expose personality attributes, propel the storyline forward, and sound realistic.

Distinctive Voice:  The writer’s style and character are expressed through the storytelling.

Theme and Symbolism

Exploration of Themes:  Implicit ideas or themes that give the story more substance and significance.

Symbolic Elements:  Employment of symbols or figures of speech to express additional layers of meaning and interpretation.

Emotional Resonance

Eliciting Emotions:  Evoking feelings in readers, encouraging understanding, bonding, and making a lasting impression.

Authenticity of Emotions:  Depiction of real feelings and events that are true to life.

Language and Style

Vivid Language:  Employing vivid language, figurative comparisons, and sensory details to form pictures in the mind and to stimulate the senses.

Narrative Style:  Developing a distinctive writing style to establish the mood and pacing of the narrative.

Foreshadowing and Pacing

Foreshadowing:  Scattered hints and clues placed throughout the story, sparking curiosity and suspense.

Pacing:  Varying the pace of the story to keep the reader engaged and emotionally invested.

Suspense and Tension

Suspenseful Elements:  Creating excitement about what will happen next in the narrative.

Tension Creation:  Factors that create suspense and keep readers interested in the conclusion.

Originality and Innovation

Innovative Storytelling:  Trying out different ways of telling a story, such as different narrative forms, genres, and perspectives, which can result in interesting and original stories.

Unexpected Twists:  Unanticipated features that defy expectations and draw in viewers.

Understanding Elements with the Help of a Creative Writing Example

Going through creative writing examples is often a good way to adapt the right technique for tackling this task. Here you go with an example.

The Creative Writing Piece

In a peaceful spot in the city, surrounded by towering skyscrapers, was an old house. Its worn-out exterior didn’t give away the secrets inside, especially in the attic, where forgotten gems were collecting dust.

Anna, once full of life as a cellist, now found comfort in the peace and quiet of her home. Her music stopped playing after a heartbreaking incident that took away her brother, Daniel, leaving her with a deep sadness in her heart.

On a stormy afternoon, Anna was trying to avoid thinking about painful memories, so she went into her attic. She found an old music box, with tarnished edges, and she nervously wound it up. A sad melody filled the quiet room.

Anna’s body shuddered as the melancholic tune filled her soul, bringing up memories she had wanted to forget. Daniel’s favorite song was playing, the song they’d shared during their happiest times together. Her eyes blurred with tears as a mix of nostalgia and pain overwhelmed her.

Anna ran her fingers over the detailed carvings on the music box in a trance. The grooves reminded her of all the good times she had with Daniel – his wide grin, and the bond they had. She was filled with emotion as she remembered it all, tears streaming down her face.

As the music tapered off, Anna’s determination increased. She held onto the music box tightly, dead set on figuring out what it meant. She stayed up all night and kept searching, and eventually found hints – a worn-out photo, an outdated show ticket – each one being a small lead to a song that had been forgotten.

Anna had a moment of self-reflection and remembered how much she loved music. She carefully picked up her cello and slowly plucked at the strings, feeling the music stir up her emotions. Gradually, the forgotten melody came back to her and filled the house, blending with the pitter-patter of rain hitting the windows.

Anna used music to find her way to recovery. Every tune she played was a step towards accepting her situation, a reminder of Daniel’s presence. The attic, which had once been a place of grief, now filled with the bittersweet sound of reflection and optimism.

In her music, Anna found that even when she had forgotten certain melodies, they still had the power to bring healing and renewal.

Breaking Down Elements of Creative Writing from the Story

You can get all the ideas about composition and more about creative writing in the comprehensive guide to master creative writing by experts.

Element 1: Idea Generation

Anna, a disheartened cellist who can’t stop thinking about the awful accident that involved her brother, finds comfort in a dusty attic. There she finds an old music box that plays a sorrowful tune, and it brings back memories, causing her to go on a mission to understand its importance.

Element 2: Character Development

Anna:  A once-passionate cellist now withdrawn, struggling with unresolved emotions stemming from her brother’s accident.

Brother:  A pivotal character in flashbacks, portrayed as a source of inspiration and unresolved grief in Anna’s life.

Element 3: Plot and Structure

The narrative alternates between the present, where Anna discovers the music box, and poignant flashbacks revealing her relationship with her brother and the accident’s aftermath. The structure slowly unravels the emotional layers of Anna’s journey.

Element 4: Setting and Atmosphere

The attic serves as a metaphorical space for introspection, filled with forgotten relics that evoke nostalgia and pain. The contrast between the melancholic tune of the music box and the present silence heightens the emotional atmosphere.

Element 5: Dialogue and Voice

Conversations between Anna and her brother in flashbacks reveal their bond, regrets, and unspoken emotions. Anna’s internal monologue and interactions reflect her inner turmoil and gradual emotional healing.

Element 6: Theme and Symbolism

Themes of loss, healing, and the restorative power of music are explored. The music box symbolizes Anna’s unresolved emotions and her quest to rediscover joy amidst grief.

Element 7: Emotional Resonance

Readers empathize with Anna’s grief and find hope in her journey toward healing. Authentic emotions and gradual healing resonate throughout the narrative, evoking a range of emotions in the audience.

Element 8: Language and Style

Descriptive prose paints vivid images of both physical and emotional landscapes, evoking nostalgia and heartache. The narrative style, with its lyrical prose and introspective reflections, establishes a poignant and contemplative tone.

Element 9: Foreshadowing and Pacing

Clues within the narrative hint at the music box’s significance, building anticipation. Alternating between reflective moments and revelations maintains a pace that allows emotions to linger while propelling the story forward.

Element 10: Originality and Innovation

The blend of music, memories, and emotional introspection creates a narrative that resonates uniquely. Unexpected revelations within Anna’s journey offer hope amidst sorrow, adding depth to the story. The expert writers working with professional paper writing service providers also vouch this element to be very important for the effectiveness of creative writing.

Creative writing is like painting with words! You create characters, plots, and settings and inject emotions to make stories come alive. With interesting characters, emotional appeal, an exciting story, and vivid descriptions, you can draw readers in and make them feel like they’re right there in the adventure. It’s a great way to evoke emotion and fire up imaginations!

This blog post was all about helping you get better with creative writing with knowing the elements of creative writing in good detail.

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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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8 Elements of Effective Creative Writing (The Art of the Craft)

~ 4-minute read

January is International Creativity Month, and I couldn’t pass up the opportunity to discuss the basic, but crucial, aspects of creative writing. The Art of the Craft article series will go in-depth into the various elements and techniques that go into crafting a work of creative writing. From novel writing to poetry, The Word Count will cover it all!

Already know what you’re hoping to see in The Art of Craft article series? Comment with the topic(s) you want The Word Count to address next!

What is Creative Writing?

Creative writing is the act of using your power of storytelling to create literary productions or compositions in an imaginative and original way. Creative writing is the artistic expression of a lens through which to view the world, a message conveyed through an inventive tale.

What Counts as Creative Writing?

Any work which uses imagery, drama, and narrative to communicate to an audience is considered creative writing. Examples include poems, short stories, novels, scripts, screenplays, and creative nonfiction.

What are the 8 Main Elements of Creative Writing?

Voice refers to the unique style and way a writer expresses oneself on the page. This is similar to how you can recognize someone through the nuances of their personality. A successful creative piece will have a natural, clear, and consistent voice.

The tone of a creative work is the attitude that the writer showcases toward what they are sharing in the story.

Style is the deliberate way in which writers choose words and place them together to craft the story.

4.) Characters

Characters are the people, animals, inanimate objects, or natural forces, etc. whose actions carry the story forward. The crucial act of developing characters takes time and consideration. Creative writers must know their characters in precise detail to effectively develop a connection with their audience.

The sequence of incidents that befall characters in a story is known as the plot. The plot of creative works includes elements, such as suspense-building and conflict that guide the characters throughout the story.

6.) Point of View

Point of View (POV) refers to the perspective that the narrator has on the characters and the events transpiring in the story.

7.) Setting

The setting of a creative work is the place and time period in which the characters dwell and the story takes place.

Theme is the underlying meaning of a creative story, the important statement that the writer aims to share with their audience.

How Do I Get Started Writing my Book?

Step 1: Make Time to Write This is the most important, but oftentimes forgotten, rule of being a writer of any kind. You need to make consistent time in your schedule to write. Not only will this help you develop a stronger sense of commitment, but over time it will train your brain so you can get into “writer mode” even quicker during your writing sessions.

Step 2: Get Ideas for Writing Just as it is crucial for a creative writer to make time to write, so is it important for them to set aside time to observe the world, and comb through the story ideas that pop up along the way.

Step 3: Write Aurally and Visually Even well-written works can become dull and dry without dialogue, interactions, and details that bring them to life! Be thorough when researching genres, setting details, cultures, etc.

Step 4: Draw from your Experiences Besides researching, you can look back at your experiences for ways to bring a character, their dialogue, or the overall story to life.

Step 5: Read One of the best ways to grow as a writer is to explore what others in your genre are doing and understand the specific aspects of what you like or dislike in what you see.

International Creativity Month is a time to embrace your creative muse. If you were looking for a sign to pursue creative writing, here it is. Don’t wait for the perfect time or the right level of confidence to embark on the journey.

As a good friend once told me, “Anything worth doing is worth doing it scared.”

If you are unsure or anxious at the prospect of being a creative writer, The Word Count is here to help guide you because every word counts .

Do you want to learn more about the craft of creative writing? Subscribe to our blog today and get notified when our next post goes live!

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5 Elements Of a Story Explained With Examples (+ Free Worksheet)

What do all good stories have in common? And no it’s not aliens or big explosions! It’s the five elements of a story: Characters, Setting, Plot, Conflict and Resolution. Story elements are needed to create a well-structured story. It doesn’t matter if you’re writing a short story or a long novel, the core elements are always there. 

What are Story Elements?

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This short video lesson explains the main points relating to the five story elements:

Story elements are the building blocks needed to make a story work. Without these blocks, a story will break down, failing to meet the expectations of readers. Simply put, these elements remind writers what to include in stories, and what needs to be planned. By understanding each element, you increase the chances of writing a better story or novel.

Over the years, writers have adapted these elements to suit their writing process. In fact, there can be as few as 4 elements in literature all the way up to 12 elements. The most universally used story elements contain just five building blocks:

These five elements are a great place to start when you need help planning your story. You may also notice that these story elements are what most book outlining techniques are based on.

5 Elements Of A Story

Below we have explained each of the five elements of a story in detail, along with examples.

Characters are the most familiar element in stories. Every story has at least one main character. Stories can also have multiple secondary characters, such as supporting characters and villain/s. The main character should be introduced at the beginning. While introducing this character it is a good idea to include key information about this character’s personality, past and physical appearance. You should also provide a hint to what this character’s major conflict is in the story (more on conflict later).

The main character also goes through changes throughout the story. All the challenges and obstacles they face in the story allow them to learn, grow and develop. Depending on your plot, they might become a better person, or even a worse one – if this is a villain’s origin story. But be careful here – Growth should not be mistaken for a personality change! The main character must stay true to who they are. Deep inside their personality should stay more or less the same. The only thing that changes is the lessons they learn, and how these impact them.

Check out this post on 20 tips for character development for more guidance.

Settings in stories refer to three things: Location, Time Period and Mood. The easiest element to understand is location . Location is the physical place/s the story takes part in mostly. For example, the tale of Cinderella takes part in two main locations: Cinderella’s Palace and the Ballroom at the Prince’s Palace. It is a good idea to explain each new location in great detail, so the readers feel like they are also right there with the characters. The physical location is also something that can be included at the beginning of the story to set the story’s tone.

Next comes the time period . Every story is set in some time period. Some stories especially about time travel may be set across multiple time periods. You don’t always have to include the exact date or year in your story. But it is a good idea that during the planning phase, you know the year or even dates the story is set in. This can help you include accurate details about location and even key events. For example, you don’t want to be talking about characters using mobile phones in the 18th century – It just wouldn’t make sense (Unless of course, it’s a time travel story)!

The final part of the setting is the mood . The mood is the feeling you want readers to feel when reading your story. Do you want them to be scared, excited or happy? It’s the way you explain and describe a particular location, object or person. For example in horror stories, you may notice dark language being used throughout, such as gore, dismal, damp or vile. While a fairy tale such as Cinderella uses light and warm language like magical, glittering, beautiful or happily ever after. The choice of words sets the mood and adds an extra layer of excitement to a story. 

The plot explains what a story is about from beginning to end. It can contain multiple scenes and events. In its simplest form, a plot has a beginning, middle and end. The beginning introduces the characters and sometimes shows a minor conflict. The middle is where the major conflict occurs. And the ending is where all conflicts are resolved, and the story comes to a close. The story mountain template is a great way to plan out a story’s plot.

A story is not a story without conflict. Conflict is also a key part of a story’s plot (see section above). The purpose of conflict in stories is to challenge your characters and push them to their limits. It is only when they face this conflict, do they really grow and reach their full potential. Conflicts can be internal, external or both. Internal conflicts come from inside your main character, such as not having the confidence in themself or having a fear of something. While external conflicts are created elsewhere, such as natural disasters or evil villains creating havoc. 

The resolution is a solution to the main conflict. Without a resolution, the conflict would be neverending, and this could lead to a disappointing ending to your story. Resolutions could include huge battle scenes or even the discovery of new information which changes everything. Sometimes in stories resolutions don’t always solve the conflict 100%. This normally leads to cliffhanger endings, where a small piece of conflict still exists somewhere. But the important thing to remember is that all conflicts need some kind of resolution in stories to make them satisfying to the reader.

Story Elements Examples

We explained each story element above, and now it’s time to put our teachings into practice. Here are some common story element examples we created.

The fox and the crow is one of Aesop’s most famous fables . It tells the story of a sly fox who tricks a foolish crow into giving her breakfast away. You can read the full fable on the read.gov website . 

Here are the elements of a story applied to the fable of the fox and the crow:

• Characters: A sly fox and a foolish crow.
• Setting: Bright Morning in the woods.
• Plot: A hungry fox is looking for food. The fox notices the crow with cheese in its beak. Using his charming words, the fox tricks the crow into dropping the cheese into the fox’s mouth. The story ends with the fox feeling satisfied, and the crow left with nothing to eat.
• Conflict: The Fox wants the cheese that the Crow has.
• Resolution: Using his charming words, the fox is able to trick the crow into singing. When she starts to sing, the cheese drops into the fox’s mouth. 

Cinderella is one of the most famous fairy tales of all time. It tells the tale of a poor servant girl who is abused by her stepmother and stepsisters. One night with the help of her fairy godmother, she attends the ball. It is at the ball that the prince falls in love with Cinderella. Eventually leading to a happy ending.

Here are the elements of a story applied to the short story of Cinderella:

• Characters: Cinderella, the stepsisters, the stepmother, the fairy godmother, and the prince.
• Setting: Long time ago in a kingdom. Physical locations include Cinderella’s Palace and the ballroom at the Prince’s Palace.
• Plot: Cinderella’s father passes away leaving her with her horrible stepmother and two stepsisters. They abuse her and make her clean the house all day. One day, an invite comes from the Prince’s palace inviting everyone to the ball. Cinderella is forced to stay at home, while her stepmother and sisters attend. Suddenly Cinderella’s fairy godmother appears and helps her get to the ball. But she must return home by midnight. At the ball, Cinderella and the Prince fall in love. The clock nearly strikes twelve and Cinderella runs away leaving a glass slipper behind. The prince then searches the kingdom to find Cinderella. Eventually, he finds her. The two get married and live happily ever after.
• Conflict: Cinderella must find a way to get away from her stepmother and stepsisters.
• Resolution: Cinderella and the prince get married.

Put everything you learned into practice with our free story elements worksheet PDF. This PDF includes a blank story elements anchor chart or graphic organiser, two completed examples and an explanation of each of the story elements. This worksheet pack  is great for planning your own story:

Common Questions About Story Elements

Writing a story is a huge task. Simply just putting pen to paper isn’t really going to cut it, especially if you want to write professionally. Planning is needed. That’s where the story elements come in. Breaking a story down into different components, helps you plan out each area carefully. It also reminds you of the importance of each element and the impact they can have on the final story. 

Some writers have expanded the traditional 5 elements to 7 elements of a story. These 7 elements include:

• Theme: What is the moral or main lesson to learn in your story?
• Characters: Who are your main and supporting characters?
• Setting: Where is your story set? Think about location and time period.
• Plot: What happens in your story?
• Conflict: What is the main conflict? Is this conflict internal or external?
• Point of View: Is this story written in first, second or third person view?
• Style: What kind of language or tone of voice will you use?

The 5 elements of a story include:

• Setting: Where is your story set? Think about location, time period and mood.
• Plot: What are the key events that happen in your story ?
• Resolution: How is the main conflict solved?

The longest version of the story elements includes 12 elements:

• Protagonist: Who is the main character or hero of the story?
• Antagonist : Who is the villain of the story?
• Setting : Where is your story set? Think about location and time period.
• Conflict : What is the main conflict? Is this conflict internal or external?
• Sacrifice : What will the main character lose if they fail?
• Rising Action : What action/s lead up to the main conflict? 
• Falling Action: What happens after the conflict had ended?
• Message: What is the key message of your story?
• Language : What kind of words would you use? Think about the tone of voice and mood of the story.
• Theme: What is the overall moral or main lesson to learn in your story?
• Reality: How does your story relate to the real world?

Some versions of the story elements, completely remove the conflict element. In the 6 elements structure, conflict is included in the plot element:

• Plot: What happens in your story? Think about the main conflict.

We could consider the order of events, in this 9 story elements structure:

• Tension: What is the source of conflict?
• Climax: The moment when the main conflict happens.
• Plot: What happens in your story? 
• Purpose: Why do certain events happen in your story?
• Chronology: What is the order of main events in your story?

The story elements can also be adapted to contain 8 elements:

• Style: What kind of language or words will you use?
• Tone: What is the overall mood of the story? Is it dark, funny or heartfelt?

Got any more questions about the key elements of a story? Share them in the comments below!

Marty the wizard is the master of Imagine Forest. When he's not reading a ton of books or writing some of his own tales, he loves to be surrounded by the magical creatures that live in Imagine Forest. While living in his tree house he has devoted his time to helping children around the world with their writing skills and creativity.

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Whether you’ve been struck with a moment of inspiration or you’ve carried a story inside you for years, you’re here because you want to start writing fiction. From developing flesh-and-bone characters to worlds as real as our own, good fiction is hard to write, and getting the first words onto the blank page can be daunting.

Daunting, but not impossible. Although writing good fiction takes time, with a few fiction writing tips and your first sentences written, you’ll find that it’s much easier to get your words on the page.

Let’s break down fiction to its essential elements. We’ll investigate the individual components of fiction writing—and how, when they sit down to write, writers turn words into worlds. Then, we’ll turn to instructor Jack Smith and his thoughts on combining these elements into great works of fiction. But first, what are the elements of fiction writing?

Introduction to Fiction Writing: The Six Elements of Fiction

Before we delve into any writing tips, let’s review the essentials of creative writing in fiction. Whether you’re writing flash fiction , short stories, or epic trilogies, most fiction stories require these six components:

• Plot: the “what happens” of your story.
• Characters:  whose lives are we watching?
• Setting: the world that the story is set in.
• Point of View: from whose eyes do we see the story unfold?
• Theme: the “deeper meaning” of the story, or what the story represents.
• Style: how you use words to tell the story.

It’s important to recognize that all of these elements are intertwined. You can’t build the setting without writing it through a certain point of view; you can’t develop important themes with arbitrary characters, etc. We’ll get into the relationship between these elements later, but for now, let’s explore how to use each element to write fiction.

1. Fiction Writing Tip: Developing Fictional Plots

Plot is the series of causes and effects that produce the story as a whole. Because A, then B, then C—ultimately leading to the story’s  climax , the result of all the story’s events and character’s decisions.

If you don’t know where to start your story, but you have a few story ideas, then start with the conflict . Some novels take their time to introduce characters or explain the world of the piece, but if the conflict that drives the story doesn’t show up within the first 15 pages, then the story loses direction quickly.

That’s not to say you have to be explicit about the conflict. In Harry Potter, Voldemort isn’t introduced as the main antagonist until later in the first book; the series’ conflict begins with the Dursley family hiding Harry from his magical talents. Let the conflict unfold naturally in the story, but start with the story’s impetus, then go from there.

2. Fiction Writing Tip: Creating Characters

Think far back to 9th grade English, and you might remember the basic types of story conflicts: man vs. nature, man vs. man, and man vs. self. The conflicts that occur within stories happen to its characters—there can be no story without its people. Sometimes, your story needs to start there: in the middle of a conversation, a disrupted routine, or simply with what makes your characters special.

There are many ways to craft characters with depth and complexity. These include writing backstory, giving characters goals and fatal flaws, and making your characters contend with complicated themes and ideas. This guide on character development will help you sort out the traits your characters need, and how to interweave those traits into the story.

3. Fiction Writing Tip: Give Life to Living Worlds

Whether your story is set on Earth or a land far, far away, your setting lives in the same way your characters do. In the same way that we read to get inside the heads of other people, we also read to escape to a world outside of our own. Consider starting the story with what makes your world live: a pulsing city, the whispered susurrus of orchards, hills that roil with unsolved mysteries, etc. Tell us where the conflict is happening, and the story will follow.

4. Fiction Writing Tip: Play With Narrative Point of View

Point of view refers to the “cameraman” of the story—the vantage point we are viewing the story through. Maybe you’re stuck starting your story because you’re trying to write it in the wrong person. There are four POVs that authors work with:

• First person—the story is told from the “I” perspective, and that “I” is the protagonist.
• First person peripheral—the story is told from the “I” perspective, but the “I” is not the protagonist, but someone adjacent to the protagonist. (Think: Nick Carraway, narrator of  The Great Gatsby. )
• Second person—the story is told from the “you” perspective. This point of view is rare, but when done effectively, it can create a sense of eeriness or a personalized piece.
• Third person limited—the story is told from the “he/she/they” perspective. The narrator is not directly involved in the lives of the characters; additionally, the narrator usually writes from the perspective of one or two characters.
• Third person omniscient—the story is told from the “he/she/they” perspective. The narrator is not directly involved in the lives of the characters; additionally, the narrator knows what is happening in each character’s heads and in the world at large.

If you can’t find the right words to begin your piece, consider switching up the pronouns you use and the perspective you write from. You might find that the story flows onto the page from a different point of view.

5. Fiction Writing Tip: Use the Story to Investigate Themes

Generally, the themes of the story aren’t explored until after the aforementioned elements are established, and writers don’t always know the themes of their own work until after the work is written. Still, it might help to consider the broader implications of the story you want to write. How does the conflict or story extend into a bigger picture?

Let’s revisit Harry Potter’s opening scenes. When we revisit the Dursleys preventing Harry from knowing about his true nature, several themes are established: the meaning of family, the importance of identity, and the idea of fate can all be explored here. Themes often develop organically, but it doesn’t hurt to consider the message of your story from the start.

6. Fiction Writing Tip: Experiment With Words

Style is the last of the six fiction elements, but certainly as important as the others. The words you use to tell your story, the way you structure your sentences, how you alternate between characters, and the sounds of the words you use all contribute to the mood of the work itself.

If you’re struggling to get past the first sentence, try rewriting it. Write it in 10 words or write it in 200 words; write a single word sentence; experiment with metaphors, alliteration, or onomatopoeia . Then, once you’ve found the right words, build from there, and let your first sentence guide the style and mood of the narrative.

Now, let’s take a deeper look at the craft of fiction writing. The above elements are great starting points, but to learn how to start writing fiction, we need to examine the craft of combining these elements.

Primer on the Elements of Fiction Writing

First, before we get into the craft of fiction writing, it’s important to understand the elements of fiction. You don’t need to understand everything about the craft of fiction before you start keying in ideas or planning your novel. But this primer will be something you can consult if you need clarification on any term (e.g., point of view) as you learn how to start writing fiction.

The Elements of Fiction Writing

A standard novel runs between 80,000 to 100,000 words. A short novel, going by the National Novel Writing Month , is at least 50,000. To begin with, don’t think about length—think about development. Length will come. It is true that some works lend themselves more to novellas, but if that’s the case, you don’t want to pad them to make a longer work. If you write a plot summary—that’s one option on getting started writing fiction—you will be able to get a fairly good idea about your project as to whether it lends itself to a full-blown novel.

For now, let’s think about the various elements of fiction—the building blocks.

Writing Fiction: Your Protagonist

Readers want an interesting protagonist , or main character. One that seems real, that deals with the various things in life we all deal with. If the writer makes life too simple, and doesn’t reflect the kinds of problems we all face, most readers are going to lose interest.

Don’t cheat it. Make the work honest. Do as much as you can to develop a character who is fully developed, fully real—many-sided. Complex. In Aspects of the Novel , E.M Forster called this character a “round” characte r. This character is capable of surprising us. Don’t be afraid to make your protagonist, or any of your characters, a bit contradictory. Most of us are somewhat contradictory at one time or another. The deeper you see into your protagonist, the more complex, the more believable they will be.

If a character has no depth, is merely “flat,” as Forster terms it, then we can sum this character up in a sentence: “George hates his ex-wife.” This is much too limited. Find out why. What is it that causes George to hate his ex-wife? Is it because of something she did or didn’t do? Is it because of a basic personality clash? Is it because George can’t stand a certain type of person, and he didn’t realize, until too late, that his ex-wife was really that kind of person? Imagine some moments of illumination, and you will have a much richer character than one who just hates his ex-wife.

And so… to sum up: think about fleshing out your protagonist as much as you can. Consider personality, character (or moral makeup), inclinations, proclivities, likes, dislikes, etc. What makes this character happy? What makes this character sad or frustrated? What motivates your character? Readers don’t want to know only what —they want to know why .

Usually, readers want a sympathetic character, one they can root for. Or if not that, one that is interesting in different ways. You might not find the protagonist of The Girl on the Train totally sympathetic, but she’s interesting! She’s compelling.

Here’s an article I wrote on what makes a good protagonist.

Also on clichéd characters.

Now, we’re ready for a key question: what is your protagonist’s main goal in this story? And secondly, who or what will stand in the way of your character achieving this goal?

There are two kinds of conflicts: internal and external. In some cases, characters may not be opposing an external antagonist, but be self-conflicted. Once you decide on your character’s goal, you can more easily determine the nature of the obstacles that your protagonist must overcome. There must be conflict, of course, and stories must involve movement. Things go from Phase A to Phase B to Phase C, and so on. Overall, the protagonist begins here and ends there. She isn’t the same at the end of the story as she was in the beginning. There is a character arc.

I spoke of character arc. Now let’s move on to plot, the mechanism governing the overall logic of the story. What causes the protagonist to change? What key events lead up to the final resolution?

But before we go there, let’s stop a moment and think about point of view, the lens through which the story is told.

Writing Fiction: Point of View as Lens

Is this the right protagonist for this story? Is this character the one who has the most at stake? Does this character have real potential for change? Remember, you must have change or movement—in terms of character growth—in your story. Your character should not be quite the same at the end as in the beginning. Otherwise, it’s more of a sketch.

Such a story used to be called “slice of life.” For example, what if a man thinks his job can’t get any worse—and it doesn’t? He started with a great dislike for the job, for the people he works with, just for the pay. His hate factor is 9 on a scale of 10. He doesn’t learn anything about himself either. He just realizes he’s got to get out of there. The reader knew that from page 1.

Choose a character who has a chance of undergoing change of some kind. The more complex the change, the better. Characters that change are dynamic characters , according to E. M. Forster. Characters that remain the same are  static  characters. Be sure your protagonist is dynamic.

Okay, an exception: Let’s say your character resists change—that can involve some sort of movement—the resisting of change.

Here’s another thing to look at on protagonists—a blog I wrote: https://elizabethspanncraig.com/writing-tips-2/creating-strong-characters-typical-challenges/

Writing Fiction: Point of View and Person

Usually when we think of point of view, we have in mind the choice of person: first, second, and third. First person provides intimacy. As readers we’re allowed into the I-narrator’s mind and heart. A story told from the first person can sometimes be highly confessional, frank, bold. Think of some of the great first-person narrators like Huck Finn and Holden Caulfield. With first person we can also create narrators that are not completely reliable, leading to dramatic irony : we as readers believe one thing while the narrator believes another. This creates some interesting tension, but be careful to make your protagonist likable, sympathetic. Or at least empathetic, someone we can relate to.

What if a novel is told in first person from the point of view of a mob hit man? As author of such a tale, you probably wouldn’t want your reader to root for this character, but you could at least make the character human and believable. With first person, your reader would be constantly in the mind of this character, so you’d need to find a way to deal with this sympathy question. First person is a good choice for many works of fiction, as long as one doesn’t confuse the I-narrator with themselves. It may be a temptation, especially in the case of fiction based on one’s own life—not that it wouldn’t be in third person narrations. But perhaps even more with a first person story: that character is me . But it’s not—it’s a fictional character.

Check out my article on writing autobiographical fiction, which appeared in  The   Writer  magazine. https://www.writermag.com/2018/07/31/filtering-fact-through-fiction/

Third person provides more distance. With third person, you have a choice between three forms: omniscient, limited omniscient, and objective or dramatic. If you get outside of your protagonist’s mind and enter other characters’ minds, you are being omniscient or godlike. If you limit your access to your protagonist’s mind only, this is limited omniscience. Let’s consider these two forms of third-person narrators before moving on to the objective or dramatic POV.

The omniscient form is rather risky, but it is certainly used, and it can certainly serve a worthwhile function. With this form, the author knows everything that has occurred, is occurring, or will occur in a given place, or in given places, for all the characters in the story. The author can provide historical background, look into the future, and even speculate on characters and make judgments. This point of view, writers tend to feel today, is more the method of nineteenth-century fiction, and not for today. It seems like too heavy an authorial footprint. Not handled well—and it is difficult to handle well—the characters seem to be pawns of an all-knowing author.

Today’s omniscience tends to take the form of multiple points of view, sometimes alternating, sometimes in sections. An author is behind it all, but the author is effaced, not making an appearance. BUT there are notable examples of well-handled authorial omniscience–read Nobel-prize winning Jose Saramago’s Blindness  as a good example.

For more help, here’s an article I wrote on the omniscient point of view for  The Writer : https://www.writermag.com/improve-your-writing/fiction/omniscient-pov/

The limited omniscient form is typical of much of today’s fiction. You stick to your protagonist’s mind. You see others from the outside. Even so, you do have to be careful that you don’t get out of this point of view from time to time, and bring in things the character can’t see or observe—unless you want to stand outside this character, and therein lies the omniscience, however limited it is.

But anyway, note the difference between: “George’s smiles were very welcoming” and “George felt like his smiles were very welcoming”—see the difference? In the case of the first, we’re seeing George from the outside; in the case of the second, from the inside. It’s safer to stay within your protagonist’s perspective as much as possible and not describe them from the outside. Doing so comes off like a point-of-view shift. Yet it’s true that in some stories, the narrator will describe what the character is wearing, tell us what his hopes and dreams are, mention things he doesn’t know right now but will later—and perhaps, in rather quirky stories, the narrator will even say something like “Our hero…” This can work, and has, if you create an interesting narrative voice. But it’s certainly a risk.

The dramatic or objective point of view is one you’ll probably use from time to time, but not throughout your whole novel. Hemingway’s “Hills like White Elephants” is handled with this point of view. Mostly, with maybe one exception, all we know is what the characters say and do, as in a play. Using this point of view from time to time in a longer work can certainly create interest. You can intensify a scene sometimes with this point of view. An interesting back and forth can be accomplished, especially if the dialogue is clipped.

I’ve saved the second-person point of view for the last. I would advise you not to use this point of view for an entire work. In his short novel Bright Lights, Big City , Jay McInerney famously uses this point of view, and with some force, but it’s hard to pull off. In lesser hands, it can get old. You also cause the reader to become the character. Does the reader want to become this character? One problem with this point of view is it may seem overly arty, an attempt at sophistication. I think it’s best to choose either first or third.

Here’s an article I wrote on use of second person for  The Writer magazine. Check it out if you’re interested. https://www.writermag.com/2016/11/02/second-person-pov/

Writing Fiction: Protagonist and Plot and Structure

We come now to plot, keeping in mind character. You might consider the traditional five-stage structure : exposition, rising action, crisis and climax, falling action, and resolution. Not every plot works this way, but it’s a tried-and-true structure. Certainly a number of pieces of literature you read will begin in media re s—that is, in the middle of things. Instead of beginning with standard exposition, or explanation of the condition of the protagonist’s life at the story’s starting point, the author will begin with a scene. But even so, as in Jerzy Kosiński’s famous novella Being There , which begins with a scene, we’ll still pick up the present state of the character’s life before we see something that complicates it or changes the existing equilibrium. This so-called complication can be something apparently good—like winning the lottery—or something decidedly bad—like losing a huge amount of money at the gaming tables. One thing is true in both cases: whatever has happened will cause the character to change. And so now you have to fill in the events that bring this about.

How do you do that? One way is to write a chapter outline to prevent false starts. But some writers don’t like plotting in this fashion, but want to discover as they write. If you do plot your novel in advance, do realize that as you write, you will discover a lot of things about your character that you didn’t have in mind when you first set pen to paper. Or fingers to keyboard. And so, while it’s a good idea to do some planning, do keep your options open.

Let’s think some more about plot. To have a workable plot, you need a sequence of actions or events that give the story an overall movement. This includes two elements which we’ll take up later: foreshadowing and echoing (things that prepare us for something in the future and things that remind us of what has already happened). These two elements knit a story together.

Think carefully about character motivations. Some things may happen to your character; some things your character may decide to do, however wisely or unwisely. In the revision stage, if not earlier, ask yourself: What motivates my character to act in one way or another? And ask yourself: What is the overall logic of this story? What caused my character to change? What were the various forces, whether inner or outer, that caused this change? Can I describe my character’s overall arc, from A to Z?  Try to do that. Write a short paragraph. Then try to write down your summary in one sentence, called a log line in film script writing, but also a useful technique in fiction writing as well. If you write by the discovery method, you probably won’t want to do this in the midst of the drafting, but at least in the revision stage, you should consider doing so.

With a novel you may have a subplot or two. Assuming you will, you’ll need to decide how the plot and the subplot relate. Are they related enough to make one story? If you think the subplot is crucial for the telling of your tale, try to say why—in a paragraph, then in a sentence.

Here’s an article I wrote on structure for  The Writer : https://www.writermag.com/improve-your-writing/revision-grammar/find-novels-structure/

Writing Fiction: Setting

Let’s move on to setting . Your novel has to take place somewhere. Where is it? Is it someplace that is particularly striking and calls for a lot of solid description? If it’s a wilderness area where your character is lost, give your reader a strong sense for the place. If it’s a factory job, and much of the story takes place at the worksite, again readers will want to feel they’re there with your character, putting in the hours. If it’s an apartment and the apartment itself isn’t related to the problems your character is having, then there’s no need to provide that much detail. Exception: If your protagonist concentrates on certain things in the apartment and begins to associate certain things about the apartment with their misery, now there’s reason to get concrete. Take a look, when you have a chance, at the short story “The Yellow Wall-Paper.” It’s not an apartment—it’s a house—but clearly the setting itself becomes important when it becomes important to the character. She reads the wallpaper as a statement about her own condition.

Here’s the URL for ”The Yellow Wall-Paper”: https://www.nlm.nih.gov/theliteratureofprescription/exhibitionAssets/digitalDocs/The-Yellow-Wall-Paper.pdf

Sometimes setting is pretty important; sometimes it’s much less important. When it doesn’t serve a purpose to describe it, don’t, other than to give the reader a sense for where the story takes place. If you provide very many details, even in a longer work like a novel, the reader will think that these details have some significance in terms of character, plot, or theme—or all three. And if they don’t, why are they there? If setting details are important, be selective. Provide a dominant impression. More on description below.

If you’re interested, here’s a blog on setting I wrote for Writers.com: https://writers.com/what-is-the-setting-of-a-story

Writing Fiction: Theme and Idea

Most literary works have a theme or idea. It’s possible to decide on this theme before you write, as you plan out your novel. But be careful here. If the theme seems imposed on the work, the novel will lose a lot of force. It will seem—and it may well be—engineered by the author much like a nonfiction piece, and lose the felt experience of the characters.

Theme must emerge from the work naturally, or at least appear to do so. Once you have a draft, you can certainly build ideas that are apparent in the work, and you can even do this while you’re generating your first draft. But watch out for overdoing it. Let the characters (what they do, what they say) and the plot (the whole storyline with its logical connections) contribute on their own to the theme. Also you can depend on metaphors, similes, and analogies to point to the theme—as long as these are not heavy-handed. Avoid authorial intrusion, authorial impositions of any kind. If you do end up creating a simile, metaphor, or analogy through rational thinking, make sure it sounds  natural. That’s not easy, of course.

Writing Fiction: Handling Scenes

Keep a few things in mind about writing scenes. Not every event deserves a whole scene, maybe only a half-scene, a short interaction between characters. Scenes need to do two things: reveal character and advance plot. If a scene seems to stall out and lack interest, in the revision mode you might try using narrative summary instead (see below).

Good fiction is strongly dramatic, calling for scenes, many of them scenes with dialogue and action. Scenes need to involve conflict of some kind. If everyone is happy, that’s probably going to be a dull scene. Some scenes will be narrative, without dialogue. You need some interesting action to make these work.

Let’s consider scenes with dialogue.

The best dialogue is speech that sounds natural, and yet isn’t. Everything about fiction is an artifice, including speech. But try to make it sound real. The best way to do this is to “hear” the voices in your head and transcribe them. Take dictation. If you can do this, whole conversations will seem very real, believable. If you force what each character has to say, and plan it out too much, it will certainly sound planned out, and not real at all. Not that in the revision mode you can’t doctor up the speech here and there, but still, make sure it comes off as natural sounding.

Some things to think about when writing dialogue: people usually speak in fragments, interrupt each other, engage in pauses, follow up a question with a comment that takes the conversation off course (non sequiturs). Note these aspects of dialogue in the fiction you read.

Also, note how writers intersperse action with dialogue, setting details, and character thoughts. As far as the latter goes, though, if you’ll recall, I spoke of the dramatic point of view, which doesn’t get into a character’s mind but depends instead on what characters do and say, as in a play. You may try this point of view out in some scenes to make them really move.

One technique is to use indirect dialogue, or summary of what a character said, not in the character’s own words. For instance: Bill made it clear that he wasn’t going to the city after all. If anybody thought that, they were wrong .

Now and then you’ll come upon dialogue that doesn’t use the standard double quotes, but perhaps a single quote (this is British), or dashes, or no punctuation at all. The latter two methods create some distance from the speech. If you want to give your work a surreal quality, this certainly adds to it. It also makes it seem more interior.

One way to kill good dialogue is to make characters too obviously expository devices—that is, functioning to provide background or explanations of certain important story facts. Certainly characters can serve as expository devices, but don’t be too heavy-handed about this. Don’t force it like the following:

“We always used to go to the beach, you recall? You recall how first we would have breakfast, then take a long walk on the beach, and then we would change into our swimsuits, and spend an hour in the water. And you recall how we usually followed that with a picnic lunch, maybe an hour later.”

This sounds like the character is saying all this to fill the reader in on backstory. You’d need a motive for the utterance of all of these details—maybe sharing a memory?

But the above sounds stilted, doesn’t it?

One final word about dialogue. Watch out for dialogue tags that tell but don’t show . Here’s an example:

“Do you think that’s the case,” said Ted, hoping to hear some good news. “Not necessarily,” responded Laura, in a barky voice. “I just wish life wasn’t so difficult,” replied Ted.

If you’re going to use a tag at all—and many times you don’t need to—use “said.” Dialogue tags like the above examples can really kill the dialogue.

Writing Fiction: Writing Solid Prose

Narrative summary :  As I’ve stated above, not everything will be a scene. You’ll need to write narrative summary now and then. Narrative summary telescopes time, covering a day, a week, a month, a year, or even longer. Often it will be followed up by a scene, whether a narrative scene   or one with dialogue. Narrative summary can also relate how things generally went over a given period. You can write strong narrative summary if you make it specific and concrete—and dramatic. Also, if we hear the voice of the writer, it can be interesting—if the voice is compelling enough.

Exposition : It’s the first stage of the 5-stage plot structure, where things are set up prior to some sort of complication, but more generally, it’s a prose form which tells or informs. You use exposition when you get inside your character, dealing with his or her thoughts and emotions, memories, plans, dreams. This can be difficult to do well because it can come off too much like authorial “telling” instead of “showing,” and readers want to feel like they’re experiencing the world of the protagonist, not being told about this world. Still, it’s important to get inside characters, and exposition is often the right tool, along with narrative summary, if the character is remembering a sequence of events from the past.

Description :  Description is a word picture, providing specific and concrete details to allow the reader to see, not just be told. Concreteness is putting the reader in the world of the five senses, what we call imagery . Some writers provide a lot of details, some only a few—just enough that the reader can imagine the rest. Consider choosing details that create a dominant impression—whether it’s a character or a place. Similes, metaphors, and analogies help readers see people and places and can make thoughts and ideas (the reflections of your character or characters) more interesting. Not that you should always make your reader see. To do so might cause an overload of images.

Check out these two articles: https://www.writermag.com/improve-your-writing/fiction/the-definitive-guide-to-show-dont-tell/ https://www.writermag.com/improve-your-writing/fiction/figurative-language-in-fiction/

Writing Fiction: Research

Some novels require research. Obviously historical novels do, but others do, too, like Sci Fi novels. Almost any novel can call for a little research. Here’s a short article I wrote for The Writer magazine on handling research materials. It’s in no way an in-depth commentary on research–but it will serve as an introduction. https://www.writermag.com/improve-your-writing/fiction/research-in-fiction/

For a blog on novel writing, check this link at Writers.com: https://writers.com/novel-writing-tips

For more articles I’ve published in  The Writer , go here: https://www.writermag.com/author/jack-smith/

How to Start Writing Fiction: Take a Writing Class!

To write a story or even write a book, fiction writers need these tools first and foremost. Although there’s no comprehensive guide on how to write fiction for beginners, working with these elements of fiction will help your story bloom.

All six elements synergize to make a work of fiction, and like most works of art, the sum of these elements is greater than the individual parts. Still, you might find that you struggle with one of these elements, like maybe you’re great at writing characters but not very good with exploring setting. If this is the case, then use your strengths: use characters to explore the setting, or use style to explore themes, etc.

Getting the first draft written is the hardest part, but it deserves to be written. Once you’ve got a working draft of a story or novel and you need an extra set of eyes, the Writers.com community is here to give feedback: take a look at our upcoming courses on fiction writing, and check out our talented writing community .

Good luck, and happy writing!

I have had a story in my mind for over 15 years. I just haven’t had an idea how to start , putting it down on print just seems too confusing. After reading this article I’m even more confused but also more determined to give it a try. It has given me answers to some of my questions. Thank you !

You’ve got this, Earl!

Just reading this as I have decided to attempt a fiction work. I am terrible at writing outside of research papers and such. I have about 50 single spaced pages “written” and an entire outline. These tips are great because where I struggle it seems is drawing the reader in. My private proof reader tells me it is to much like an explanation and not enough of a story, but working on it.

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7 Elements of Fiction: ProWritingAid's Expert Guide

Hannah Yang

Table of Contents

Elements of fiction: definition, the 7 elements of fiction, examples of the most famous elements of fiction in literature, elements of fiction: conclusion.

We live in a world full of stories. Novels, short stories, myths, and even plays are all forms of fiction.

All works of fiction are built using the same blocks. So what exactly are those building blocks, and how do they work?

This article will explain the seven elements of fiction and show you examples of what they look like in famous novels.

There are seven elements of fiction that can be found in any story, regardless of the form the narrative takes. These elements are character , plot , setting , theme , point of view , conflict , and tone.

All seven elements work together to create a coherent story. When you’re writing a story, these are the fundamental building blocks you should use.

You can approach the seven elements in any order. For example, you can start with tone—you might know you want to write a funny story, or a scary story. Or you can start with setting—you might decide you want to set the story in your own hometown.

Eventually though, you’ll need all seven elements to make your story complete.

Here’s an in-depth guide to the seven elements of fiction that every fiction writer and reader should know.

Element 1: Character

Characters are the players within a story. They can be human beings, animals, aliens, or even sentient objects. As long as they make decisions within the story, they’re characters.

Most stories have a main character , or multiple main characters. Some have antagonists who prevent the main characters from achieving their goals. There are also side characters , romantic interests, and many other roles that fictional characters can take in a story.

In a well-written story, each character has a distinct appearance, personality, and motivation. They should be rounded characters who drive the story forward by pursuing their individual goals rather than flat characters who behave like cardboard cut-outs.

Element 2: Plot

Plot refers to the events that happen within the story. It includes every major turning point that the characters experience.

In general, every story has a beginning , middle, and end.

The beginning is the exposition, where the key events of the story are set into action. The middle is the rising action, where progressive complications raise the stakes. And finally, the end is the resolution, where the story gets wrapped up.

Element 3: Setting

Setting is a broad term for the world the story takes place in.

On a macro level, setting might include the country the characters live in and the climate of that country. On a micro level, setting can include the room the characters are standing in, the time of day a scene takes place, or even the day-to-day weather.

Settings can sometimes take on symbolic meanings. For example, the never-ending winter in Narnia in C.S. Lewis’s The Lion, The Witch and the Wardrobe represents the tyranny of the White Witch’s rule.

Setting includes time as well as place. A story might take place over the span of a single night, like in A Christmas Carol by Charles Dickens, or an entire lifetime, like in A Man Called Ove by Fredrik Backman.

You can use ProWritingAid’s Sensory Report to make sure you’re using all five sense to describe the setting in your story. The more sensory descriptions you use, the more your setting will come to life.

Element 4: Theme

Theme refers to the philosophical questions your story explores.

Often, theme is revealed in the lesson the protagonist needs to learn. For example, one of the themes of Shelley’s science fiction book Frankenstein is that scientists shouldn’t use their powers to create new beings without considering the consequences.

Theme can also be revealed through the core conflict between the protagonist and the antagonist.

For example, in the Harry Potter series by J.K. Rowling, the antagonist, Voldemort, doesn’t love anybody, while the protagonist, Harry, is protected by the love of his family and friends. Thus, the power of love is a major theme in the series.

Element 5: Point of View

Point of view (POV) is the perspective from which a story is told.

In English class, you might have learned about the four basic POVs:

First person (“I”)

Second person (“you”)

Limited third person (“he, she, they” in one character’s head)

Omniscient third person (“he, she, they” from an all-seeing perspective)

POV is closely intertwined with form and structure. For example, if your story takes the form of advice offered to someone else, second person makes sense. On the other hand, if your story takes the form of a diary entry, first person makes sense.

Element 6: Conflict

Conflict is what prevents the protagonist from achieving their goals. All fiction writing requires conflict because otherwise there would be no story, just a happy ending.

For example, imagine your protagonist’s goal is to get back home as quickly as possible. The conflict can be as small as a late bus that delays their return, or as large as an earthquake that tears their hometown apart.

There are seven types of conflict: character vs character , character vs self , character vs society , character vs fate , character vs nature , and character vs technology .

Conflict is important because it’s what makes the story interesting. There would be no story if everyone could easily achieve everything they wanted. Adding meaningful obstacles for the characters to overcome is key for creating a compelling story.

Element 7: Tone

Tone helps the author evoke emotion.

When you’re reading or writing, ask yourself: What feeling is this story meant to evoke in the reader? Fear? Amusement? Thoughtfulness? Dread?

Tone is closely related to genre. If you’re writing a thriller, you might want to go for a scary and suspenseful tone. If you’re writing a romantic comedy, you might lean toward a lighter and more humorous tone.

Stories can vary their tones on a scene level. Even a thriller should have lighthearted scenes, and romantic comedies should have serious scenes.

(SPOILER ALERT: There are minor spoilers ahead for The Hunger Games by Suzanne Collins and The Great Gatsby by F. Scott Fitzgerald.)

Let’s look at the seven elements of fiction in The Hunger Games by Suzanne Collins, a young adult (YA) dystopian novel.

Character : The protagonist is Katniss Everdeen, who competes in the Hunger Games. Other major characters include her love interest Peeta Mellark, her younger sister Primrose Everdeen, and the other contestants in the Hunger Games.

Plot : The plot kicks off when Katniss volunteers for the Hunger Games to protect her sister. The rest of the plot follows Katniss training for and competing in the Games.

Setting : The setting is the nation of Panem. Specific settings include District 12, the impoverished district where Katniss grew up; the glittering Capitol, where the rich citizens live in blissful ignorance; and the arena, where the Games take place.

Theme : The themes of the story include power and oppression, suffering as entertainment, and inequality.

Point of View : Katniss is the first-person narrator.

Conflict : The primary conflict is character vs character when Katniss and the other tributes battle one another. Other forms of conflict are present as well, such as the character vs society conflict when Katniss confronts the dystopian society she lives in.

Tone : The writing style of the book is fast-paced and suspenseful, often evoking fear and excitement, as Katniss tells the reader about the life-and-death situations she’s experiencing.

Now let’s look at the seven elements of fiction in The Great Gatsby by F. Scott Fitzgerald, a classic work of literary fiction.

Character : The protagonist is Jay Gatsby, the Great Gatsby himself. Other key characters include his friend Nick Carraway, his love interest Daisy Buchanan, and Daisy’s husband Tom Buchanan.

Plot : The plot follows Jay Gatsby as he throws lavish parties in an attempt to win back Daisy, the love of his life. Over the course of the story, he courts her and nearly convinces her to leave her husband for him, but ultimately loses his life as a result of his efforts.

Setting : The setting is New York in the 1920s during the Jazz Age. Specific settings include West Egg, East Egg, the valley of ashes, and New York City.

Theme : The themes of the story include the American Dream, love and marriage, and dissatisfaction with life in spite of wealth and status.

Point of View : The book is written in the first person from Nick’s point of view. This POV is sometimes called first-person witness, since the narrator isn’t the same person as the protagonist.

Conflict : The primary conflict is character vs self conflict as Gatsby tries to achieve the American Dream and prove to Daisy he’s a great man. There’s also character vs character conflict between Gatsby and the other characters.

Tone : The tone of the book is serious and reflective while Nick reflects on Gatsby’s story and relays it to the reader.

Now you know the key elements that make a story work! Here’s a quick recap:

Point of view

What do these elements look like in your favorite stories? Let us know in the comments.

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Hannah Yang is a speculative fiction writer who writes about all things strange and surreal. Her work has appeared in Analog Science Fiction, Apex Magazine, The Dark, and elsewhere, and two of her stories have been finalists for the Locus Award. Her favorite hobbies include watercolor painting, playing guitar, and rock climbing. You can follow her work on hannahyang.com, or subscribe to her newsletter for publication updates.

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

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

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

Read:  List of top 10 Online Dictionaries for Writers.

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

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

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

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

• Point of views

• Character

Characters  are essential in creative writing. While it is possible to write a book creatively in the second person, you must still develop the character in order to tell the story. Character development is the discovery of who a character is and how they change throughout the course of your story. Readers should be able to fully comprehend your main characters from beginning to end.

Characters are either round or flat, or dynamic or static.

Read:  Jnanpith(Gyanpith) Award: Winners, History, Nomination Process

Flat characters are two-dimensional in the sense that they are simple. Round characters, on the other hand, are multifaceted beings with many diverse traits that evolve, sometimes to the surprise of the reader.

Dynamic characters  fluctuate during the plot, whereas static characters remain the same throughout.

• Dialogues

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

• Narration

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

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

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

• Structure

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

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

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

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

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

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

• Point of Views

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

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

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

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

Read:  List of Most Prestigious Literary Awards in 2022

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

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The 5 Rs of Creative Nonfiction

What's the Story #06

“The Essayist at Work” is our first special issue. The cover is different, and although it is our habit to center each issue around a general theme, the essays and profiles in “The Essayist at Work” are narrower in scope. In the future, we intend to publish special issues on a variety of topics, but this one is especially important, not only because it is our first, but also because it helps to launch the first Mid-Atlantic Creative Nonfiction Summer Writers’ Conference with the Goucher College Center for Graduate and Continuing Studies in Baltimore, Md., a supportive and enthusiastic summer partner. Many writers featured in “The Essayist at Work” will also be participating at the conference – an event we hope to continue to co-sponsor with Goucher for years to come.

The writers in this issue represent the incredible range of the newly emerging genre of creative nonfiction, from the struggle and success stories of Darcy Frey (“The Last Shot”) and William Least Heat-Moon (“Blue Highways”) to the master of the profession, John McPhee. From the roots of traditional journalism to poetry and fiction, Pulitzer Prize-winner Alice Steinbach, poet Diane Ackerman and novelists Phillip Lopate and Paul West, have helped expand the boundaries of form and tradition. Jane Bernstein, Steven Harvey, Mary Paumier Jones, Wendy Lesser and Natalia Rachel Singer ponder the spirit of the essay (and e-mail!), while I continue to reflect on and define the creative nonfiction form.

From the beginning, it has been our mission to probe the depths and intricacies of nonfiction by publishing the best prose by new and established writers. Creative Nonfiction provides a forum for writers, editors and readers interested in pushing the envelope of creativity and discussing and defining the parameters of accuracy, validity and truth. My essay below, “The 5 Rs of Creative Nonfiction,” is dedicated to that mission. It will appear in “More than the Truth: Teaching Nonfiction Writing Through Journalism,” which will be published in the fall of 1996 by Heineman.

It is 3 a.m., and I am standing on a stool in the operating room at the University of Pittsburgh Medical Center, in scrubs, mask, cap and paper booties, peering over the hunched shoulders of four surgeons and a scrub nurse as a dying woman’s heart and lungs are being removed from her chest. This is a scene I have observed frequently since starting my work on a book about the world of organ transplantation, but it never fails to amaze and startle me: to look down into a gaping hole in a human being’s chest, which has been cracked open and emptied of all of its contents, watching the monitor and listening to the rhythmic sighing sounds of the ventilator, knowing that this woman is on the fragile cusp of life and death and that I am observing what might well be the final moments of her life.

Now the telephone rings; a nurse answers, listens for a moment and then hangs up. “On the roof,” she announces, meaning that the helicopter has set down on the hospital helipad and that a healthy set of organs, a heart and two lungs, en bloc, will soon be available to implant into this woman, whose immediate fate will be decided within the next few hours.

With a brisk nod, the lead surgeon, Bartley Griffith, a young man who pioneered heart-lung transplantation and who at this point has lost more patients with the procedure than he had saved, looks up, glances around and finally rests his eyes on me: “Lee,” he says, “would you do me a great favor?”

I was surprised. Over the past three years I had observed Bart Griffith in the operating room a number of times, and although a great deal of conversation takes place between doctors and nurses during the long and intense surgical ordeal, he had only infrequently addressed me in such a direct and spontaneous manner.

Our personal distance is a by-product of my own technique as an immersion journalist – my “fly-on-the wall” or “living room sofa” concept of “immersion”: Writers should be regular and silent observers, so much so that they are virtually unnoticed. Like walking through your living room dozens of times, but only paying attention to the sofa when suddenly you realize that it is missing. Researching a book about transplantation, “Many Sleepless Nights” (W.W. Norton), I had been accorded great access to the O.R., the transplant wards, ethics debates and the most intimate conversations between patients, family members and medical staff. I had jetted through the night on organ donor runs. I had witnessed great drama – at a personal distance.

But on that important early morning, Bartley Griffith took note of my presence and requested that I perform a service for him. He explained that this was going to be a crucial time in the heart-lung procedure, which had been going on for about five hours, but that he felt obligated to make contact with this woman’s husband who had traveled here from Kansas City, Mo. “I can’t take the time to talk to the man myself, but I am wondering if you would brief him as to what has happened so far. Tell him that the organs have arrived, but that even if all goes well, the procedure will take at least another five hours and maybe longer.” Griffith didn’t need to mention that the most challenging aspect of the surgery – the implantation – was upcoming; the danger to the woman was at a heightened state.

A few minutes later, on my way to the ICU waiting area where I would find Dave Fulk, the woman’s husband, I stopped in the surgeon’s lounge for a quick cup of coffee and a moment to think about how I might approach this man, undoubtedly nervous – perhaps even hysterical – waiting for news of his wife. I also felt kind of relieved, truthfully, to be out of the O.R,, where the atmosphere is so intense.

Although I had been totally caught-up in the drama of organ transplantation during my research, I had recently been losing my passion and curiosity; I was slipping into a life and death overload in which all of the sad stories from people all across the world seemed to be congealing into the same muddled dream. From experience, I recognized this feeling – a clear signal that it was time to abandon the research phase of this book and sit down and start to write. Yet, as a writer, I was confronting a serious and frightening problem: Overwhelmed with facts and statistics, tragic and triumphant stories, I felt confused. I knew, basically, what I wanted to say about what I learned, but I didn’t know how to structure my message or where to begin.

And so, instead of walking away from this research experience and sitting down and starting to write my book, I continued to return to the scene of my transplant adventures waiting for lightning to strike . . . inspiration for when the very special way to start my book would make itself known. In retrospect, I believe that Bart Griffith’s rare request triggered that magic moment of clarity I had long been awaiting.

Defining the Discussion

Before I tell you what happened, however, let me explain what kind of work I do as an immersion journalist/creative nonfiction writer, and explain what I am doing, from a writer’s point-of-view, in this essay.

But first some definitions: “Immersion journalists” immerse or involve themselves in the lives of the people about whom they are writing in ways that will provide readers with a rare and special intimacy.

The other phrase to define, a much broader term, creative nonfiction, is a concept that offers great flexibility and freedom, while adhering to the basic tenets of nonfiction writing and/or reporting. In creative nonfiction, writers can be poetic and journalistic simultaneously. Creative nonfiction writers are encouraged to utilize fictional (literary) techniques in their prose – from scene to dialogue to description to point-of-view – and be cinematic at the same time. Creative nonfiction writers write about themselves and/or capture real people and real life in ways that can and have changed the world. What is most important and enjoyable about creative nonfiction is that it not only allows, but encourages the writer to become a part of the story or essay being written. The personal involvement creates a special magic that alleviates the suffering and anxiety of the writing experience; it provides many outlets for satisfaction and self-discovery, flexibility and freedom.

When I refer to creative nonfiction, I include memoir (autobiography), and documentary drama, a term more often used in relation to film, as in “Hoop Dreams,” which captures the lives of two inner-city high school basketball players over a six-year period. Much of what is generically referred to as “literary journalism” or in the past, “new journalism,” can be classified as creative nonfiction. Although it is the current vogue in the world of writing today, the combination of creative nonfiction as a form of writing and immersion as a method of research has a long history. George Orwell’s famous essay, “Shooting an Elephant” combines personal experience and high quality literary writing techniques. The Daniel DeFoe classic, “Robinson Crusoe,” is based upon a true story of a physician who was marooned on a desert island. Ernest Hemingway’s paean to bullfighting, “Death in the Afternoon,” comes under the creative nonfiction umbrella, as does Tom Wolfe’s, “The Right Stuff,” which was made into an award-winning film. Other well-known creative nonfiction writers, who may utilize immersion techniques include John McPhee (“Coming Into the Country”), Tracy Kidder (“House”), Diane Ackerman (“A Natural History of the Senses”) and Pulitzer Prize winner Annie Dillard (“Pilgrim at Tinker Creek”), to name only a few of the many authors who have contributed to this burgeoning genre.

Currently, many of our best magazines – The New Yorker, Harper’s, Vanity Fair, Esquire – publish more creative nonfiction than fiction and poetry combined. Universities offer Master of Fine Arts degrees in creative nonfiction. Newspapers are publishing an increasing amount of creative nonfiction, not only as features, but in the news and op-ed pages, as well.

Reading, ‘Riting, ‘Rithmitic – the 3Rs – was the way in which basic public school education was once described. The “5 Rs” is an easy way to remember the basic tenets of creative nonfiction/immersion journalism.

The first “R” has already been explained and discussed: the “immersion” or “real life” aspect of the writing experience. As a writing teacher, I design assignments that have a real-life aspect: I force my students out into their communities for an hour, a day, or even a week so that they see and understand that the foundation of good writing emerges from personal experience. Some writers (and students) may utilize their own personal experience rather than immersing themselves in the experiences of others. In a recent introductory class I taught, one young man working his way through school as a sales person wrote about selling shoes, while another student, who served as a volunteer in a hospice, captured a dramatic moment of death, grief and family relief. I’ve sent my students to police stations, bagel shops, golf courses; together, my classes have gone on excursions and participated in public service projects – all in an attempt to experience or re-create from personal experience real life.

In contrast to the term “reportage,” the word “essay” usually connotes a more personal message from writer to reader. “An essay is when I write what I think about something,” students will often say to me. Which is true, to a certain extent – and also the source of the meaning of the second “R” for “reflection.” A writer’s feelings and responses about a subject are permitted and encouraged, as long as what they think is written to embrace the reader in a variety of ways. As editor of Creative Nonfiction, I receive approximately 150 unsolicited essays, book excerpts and profiles a month for possible publication. Of the many reasons the vast majority of these submissions are rejected, two are most prevalent, the first being an overwhelming egocentrism; in other words, writers write too much about themselves without seeking a universal focus or umbrella so that readers are properly and firmly engaged. Essays that are so personal that they omit the reader are essays that will never see the light of print. The overall objective of the personal essayist is to make the reader tune in – not out.

The second reason Creative Nonfiction and most other journals and magazines reject essays is a lack of attention to the mission of the genre, which is to gather and present information, to teach readers about a person, place, idea or situation combining the creativity of the artistic experience with the essential third “R” in the formula: “Research.”

Even the most personal essay is usually full of substantive detail about a subject that affects or concerns a writer and the people about whom he or she is writing. Read the books and essays of the most renowned nonfiction writers in this century and you will read about a writer engaged in a quest for information and discovery. From George Orwell to Ernest Hemingway to John McPhee, books and essays written by these writers are invariably about a subject other than themselves, although the narrator will be intimately included in the story. Personal experience and spontaneous intellectual discourse – an airing and exploration of ideas – are equally vital. In her first book, “Pilgrim at Tinker Creek,” which won the Pulitzer Prize, and in her other books and essays, Annie Dillard repeatedly overwhelms her readers with factual information, minutely detailed descriptions of insects, botany and biology, history, anthropology, blended with her own feelings about life.

One of my favorite Dillard essays, “Schedules,” focuses upon the importance of writers working on a regular schedule rather than writing only intermittently. In “Schedules,” she discusses, among many other subjects, Hasidism, chess, baseball, warblers, pine trees, june bugs, writers’ studios and potted plants – not to mention her own schedule and writing habits and that of Wallace Stevens and Jack London.

What I am saying is that the genre of creative nonfiction, although anchored in factual information, is open to anyone with a curious mind and a sense of self. The research phase actually launches and anchors the creative effort. Whether it is a book or essay I am planning, I always begin my quest in the library – for three reasons. First, I need to familiarize myself with the subject. If it is something about which I do not know, I want to make myself knowledgeable enough to ask intelligent questions. If I can’t display at least a minimal understanding of the subject about which I am writing, I will lose the confidence and the support of the people who must provide access to the experience.

Secondly, I will want to assess my competition. What other essays, books and articles have been written about this subject? Who are the experts, the pioneers, the most controversial figures? I want to find a new angle – not write a story similar to one that has already been written. And finally, how can I reflect and evaluate a person, subject or place unless I know all of the contrasting points-of-view? Reflection may permit a certain amount of speculation, but only when based upon a solid foundation of knowledge.

So far in this essay I have named a number of well-respected creative nonfiction writers and discussed their work, which means I have satisfied the fourth “R” in our “5R” formula: “Reading.” Not only must writers read the research material unearthed in the library, but they also must read the work of the masters of their profession. I have heard some very fine writers claim that they don’t read too much anymore – or that they don’t read for long periods, especially during the time they are laboring on a lengthy writing project. But almost all writers have read the best writers in their field and are able to converse in great detail about the stylistic approach and intellectual content. An artist who has never studied Picasso, Van Gogh, Michelangelo, even Warhol, is an artist who will quite possibly never succeed.

So far we have mostly discussed the nonfiction or journalistic aspects of the immersion journalism/creative nonfiction genre. The 5th “R” the “riting” part is the most artistic and romantic aspect of the total experience. After all of the preparatory (nonfiction) work is complete, writers will often “create” in two phases. Usually, there is an inspirational explosion, a time when writers allow instinct and feeling to guide their fingers as they create paragraphs, pages, and even entire chapters of books or complete essays. This is what art of any form is all about – the passion of the moment and the magic of the muse. I am not saying that this always happens; it doesn’t. Writing is a difficult labor, in which a regular schedule, a daily grind of struggle, is inevitable. But this first part of the experience for most writers is rather loose and spontaneous and therefore more “creative” and fun. The second part of the writing experience – the “craft” part, which comes into play after your basic essay is written – is equally important – and a hundred times more difficult.

Writing in Scenes

Vignettes, episodes, slices of reality are the building blocks of creative nonfiction – the primary distinguishing factor between traditional reportage/journalism and “literary” and/or creative nonfiction and between good, evocative writing and ordinary prose. The uninspired writer will tell the reader about a subject, place or personality, but the creative nonfiction writer will show that subject, place or personality in action. Before we discuss the actual content or construction of a scene, let me suggest that you perform what I like to call the “yellow test.”

Take a yellow “Hi-Liter” or Magic Marker and leaf through your favorite magazines – Vanity Fair, Esquire, The New Yorker or Creative Nonfiction. Or return to favorite chapters in previously mentioned books by Dillard, Ackerman, etc. Yellow-in the scenes, just the scenes, large and small. Then return to the beginning and review your handiwork. Chances are, anywhere from 50 to 80 percent of each essay, short story, novel selected will be yellow. Plays are obviously constructed with scenes, as are films. Most poems are very scenic.

Jeanne Marie Laskas, the talented columnist for the Washington Post Magazine, once told me: “I only have one rule from start to finish. I write in scenes. It doesn’t matter to me in which order the scenes are written; I write whichever scene inspires me at any given time, and I worry about the plot or frame or narrative later. The scene – a scene – any scene – is always first.”

The Elements of a Scene

First and foremost, a scene contains action. Something happens. I jump on my motorcycle and go helter-skelter around the country; suddenly, in the middle of July in Yellowstone National Park I am confronted with 20 inches of snow. Action needn’t be wild, sexy and death-defying, however. There’s also action in the classroom. A student asks a question, which requires an answer, which necessitates a dialogue, which is a marvelously effective tool to trigger or record action. Dialogue represents people saying things to one another, expressing themselves. It is a valuable scenic building block. Discovering dialogue is one of the reasons to immerse ourselves at a police station, bagel shop or at a zoo. To discover what people have to say spontaneously – and not in response to a reporter’s prepared questions.

Another vehicle or technique of the creative nonfiction experience may be described as “intimate and specific detail.” Through use of intimate detail, we can hear and see how the people about whom we are writing say what is on their minds; we may note the inflections in their voices, their elaborate hand movements and any other eccentricities. “Intimate” is a key distinction in the use of detail when crafting good scenes. Intimate means recording and noting detail that the reader might not know or even imagine without your particular inside insight. Sometimes intimate detail can be so specific and special that it becomes unforgettable in the reader’s mind. A very famous “intimate” detail appears in a classic creative nonfiction profile, “Frank Sinatra Has a Cold,” written by Gay Talese in 1962 and published in Esquire Magazine.

In this profile, Talese leads readers on a whirlwind cross country tour, revealing Sinatra and his entourage interacting with one another and with the rest of the world and demonstrating how the Sinatra world and the world inhabited by everyone else will often collide. These scenes are action-oriented; they contain dialogue and evocative description with great specificity and intimacy such as the gray-haired lady spotted in the shadows of the Sinatra entourage – the guardian of Sinatra’s collection of toupees. This tiny detail – Sinatra’s wig lady – loomed so large in my mind when I first read the essay that even now, 35 years later, anytime I see Sinatra on TV or spot his photo in a magazine, I find myself unconsciously searching the background for the gray-haired lady with the hatbox.

The Narrative – or Frame

The frame represents a way of ordering or controlling a writer’s narrative so that the elements of his book, article or essay are presented in an interesting and orderly fashion with an interlaced integrity from beginning to end.

Some frames are very complicated, as in the movie, “Pulp Fiction”; Quentin Tarantino skillfully tangles and manipulates time. But the most basic frame is a simple beginning-to-end chronology. “Hoop Dreams,” for example, the dramatic documentary (which is also classic creative nonfiction) begins with two African-American teen-age basketball stars living in a ghetto and sharing a dream of stardom in the NBA and dramatically tracks both of their careers over the next six years.

As demonstrated in “Pulp Fiction,” writers don’t always frame in a strictly chronological sequence. My book, “One Children’s Place,” begins in the operating room at a children’s hospital. It introduces a surgeon, whose name is Marc Rowe, his severely handicapped patient, Danielle, and her mother, Debbie, who has dedicated her every waking moment to Danielle. Two years of her life have been spent inside the walls of this building with parents and children from all across the world whose lives are too endangered to leave the confines of the hospital. As Danielle’s surgery goes forward, the reader tours the hospital in a very intimate way, observing in the emergency room, participating in helicopter rescue missions as part of the emergency trauma team, attending ethics meetings, well-baby clinics, child abuse examinations – every conceivable activity at a typical high-acuity children’s hospital so that readers will learn from the inside out how such an institution and the people it services and supports function on an hour-by-hour basis. We even learn about Marc Rowe’s guilty conscience about how he has slighted his own wife and children over the years so that he can care for other families.

The book ends when Danielle is released from the hospital. It took two years to research and write this book, returning day and night to the hospital in order to understand the hospital and the people who made it special, but the story in which it is framed begins and ends in a few months.

Back to the Beginning – That Rare and Wonderful Moment of Clarity

Now let’s think about this essay as a piece of creative nonfiction writing, especially in relation to the concept of framing. It begins with a scene. We are in an operating room at the University of Pittsburgh, the world’s largest organ transplant center, in the middle of a rare and delicate surgery that will decide a dying woman’s fate. Her heart and both lungs have been emptied out of her chest and she is maintained on a heart-bypass system. The telephone alerts the surgical team that a fresh and potentially lifesaving set of organs has arrived at the hospital via helicopter. Suddenly the lead surgeon looks up and asks an observer (me) to make contact with the woman’s husband. I agree, leave the operating room and then stop for a coffee in the surgeon’s lounge.

Then, instead of moving the story forward, fulfilling my promise to Dr. Griffith and resolving my own writing dilemma, I change directions, move backwards (flashback) in time and sequence and begin to discuss this genre – immersion journalism/creative nonfiction. I provide a mountain of information – definitions, descriptions, examples, explanations. Basically, I am attempting to satisfy the nonfiction part of my responsibility to my readers and my editors while hoping that the suspense created in the first few pages will provide an added inducement for readers to remain focused and interested in this Introduction from the beginning to the end where, (the reader assumes) the two stories introduced in the first few pages will be completed.

In fact, my meeting with Dave Fulk in the ICU waiting room that dark morning was exactly the experience I had been waiting for, leading to that precious and magic moment of clarity for which I was searching and hoping. When I arrived, Mr. Fulk was talking with an elderly man and woman from Sacramento, Calif., who happened to be the parents of a 21-year-old U.S. Army private named Rebecca Treat who, I soon discovered, was the recipient of the liver from the same donor who gave Dave’s wife (Winkle Fulk) a heart and lungs. Rebecca Treat, “life-flighted” to Pittsburgh from California, had been in a coma for 10 days by the time she arrived in Pittsburgh; the transplanted liver was her only hope of ever emerging from that coma and seeing the light of day.

Over the next half-hour of conversation, I learned that Winkle Fulk had been slowly dying for four years, had been bedbound for three of those years, as Dave and their children watched her life dwindle away, as fluid filled her lungs and began to destroy her heart. Rebecca’s fate had been much more sudden; having contracted hepatitis in the army, she crashed almost immediately. To make matters worse, Rebecca and her new husband had separated. As I sat in the darkened waiting area with Dave Fulk and Rebecca’s parents, I suddenly realized what it was I was looking for, what my frame or narrative element could be. I wanted to tell about the organ transplant experience – and what organ transplantation can mean from a universal perspective – medically, scientifically, personally for patients, families and surgeons. Rebecca’s parents and the Fulk family, once strangers, would now be permanently and intimately connected by still another stranger – the donor – the person whose tragic death provided hope and perhaps salvation to two dying people. In fact, my last quest in the research phase of the transplant book experience was to discover the identity of this mysterious donor and literally connect the principal characters. In so doing, the frame or narrative drive of the story emerged.

“Many Sleepless Nights” begins when 15-year-old Richie Becker, a healthy and handsome teen-ager from Charlotte, N.C., discovers that his father is going to sell the sports car that he had hoped would one day be his. In a spontaneous and thoughtless gesture of defiance, Richie, who had never been behind the wheel, secretly takes his father’s sports car on a joy ride. Three blocks from his home, he wraps the car around a tree and is subsequently declared brain dead at the local hospital. Devastated by the experience, but hoping for some positive outcome to such a senseless tragedy, Richie’s father, Dick, donates his son’s organs for transplantation.

Then the story flashes back a half century, detailing surgeons’ first attempts at transplantation and all of the experimentation and controversy leading up to the development and acceptance of transplant techniques. I introduce Winkle Fulk and Pvt. Rebecca Treat. Richie Becker’s liver is transplanted into Rebecca, while his heart and lungs are sewn into Mrs. Fulk by Dr. Bartley Griffith. The last scene of the book 370 pages later is dramatic and telling and finishes the frame three years later when Winkle Fulk travels to Charlotte, N.C., a reunion I arranged to allow the folks to personally thank Richie’s father for his son’s gift of life.

At the end of the evening, just as we were about to say goodbye and return to the motel, Dick Becker stood up in the center of the living room of his house, paused, and then walked slowly and hesitantly over toward Winkle Fulk, who had once stood alone at the precipice of death. He eased himself down on his knees, took Winkle Fulk by the shoulder and simultaneously drew her closer, as he leaned forward and placed his ear gently but firmly between her breasts and then at her back.

Everyone in that room was suddenly and silently breathless, watching as Dick Becker listened for the last time to the absolutely astounding miracle of organ transplantation: the heart and the lungs of his dead son Richie, beating faithfully and unceasingly inside this stranger’s warm and loving chest.

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Q&A: Author Rebecca Serle shares what’s behind her ‘magical realism’ and new book ‘Expiration Dates’

Author Rebecca Serle poses for a portrait in West Hollywood, Calif., on Feb. 29, 2024, to promote her latest book “Expiration Dates.” (AP Photo/Chris Pizzello)

This image released by Atria shows “Expiration Dates,” a novel by Rebecca Serle. (Atria via AP)

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In Rebecca Serle’s new book “Expiration Dates: A Novel,” the protagonist, Daphne, knows when her relationships will end. A slip of paper always shows up with a name and a number for how long they will date.

We meet Daphne on her way to a blind date with Jake — whose paper doesn’t have a number. This must mean he’s the one. Or is he? Is it helpful or a hinderance to have the answers?

“I was thinking about fate and free will and which one wins,” Serle said recently over Zoom from her home in Los Angeles. “How much is within our control and how much is going to happen regardless of the decisions we make and the choices that we make?”

Serle’s recent novels have blended fantasy and realism. In her last book, “One Italian Summer,” a woman meets a younger version of her mother while on vacation.

In “Expiration Dates,” Serle, who married in 2023, was inspired by her own dating history.

”I was single for a really long time,” she said. “I remember relationships would end and I would feel like, “This again? Didn’t I already learn this lesson?” Looking back, I see who I had to become before I met my husband, but it’s hard to see in the moment. That’s where the wish fulfillment of ‘Expiration Dates’ comes in. There is something so compelling about the idea how you might see a relationship if you weren’t entering into every one, as I did, thinking ‘This could be the one.’”

Serle spoke to The Associated Press about philosophy, what she tells her husband about her books, and why running and writing are a lot alike.

Remarks have been edited for clarity and brevity.

AP: What inspired you to start adding fantasy elements to your books?

SERLE: In college I would write magical realism short stories. I read a lot of Aimee Bender and Haruki Murakami and enjoyed the way they would open up a universe and not explain it. Something about that just sparkled. I published four young adult novels before writing my first novel for adults which was “The Dinner List” in 2018. With that, I went back to how I began by writing magical realism.

AP: Did you by chance study philosophy in school?

SERLE: I was actually obsessed with philosophy in high school. I remember reading Plato’s “The Allegory of the Cave” and being blown away.

AP: Your readers enjoy the magic elements in your book. Do you ever feel pressure to continue to include those?

SERLE: I’m working on a book right now that might be the last book that has some kind of magic in it. I want to keep reinventing myself as a writer and growing. But I’m also aware that I have an audience that for whatever reason, lovingly and wonderfully and surprisingly really likes what I do. We’ll see. Once the thing is no longer interesting to me, the books are not going to be interesting to read. That’s just the truth.

AP: What has it been like introducing your husband to your writing?

SERLE: I said to my husband early on, and I remind him all the time, “Happy marriages doesn’t make interesting books.” He’s going to inevitably recognize himself in everything that comes next, because the fabric of our lives are now woven together. We live together. We share a life together He’s going to recognize details of himself in a husband character. Of course he is. I’m writing it. But just because that person you know, has an affair doesn’t mean that that’s how I feel about him. That’s a hard thing sometimes for non-writers to understand.

AP: You’ve recently started running regularly and say running is like writing. How so?

SERLE: By the way, by running I mean like, 3 miles. I’m not marathoning, OK? But I never ran a mile in my life. I really had never run five minutes in my life. I recently started running because it was something I really wanted to learn how to do. My knees would hurt when I ran for five minutes, but they don’t hurt now that I run for half an hour. Your ability to keep moving and your lung capacity adapts, but I think what really adapts is your brain. Your brain says, ‘I know I can do this; I know I can complete this.’ I think that is exactly what it means to write a book. Every time I sit down to do it, it gets a little bit easier, because I’ve done it before, and I know I can do it again You keep on and eventually something gets built.

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• Description

Inextricably linked to all the most important historical and political events in Russia since the 13th century, the Kremlin (built between the 14th and 17th centuries by outstanding Russian and foreign architects) was the residence of the Great Prince and also a religious centre. At the foot of its ramparts, on Red Square, St Basil's Basilica is one of the most beautiful Russian Orthodox monuments.

Description is available under license CC-BY-SA IGO 3.0

Le Kremlin et la place Rouge, Moscou

Indissolublement lié à tous les événements historiques et politiques les plus importants survenus en Russie depuis le XIII e siècle, le Kremlin a été construit entre le XIV e et le XVII e siècle par des architectes russes et étrangers exceptionnels. C'était la résidence du grand-prince ainsi qu'un centre religieux. Au pied de ses remparts, sur la place Rouge, s'élève la basilique Basile-le-Bienheureux, l'un des plus beaux monuments de l'art orthodoxe.

الكرملين والساحة الحمراء، موسكو

يرتبط الكرملين ارتباطاً وثيقاً بجميع الأحداث التاريخيّة والسياسيّة المهمّة التي توالت على روسيا منذ القرن الثالث عشر ولقد جرى تشييده بين القرنين الرابع والسابع عشر على يد مهندسين روس وأجانب استثنائيين. وكان الكرملين مقرّ الأمير الكبير كما كان مركزاً دينيّاً. عند أسفل أسواره في الساحة الحمراء شيدت بازيليك القديس بازيل وهي من أروع تحف الفنّ الأرثوذكسي.

source: UNESCO/CPE Description is available under license CC-BY-SA IGO 3.0

莫斯科克里姆林宫和红场

由俄罗斯和外国建筑家于14世纪至17世纪共同修建的克里姆林宫，作为沙皇的住宅和宗教中心，与13世纪以来俄罗斯所有最重要的历史事件和政治事件密不可分。在红场上防御城墙的脚下坐落的圣瓦西里教堂是俄罗斯传统艺术最漂亮的代表作之一。

El kremlin y la Plaza Roja de Moscú

Indisolublemente vinculado a los más trascendentales acontecimientos históricos y políticos de Rusia desde el siglo XIII, el kremlin de Moscú fue construido entre los siglos XIV y XVII por toda una serie de excelentes arquitectos rusos y extranjeros. Además de ser la residencia del Gran Príncipe, fue un importante centro religioso. Al pie de sus murallas, en la Plaza Roja, se alza la basílica de San Basilio el Bienaventurado, uno de los más hermosos monumentos de arte ortodoxo.

モスクワのクレムリンと赤の広場

source: NFUAJ

Kremlin en Rode Plein, Moskou

Het Kremlin is onlosmakelijk verbonden met alle belangrijke historische en politieke gebeurtenissen in Rusland sinds de 13e eeuw. Het werd door de Grote Prins Yuri van Kiev gesticht als residentie en religieus centrum. De bouw vond plaats tussen de 14e en 17e eeuw en het ontwerp was in handen van uitstekende Russische en buitenlandse architecten. Binnen de muren van het Kremlin vindt men een reeks meesterwerken qua architectuur, maar ook beeldende kunst en religieuze monumenten van uitzonderlijke schoonheid. Aan de voet van de stadsmuren, op het Rode Plein, bevindt zich een van de mooiste Russisch-orthodoxe monumenten, de Pokrovkathedraal ook wel Basiliuskathedraal genoemd.

Source: unesco.nl

Outstanding Universal Value

Brief synthesis

At the geographic and historic centre of Moscow, the Moscow Kremlin is the oldest part of the city. First mentioned in the Hypatian Chronicle in 1147 as a fortification erected on the left bank of the Moskva river by Yuri Dolgoruki, Prince of Suzdal, the Kremlin developed and grew with settlements and suburbs which were further surrounded by new fortifications - Kitaigorodsky Wall, Bely Gorod, Zemlyanoy Gorod and others. This determined a radial and circular plan of the centre of Moscow typical of many other Old Russian cities.

In 13th century the Kremlin was the official residence of supreme power - the center of temporal and spiritual life of the state. The Kremlin of the late 15th – early 16th century is one of the major fortifications of Europe (the stone walls and towers of present day were erected in 1485–1516). It contains an ensemble of monuments of outstanding quality.

The most significant churches of the Moscow Kremlin are situated on the Cathedral Square; they are the Cathedral of the Dormition, Church of the Archangel, Church of the Annunciation and the bell tower of Ivan Veliki. Almost all of them were designed by invited Italian architects which is clearly seen in their architectural style. The five-domed Assumption Cathedral (1475–1479) was built by an Italian architect Aristotele Fiorvanti. Its interior is decorated with frescos and a five-tier iconostasis (15th–17th century). The cathedral became the major Russian Orthodox church; a wedding and coronation place for great princes, tsars and emperors as well as the shrine for metropolitans and patriarchs.

In the same square another Italian architect, Alevisio Novi, erected the five-domed Church of the Archangel in 1505-1508. From the 17th to 19th century, its interior was decorated by wonderful frescos and an iconostasis. In this church many great princes and tsars of Moscow are buried. Among them are Ivan I Kalita, Dmitri Donskoi, Ivan III, Ivan IV the Terrible, Mikhail Fedorovich and Alexei Mikhailovich Romanovs.

The Cathedral of the Dormition was built by Pskov architects in 1484–1489. Inside the cathedral some mural paintings of 16th–19th century have been preserved and the icons of Andrei Rublev and Theophanes the Greek are part of the iconostasis.

In 1505-1508 the bell tower of Ivan Veliki was built. Being 82 metres high it was the highest building in Russia which became the focal point of the Kremlin ensemble.

Among the oldest civil buildings of the Moscow Kremlin, the Palace of the Facets (1487–1491) is the most remarkable. Italian architects Marco Fryazin and Pietro Antonio Solario built it as a great hall for holding state ceremonies, celebrations and for receiving foreign ambassadors. The most noteworthy civil construction of the 17th century built by Russian masters is the Teremnoi Palace.

From the early 18th century, when the capital of Russia moved to St. Petersburg, the Kremlin mainly played a ceremonial role with religious functions. By the end of the century the architectural complex of the Kremlin expanded with the Arsenal reconstructed after the Fire of 1797 by Matvei Kazakov. The Senate was built in 1776–1787 according to the plans of the same architect as the home of the highest agency of State power of the Russian Empire - the Ruling Senate. Today it is the residence of the President of Russia.

From 1839 to 1849 a Russian architect K.A. Thon erected the Great Kremlin Palace as a residence of the imperial family which combined ancient Kremlin buildings such as the Palace of the Facets, the Tsarina’s Golden Chamber, Master Chambers, the Teremnoi Palace and the Teremnoi churches. In the Armory Chamber built by K.A. Thon within the complex of the Great Kremlin Palace, there is a 16th century museum officially established by the order of Alexander I in 1806.

Red Square, closely associated with the Kremlin, lies beneath its east wall. At its south end is the famous Pokrovski Cathedral (Cathedral of St Basil the Blessed), one of the most beautiful monuments of Old Russian church architecture, erected in 1555–1560 to commemorate the victory of Ivan the Terrible over the Kazan Khanate. In the 17th century the cathedral gained its up-to-date appearance thanks to the decorative finishing of the domes and painting both inside and outside the cathedral. The construction of Red Square was finished by the late 19th century together with the erection of the Imperial Historic Museum (today the State Historical Museum), the Upper Trading Rows (GUM) and the Middle Trading Rows. In 1929, , Lenin’s Mausoleum, designed by A.V. Shchusev and an outstanding example of the Soviet monumental architecture, was finished.

Criterion (i) : The Kremlin contains within its walls a unique series of masterpieces of architecture and the plastic arts. There are religious monuments of exceptional beauty such as the Church of the Annunciation, the Cathedral of the Dormition, the Church of the Archangel and the bell tower of Ivan Veliki; there are palaces such as the Great Palace of the Kremlin, which comprises within its walls the Church of the Nativity of the Virgin and the Teremnoi Palace. On Red Square is Saint Basil the Blessed, still a major edifice of Russian Orthodox art.

Criterion (ii) : Throughout its history, Russian architecture has clearly been affected many times by influences emanating from the Kremlin. A particular example was the Italian Renaissance. The influence of the style was clearly felt when Rudolfo Aristotele Fioravanti built the Cathedral of the Dormition (1475-79) and grew stronger with the construction of the Granovitaya Palace (Hall of the Facets, 1487-91) by Marco Fryazin and Pietro Antonio Solario. Italian Renaissance also influenced the towers of the fortified enceinte, built during the same period by Solario, using principles established by Milanese engineers (the Nikolskaya and the Spasskaya Towers both date from 1491). The Renaissance expression was even more present in the classic capitals and shells of the Church of the Archangel, reconstructed from 1505 to 1509 by Alevisio Novi.

Criterion (iv) : With its triangular enceinte pierced by four gates and reinforced with 20 towers, the Moscow Kremlin preserves the memory of the wooden fortifications erected by Yuri Dolgoruki around 1156 on the hill at the confluence of the Moskova and Neglinnaya rivers (the Alexander Garden now covers the latter). By its layout and its history of transformations (in the 14th century Dimitri Donskoi had an enceinte of logs built, then the first stone wall), the Moscow Kremlin is the prototype of a Kremlin - the citadel at the centre of Old Russian towns such as Pskov, Tula, Kazan or Smolensk.

Criterion (vi) : From the 13th century to the founding of St Petersburg, the Moscow Kremlin was directly and tangibly associated with every major event in Russian history. A 200-year period of obscurity ended in 1918 when it became the seat of government again. The Mausoleum of Lenin on Red Square is the Soviet Union’s prime example of symbolic monumental architecture. To proclaim the universal significance of the Russian revolution, the funerary urns of heroes of the revolution were incorporated into the Kremlin’s walls between the Nikolskaya and Spasskaya towers. The site thus combines in an exceptional manner the preserved vestiges of bygone days with present-day signs of one of the greatest events in modern history.

From the date of including the Moscow Kremlin and Red Square on the World Heritage List all the components representing the Outstanding Universal Value of the property are within its boundaries. The territory and the integrity of the World Heritage property have also remained unchanged. Within its boundaries the property still comprises all the elements that it contained at the date of nomination. The biggest threat, however, is unregulated commercial development of the adjacent areas.

Authenticity

The history of the Moscow Kremlin and Red Square is reflected in the archival documents of 12th–19th century, for example in medieval chronicles, cadastral surveys, estimated construction books, painted lists, inventories, foreign notes and in graphic matters such as manuscripts, chronicles, plans, drafts, engravings, lithographs, sketches of foreign travelers, paintings and photographs. These documents are exceptionally valuable information sources. Comparison of the data received from archival documents and those obtained in the process of field study gives the idea of authenticity of  the property and its different elements. This comparison also serves as the basis for project development and for the choice of the appropriate methods of restoration that may preserve the monuments’ authenticity.

On the border of the ensemble a number of monuments destroyed in the 1930s were reconstructed according to measured plans.

Protection and management requirements

The statutory and institutional framework of an effective protection, management and improvement of the World Heritage property “Kremlin and Red Square, Moscow” has been established by laws and regulations of the Russian Federation and the city of Moscow.

According to the decree of the President of RSFSR of 18 December 1991 № 294, the Moscow Kremlin was included among especially protected cultural properties of nations of Russia - the highest conservation status for cultural and historical monuments in Russian legislation.

“Kremlin and Red Square, Moscow” is a Cultural Heritage Site of federal importance. State protection and management of federal sites is provided by Federal Law of 25.06.2002 № 73-FZ “On cultural heritage sites (historical and cultural monuments) of nations of the Russian Federation”. The federal executive body responsible for protection of the cultural property is the Department for Control, Supervision and Licensing in the Cultural Heritage Sphere of the Ministry of Culture of the Russian Federation.It is in charge of all methodological and control functions concerning restoration, usage and support of cultural heritage sites and the territories connected.

The World Heritage property is situated in the urban environment of Moscow. The city policy regarding cultural heritage protection and town-planning regulation is the responsibility of Moscow City Government, represented by the Department of Cultural Heritage, the Department of Urban Development and the Committee for Urban Development and Architecture of Moscow. In 1997 the boundaries of the protective (buffer) zone were approved in order to preserve the property, and to maintain and restore the historical architectural environment as well as the integral visual perception of the property.. There is a need to ensure the creation of an appropriate buffer zone and to develop close liaison between all stakeholders, including the Moscow City authorities, to ensure that constructions around the property do not impact adversely on its Outstanding Universal Value.

The World Heritage property is used by the following organizations: FGBUK (Federal Government Budgetary Institution of Culture), the State Historical and Cultural Museum-preserve “The Moscow Kremlin”, the Administrative Department of the President of the Russian Federation, the Federal Guard Service of the Russian Federation and OJSC “GUM Department Store”.

• Official site of 'The Moscow Kremlin' State Historical and Cultural Museum and Heritage Site
• Moscow Kremlin Museums Telegram Group (in Russian only)
• Moscow Kremlin Museums VKontakte Page (in Russian only)
• Moscow Kremlin Museums Dzen Page (in Russian only)
• State Historical Museum VKontakte Group (in Russian only)
• Msk Guide Page (in Russian only)
• Official site of the State Department Store
• State Historical Museum (in Russian only)

State of Conservation (SOC)

Things to do in Moscow: how to visit Moscow | Unmissable, cool & unusual

• September 2, 2023

What are the best things to do in Moscow? What to do in Moscow? First, I will list the main places to visit by theme, passing by the must-sees, but also more unusual places in Moscow. Then, I will describe what to see in Moscow in one day and how to visit Moscow in 2, 3, 4, 5 or 6 days. Let’s go!

Good to know. For more information, click on the places to open the dedicated blog posts.

Main places to visit in Moscow & best things to do in Moscow

I worked in Moscow and I loved this city for its dynamism and energy. We find there from time to time to see friends, remember good memories and enjoy this giant city! Then the time has come for us to share with you our practical guide.

TOP 5 must-see places in Moscow

• Moscow Red Square
• St. Basil’s Cathedral
• Cathedral of Christ the Savior
• Bolshoi Theatre

Places of cultural, historical and religious interest in Moscow

• Novodevichy Convent and cemetery
• Tretyakov Gallery
• Pushkin Museum of Fine Arts
• Kremlin Izmaïlovo (pseudo-historic place, recently built in the image of the old, one of the best things to do in Moscow for your Instagram account 😉 )
• Park and ancient village of Kolomenskoye

Visit Moscow of the Soviet era

• Moscow State University and Sparrows Hill
• VDNKh and the Museum of Astronautics, one of the key landmarks of the Soviet era in Moscow
• GULAG Museum
• Metro stations
• The Stalinist skyscrapers, scattered all over the city

Less touristy places in Moscow

• Gorky Park and the GARAGE museum
• The old Krasny Oktyabr factory
• Zaryadye Park
• Center for Contemporary Art, WINZAVOD
• Business center, Moscow City

Main districts of Moscow to visit

• Patriarch Ponds
• Tchistye Prudy
• Kuznetsky most
• Arbat Street

However, regardless of the length of your stay, whether you are going to visit Moscow in 4 days or in 2, you need a visa. The article Obtaining a tourist visa for Russia could then be useful in any case.

What to do and see in Moscow in one day?

List of things to see and do in Moscow in one day:

• Go to Red Square
• Visit St. Basil’s Cathedral
• See Kremlin walls (but not to visit)
• Visit Cathedral of Christ the Savior
• Discover Kuznetsky most districts and see Bolshoi Theatre building
• And if you have time at the end of the day: go to the Sparrows Hill or to the Moscow City for a beautiful view

Things to do in Moscow in 2 days

If you want to visit Moscow in 2 days, there are 2 purposes: do not miss the essential places of Moscow and optimize travel.

• First day: Red Square , Saint Basil’s Cathedral , Zariadye Park, Bolshoi Theatre , Kremlin
• Day 2: Cathedral of Christ the Savior, the former Krasny Oktyabr factory on Balchug Island, Gorky Park, Moscow State University (one of the Seven Sisters buildings ) and Sparrow Hill

As 2 days os really short, be sure to choose an accommodation in the best districts where to stay in Moscow .

Walking on Red Square in Moscow: one of the unmissable things to do in Moscow

Iconic place and one of the must-see places in Moscow and even in Russia! Besides, if there was only one place to visit in Moscow in 2 days, this place would then be Red Square, without hesitation. Therefore, starting the city tour with Red Square is ideal . Several buildings are on the square, but not all of them have to be visited. Check out my blog post about Moscow’s Red Square in detail to learn more and not miss anything.

Visiting Saint-Basil’s Cathedral inside

Even more emblematic than Moscow’s Red Square! Built in the middle of the 16th century under the orders of Tsar Ivan Le Terrible, this cathedral is one of the most beautiful monuments of Orthodox art, and definitely one of the unmissable places in Moscow. Visiting Saint-Basil’s Cathedral inside is one of the most beautiful things to do in Moscow!

• Visit estimate time : 1h30
• Entry ticket : 700 RUB. Tickets can be purchased on the cathedral’s official website 45 days before the tour.
• Audio guide (recommended): 500 RUB
• Opening hours : June to August 10 am-6pm; from November to April: 11 am-5pm; May, September, October 11 am-5pm. Cathedral closed on Wednesdays. Entrance is closed 45 minutes before closing.
• Find out more in the dedicated article: Saint Basil’s Cathedral in Moscow

Take a walk in Zariadye park: one of the coolest things to do in Moscow after visiting Red Square

Zaryadie Park is just a 10-minute walk from St. Basil’s Cathedral, so it’s easy to include in your itinerary if you’re going to visit Moscow in 2 days. From its heights, you can see the red walls of the Kremlin. But, the most impressive point of view is the platform which overlooks the Moskva river. A must see! And clearly one of the coolest things to do in Moscow!

• Open 24 hours a day
• Good to know! Park Zaryadye is also a place to visit in Moscow in winter. Find out more here: What to do in Moscow in winter?

See the Bolshoi Theatre and discover the Kuznetsky Most district

The Bolshoi Theatre is the most famous Russian theater in the world. The most economical way to see a presentation at the Bolshoi Theater is to take the tickets on the theater’s official website in advance, so here is our tutorial to help you: How to buy entrance tickets to the Bolshoi? In addition, several pedestrian or one-way streets

The Bolshoi Theater is the most famous Russian theater in the world. The most economical way to see a presentation at the Bolshoi Theater is to take the tickets on the theater’s official website in advance, so here is our tutorial to help you: How to buy tickets to the Bolshoi? In addition, several pedestrian or one-way streets are located north of the theater. It is therefore very pleasant to find them to leave the main axes of the megalopolis.

Visit the Moscow Kremlin

Visit Kremlin is on top of things to do in Moscow. A place of power for centuries, the Kremlin then shows us a whole different image when viewed from the inside. If you want to visit Moscow in 2 days, the Kremlin is certainly one of the must-see places in Moscow.

• Opening hours : Daily from 10 a.m. to 5 p.m., except Thursday.
• See our blog post about visiting the Moscow Kremlin

Visit the Cathedral of Christ the Savior

This impressive Moscow Cathedral is the seat of the Russian Orthodox Church. It is a must see if you visit Moscow in 2 days and clearly one of the things to do in Moscow. The Cathedral of Christ the Savior was first built in 1883 in memory of Russia’s victory over Napoleon’s Grand Army. Then in 1931 Stalin ordered its destruction. It was then rebuilt again (identically) only in 2000.

• Where? Ulitsa Volkhonka 15. At the foot of the Kropotkinskaya metro station.
• Opening hours . Daily: 10: 00-17: 00, except Monday: 13: 00-17: 00
• Free entry (some closing restrictions, for example a short)

Good to know! In orthodox religious places, one must avoid excessively uncovered clothing. Women should cover their heads. After visiting the Cathedral of Christ the Savior, you can explore Bolotny Island and Gorky Park. This is one of the routes our guide to Moscow.

The old Krasny Oktyabr factory: one of the coolest things to do in Moscow

If you cross the Moskva River by a pedestrian bridge which is located just in front of the Cathedral of Christ the Savior, you will enjoy a beautiful view of the city and at the same time you can discover Balchug Island. Furthermore, if you want to visit Moscow in 2 days, you can include this island in your itinerary between the cathedral and Gorky park. Here is the old confectionery factory Krasny Oktyabr, which has gradually turned into a fashionable micro-district. There are then some elements of street art, cafes and restaurants and some Moscow bohemian side. At the end of the island you can see a gigantic 98-meter-high monument dedicated to the Russian reforming tsar Pierre The Great.

Good to know! You can find on this island are the trendiest nightclubs in Moscow. On weekends, there are taxi caps after midnight so there are so many people. On the other hand, if you go there in winter and during the day, the island is quite empty and less interesting to see.

Gorky Park is one of the TOP places to visit in Moscow, because it allows you to better understand the life of the locals and their rhythm. In fact, it’s a huge entertainment park. For example, in winter there is a giant ice rink and in summer – free dance or yoga lessons, sandy beaches for playing volleyball, an outdoor cinema. So, like the locals, have a Stakantchik (ice cream or cooked corn), and enjoy the atmosphere of the place: that’s one of the interesting things to do in Moscow to discover the city.

• Where? Krymsky Val 9. 20 minutes’ walk from Krasny Oktyabr, along the quays.

Sparrow Hill and Moscow State University

The Sparrow Hill, Vorobiovy Gori in Russian, is the highest point in Moscow. It is rather known to Russians, but less to travelers. A nice view on Moscow opens from the hill, and in particular on the Luzhniki Stadium. In addition, on the hill itself is the Moscow State University: an impressive skyscraper from the Soviet era.

• How to get there? By bus T7 (35 min) from Oktyaborskaya station, near Gorki Park. By metro (Vorobiovy Gorki station) + climb the hill on foot. On foot along the Moskva along the Gorky Park (1h30) + climb in funiculars.

Good to know! It is possible to cross the Moskva river by funicular. We actually tested it and it was pretty cool! That is one of our favorite things to do in Moscow!

What to do in Moscow in 3 days?

If you are going to visit Moscow in 3 days, it would be interesting to dive into the Soviet era which strongly marked the country and the city. After the Bolshevik Revolution, the capital was transferred from Saint Petersburg to Moscow, in order to mark the change of power. Moscow then became the world showcase for communist ideology. Here are the best things to do in Moscow for 3-day-trip!

VDNKh, visit Moscow of the Soviet era

VDNKh is a large exhibition center in the north of Moscow, where there are still several striking witnesses of the USSR. The most interesting are the Museum of Cosmonauts and the Statue of the Worker and the Kolkhozian , which will certainly impress you with its size!

GULAG History Museum

The explanations of the museum are very well done. We really have the feeling of going back in time. If you are going to visit Moscow in 3 days and you are interested in history and this subject in particular, I recommend this museum. Visit the GULAG History Museum is one of the most interesting things to do in Moscow.

Discover the Patriarche Pounds district

It’s a nice neighborhood in Moscow where you can come across rather affluent locals, but not necessarily very bling-bling. Take a walk in this area is really a cool thing to do in Moscow! In addition, the Ponds of Patriarch is one of the places of Bulgakov’s novel “Master and Margarita”. As this is an interesting area to see, we have included it in a walking tour of Moscow. The route ends at the Moscow Kremlin, which is very convenient, because you will be able to visit Moscow in 3 days by optimizing your trips.

What to visit in Moscow in 4 days: TOP things to do in Moscow in 4 days

If you want to visit Moscow in 3 days, you will already see a lot of things. On the other hand, if you stay one more day, you have plenty to do! The Novodevichy Convent, the Tchistie Proudy district and the Izmaylovo Kremlin are very good candidates for you, if you are going to visit Moscow in 4 days.

Visiting Novodevichy Convent in Moscow

The Novodevichy Convent is one of the most brilliant examples of Russian architecture, according to UNESCO. This beautiful complex was built in 1524 and today consists of the convent, but also of a cemetery whose status could be compared to that of Père-Lachaise in Paris. Visiting Novodevichy Convent is one of the great things to do in Moscow, if you want to go a little bit outside of the center!

Discovering Tchistye Proudy district

It’s one of the most popular areas of Moscow, with many cafes, restaurants and bars nearby. It is therefore a place to discover if you want to visit Moscow in 4 days. It is just as pleasant for a stroll as for the discovery of local life. For example, in winter the pond turns into an ice rink.

Visiting the Izmaylovo Kremlin, one of the coolest things to do in Moscow!

The Izmaylovo Kremlin is more of a tourist than a historic place. On the other hand, it is a pretty impressive place to discover, especially on weekends. Inside the Kremlin, there is a flea market where you can find a little bit of everything, but mostly good souvenirs to bring from Moscow. For example, chapka, traditional Russian scarves or matryoshka (Russian dolls). Add the Kremlin and the Izmaïlovo market to your itinerary if you are going to visit Moscow in 4 days, because it is a nice and very colorful place! Visiting the Izmailovo Kremlin is one of the things to do in Moscow, if you want to put colors in your Instagram account! 😉

In 4 days, we will have the opportunity to see several Moscow: Classic Moscow, Moscow of old Russia, Soviet Moscow and a little bit of the new Moscow. So what to visit in Moscow on the 5th day of travel?

What to visit in Moscow in 5 days?

Art lovers will be delighted to discover the Tretyakov Gallery and the Pushkin Museum of Fine Arts, while others will prefer to stroll along Arbat Street, see the buildings of Moskva-City or visit Bunker 42.

Admiring Russian art at Tretyakov Gallery

Founded in 1856 by an industrialist and great lover of art, the gallery has grown over the decades, and then bequeathed to the state. Today the collection includes more than 140,000 pieces, 15,000 of which are paintings. Visiting the Tretyakov Gallery is one of the things to do in Moscow if you want to discover Russian art!

• Where? Pereoulok Lavrouchinski 10. A 5-minute walk from Tretiakovskaya station
• Opening hours. Open from 10 a.m. to 6 p.m. until 9 p.m. Thursday and Friday. Closed on Mondays.
• Entry tickets. 500 RUB.

Visiting the Pushkin Museum of Fine Arts

The Pushkin Museum of Fine Arts presents the treasures of ancient Egypt, the paintings of Rembrandt and Cézanne, a fine collection of Impressionism.

• Where? Ulitsa Volkhonka 12
• Opening hours. Daily: 10: 00-20: 00, except Thursday: 11: 00-21: 00. Closed on Mondays. The boxes close an hour before closing.
• Entry tickets. The prices vary according to the collections from 300 to 750 RUB.

Walking on Arbat Street

All Russians know Rue Arbat. So, walking on Arbat street is one of the things to do in Moscow. However, after the years, little by little it became very touristy. This is a pedestrian street only. There are souvenir shops, restaurants and cafes there, but it is no longer the most authentic neighborhood in the city.

Seeing the buildings of Moskva-City (Moscow City)

Moskva-City is Moscow’s business center, much like Paris’s Defense district. The skyscrapers of Moskva-City are among the tallest in Europe: 373 meters high! Very nice place to see at dusk.

Good to know! You can admire a nice view of Moscow City from the docks of Tarasa Shevchenko. It’s especially beautiful in the evening with all the lights on.

Bunker 42, one of the most unusual things to do in Moscow

Bunker 42 is a secret military complex which was to be used by the Soviets in the event of a nuclear attack: a space of 7000 m² 65 meters underground!

• Where? 5 Kotelnitcheski Lane, 11.
• Prices. 2200 RUB per person
• Opening hours. Open daily from 10 a.m. to 8 p.m.
• Restaurant inside. Original, but rather a tourist trap.

What to visit in Moscow in 6 days or more?

There are still so many places to see, because Moscow is a big megalopolis and there is always something exciting to do there. For example: the ancient Kolomenskoye village or the WINZAVOD contemporary art center .

If you are interested in history and want to see Russian cities on a rather “human scale”, it would certainly be interesting for you to discover the cities of the Golden Ring . For example, it is very easy to get to Sergey Posad from Moscow (less than 2 hours in train). Visiting the Golden Ring is one of the best things to do in Moscow if you are staying more than a 5-6 days.

There are still plenty of places to see in Moscow, however I did my best to list here the best things to do in Moscow, what to see in Moscow in one day, but also in 2, 3, 4 or 5 days in Moscow!

Moscow travel tips:

• Airport transfer: how to go to Moscow?
• Where to stay in Moscow (hotels, districts)?
• Tourist voucher for Russian visa
• Christmas and New Year in Moscow
• What is the best time to visit Moscow?

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Rainstorms impacts on water, sediment, and trace elements loads in an urbanized catchment within Moscow city: case study of summer 2020 and 2021

• Published: 07 December 2022
• Volume 151 , pages 871–889, ( 2023 )

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• Sergey Chalov   ORCID: orcid.org/0000-0002-6937-7020 1 , 2 ,
• Vladimir Platonov 1 ,
• Oxana Erina 1 ,
• Vsevolod Moreido 1 , 3 ,
• Mikhail Samokhin 1 ,
• Dmitriy Sokolov 1 ,
• Maria Tereshina 1 ,
• Yulia Yarinich 1 &
• Nikolay Kasimov 1  

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In 2020 and 2021, the city of Moscow, Russia, has experienced two historical rainfall events that had caused major flooding of small rivers. Based on long-term observation datasets from the surrounding weather stations, regional mesoscale COSMO-CLM climate model results, and a detailed hydrological and water quality monitoring data, we performed a pioneer assessment of climate change and urbanization impact on flooding hazard and water quality of the urban Setun River as a case study. Statistically significant rise of some moderate ETCCDI climate change indices (R20mm and R95pTOT) was revealed for the 1966–2020 period, while no significant trends were observed for more extreme indices. The combined impact of climate change and increased urbanization is highly non-linear and results in as much as a fourfold increase in frequency of extreme floods and shift of water regime features which lead to formation of specific seasonal flow patterns. The rainstorm flood wave response time, involving infiltrated and hillslope-routed fraction of rainfall, is accounted as 6 to 11 h, which is more than twice as rapid as compared to the non-urbanized nearby catchments. Based on temporal trends before and after rainfall flood peak, four groups of dissolved chemicals were identified: soluble elements whose concentrations decrease with an increase in water discharge; mostly insoluble and well-sorted elements whose concentrations increase with discharge (Mn, Cs, Cd, Al); elements negatively related to water discharge during flood events (Li, B, Cr, As, Br and Sr); and a wide range of dissolved elements (Cu, Zn, Mo, Sn, Pb, Ba, La, Cs, U) which concentrations remain stable during rainfall floods. Our study identifies that lack of research focused on the combined impacts of climate change and urbanization on flooding and water quality in the Moscow urban area is a key problem in water management advances.

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Field studies were supported by Russian Science Foundation project 19–77-30004. The analytical experiments were done under Ministry of Science and Higher Education of Russian Federation project 075–15-2021–574. COSMO-CLM model setup is a part of RFBR project 21–55-53039. The methodology of this study is developed under the Interdisciplinary Scientific and Educational School of Lomonosov Moscow State University «Future Planet and Global Environmental Change» and Kazan Federal University Strategic Academic Leadership Program (“PRIORITY-2030”). The research is carried out using the equipment of the shared research facilities of HPC computing resources at Lomonosov Moscow State University. Streamflow patterns analysis was carried out under Governmental Order to Water Problems Institute, Russian Academy of Sciences, subject no. FMWZ-2022–0003, project 3.7.

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Faculty of Geography, Lomonosov Moscow State University, Leninskie Gory, 1, 119991 GSP-1, Moscow, Russia

Sergey Chalov, Vladimir Platonov, Oxana Erina, Vsevolod Moreido, Mikhail Samokhin, Dmitriy Sokolov, Maria Tereshina, Yulia Yarinich & Nikolay Kasimov

Kazan Federal University, Kremlevskaya St., 18, 420008, Kazan, Russia

Sergey Chalov

Institute of Water Problems of the Russian Academy of Sciences, Gubkina Str., 3, 119333, Moscow, Russia

Vsevolod Moreido

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Conceptualization, original draft preparation—Sergey Chalov; numerical experiments conducting and evaluation, precipitation data analysis, writing—Vladimir Platonov; the rainfall-runoff patterns analysis—Vsevolod Moreido; methodology, validation, writing—Oxana Erina, Dmitriy Sokolov, Maria Tereshina, Mikhail Samokhin; precipitation data preparation and visualization—Yulia Yarinich; review, editing—Nikolay Kasimov. All authors have read and agreed to the published version of the manuscript.

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Chalov, S., Platonov, V., Erina, O. et al. Rainstorms impacts on water, sediment, and trace elements loads in an urbanized catchment within Moscow city: case study of summer 2020 and 2021. Theor Appl Climatol 151 , 871–889 (2023). https://doi.org/10.1007/s00704-022-04298-9

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Received : 31 August 2022

Accepted : 23 November 2022

Published : 07 December 2022

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DOI : https://doi.org/10.1007/s00704-022-04298-9

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